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· 1:D4th of July at The Triple Rock on July 4, 2015
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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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WACO FUCK:
Paranoia Is Total Awareness: CD
This is some thrashy ass hardcore punk, right smack dab in the vein of DS13 and Pulling Teeth. I liked it so much I wanted to hear more and checked out their myspace page, because I think myspace is rad. They haven’t checked their page in months, but it was still cool to see all the old fliers for these guys. They played a lot of good punk shows in San Diego, none of which I was fortunate enough to attend. Looks like I completely missed the boat, even though I always knew I’d like this band. Their album title has become my anthem. It makes me feel a bit more normal about the fact that I constantly bite my lips and occasionally forget to breathe. I’m merely a parrot that’s finally realized this world is not a home. It’s a fucking cage. –Rene Navarro (Life’s A Rape)


VULVALARD:
Self-titled: CD
The cover of this demo initially intrigued me. The artwork is a Viking riding a horse, holding a sword and shield, with sunlight gleaming out from behind it. This is probably a generational thing, but the first thing I did was check it out for signs of a white power agenda.Then I realized that the warrior was riding a unicorn. Then I checked for signs that this was a spoof of a white power album. None of this panned out for me, so I Googled the name of the band. Nothing came up that wasn’t related directly to the band. Now that I fully don’t get what is going on, I decided just to listen to it. The album is heavy all the way through. I don’t actively listen to this sort of street punk/metal hybrid, but these guys are solid. I particularly got into the fourth song. “Bad Student” had a surprising doom break that made me nod along. “Contrast,” the fifth song on the demo, reminded me of the rockin’ Entombed album Uprising that metal heads reject because of stupid conformist metal agendas. All in all, I’m glad I spent some time with this demo. It is solid and has a lot of above average moments. However, if I was confused before I put it on, the final song “Just Cut ‘Em in Half” did not answer my questions. These are without a doubt my favorite lyrics for today: “Panic Machine/frantic goals/time now short/unhinged patrols/freaked out mission gone away/wide eyed patients whisking by.” Yes… I see. –Billups Allen (Self-released)


VIVISICK / TROPIEZO:
Split: EP
I heard a Tropiezo song on a recent Punk Rock Record Party podcast and was pretty impressed. Immediately grabbed this when I was flipping through the bins at the Razorcake HQ knowing I was going to dig this like a muh’fu’uh. I would imagine most people who are apt to get this record are going to grab it for Japan’s Vivisick. Haven’t listened to them in a number of years, so it’s nice to catch up. They crank out 625 style thrash, meaning it’s more playful and fun instead of serious and angry. There’s a sort of anthemic feel to their songs that, for some reason, remind me of the music in the TV show Ultraman, especially the opener “Kaleidoscope.” Tropiezo continue along the same lines in the 625 style thrash, but then they throw in a Crudos influence for more intensity. Instead of being fast, fast, fast, Tropiezo switch tempos here and there for more impact. Plus it helps the songs stick with you longer. The change ups in “Dando Vuelta (Hacia El Lado)” are great, and make this song the stand out of the record. The opener is a burner, but when they shift down for “Machistofeles” is when they really show their power. The drum breaks are a nice touch. There’s some crazy riffs in “Te Pregunto...,” especially the bass lines. If you’re a fan of Crudos, then you should check out Tropiezo. –Matt Average (IFB, ifbrecords.com)


VIDEO:
Leather Leather: LP
This features folks from Wiccans and Wax Museums, and there are similarities here, but Video is its own beast really. “In Control” has a repetitive beat that hammers against your head, and it’s so good you don’t mind the pain. In fact, you find yourself pulling the stylus off and putting it back on the song for another listen, cranking the stereo louder and louder each time. These songs are catchier than SARS, but without the side effects. It’s punk that bludgeons without loud guitars. Instead, they choose to use percussion to drive their point home and the guitars are there for texture, mood, and to fill in the empty spaces. I like how the bass creates a tension in “Eyes” and the guitar comes in towards the end with some jagged sounds that slice and squeal. Then they follow up with the near-hypnotic “I Am the Sum.” Repeated listens may have you saying “Yes master,” and next thing you know the record is glued to your turntable. The opening riff to “Teenage Death” brings to mind La Peste’s “Better Off Dead,” but then they kick into something more hyper. They have some new wave-ish aspects, such as displayed in the title track, but they don’t sing dumbshit, radio-friendly songs or lean heavy on synthesizers. This is punk rock, pure and simple. And that’s what makes this so fucking awesome. –Matt Average (Play Pinball, playpinballrecords.com)


