Christina Whitetrash“ Christina,” “Whitetrash,” “Trash,” “Trashy,” “The Trash,” “Whiskey Tango,” “WT,” and “Bitch”... whatdo all these names have in common? They all belong to one tough-ass chick, The Trash. You may recognize herface and blue lips from the back cover of NOFX’s Pump Up the Valuum LP chomping ever so coyly on a candynecklace. She is also the brains, beauty, smile, and voice behind one of independent punk’s most successfulradio departments. If you wanna sell out, this is the lady to turn to. We’re not shittin’ you. Write her care of<strong>Razorcake</strong> and she’ll reveal the powerful people that she represents.If you’re lucky enough, you can find Trashy out on the town with her crew, The Bitches In The Back, (7”coming soon) and she can also be found at the LA Gun Club, where she enjoys shooting off a few roundsbefore heading over to Hama for some yellowtail, albacore, sake, and a large asahi! Wrap it up with abow: power, guns, bitches, sushi, punk rock, a bunny named Mike, and she’ll smack yer ass to make youshit diamonds. She should come with a warning label.71
440s / CHICKENHAWKS,The: Sumthin’ Sleazy:Split CDHot damn holy hell, I’ve done diedand gone straight to hedonist heavenwhere pure skull-crushin’ rock-’n’roll primitivity rules supreme,‘cause two of the most outrageouslyrockin’ bands around todayaurally strut their stuff on this herekiller-crazed disc! The 440s arewilder and more ferocious thanever. It’s as if they effortlesslyoutdo themselves each and everytime, soundin’ uncannily like arocket-boosted eighteen-wheelercarryin’ a raucously loud cargo ofMotorhead, Joan Jett, AC/DC, andThe Heartbreakers careening out ofcontrol and colliding head-on into atanker-truck loaded to the gills withhighly flammable raw power. Theirvoluptuously bodacious vocalist,Miss Sparkle Plenty, always withoutfail gives my ears a full ragin’hard-on that makes me squirm inmy seat until I can no longer seestraight. Wooo-hooo! And the freneticallyuntamed instrumentationis nothing less than a world-endingroar of nuclear sonic conflagrationsthat’d make Satan himself duck andrun for cover like a whimpering lil’limp-wristed pantywaist. Yep, The440s get my motor a-revvin’ bigtime! As usual, The Chickenhawkssonically knock the dookie outtame and set my heart aflame withtheir sinfully delicious swirl of sultryhell-vixen vocals, greasy slideguitargrit, and voodoo-ladenswampbeat rhythm section. Andthis is their best stuff yet, I shit younot! Imagine Dinah Cancer frontin’The Cramps if they hailed from thefog-enshrouded murky-wateredboonies of the Mississippi Delta.Ooooo-weee, Betsy Badly’s seductivelytempestuous voice, without adoubt, gets my manhood uncontrollablyaroused and my insides allfuzzy and warm! Hell yeh, The440s and The Chickenhawks sureknow how to bring out the lewd andlively pervert in me, that’s for sure!This decadently delightful disc hastitillated my ears and teased myroguish old lost soul somethin’fierce. It’s an absolute auditory wetdream! –Roger Moser, Jr.(Steel Cage)90 DAY MEN:To Everybody: CDTo say this sucked would be givingit too much credit. –JimmyAlvarado (Southern)ANIMALS WITHIN ANI-MALS: Mono a Mono: 2xCDAn amazing album! This doubleCD features a lot of pro-ape ideals.And we all know apes make betterlovers. A huge list of72“The music is so heavy and delivered with suchforce that the sound almost takes solid shape.”-Matt Averagemusic mixing geniuses have contributedto this record, most of themare names you might not recognize– but beware, you soon will. BothCDs feature samples galore – theyhave a major pro-sample idea aswell. The CD claims that 92% ofthe material on this is “recycled.”They even pass out “please sample”and “please remix” stickers in eachcase. The first track, “Hello,” samplesevery fucking hello you cancomprehend in music (from TheDoors to Lionel Richie) into onehysterical and awesome song. Thenyou are thrown into organizedchaos – samples of news programs,interviews, music, and beyond.Noise fans, sample fans, fine artists– fucking get this. One of my topreleases of cultural onslaught in theworld. –Sarah Stierch (Bad Taste)ANTI-NOWHERE LEAGUE:We Are...the League: CDLike a breath of fresh air, theLeague comes along and clears myhead of all the gobshite I’ve beenforcing myself to listen to ‘cause Iput off reviewing all the “mysterymeat” until the last minute. Neverquite understood the skinhead fascinationwith this band. I mean,they look like bikers, complete withfull coifs on their noggin! No matter.This, a