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Record Reviews

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Below are some recently posted reviews.

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Self-titled: CD
I like my music to come from instruments, thanks. Oh, and sorry that, apparently, your singer lives in a can. –megan (Serious Business, seriousbusiness.com)

War on 45: CD
The good news is that Joey’s seen fit to reissue this slab of classic North American punk rock (previously available in its entirety on CD as part of the Bloodied but Unbowed compilation disc), which features such career high points as “America the Beautiful,” “Liar for Hire,” and a scorching cover of the Dils’ “Class War.” Further good news is that they added “World War 3,” “Smash the State,” and a couple of demo tracks that appeared on the Lost Tapes release from a few years back. The bad news is that, in addition to dumping “Let’s Fuck” from the lineup (ostensibly because it doesn’t conform to the “war” theme here, which didn’t seem to make a difference when the original was released) , they’ve added assorted anti-war songs from later releases, with only “We Don’t Need No Goddamn War” coming anywhere near the incendiary power of the original tracks here and the rest kinda residing in the realm of the forgettable. Dunno why Joey felt the need to do this, given that the original by its lonesome was more than worth the price of admission. Ultimately, though, while it’s nice to have most of the original release available again in some semblance of the original packaging (both of the original covers are available in the booklet), it would’ve been much sweeter to have some new DOA material fueled by the same primal fire and outrage that have made these songs so friggin’ effective and long lived. Given the current state of world affairs, especially with regards to Canada’s neighbor to the immediate south, it’s mind boggling that the band can’t seem to quite find the spark to set them off again. As someone who considered them untouchable in their prime, however, I remain optimistic, if a tad flabbergasted. –jimmy (Sudden Death)

Let’s Start Something b/w Pick up the Phone: one-sided 7”
I’ve liked them from the start, but The Divebomb Honey is getting better. “Pick up the Phone,” especially, is propelled with cyanide keyboards and digital ants under the skin. It sounds like a Bladerunner-inspired Josie Cotton in a basement: sweaty circuit boards and played to an audience in underwear made solely out of electrical tape and Christmas lights. That or R2D2 rampage music… and it’s definitely for fans of either Devo or the Epoxies. –todd (Exploding Toe)

Wartorn: 7”
Despite its more than obvious shortcomings, I kind of liked this record. There’s a “deep end is buried in the red” fuzzy quality to the recording that reminds me so much (and here’s one for obscurity) of a 7” from a long defunct band from Texas called Minority. Disrespect is way more tuneful than I’ve come to expect from the P.E. people, and that the cover art and layout would lead one to believe. I was planning on hearing some blasé crust punk with horribly rhyming lyrics. I got the rhyming part right (topics include the evils of religion, police, and government, of course), but the music itself is nearly of toe-tapping quality. The best thing this band probably has going for it is that they have three singers, which probably makes for a pretty rad live show. On the recording, however, the woman’s vocals are so up front in the mix compared to the other two (gentlemen) vocalists that it sounds like she’s practically talking, rather than screaming her head off. Overall, I can’t see myself rocking out to this one very often, but then again I’ve been known to play side A of Tommy Tutone’s first LP and actually lip sync to it, so that kind of fucking cancels things out, doesn’t it? –keith (Profane Existence)

Self-titled: CD
A one-shot sonic onslaught brought forth by dudes from other bands you’ve heard of, such as Strung Up and Born/Dead. Dark and brooding stuff with elements of Finnish/Scandi hardcore mayhem, Japanese metal, and straight-up thrash all wrestling for dominance. You’ve already got an idea of what you’re getting yourself into before you listen to it: it’s on Prank, there’s appropriately apocalyptic artwork from Pushead, Sugi, and Jeremy Clark and it features the first foil-stamped cover I’ve ever seen on anything besides comic books. From what I’ve gathered they’ve already called it quits. It’s not something I’ll find myself listening to very often, but I know plenty of kids who drool over this stuff—it’s dark, atmospheric, played extremely well, and there’s no doubt at all that they knew exactly what they were doing when they recorded this album. –keith (Prank)

