Welcome to Razorcake | DIY Punk Music | Punk Bands | Punk Rock Bands | Punk Magazine Welcome to Razorcake | DIY Punk Music | Punk Bands | Punk Rock Bands | Punk Magazine

Record Reviews

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75

| 0-9| A| B| C| D| E| F| G| H| I| J| K| L| M |

| N| O| P| Q| R| S| T| U| V| W| X| Y| Z|

< Prev Section | Next Section >

RSS Feed

Dare to Be Dull: 7”
This can easily be taken wrong but it shouldn’t be; this 7” contains four (or five?) tracks of easy listening NYHC-influenced punk. It’s by all means not a bad thing, somewhere between good H2O and good Kill Your Idols, this L.A. band brings it with tough, jerkless vocals and guitar riffage that will remind you how much you hate crossover, and make you thankful that this most certainly is not crossover. And after the four (or five?) songs, they end it with an audio clip of a popular social commentator that will make you think, “Goddamn it, why don’t more punk bands use audio clips by that guy?”  –Daryl Gussin (Blind Spot)

Dare to be Dull: 7”EP
Straight-ahead early-’80s style hardcore that owes quite a bit to Uniform Choice, The Circle Jerks, and The Zero Boys (in the guitar). Thankfully, it doesn’t come across as history being listlessly recited, paragraph by drool-mouthed paragraph. The energy’s high, the lyrics are current-day topical, the songs are ultra-tight and catchy, and they play their instruments well (but not too well; they know when to put the kibosh on a potential solo). There are little indicators sprinkled throughout these four songs that they listen to much more than hardcore—that hardcore just happens to be their weapon of choice—and that’s always a blessing.  –todd (Blind Spot)

New Maps of Hell: CD
New release from the tightest three-guitar onslaught since Skynyrd. Jay Bentley said that onstage one night, not me! Well produced and guided along by Brooks Wackerman’s insane drum cracks throughout, the band comes up with another winner. The usual subject matter is covered, so I’ll leave it to you to scour the lyric booklet. “New Dark Ages,” “Submission Complete,” and “Field of Dreams” reach for my throat out of the speakers. The import version has two acoustic tracks worth seeking out, too. –koepenick (Epitaph)

The Empire Strikes First: CD
I have been listening to this for over a month and a half. That is pretty good since I have so many CDs and records that I haven’t listened to sitting next to the stereo. I get so excited about every release that they put out. I have been a fan since they began in 1980 and continued to purchase every release since then, except that I still do not own a copy of the first 7”. I still listen to Into the Unknown, even though they tried to destroy many of the copies and made it one of the most collectable of their releases. If you liked The Process of Belief, I think this album is much better. As many longtime fans cite Suffer as their ultimate record, I think this is on par or surpasses that record. Being on a major label for a time, the band has learned how to take advantage of a studio. To me, the additional production values add to the power of the songs. Brooks Wakerman, already having an album under his belt with the band, shows that he is starting to get comfortable and at home. The drumming on the song “Sinister Rouge” is incredible and on the album throughout. I almost forgot that he had played for Suicidal Tendencies for a time. Greg Graffin can always be counted on to write lyrics that aren’t at a sixth grade reading level. His reuniting with Brett Gurewitz as writing partner shows that they need each other to bounce ideas off of to get songs put together. They do benefit from having punk hall of famers Greg Hetson and Brian Baker to back things up and provide input. I can’t forget Jay Bentley, who has been there from the beginning, minus a record or two. All I can say that is if you are a new fan or a longtime fan, this doesn’t disappoint. Now I have to go out and get an actual copy since I got a CD-R with no cover. –don (Epitaph)

The Process of Belief: CD
I must regretfully confess: I haven’t purchased (or even heard) any of Bad Religion’s auditory output since 1996’s The Gray Race. Although it was a fairly robust release, I felt that Mr. Graffin and company were mellowing with age. They just seemed to be lacking the fervent energetic conviction of their earlier releases. But what the hell, we all unfortunately tend to lose our youthful zeal for life the older we become, so I surely cannot judge one of my all-time favorite bands on the merits of nature’s inevitable aging process alone. With that said, my ears are downright tickled delirious by this latest Bad Religion offering of inimitable melodic mastery. As soon as the first addictive track, “Supersonic," frantically kicked into high gear, I was immediately enthralled, enchanted, and delighted by Bad Religion’s splendiferous return to topnotch aural originality. The perfectly crafted songs fluctuate from acoustic-layered maturity to melodiously frenzied kineticism – lyrically articulate, intricately structured, and sporadically raging with all-out passionate fury. Yes, indeed, Bad Religion have aged well and matured gracefully. These impeccably pristine anthems of the 21st century are proof-positive that the ultimate in life’s cultivation often comes with time. –Roger Moser, Jr. –Guest Contributor (Epitaph)