VIBRATORS, THE:
Under the Radar:: LP
I don’t really understand what the point of being the Vibrators is if you’re not gonna mostly just zip through a buncha short songs and call it an album. I mean, on that first Vibrators album ((bought it two years after its release in 1979 when i was a high school freshman and it was already a cut-out)), five songs were under two minutes. “Yeah Yeah Yeah” was 1:19 – shorter than any Ramones song at that juncture. And, while any Vibrators record anyone really “needs” was released when i was still in 7th or 8th grade, they still, more or less, sound like, you know, The Vibrators—same vocals, same drums, same bass. Apart from a little doodling around in the early ‘80s, they really haven’t shown any great interest in reinventing their sound to any significant degree ((okay, ANY degree, period)) – so why was “Pure Mania” great, and anything post-”V2” so , i dunno, forgettable? My admittedly-oversimplified answer to my own obviously oversimplified question is that yer average Vibrators song just doesn’t have enough going on in it to keep anyone’s attention for a minute or a half or two minutes. They just aren’t that absorbing. Instead of just zipping from “Wrecked on You” to “I Need a Slave” to “Bad Time,” BAM-BAM-BAM, this album just kinda saunters along in stocking feet. YOUR DOD-ROTTED RELAXED PACE WREAKS HAVOC WITH THE PURITY OF MY MANIA, I TELL YOU! “Diluted Mania” might be a more appropriate title. Since i kinda liked the packaging, i tried a last-ditch attempt to make myself like this record by accompanying it on the bongos. Tragically, this had little effect on overall listener satisfaction. Alas. BEST SONG: “NightmareTown” i guess. BEST SONG TITLE: “DNA Robot” FANTASTIC AMAZING TRIVIA FACT: I don’t believe Knox is with the band anymore, so there goes the “same vocals, same bass” aspect of things. Also, the font used on this album cover is called Alba and the band is sponsored by Guitar Cellar®. –Rev. Norb (Papagájův Hlasetel)


VARIOUS ARTISTS:
UDC 4 Way Split: LP
Four current Alabama musical outfits come together for an intriguing taste of some weird ass shit that’s currently going down in the region. The outer edges of each side are occupied by elder acts—Rise Up Howling Werewolf and The Baker Street Irregulars—while the middles contain Shining Path (who are technically not allowed to be a band by the state of Alabama, because they painted black face on a Confederate statue!) and Walker Yancey. Musically, it varies from rootsy folksiness to psychy punkness. This record is an endearing multi-generational snapshot of four bands that are keeping DIY well and alive in the non-stop state of Alabama. Totally legit. –Daryl Gussin (UDC Audio)


VARIOUS ARTISTS:
Traveling with George: 2 x CD
A few L.A. veterans making appearances here—like the Gears, RF7, and Symbol Six—alongside more recent hellraisers like the Livingstons, Spermometers, Puke For Breakfast, TV Eye (who again are mind-blowingly kick ass, but I digress), Standard And Poor, American Jihad, and tons of others, enough in all to fill two discs with punk rockin’ of all kinds of hues and shades. As can be expected, there is a clunker to be found here and there, but, for the most part, this ain’t shabby at all—diverse enough to keep things flowing nicely, yet very much on the “rock” side of the punk fence. –Jimmy Alvarado (Scare America, myspace.com/scareamericarecords)


VARIOUS ARTISTS:
Box of Sand: CD
If you’re a regular peruser of Razorcake and its review section, a lot of the bands making an appearance here—like Shang-a-Lang, Too Many Daves, Unfun, Rations, and Abolitionist, f’rinstance—will sound familiar. They, and many more crank out poppy indie-punk of various shades, hues, and sizes. Gotta say while this stuff ain’t always my cup o’ poison, there is much here to be diggin’ and diggin’ hard. –Jimmy Alvarado (Lost Cat)