Self-titled: 7”
Ha ha ha ha. Both sides say “side A”. If that was intentional, I love this band. If it was a mistake, I still love this band, ‘cause it’s in keeping with the sloppy punk they play on the record. Actually, it’s not so much sloppy (they’re pretty tight) as it is raw. Yeah, that’s the word I’m looking for. Think Street Trash, Fucked Up, Bad Brains, in that order, and you can kinda figure out the road they’re headed down. This record is bad ass, and I’m glad the punks are finally reclaiming hardcore back from the jocks. –ben (4324 NE 47th Ave, Portland, OR 97218)

Born in Sin, Come On In: CD
This one surprised me; from the tattoo-flashesque album art, I was planning on hearing some sub-par Devil Dogs/Humpers stuff here, but instead Defiance Of Authority manages to occasionally and nearly brilliantly stumble into the same oeuvre as the Descendents. Not always, but at least half the songs here have that same tuneful, tough-but-decipherable, “rocks in a bag of velvet hitting you in the nether-region” kind of quality. There’s something inherently modern at work here—they’re right on the cusp of that radio-friendly punk sound, taking pointers from plenty of bands on the Fat roster, but there’s just a slight tinge of venom that makes the whole thing palatable. Six studio songs and five demo tracks. Cracks me up that two of their songs are titled “Fuck It, Let’s Roll” and “Fuck It, It’s On.” As a whole, they strike me as a band right on the cusp of nailing down their sound totally and completely, and when they do they’re going to be a band we’d all better watch out for. –keith (www.defianceofauthorityrocks.com)

I Should Have Killed You: CD
A couple of years back, I heard a song by these guys, “Billy’s Dead,” on a comp and it has since become one of my favorite Halloween tunes of all time, just behind Inflatable Boy Clams’ “Skeletons” and some country tune called “Psycho,” so to say I was excited to hear a full-length by ’em is a no-brainer. The stuff here is along the same lines as the aforementioned tune: mellow, Cramps/Morricone-inspired surf guitar, monotone vocals from the Johnny-Cash-via-Shatner school of singin’ warbling about voodoo girls and telephoning the dead, spare drumming. Although there really ain’t much variation in tone or dynamics, they somehow manage to make it work over the course of twelve tunes, one of which is a cover of Jimmy Dean’s “Big John,” which is also a no-brainer. Fun listen. –jimmy (Cargo)

The 4Ps: CD
The Captain pulls out another band from the obscure reaches of punklandia and whomps us upside the head as a reminder that there were oodles more bands out there that were just as good as any of the “name” bands scrawled on assorted leather jackets. Case in point is this band, whose name I barely remembered and whose primal, rudimentary U.K. punk I would’ve swore I’d never heard until I came across “Danger UXB” and “When Our Blood Is Spilled,” which I could swear I’ve heard on some compilation or other somewhere. Up to its eyeballs in thud ’n’ anger, this is, and well worth yer time. –jimmy (Captain Oi)

Fresh Fruit for Rotting Vegetables: 25th Anniversary Edition: CD/DVD
After twenty-five years, I finally own a copy of this. From back then through now, I know many people who I either borrowed this from or had them tape it for me if I wanted a copy. I just never got around to purchasing one for my own. Like many, this is one of the very first punk bands I ever listened to. I liked everything up to In God We Trust and moved on. Seeing them live was another thing. They were so energetic and would bring a crowd so large that you thought they were a major label radio band before their break up. I worked as a bouncer (that’s a funny one, due to my size) at one of their Grand Olympic shows here in L.A. There were so many people at that show that during their set, the barricade in front of the stage collapsed from the sheer weight of the people. To make matters worst, Jello would constantly stage dive into the crowd and crowd surfed throughout their set. In turn, we had to dive into the crowd and fish him back to the stage. Once on stage, he dove right back into the crowd. Fun times. It would be a hopeless attempt to describe the music. Everybody involved in the punk scene has or, if new, will at one time hear the music of this band in their lifetime. So no information is necessary. What I was worried about would be the re-mastering so that it can be put out on CD. The early re-masters of anything during the infancy of CDs were horrible. But technology and experience has progressed. This sounds pretty true to original recording. Also, included is a fifty-five minute documentary titled Fresh Fruit for Rotting Eyeballs. I have only watched part of this so far, but what I have seen is interesting. Always like to hear some history. Even though there is strife between the band and Jello where Jello lost ownership to the music, this record has stood the test of time. I would much rather purchase and listen to this than have to see the Jello-less karaoke act that is now the Dead Kennedys. –don (Manifesto)

