issue #02 pdf - Razorcake

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with such thundering almighty ballsy punkrock belligerence, it kicked my ass silly and left me for dead (blood-splattered, bruised, and mangled beyond recognition!). The three badass bellowing bands concussively contained herein threateningly rage with push-comes-to-shove menacing ferocity, and they recklessly regurgitate the aural equivalent of doomsday’s flesh-scorchin’ violent maelstrom. If you’re not frightfully intimidated yet, by god, you should be (after only one listen, I was quakin’ in my boots somethin’ fierce and fillin’ ‘em full of shit quicker than I could jump-hump a bunnyrabbit!). Dr. Know rambunctiously reverberate with all-out incendiary anger, attitude, and old school insolence (they are now amongst the anarchic audial elite at the top of my all-time fave tunetwistin’ insurgents list!). The Hellions robustly blast out a fitful barrage of dirtbag trashrock roarings that makes Zeke, Motorhead, and Speedealer all seem like a sissified bunch of effeminate negligee-attired pantywaists (gawddamn, these bastards are brutally frenzied and confrontationally all-up-in-your-face!). Fang venomously spew forth a lethal dose of harried hardcore heinousness and conflagrant spit-foamin’ fierceness that inspired me to bang my head with such rabid maddog zeal, I’ll never fully recover from the resulting fits of whiplash spasms and fractured vertebrae trauma. Yep, you ain’t anywhere near punk enough until ya get your grubby lil’ mitts on this here foot-stompin’ package of pure punkrock fury! -Roger Moser, Jr. (Hello) DROPKICK MURPHYS “Sing Loud, Sing Proud!” CD Another great release from these Micks. Included are tracks with Shane MacGowan and Colin McFaull (Cock Sparrer) on vox, which make for a great combination with Al Barr. -Pete Hucklebuck (Hellcat) DRUNKEN CHOLOS, THE “Livin La Vida Loco” CD The Drunken Cholos are the Queers back to their original line up. It sounds a lot like “A Day Late and a Dollar Short” (which I think is the Queers’ first album). It’s real raw like “A Day Late..”, and very snottytwo things that usually make for a good album, but not in this case. The lyrics are inane and the songs are simple and uninspired. I guess this is what happens when you have a record label that will put out any kind of crap you record. It’s too bad, because, when I think back to all the cool Queers albums out there, it pains me to rag this one. But you can’t just put out any shit and expect your fans to worship you. Sooner or later, you have to do something new and interesting. The Drunken Cholos are neither. -Sean Carswell (Hopeless) DRUNKTANK “Carbombs, Molotovs and Destruction” CD Raw hardcore with a sound outta the mid-80s. Although sing titles like “Chokin’ on my Puke,” “Eat My Shit,” and “Liver Transplant” make me glad my copy didn’t come with a lyric sheet, the songs themselves are pretty friggin’ rockin’ and I’d wholeheartedly recommend this on that alone. -Jimmy Alvarado (No address) ENVY “The Eyes of Single Eared Prophet” CDEP Five-song release from this Japanese band that sounds like pure apocalypse. I’m not sure if this would get classified as emo, but this is definitely emotional. Screaming and yelling over droning guitar blasts supported by thunderous back beats and bass solidifies the pain. It almost puts me into a bad mood and brings out the internal pain of my disturbed self. If that is their goal, the job is 1. - Donofthedead (HG Fact) EVAPORATORS, THE “Honk the Horn” 7” EP Frenetic, spastic, goofy, and epileptic, Nardwuar is a traffic accident and the Evaporators happen to be in the van when he leaps from the back, grabs the steering wheel, and careens them off the side of the road. Bless him. On this short-runner, they’ve got Nard’s mania in a tight ball of electricity. “Touch Wood”: Electroshock The Smugglers and splice in Bikini Kill’s Kathleen Hanna’s spiked uterus screaming. It’s a riot in two senses of the word (as in “funny” and “burn this place to the ground.”). “Honk the Horn”: If you ever wondered if Screaming Jay Hawkins was white, recovered from an anyersm, and espoused full-on Canadian pride after a snippet with Tommy Lee’s cock print on a boat horn, wonder no longer. “I’m a Critic Like the Rest of Them”: picture hardcore favorites, The Neos, less doom and gloom, for exactly forty three seconds. “I Don’t Need My Friends to Tell Me Who My Friends Are”: Yardbirds, but punk and better, with a bring-it-on-down spoken word segue. Tattoo a maple leaf on my ass, this is a fine, fine 7”. -Todd (Nardwuar The Human Serviette, Mint) EX, THE “Dizzy Spells” CD Crass drops some L with Tragic Mulatto at a Gang of Four show and they all while away the hours making anatomically correct origami representations of Cary Grant’s intestinal tract. Really good noise/rock here, kids. -Jimmy Alvarado (Touch and Go)