UZBEKS:
Goggles & Flipflops: LP
First off, if you see a record with a cover this cool, you should just fucking buy it and not be poking around some fanzine for a review of it. I’m actually kind of pissed you’re reading this far, actually. But, since you’re up, I’m obliged to muse about things like how there’s a certain indescribable subliminal vibe to this record that suggests it might be sort of a pink, yellow, baby blue, and green Israeli 3-D Hypno Coin version of the first Flesh Eaters album, maybe, but, as things progressed, I was thinking that the irregular song constructions and the general physics of the music were more at sort of a funkless NoMeansNo, for whatever that’s worth ((and i do indeed have a blue book value in mind)). I think the main problem here is that the music doesn’t seem to mean much without the lyric sheet, and the lyrics are so Spartan—usually just a few lines per song—that I’m pretty much dying of boredom trying to read along. Still a keeper, just because of the cool packaging. Yes, i am that shallow, thanks. BEST SONG: “The Satanic Bible” BEST SONG TITLE: “Electro Man” FANTASTIC AMAZING TRIVIA FACT: I have, to date, owned three copies of the Electro-Man “Invasion from Outer Space” coloring book, based on the exploits of a superhero whom, to my knowledge, exists nowhere else but that coloring book. –Rev. Norb (That Lux Good/Dingleberry/Party Garage/Twin Toe/Urban Decay/Subwix)


UNLEARN:
Self-titled: LP
In the hands of a writer with a better knowledge of crust, this would be the place where the review says, “If you like (insert litany of Cold War-era Eastern European bands with lots of Ks in their names here), then you need this.” But, all I can tell you is that this is raw and crusty and possibly D-beat and on Dreamsicle-colored wax and that the guitars are so distorted that they’re practically three-dimensional. When I put this on, I found myself running up and down the hall of my apartment like Indiana Jones being chased by a gigantic, rolling boulder of caustic, life-threatening punk. Hot damn. –Chris Terry –Guest Contributor (Deranged)


UNCLE TOUCHY:
Everything You Ever Wanted to Know about Violence: CD
Was a little put off by the hackneyed growling vocals on the first track, but they shitcanned that stuff fairly quickly after that and what remained was some smart noise rock stuff dancing around the perimeters of the Jesus Lizard and Unsane. Would’ve been in fuggin’ awe of ‘em if they’d dolloped a whopping helping of Cows weirdness on top, but I ain’t exactly complaining about what they do dish up here. –Jimmy Alvarado (Scene Kids In Pain, scenekidsinpain.com)


UH OH / OFF-DAYS:
Split: 7"
Uh Oh: I’ve seen this band before. I dig ‘em. My biggest problem in songwriting is that I get in my head too quickly. I feel like Uh Oh doesn’t have that problem, by just saying “Fuck it. Just keep going, and will figure it out.” Hopefully that doesn’t come off as a dig, because it means the end product sounds like a pop punk version of Black Flag or Dick Army. Off-Days: I have not seen this band before. Ironically or fittingly, I’d say they sound a lot like Uh Oh (this is my first experience with them, though I can tell there there’s Milwaukee connections), except maybe a little more slow, focused, and you can hear more of the lady vocals. Solid split all around. –Joe Evans III (HS!BF)


TRIAC:
Always Meant to Hurt You: 7"
Baltimore has been known for producing angry, ugly bands that seem to take conventional styles and then boil them down to nothing and throw the reduction on an unsuspecting audience. Triac uphold the attitude with four grindcore ragers. Fast—but never sacrificing heavy for speed—and absolutely pissed. The songs are heavy akin to bands like Hatred Surge, but with a snotty approach and allowing for other influences to creep up, like the death-y atonal riffs in “Seedsower.” Insanely chaotic, yet tedious in execution, this is killer violence. –Ian Wise (A389)


TRAUMA HARNESS:
Trauma Demolitional: Cassette
I couldn’t get the cassette to work (and I reviewed two others this time around, so I don’t think the problem’s on my end). But, I saw that it’s on their Bandcamp site for free and I am nice, so I listened to it there (if this is all just a big scheme to drive people to their Bandcamp site through blank tapes, it’s genius). It’s a quick listen that kind of sounds like an electro post punk Connie Dungs, or like if there was a Servotron-like project fronted by Brandon from the Connie Dungs. –Joe Evans III (Dingle)