Summer of ’93: CD
From the godawful finger painted cover, I was expecting some lame and subdued wannabe Guided By Voices band, or something you’d find in the cutout bin at the record store and just brush right past. But, I was in for a pretty nice surprise when I put this on and fell victim to a fairly intense barrage of droning post punk, something like, I don’t know, The Pine or even The Shivering, if they totally abandoned their Rites Of Spring/Revolution Summer blueprint and went straight for a template that was seemingly designed to just stress the shit out of you and make you feel like you were right on the edge of some precipice. It’s not that they’re tuneless, not at all, but they’re utilizing such odd progressions, with every instrument carrying equal weight, that everything remains totally identifiable but totally anxiety-ridden at the same time. Apart from the band name and the cover art, this one’s got the potential to spin a few heads. Rest assured, they make one fuck of a racket for a three piece. –keith (www.thedeadbetties.com/)

Denying the West: CD
Strong Chicago punk rock, emphasis on “rock.” Though not as immediately catchy as your Naked Rayguns or Pegboys, something about the tunes commands attention. I’m gonna sit on this, ’cause something tells me something here is gonna stick with a few more listens. –jimmy (Johann’s Face)

Split: 7” EP
There’s no way that I could not like this. It’s a tribute to the Fast Castle (R.I.P.) in San Diego where I spent some of the best times of my life. I mean, how many places are there that after an all-day tour with the Rhythm Chicken, will open their laundry room at four in the morning for him to play one last set? At the eviction party, Toys That Kill, Vena Cava, Tiltwheel, and The Hits all played two-song rallies, then, when the cops weren’t showing up, they were upped to three songs, and then four. This is the first release from Fast Crowd Records, which is Tampa J Wang (who is also in Dan Padilla) and Josh Mosh (who is one of my best friends). I love them both probably more than they know and we see pretty eye-to-eye musically, so chances are pretty good that I’m going to like what they do. And, I’m biased about the bands too. Dan Padilla: J Wang (also of Altaira), Davey Tilt (of Tiltwheel and Bloodbath And Beyond) and Gene Doney (of tackling and/or fireman carrying me in the middle of bars). They sound like Florida meets California (in the Tiltwheel hangin’ out with the Tim Version kind of way), which only makes sense with where they’re all from. Chinese Telephones: They sound like good mixed with some awesome. Oh, and some people (who are wrong) think they sound like The Replacements. If you don’t like this 7”, I probably don’t wanna party with you. –megan (Fast Crowd)

Split: 7” EP
Dan Padilla: With hearts as big as hot air balloons, morals as immaculate as a surgeon’s tools, and livers as shattered as the soil in a battlefield, I don’t know if I should cry, crack the seal on another bottle to forget another day before it starts, or just sing along once again. Dan Padilla, the band, is comprised of three individuals, two of which I know are solid gold: Tiltwheel’s self-depreciating punk laureate Davey Quinn and Altaira’s self-depreciating secret weapon J Wang. It’s punk that could be soul. It could be country. It’s versatile. It doesn’t contradict the spirit of either Naked Raygun or Otis Redding while embracing both in completely inobvious ways. Burritofornia will ever been in their debt. I’ve played the two songs on their side fifty times so far. It makes my sadness happy and helps remind me that I’m not alone no matter how empty I sometimes feel. Chinese Telephones: They broke up, reformed, and have switched through members. You aren’t able to notice the behind-the-scenes shuffling on these two songs though. Call me a blasphemer or a revisionist, but I put the Chinese Telephones and Rivethead neck and neck with the best of Screeching Weasel. Hell, I’ll even say I like the Chinese Telephones more now ‘cause they’re still putting out exciting songs and not an endless parade of confusingly chosen best-of samplers. Essential split. –todd (Fast Crowd)