FAIRLANES, THE “Welcome to Nowhere” CD The first couple of times I listened to this, it sounded like pretty generic pop punk somewhere between Screeching Weasel and Lagwagon. I decided I’d give it one more listen, figuring, if I don’t hear something in it this time, I’m gonna send it to someone else who may like it. And, for some reason, it stuck. I heard something. A touch of the Thumbs rawness. A touch of D4 drum beats. I don’t know what it is, but there’s definitely something deeper going on in these songs. It’s growing on me. Then I read the liner notes. The bassist tells the story of how the Fairlanes graduated college and started moving away from the band and into the world of careers and other such nonsense, then realized that their hearts were really in this band and dedicated themselves to it full time. Maybe that’s it. Maybe it’s that random sense of sincerity that makes this a good album. Maybe I’m starting to sound like a football announcer talking about Warrick Dunn’s “heart.” I’m gonna stop now. -Sean Carswell (Suburban Home) FAST AND THE COOL, THE “4-Track Demos” CD This is new wavish super-distorto janglish stargazin’ sonic splendor that’s all-at-once trippy, poppy, funky, sludgy, and feel-good giddy. In an unusually odd display of audial diversity, the succulently sweet songs contained herein are a magical mishmash of infinitely mind-reeling instrumentation ala Cheap Trick, Badfinger, Stereolab, Smashing Pumpkins, Devo, Spacemen 3, and even a bit of “Rubber Soul”-era Beatles. I especially enjoyed the invigorating spontaneity of the spastic tribal drumming, the sporadic eruptions of a synthesizer’s ebullient emotings, and the intermittent effervescence of fuzz effects. The whiney bratty schoolboy vocals are strainfully similar to The Judys, Violent Femmes, and Dead Milkmen (annoying at times, but certainly unique and vividly impressive). All in all, this delightful lil’ disc possesses a euphoric childlike innocent quality to it that’s both endearing and uniquely divine... -Roger Moser, Jr. (Crystal Clear Sound) FORWARD “We Need the Truth” CDEP If you have followed my reviews through the time I have been with Flipside and now with <strong>Razorcake</strong>, I am very biased towards Japanese punk. I absolutely love it. I set it on a pedestal and worship it like it was the best shit I ever took. You know the type. The bowl filler that took the least amount of effort to expel. Not sloppy and takes the minimum amount of wiping to make yourself ready for the day. There I go again talking shit again. Here is a four song blast from the mighty Forward from Japan. They play a sort of sloppy old school style of punk that has no intentions of sounding professional. Fun is had by all by not being too serious but play to keep the energy alive. Some now may say that it sounds street punk while others would say old school. I would say the old school vein. One thing I need to do is learn more Japanese to be able to understand the songs. Japanese does not always translate well into English. -Donofthedead (HG Fact) FOUNDATION Self-titled CD Rare has been the occasion when a CD hits the bottom of a trashcan as fast as this one did. Neo-hippie shit with non-fuzzed guitars, a song named after a Cocteau Twins EP and a Tom Waits cover, dressed up in packaging that gives the impression that they’re either straight edge hardcore (which ain’t much better) or noise metal. -Jimmy Alvarado (Ann Beretta) FRENZAL RHOMB “Shut Your Mouth” CD An average band in my opinion. They never seem to float my boat with their melodicore and silly lyrics. I know people must like them because they are on Fat. But I am not one of them. -Donofthedead (Fat) GINA GO FASTER/ THE THIRTEENS Split 7” EP Gina Go Faster have been a sleeper favorite of mine for awhile. I forget about them for six months at a time because the name’s kinda weird, but the songs are a-rockin’, and I’m always pleased when I pop one of their releases on. “Here We Go” and “2 Steps from Home” are low-fi, high-energy songs that are sweet and crunchy like bubblegum dropped on a sidewalk, and re-popped into your mouth. Real fun garage power pop. The Thirteens are pretty standard and straddle the line between punk and hardcore (screamed vocals, trapped drummer syndrome, soaring guitar chords). To be sure, the songs are competently played, but there’s at least fifteen current bands that do it better. Their effort’s not piss, but not as good as a two 40 ozs (which would be in the same price range). - Todd (King Bee) H2O “It was a Good Day” 7” Two covers here, side one being an embarrassing, punked up cover of Cube’s “Good Day” and side two being a shitty cover of a shitty Suicidal song, “I Want More.” If there is a God, someone’s gonna do some serious time in punk rock hell for this release. -Jimmy Alvarado (Sideonedummy)
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Page 38: Dave: It lasted for a long time. Th
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Page 50 and 51: A SHORT ANATOMY OF FANDOM How Leath
Page 52 and 53: "When at a weak point or time of su
Page 54 and 55: 999 “English Wipeout” CD Two li
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Page 61 and 62: HALF JAPANESE “Hello” CD God, I
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Page 75: five bands play hardcore of varying
Page 78 and 79: Send all zines for review to Razorc
Page 80 and 81: THE WAR AGAINST OBLIVION: THE ZAPAT
Page 82: THE BARFEEDERS "Wyoming" (It’s a
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issue #02 pdf - Razorcake

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