Self-titled: CD
At first I was worried. Worried that this band was from somewhere like Idaho, and so why was the lead singer singing with a British accent? But I did a bit of Nancy Drew internet searching and found out, thank heavens, they seem to be actually British. So now I can admit it: I like them. The Bad Robots are obviously influenced by The Clash and hey, there’s nothing wrong with that. The sound on this recording is not great, the drums sound tinny and under-whelming, but the songwriting is classic and strong and I can tell this band puts on an awesome live show. Although it’s in my nature to doubt bands whose promo material claims that they “have not yet failed to get even the quietest crowd dancing and yelling,” with these guys I actually believe it. –jennifer (info@thebadrobots.com)

Self-titled: CDEP
Not too interesting, limey (well, judging from their accents [and, of course, they could be an affectation] they’re limeys) modern pop made interesting by the fact that it’s delivered by a band that sounds desperate and hungry. This should no doubt score them a record deal, but where they go from there depends on whether their songwriting becomes more interesting. –jimmy (www.thebadrobots.com)

Working Class Holocaust: LP
Every issue I end up waxing lyrical about the “good old days” of the late ‘80s on that mean little isle called England. When I very first got into punk at the tender age of thirteen, I used to scour MRR from cover to cover, then fire off letters to bands. That’s what you did back then. I wrote to lots of people, many who are still friends. My favorite band at the time were the Cowboy Killers from South Wales—who sounded like nothing else from where I was—Dead Kennedys meets FOD with the craziest singer I have ever seen. Beddis from the CK’s would send me his old shirts, records, and giant packages of tapes where I discovered bands like Really Red, Dicks, and the Big Boys. There was no Internet downloading, no fancy reissue; it was tapes from other punks or nothing. Without that friendship I’m not sure I would have ended up where I am today (a grand assertion, but most likely true). The Cowboy Killers imploded in the ‘90s and since then I have waited for Beddis to get something else rolling. After jail time, kids, and realizing he couldn’t resist the pull of DIY punk, we have Bad Sam, featuring Kip the original CK’s drummer, some members of Dub War, and other elder statesmen of the South Wales scene. No disappointment here whatsoever. A similar sound to the Killers, maybe slightly more metallic with Beddis’s deranged vocals and songs like “Black John Wayne” (about Obama), “Snake with Tits” (about Thatcher), “Dicks with Dogs,” etc. This disc was self-released with only three hundred copies, so I would suggest getting out there and grabbing one before it’s eBay time. One of my favorite releases this year by far. Magic.  –Tim Brooks (Kriminal, kriminalgood@gmail.com)

Working Class Holocaust: LP
I have to admit that this album floored me. As much as I like Bad Sam (a band which includes a number of Welsh punk veterans from the likes of Cowboy Killers, Dub War, and Four Letter Word) I just hadn’t expected to be on the receiving end of such an outright winner when first listening to the band’s second long player. Bad Sam sounds quite a bit like any number of Jello Biafra collaborations and it’s no surprise, really, given that Dean Beddis has occasionally been compared to Biafra in terms of his vocals. However, where Beddis channels the same anger and vitriol as his American counterpart, he steers clear of the more verbose and erudite approach favored by Biafra, tending towards a delivery which avoids preamble and goes straight for the throat. The lyrics hit the spot throughout with the likes of “Dicks with Dogs” (attacking the trend for owning aggressive dogs) and “Snake with Tits” (about Margaret Thatcher) being delivered with a simplicity that complements the fury they contain. This is backed up by a hardcore punk sound with the odd moment of metal, all based around some massive riffs that make for a tight and raucous outcome, perfectly suited to accompany the messages being communicated and thus helping to make this one of the best punk rock records of the year.  –Rich Cocksedge (Kriminal, kriminalgood@gmail.com)

Re-Gur-Gi-Tate: CD
Last time I saw these guys was at the Tropico in East L.A. back in ‘99 when they played with the Stains. Good to see they’re still out wreaking havoc. Even happier to see they’re still cranking out some seriously pissed-off hardcore rivaling the output of bands like Out Cold and Strung Up. If loud’n’fast is your bag, these guys deliver the goods in spades. –jimmy (Nickel And Dime)