Live at CGBG’s 1984: CD
Forty songs in forty minutes is the deal with this one. The sound quality is pretty damn good and it is pretty impressive to see that many songs in a row. Seems like it would be pretty tough to remember ‘em all. Quantity seemed to be the early DRI thing, though, as the first EP can attest to. I am sure that they were something to see in 1984. They must have been pretty mind blowing. The songs here are really energetic and the crowd seems to be real into it. Captured just before the speed metal era began. If you are a fan of the early stuff then you are gonna want this. A great live document of the band that brought us the thrash genre, for better or worse. –todd (Beer City)

Split: 7”
So Glenn Danzig and Siouxsie Sioux coupled, right? And she eventually gave birth to a little vampire baby. The little vampire baby wanted to, like, suck bone marrow and all that shit, all that stuff vampire babies like to do. But this one, he also wanted to be Tom Jones so fucking bad. He’d listen to TJ’s live LPs all night long. Studying his moves, his persona, his sex appeal, all that. That vampire baby, I’m quite convinced, is Mark Mallman. His side of the split is a shlocky, campy, spooky tune called “In Love Witcha.” Kind of like if The Minds decided to cover the very first Misfits 7”, but they were more goth than they actually are and had smoked a ton of pot earlier that day and didn’t really play any instrument that well besides the organ. And plus, they all wanted to be Tom Jones. Yeah, you’re right, it’s a stretch, but you get the idea. The Coke Dares fare much better, if only because I’m pretty sure all three of their songs run under a minute long each. Pretty inoffensive, low-key, kinda sorta punk stuff. The one-sheet that came with this says they’re “simply a fucking riot,” but I’m gonna have to disagree with that one. But at least they’re not a goddamn vampire baby who wants to be Tom Jones, right? Comes with a CD-R of the same songs from the 7”, which is a nice idea. –keith (Nodak)

Chronic Generation: CD
Chron Gen always reminded me of L.A. greats The Cheifs, not musically so much as the fact that they’re both kinda like “bridge” bands—The Cheifs between the older Hollywood punk bands and the more intense hardcore stuff coming from the beaches, and Chron Gen between early U.K. punk and the later anarcho-hardcore stuff like the Subhumans and the Exploited. Though their tunes rarely break the mid-tempo speed barrier on this reissue of their first LP, Chron Gen could sound just as rambunctious and snotty as any of their contemporaries, as evidenced here by their cover of “Jet Boy Jet Girl,” “Lies,” and “You Make Me Spew.” Other songs, like “Reality,” “Disco Tech,” and “Clouded Eyes” demonstrate they weren’t afraid in the least to pump some pop hooks into the mix, either, and still others belie an interest in post punk as well. It’s a damn shame that they’ve fallen through the cracks a bit over the years, so hopefully this being available again will change that, as they really were good. –jimmy (Captain Oi)

Faster, Cheaper, and Better Looking: CD

A new one from this venerated U.K. punk group, featuring twelve new tunes. The sound isn’t quite as incendiary as in days past, but they remain in good shape musically, with things more on the rock side of the equation but with just enough bite to keep you on your toes. Most puzzling here is a song called “KXLU (Radio).” Is someone in the band living out here now, or were they just impressed enough by a webcast back home to pen a tune about L.A.’s most beloved college radio station? Or, most sinisterly, is this some form of payola?

