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· 1:Patrick Houdek Photo Column - Lost Cross House
· 2:The Backpatches of NYC (Collection 5)
· 3:The Falcon, The Copyrights, Sam Russo live at the Troubadour, July 16, 2016
· 4:Razorcake #93 Now Available, featuring Basement Benders
· 5:#414 with John Di Marco


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Razorcake #93
One Punks Guide to Pinball, by Kayla Greet
Razorcake #92
Spokenest, Gone, Gone, Gone LP
Pinned In Place, Ghostwritten By LP


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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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FINAL WARNING:
Demonstration 1983: 7”
Lightning fast hardcore from 1983 (duh), out of Portland, Ore., released on vinyl for the first time in 2015. Final Warning has an obvious Discharge influence, but with a decidedly American bent. If there was an early ‘80s comp called This Is Portland Not L.A., Final Warning would have been on it. A once long-lost hardcore punk demo, it’s now received a proper and deserved vinyl release, just thirty-two years later.  –Chad Williams (Black Water)


FLESH RAG:
Self-titled: EP
This reminds me of what was happening in the late 1990s and early part of this century. Amped rock’n’roll with a modern spin and assured swagger. Best of the three on this is “Electric Dream,” which has a Heartbreakers vibe, and is more memorable than the other two. This isn’t bad, but after many spins, nothing sticks.  –Matt Average (It’s Trash!, itstrashrecords.bandcamp.com)


FOUND DROWNED:
Spooky Sounds: CS
If by “spooky” you mean “surf rock,” then yes, the title is accurate. I do like the fact that they’ve got a few song titles that would make Alkaline Trio proud (“Wrist and Relaxation” is pretty smart) and the Halloween theme they’ve got going on is pretty fun. But on a purely personal note, I just don’t need more instrumental surf rock in my life, even if none of the songs top two minutes.  –Keith Rosson (More Power Tapes)


FOX SISTERS, THE:
Under the Stars: CS
There’s a party going on! The Fox Sisters play ‘60s-inspired, American R&B music complete with a horn section and a singer whose soulful rasp makes it sound like he skips the filters. Suit up, boot up, and check out this seven-piece crew from Rochester, NY.  –John Mule (Self-released)


FREEBASE:
Darker Days Are Still to Come: CD
Hardcore punk, American style. Think Blood For Blood; an East Coast-style collection of ragers on one disc. Solid stuff.  –Steve Adamyk (Mosh Tunage, moshtunage.com)


FRUIT PUNCH:
The 7” Collection: CD
Excellent collection of this hardcore band’s singles output, which appears to have been long overdue. Fruit Punch is a band I’ve been familiar with, but I never actually had the chance to track anything down. They fall under the same umbrella as Good Clean Fun or Ten Yard Fight than, say, Crudos or Limp Wrist, but these dudes do a great job of ‘90s/turn-of-the-century, straight-edge hardcore. Twenty-five songs in twenty-five minutes—can you go wrong?  –Steve Adamyk (Marsten House, marstenhouserecords.com)


FUJIWARA:
Kung Fu Twist: CD
Pretty straightforward fast rock’n’roll-based punk that could pass for melodic hardcore. The leader reminds me a lot of the singer from Agent Orange. The songs are about sticking to your guns, being true to yourself, and calling out assholes who, “spit on their hopes and dreams... burn us with their lies,” coming back with stuff like, “But they cannot stop the hurricane/like a phoenix we will rise.” Turns out they’ve been at it in small town, Kill Devil Hills, North Carolina for near twenty years. So don’t doubt their resilience. I found quite a few moments when I felt like putting this on, in the morning, on the way out the door to do whatever, driving my taxi.  –Craven Rock (Fringe)


GENERATORS, THE:
Welcome to the End: LP
Welcome to the End, the introductory album from the Generators, was originally released in 1998. At that time, I was in high school and associated punk with group vocals, Margaret Thatcher, and Fred Perry shirts. Now it is being re-released by Dr. Strange Records who advertise this LP as being “for fans of Angelic Upstarts and the Clash.” There is great songwriting here and it’s worth picking up for fans who bought this on CD in 1998 or those who are just discovering it now. Better late than never.  –John Mule (Dr. Strange, drstrange.com)


GINO AND THE GOONS, THE:
“Check This Out” b/w “Let Go”: 7”
“Check This Out” is a solid mid-tempo rocker. “Let Go” is a Johnny Thunders And The Heartbreakers cover. Covers are sometimes throwaway tracks on singles like this, but they do it justice. Gino And The Goons are snot rock on a streak. If you’re into punk’n’roll, they’re a band to look out for. It’s a nodder.  –Billups Allen (Black Gladiator)