Re-gur-gi-tate: CD
There are two things I learned from listening to this: the first is that I cannot spell Samaritans without the help of a dictionary; the second is that album covers with vomit on them are rarely a good sign. Bad Samaritans lay somewhere between Toxic Narcotic and Poison Idea, leaning more to Poison Idea as time marches on. Though their main musical focus lies on trying to sound like the two aforementioned bands, they manage to rip off other hardcore favorites like Agent Orange’s “Bloodstains” in their song “Ted Offensive,” and Black Flag’s “Damaged” in “Sundance.” I thought they were ripping off a Hanson Brothers’ song too, but that turned out to be a Hanson Brothers cover. As another unrelated thought, when I opened the case, the little clips that held the CD in place were all broken and fell all over my kitchen floor. Something makes me wonder if they did that to all the review copies they sent out. –Bryan Static (Nickel And Dime)

Looking for a Bad Time: Cassette
Fast, angry punk from Philadelphia of the shouty and chaotic variety with an occasional “mosh part” and/or bad guitar solo thrown in, in the ‘80s “generic hardcore” kind of way. I don’t mean that in a bad way—I love this shit when it’s done right. Of the six songs here, the first one is awesome, but the others didn’t grab me as much. This might still worth seeking out, though –Mark Twistworthy (badside.bandcamp.com)

Everybody Wants Something from Me: 7”
Having reviewed their demo a while back, Bad Side has matured a bit in a few short months. Sure, they still offer up multiple songs of angry punk, but on this release it’s a little more restrained, a little more controlled than the previous demo, and that works for them. At times this reminded me of a more raw version of Pissed Jeans, who I love. Good stuff.  –Mark Twistworthy (Nervous Habit)

Self-titled: EP
Mid-tempo hardcore punk that reminds me of early ‘80s Boston bands like Negative FX. There’s the bellowing vocals, raw and jagged guitar sound, and no frills, but effective, percussion. Primal and direct in its delivery. Four short blasts, with “Flamejob” being a standout. I like how the guitar goes from distortion to a semi-clean distortion-free kind of feel, similar to what bands like Social Distortion (when they were good) used to do. There’s also no denying the cranking introduction of “Commute.” The guitar comes on with a distorted and creaky sound, charging you up, then the vocals come in barking some angsty shit. Pretty good stuff. –Matt Average (Bad Vibrations, badvibrationsrecords@gmail.com)

Self-titled: 7"
I like it. It’s good, in a Kickz, Kill-A-Watts, Rip Offs, Dead Boys-barely-out-of-puberty way. Reverb all over the edges and insect-in-flight guitar bits. I have a feeling that if this wasn’t three guys from three different bands (Maaster Gaiden, Pumpers, Wax Museums) in a compressed time putting four songs together, if it was given a bit more organic interconnection, choruses were repeated less, and it had more dripping, electric splooge throughout, I’d be all “god dam!” over it. I like it. It’s good. Three hundred made. Silk screen covers. –todd (Big Action)

All the Time: 7” EP
These guys have obviously done their homework, alternating between lo-fi, trashy ‘60s pop and a punkier mix of Rip Offs-type stuff and ‘70s L.A. bands like The Dils to give things a bit of thud. Songs are to-the-point and catchy enough to warrant at least a listen or two. –jimmy (Boomchick)

No Rest for the Wicked: 7” EP
More primal thud-punk in the Rip-Off Records vein. “Ooh Ooh Ooh” is the definite highlight here. –jimmy (Big Action)

Self-titled: 7”
The A-side, “All the Time,” is a monstrous, reverbed arty-fact that could have easily come from an unknown ‘60s British band, which surprised me after learning the pedigree of the members of the Bad Sports and hearing the opening guitar hook. I thought it was going to be a breezy, boozy, catchy tune in the vein of the Romance Novels, but what I got was buckets of big guitar, booming bass, and tub-thumping drums. Not what I expected from members of the Wax Museums and ….. The B-side tunes “Hey OK” and “Asshole with the Girl” sound like a ‘90s basement show if Live Fast Die warped back to SF and split a bill with the Rip Offs. The songs are exceptionally great and over way too fast. Love this record. –benke (Boom Chick)

Self-titled: LP
Bad Sports sound as if they’ve been having late night, after work meetings discussing the finer points of the Nerves and the Urinals over half a carton of smokes and a case of: insert the name of your favorite cheap domestic beer here. Early Ramones also isn’t merely a reference here. It’s a way of life. And the Sports clearly adhere to that motto. This record gets better with every listen. –Juan Espinosa (Douche Master)