–jimmy (Captain Oi)

Amazing Graceless: CD
At first look I was assuming I’d hear another chapter in the “punk guy goes back to his blues roots.” I was a little off. Sure, it’s bitter and self degrading, but I’ll be damned if it doesn’t rock! I almost feel bad for enjoying this guy’s misery so much. –ty (Full Breach Kicks)

Demo: CD-R
Another band in the new generation of SoCal DIY crust bands that I have taken notice of. I have seen them live once thus far and was moved by their power. They play an incredible brand of crust that is solid and well written. On the demo, you can hear almost the full potential of the band in what sounds like a live recording. For a live recording, the music is mixed pretty well without it sounding too muddy, but I would love to hear what comes out when these guys actually record in a good studio. From what is here on the demo and to have better production would be mind blowing. The songs have a lot of emotion and could be easily described as what a band like Hellshock is doing currently. You can here their influences of Scandinavian, Japanese, and Portland punk in their music. I believe I’m seeing them again in January. I can’t wait for that or for their next recorded material. –don (Self-released)

Songs about Teeth!: CD
This is a collection of intriguing, piano-driven songs about creepy things like spines and seaweed and shooting doves in your backyard. Cake Bake Betty is one of those bands that is actually just one person. In this case, the “band” is primarily the work of one lady named Lindsay Powell, who has a melodic, young-sounding voice and is quite skilled on the piano. And there’s some cello and violin too. The whole female-vocals-with-piano thing can get really Tori Amos really fast, but this CD manages to avoid that trap. You wouldn’t really want to buy this album for your mother-in-law, and I mean that in a good way. It’s not the kind of short, fast, loud, poppy music that I would normally listen to, but I think if you like girls who have pretty voices and spooky lyrics and pianos, then you’ll probably really enjoy this. There was certainly enough edge and noise to keep me from getting bored. I have to say, though, that I really hated the Casio keyboard meets party-background-noise track called “Backbones.” It reminded me of the “band” I was in with my friend Jocelyne Beaudet when we were both in the third grade. –jennifer (Infinity Cat)

All The News That’s Fit to Scream: CD
Playing twenty songs in twenty-six minutes and having a name as such, you get no surprises here. This Memphis quintet was clearly reared on large doses of NYHC bands like Sheer Terror and Sick Of It All. Really good politically pissed-off hardcore. These guys aren’t fucking around. –greg (Prank)

Drink Positive: CD
I wasn’t the biggest fan of the Teen Idols (from TN), but they had this one song, “20 Below” on Pucker Up, that I loved. It had mixed male/female vocals that set it apart from all their other songs. Forward to Bullets To Broadway, comprised mostly of members of Teen Idols, and a very strong presence of Heather’s vocals mixed into the songs which makes me wonder why the Teen Idols never used her more. Her voice is the perfect honey to Kevin’s grit. The music’s super-catchy, which is probably why it’s been high on the rotation at Razorcake HQ. My only caveat is that, following in the Teen Idol tradition, there is quite a bit of production here. In most cases, I think too much production can make bands sound sterile, and I typically lose interest. Thankfully, Bullets To Broadway seem to find the balance of being produced, but not over produced and sound far from sterile. –megan (Red Scare)

Split: 7”
Both bands play heavy rock’n’roll. It’s close, but the Brutal Knights win by a nose because their lyrics are way more retarded. Not to downplay the music, but the real reason you need this record is because at the end, you get to hear the singer of the Brutal Knights reading some of his lyrics on an answering machine, and those lyrics are even more retarded than the ones in this song. Classic. I think they’re my new favorite band. –Josh (Classic Bar Music, no address)

Blood on the Radio—Live: CD
Hoo, lordy. This is some full-on, big time cock-rockin’ stuff like I haven’t heard since, like, 1979 or so. The Nugent and AC/DC influences make it more palatable than one would expect. Ain’t my cup of tea at all, but at least it ain’t inspired by Winger, Nelson, Poison, or any of that late-‘80s hair metal crap. –jimmy (Perris)

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