re-release of their mostfamous LP coupled with assortedEP tracks, sounds just as blissfullyobnoxious as it did when I firstheard it years back and, strangelyenough, “I Hate People” is still apretty balls-on accurate anthem forme and how I perceive the worldaround me. –Jimmy Alvarado(Captain Oi!)ARSONS, THE: Whole LifeCrisis: CDI know it’s probably not their intention,by The Arsons have made oneof the potentially most radio friendlyhardcore albums I’ve heard in along time. (This is purely hypothetical.The last time I listened to theradio was when “St. Elmo’s Fire”was played with regularity.) This isnot a slag by a long shot. Actually,it’s the album I’ve been waiting forsince the breakup of Kid Dynamite(of whom they have taken many acue from, which is nothing butgood in my book). Sonically, thesound is clean, but the playing stillhas stick, true punch, and power.And unlike CIV’s and H20’sattempts to ingratiate themselves tothe mainstream by transformingfrom youth crews to boy bands withtattoos (have you seen the ad for thenewest H20? Fruity hair gel extravaganza,with extra pouty lips, myfriend). The Arsons are accessiblewithout an obvious compromise.Impressive on many levels – theymix up their tempos, they introduceand play with different guitar tones(there’s a nice tinky blip sound on“Prison Yard” that I swore was akeyboard), they’ve mastered thepower of an anthem (you’ll bechanting “let it go,” I promise), andtheir backup vocals are immaculatelytimed and harmonically intune. The singer’s voice is forcefulwithout sounding like a bulldogwith a pair of vice grips clamped onhis nuts – so even the ladies can getinto it. All this makes for an easy,exciting listen. More than anything,though, they’ve done the nearimpossible. They’ve come up witha new, distinctive sound of theirown in a genre that’s increasinglydifficult to not sound like a currentband or stalwart of the past. Theeven pull a Faith cover (“Say NoMore”) so powerfully, that it fitstheir sound seamlessly. Look at me,I’m swooning. This has beenplayed a fuckload at HQ and willcontinue to be. –Todd (Chunksaah)ASSCHAPEL:Total Worship: CDWith a name like Asschapel, you’reeither gonna rock or suck incrediblyhard. Luckily, they’re prettygood. Mid-tempo hardcore withalmost more metal than is good forthem, noisy breakdowns and asinger that’s sure to develop throatcancer in a year or two if he keepsscreamin’ like that. Thumbs up.–Jimmy Alvarado (Twitch)BAD RELIGION: TheProcess of Belief: CDI waited for awhile to review thisbecause I has a variety of ideas ofhow the review should be. I had agreat idea in using the previousalbum covers to describe what eachsong sounded like. I tried but mycomputer kept crashing. I wasgoing to do a historical, but that iswhat I used for the last two records.With nothing inspiring, I figuredwhat the hell, this is what I amgoing to submit. I don’t think manyhave read the previous reviews andit is informative to those not in theknow. This release marks twentyyears of releasing music as a band.At the beginning, they put out theirself-titled 7” and the How Can HellBe Any Worse LP. I’m not sure ifthey broke up but a few years later,they put a great but unappreciatedrecord titled Into the Unknown.Punk credibility was lost. With anew line-up, which included GregHetson from the Circle Jerks, theyreleased the Back from the KnownEP the following year. 1988 cameand the essential Suffer LP cameout to much acclaim and fanfare.They were the shit again in punkcircles. I heard a story from FatMike of NOFX saying that recordchanged the direction of his band.The band remained consistentwhile releasing many records upuntil the last Epitaph release Recipefor Hate. That was a release thatAtlantic and Epitaph both put out.After that record, guitarist Mr. Brettquit the band to run Epitaph fulltime and deal with his own personaldemons. A number of records onthe major were put out and theyfinally got out of the contract andreturned to Epitaph. Mr. Brettrejoined and re-energized the bandby bringing back Epitaph into theband’s sound. The entire record isstrong from start to finish. The triguitarattack of Mr. Brett, BrianBaker and Greg Hetson create awall of sound that hasn’t beenachieved by the band up to thispoint. Jay Bentley ties everythingtogether with his solid bass playing.Newcomer Brooks Wackerman,formerly of Suicidal Tendencies, isone fine drummer. Starting with“Supersonic,” “Prove It” and“Can’t Stop This,” BR rage through
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