GIRTH CONTROL:
What Got You Stoked in the First Place?: CD
Originally formed by members of The Slaughterhouse Chorus to play some Less Than Jake covers, Girth Control eventually evolved into a band with its own material. Rather than just follow in the tracks of the famous Floridians, the songs take a more Operation Ivy/Suicide Machines path, as highlighted by this recording of a show in the summer of 2015. What is clear from the performance is that the band is having a shitload of fun and that factor is the key for me, as I find myself smiling from start to finish. Definitely a band I’d like to see live.  –Rich Cocksedge (Self-released, built4bbq.com/bands/girthcontrol)


GLEAM GARDEN / CHESTNUT ROAD:
Split: 7”
A perfectly paired split distinguished by its international East-meets-West approach—two Samiam-influenced bands from very different corners of the world complement each other nicely on this record. Chestnut Road is from France and GleamGarden is from Japan. Each band delivers two tracks that would have fit in nicely in the early 1990s emo-pop era. Not that this style doesn’t remain relevant today, but I think both groups would concede that they’re basically playing tribute to five or less of their favorite bands. That’s not a bad thing when their apparent idols include A Radio With Guts and Jawbreaker. It’s definitely a record worth looking for if you’re into any of the aforementioned.  –Art Ettinger (Brassneck, brassneckrecords.bigcartel.com)


GRAPE ST.:
Wallpaper: CD
From what I can tell via the internet, this is the second solo-with-backing-band album from some fellow who used to front some band named Harlem. It’s pleasant indie rock stuff that I could see being—I don’t know—a staff pick at the library? Or for people who go to Sasquatch and wear sunhats, maybe? I don’t know. It’s a no-teeth, party rock-lite kinda affair. If you remember that Matthew Sweet video from the ‘90s where he’s in space, those are the sort of jams I’m talking about.  –Keith Rosson (Burger)


GREASESTREAK:
Starve for Me: CS
Cassettes are a nonsense format. That said, I rather like this cassette, as it reminds me of old multi-generationally-dubbed punk cassettes from the early ‘80s. Shitty in all the right ways. Greasestreak, you just won 1984! BEST SONG: “Just Married.” BEST SONG TITLE: “Digital Dogs.” FANTASTIC AMAZING TRIVIA FACT: I heard tambourine.  –Rev. Norb (Self-released?)


GRIZZLOR:
Cycloptic: 7”
Man, Hex Records does it again. Grizzlor is a slow, heavy band with loud, plodding drums and huge guitar riffs. They’re definitely influenced by AmRep stuff of the ’90s. The singer has a growling, shouting, ranting delivery. They belt out tongue-in-cheek screeds about bitterness and being a loser, with occasional diversions into insight. I like “War Machine,” where he rants about smart phones. Trust me, it’s all in the delivery. I know The Melvins and Killdozer are pretty much untouchable, but the former take themselves far too seriously these days and the latter are no more. So give Grizzlor a shot.  –Craven Rock (Grizzlor / Hex)


GROSS POINTE:
Bad Seed: 7” EP
Spot-on, stompin’garage rock delivered with swingin’ punk rock heaviness. The first two songs just strut their way in and get the party heated up right fuggin’ quick, “Time to Waste” offers a choice cool out, and the closer “Options” sends you out the door with a less-than-a-minute goodbye. Fuuuuckyeah, this rocks.  –Jimmy Alvarado (HoZac, hozacrecords.com)


GROWWING PAINS:
I Always Know: 7”
Lo-fi, poppy garage rock out of Detroit, peppered with an organ that sings some melody above the fuzz. Catchy tunes, heartfelt vocals, jangly guitars; this is combustive pop of the highest order. This one should fit nicely on the shelf, filed next to your Gentleman Jesse And His Men and the Golden Boys records.  –Jeff Proctor (Volar)


GULAG BEACH:
Favela Blues: LP
GulagBeach is a band from Berlin, Germany that focuses the attack of their songs on the totalitarian state of North Korea. Their music might otherwise just be another young, loud, and snotty contribution to the punk rock catalogue, but their focus on “the Kims” and those stuck behind militarized borders or chained in prison camps is a chance to say the names of those who might be forgotten.  –John Mule (gulagbeach.bandcamp.com)


HATE RECORDER:
Flinching at the Square Waves: 7”
I haven’t been disappointed by a Humanterrorist release yet, and this was no different. Hate Recorder not only have a great name but a great, angsty, art-punk sound. The vocals are on the verge of giving out—imagine if you burned the Descendents alive and you have an idea of the sound I’m talking about. Hate Recorder are a killer three-piece band for fans of post-punk and 7” gems.  –Ryan Nichols (Humanterrorist, humanterrorist@gmail.com)


HATE YOUR FRIENDS:
Quit Your Job: CS
The Long Island punk sound that’s been heavily propagated by the work horses at Dead Broke is alive and well and living in Hate Your Friends. Coming into their own in the garages and living rooms of Denton, TX, they’ve developed a sound that echoes the importance of personal connections in this increasingly alienating world. A couple years ago they were the first band I saw on Sunday at Awesome Fest. I thought I had reached the point in my weekend where I was incapable of enjoying anything. They proved me wrong.  –Daryl Gussin (Self-released, christian.medrano@gmail.com)