Bra: CD/LP
A power pop explosion that brings to mind a wide range of bands including The Saints, The Buzzcocks, Big Eyes, and The Posies, to name a few, that came to mind when listening to this. It’s not a bad album and there are a handful of decent songs to be found on Bra, although not enough to keep me fully engaged from start to finish—although if it’s on while I’m working then I’m oddly happy to listen to this a few times over. –Guest Contributor (Dirtnap, mail@dirtnaprecs.com, dirtnaprecs.com)

Bras: CD
Bad sports bras are a funny concept. All sports bras are bad in my opinion; it’s a very unflattering look that’s all business. I’ve seen these guys’ name around for a while (this is their third LP) but hadn’t come around to listening to them until I received this CD. Bras was produced by Mark Ryan and Jeff Burke from the Marked Men and if you’re into them at all, you’ll love this record. This is a great punk rock record with a poppy, upbeat sound. The songs are catchy and fun with no bullshit messages or preachy opinions, just a good time. There’s a little bit of everything on here from power pop to ‘70s punk. If you like the ‘70s CBGB’s sound, old Posh Boys bands, and Dirtnap bands you’ll love this record.  –Ryan Nichols (Dirtnap)

Dirty Hole: 7”
Man, I was so into this before I discovered it’s at 33 and not 45. Bummer. Amateurish, thrashy scuzz hardcore from Aarhus, Denmark. It’s not bad, but if I have to look at actual pictures of your balls and asshole in your artwork I better fucking love your music. You just can’t un-see that shit.  –Camylle Reynolds (Halshugga, halshuggarecords.tictail)

I Was a Teenage Jack the Ripper: 7” EP
Eighties-tinged hardcore that sounds like they’re paddling for that spot between Negative Approach and Bad Posture. Tunes are solid, ADD length, and appropriately primitive. Also includes a sloppy cover of “Summertime Blues.” –jimmy (feralkidrecords.com)

I remember the first time I ever heard a bootleg of Songs We Taught the Cramps and feeling uncomfortable in the way all the songs sounded so dated and strange, more punk than punk. There were thousands of these little 45s out there, which I found later through more bootleg comps and tape trading. Some were great in that they were just weird rock’n’roll tracks by frat dudes who never fit into their crowd (“Hammerlock”), others were bouncy carnival tracks that were so much more evil than any metal (Anton LaVey), but the point was that there was no cohesive style or aesthetic to tie them all together; they were all just genuinely weird. These bands both fit that style. There’s no real modern point of reference for their sound. Bad Taste are like a Rick Nelson LP that’s been left out in the sun and then dusted off and played at the wrong speed, the needle bouncing all over the place as you stack pennies on the tone arm to keep it all in check. Brain Car fit more into that frat rock style, adhering to a sound that’s popular at the high school dancehalls while jeering at those who just want to dance some to an angry punk rendition of the Grease soundtrack. –Ian Wise (Reel Time)

Split: 7”
This here is a split single from two Rochester, NY bands with quite different sounds. Bad Taste is pure noise that makes Wolf Eyes and Pissed Jeans sound downright singer/songwriter-like. Brain Car, on the other hand, deliver a snotty and amped-up cover of the classic tune “Be True to Your School” for their side of things. –frame (Reel Time)

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75

| 0-9| A| B| C| D| E| F| G| H| I| J| K| L| M |

| N| O| P| Q| R| S| T| U| V| W| X| Y| Z|

< Prev Section | Next Section >

Razorcake Podcast Player


If you live in the Los Angeles area and want to help us out, let us know.

Get monthly notifications of new arrivals and distro and special offers for being part of the Razorcake army.

Razorcake/Gorsky Press, Inc.
PO Box 42129
Los Angeles, CA 90042

Except for reviews, which appear in both, the
contents of the Razorcake website are completely
different from the contents of Razorcake Fanzine.

© 2001-2015 Razorcake/Gorsky Press, Inc. Privacy Policy

Razorcake.org is made possible in part by grants from
the City of Los Angeles, Department
of Cultural Affairs and is supported
by the Los Angeles County Board of
Supervisors through the Los Angeles
Arts Commission.
Department of Cultural AffairsLos Angeles County Arts Commission

Web site engine code is Copyright © 2003 by PHP-Nuke. All Rights Reserved. PHP-Nuke is Free Software released under the GNU/GPL license.