HELTA SKELTA:
Beyond the Black Stump: LP
Helta Skelta are the love child of Cause Commotion and Thee Homosexuals. It’s a raw and minimalist style where the vocals are delivered in a matter-of-fact way, the guitar sounds like it was recorded in a basement, and the drums keep the beat simple. Very utilitarian. Kind of art damaged, but still rock’n’roll to their very core. I’m saying none of this as an insult, but instead as a list of compliments. This album is pretty damn good, something that becomes immediately apparent during the opening instrumental title track. Tempos vary throughout, from the hyper “Done,” to the lurking swagger of “Zulu,” to the driving tempo of “Cosh Boy.” Every song on here is a keeper, and they all have their own character that complements the other. The guitar solos in “Reds” and “Done” are pretty cooking and very effective in sending those songs into the stratosphere. They did save the best song for last; “Must Go Wrong” starts off pretty unassuming with a scratchy guitar then quickly gets down to business once all the other instruments come crashing in. It’s urgent and catchy all at once, as well as a little more layered than the other songs.  –Matt Average (Deranged)


HEMPSTEADYS, THE:
El Amor de los Muertos: CD
I have loved ska since I was a youngster and have despised reggae to the point of physical discomfort in the form of acid reflux-inducing, white-knuckled rage for just as long. Rocksteady can really go either way for me, but there is rarely indifference. The Hempsteadys, eleven Connecticut rude boys, really bring me back to my teen years. No shortage of horns or talent here. If you are looking for something to help you skank the night away, El Amor de los Muertos will do the trick!  –Jackie Rusted (Telegraph Recording Company, telegraphrecordingcompany.com)


HIPSHOT KILLER:
They Will Try to Kill Us All: LP
From the moment the intro to “Anthem” kicked in, I was sold on They Will Try to Kill Us All, the second album from this Kansas City trio. The guitar had a wonderfully crisp and clear quality which reminded me of something that would sit well on a Stiff Little Fingers track. It kick started a song that was aptly named, featuring a huge singalong chorus. As I took in the rest of the record, I was pretty much blown away at how much better Hipshot Killer had become (to be fair, the band’s first album wasn’t bad either). The production allows each element to be heard individually but also pulls them together to create a dynamic and stirring sound which drives the album along with ease. The band has the rhythmic punch of Naked Raygun mixed with amelodicism similar to M.I.A.’s After the Fact. I’ve been playing this to death and the law of diminishing marginal returns has yet to rear its head. Somehow I doubt it ever will. This is destined to be a lifelong favorite.  –Rich Cocksedge (Throwing Things, throwingthingsrecords.com)


HORRIBLE THINGS:
Everybody Else: LP
I gambled on the vibrant jacket art by Brian Galecki and won. Horrible Things write short pop punk gems with an acerbic edge. From what I can gather, this band is one dude: Tim Reynolds. This is made all the more impressive by the fact that the songs sound dynamic and energetic. The power is in the brevity, as the hooks never fall into cloying bro-anthemic call and responses, and the guitars are often dark enough for the pessimist in me. Everybody Else is for fans of The Copyrights and Southern California’s Karoshi Boy. Recommended.  –Sean Arenas (Secret Pennies, secretpennies.com)


HOUND:
Live! At Golden Tea House: LP
I don’t usually like to start a band with a live release, but this album rocks hard on the scale of Sleep-inspired drippage to full-on, fifth gear stoner metal. The classic bootleg-style white sleeve with a flyer glued to it might skew my view. People who dig for records often stop flipping when they run across a homemade album cover to see what it is. Had I seen this in a bin, I would have likely kept going, not knowing the band. But I’m glad to hear it now. It’s got fire and—duh, I guess—it sounds good live. I don’t know what Hound’s studio albums sounds like, but this works.  –Billups Allen (Bootlegger’s Banquet, srarecords.com)


HRDINOVÉ NOVÉ FRONTY:
Vále?ný Území: LP
Diacritical-heavy punk from the communist-controlled Czech Republic, 1985-88. I’d say that it feels like I was caught in a time warp and got MRR’s mail from three decades ago, except that the worshipful packaging—colored vinyl, full color gatefold sleeve, full-color lyric libretto (hey, they called it a “libretto” for Plastic Surgery Disasters, I can use that word legally)—is far too bourgeois and decadent for that time period. I am glad this record exists. That said, Czech please. BEST SONG: “Dům Na Demolici.” BEST SONG TITLE: Tie between “Syfilis” and “Bombardéry.” FANTASTIC AMAZING TRIVIA FACT: Band name means “Cut across Shorty” in Czechoslovakian. Not really.  –Rev. Norb (PHR)


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·CATALYST #25
·86 MENTALITY
·AGRIMONIA
·FLESH LIGHTS
·UNIT F
·PATROL
·GIRL TEARS
·LIFE IS BONKERS
·SUPPRESSION/ATOMATRON


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