TRAP THEM:
Darker Handcraft: LP
On Darker Handcraft, Trap Them fuses the heaviest and most intense elements of hardcore, crust, metal, and grind into a full-on sonic assault. The riffs in every song are dark and brooding, with hooks that get stuck in your head. The furious beats of the drums hold everything together. Part of what makes Trap Them cranks like a well-oiled machine is the intense amount of musicianship they bring to each song. There’s more technical musicianship in one Trap Them song than many bands bring to entire albums. Riding these crushing waves of sound is the primal banshee screams of vocalist Ryan McKenney, one of the most epic of front men. His throat-ripping vocals and sharp, witty lyrics complete the band. Darker Handcraft is easily one of the best albums that came out in 2011, and you owe it to yourself to check it out. –Paul J. Comeau (Prosthetic, trapthem@gmail.com)


TOO MANY DAVES:
Dawn of the Daves: 7"
With this EP you don’t get the cleverness as found on the first 2 7”s, but the overall insanity has definitely increased, which makes for an interesting listen. With a sound that’s more akin to good New Bomb Turks than any of the members’ other bands, you really get a chance to dissect the tracks on an individual basis. The opening track “I Drink Everywhere” sets an appropriate mindset for the overall tone of this record. The closing track “Sweet HomeAmerica” definitely takes it up a notch, layering delusional, patriotic talk radio over wailing guitar solos. And the four tracks in between offer varying levels of quality, but through it all you still get the ‘Daves: belligerent, unapologetic punk that there’s no point in arguing with because they’re not listening to you. It’s just pure, uncut tunnel vision, but they happen to be pointed in the right direction. Too Many Daves is an anthropology major’s thesis waiting to happen. –Daryl Gussin (ADD / Eager Beaver / No Shy Of The DIY)


THULSA DOOM:
1998-2000: 10”
Wow, I was hooked on the first listen. Thulsa Doom was a crusty East Coast hardcore band akin to the Profits or a more straight-forward Anti-Product. This discography 10” gathers their lone EP, a split with Distraught, and two unreleased songs. Judging from the fliers included, they played some great shows, with everyone from the Subhumans and Vice Squad to Aus-Rotten and the Varukers. While I don’t know why their material is being gathered now, over a decade after their demise, I’m not complaining. This stuff is great: authentic, well-executed and dirty punk shit. It’s concise, rapid-fire, energetic as hell and, for the most part, timeless. Might be more in line with Maximumrocknroll’s readership, who knows, but this one really should appeal to folks beyond the scope of this particular time period. Definitely worth seeking out. –Keith Rosson (Sit & Spin)


TERRIBLE FEELINGS:
Tied Up: 7”
Another excellent record from this band. This picks up where their Impending Doom single left off, though instead of songs about death, what you have here is one of denial, insecurity, and what appears to be complicated emotions. Both songs are strong and the kind that deserve repeated listens. Manuela has a great voice that displays a lot of power and emotion without resorting to shouting or screaming. Somewhat like Kat Arthur from Legal Weapon. The guitar work creates the mood and underscores the emotion in the words, with a rhythm section that adds the fire. “No Meaning” is a song that I wished lasted forever. –Matt Average (THH, crko-thh.blogspot.com)


TENEMENT:
Blink Wink: LP
How does a band that put out a near-perfect record last summer (Napalm Dream) go back and top it? By going down to the basement and banging out more great songs—that’s how. Amos handles most of the instruments on this bad boy. Longtime bassist Jesse Ponkamo only plays bass on two songs, but adds piano and percussion here and there. “Medical Curiosity” may throw some fans for a loop, but it kind of has an “Androgynous” feel to it. Certainly, Amos and Westerberg have about the same skill level on keys! I predict “Senile” will be a great sing-a-long live: “we’re building bridges/just to jump right off.” “Lost Love Star Lust” features a cool guitar riff that I think Robert Pollard may try to rip off. I think you get the point here. Blind Wink is the best thing to come out of Milwaukee since Happy Days (pre-Ted McGinley, of course). –Sean Koepenick (Dead Broke)


TEENAGE MOODS:
Mood Ring: LP
Excellent! After hearing their self-titled 7” from a year back, I was hoping they would put out more music. This does not disappoint. If you like the single, you’ll like this. If you haven’t heard Teenage Moods yet, then you need to. Stylistically along the lines of late-‘80s, early-‘90s indie noise pop. There’s distortion with melody. The comparison to Vaselines still stands, then there’s some stuff like Dinosaur Jr, and Pixies buried in the music, but these guys inject enough of their own personality into the sound. The guitars are, at times, jangly, then abrasive and distorted, then there’s the bass that is right up there in the mix, which gives the songs more lift. I can not get “Yellow War” out of my head to save my life. But the songs that I really like are “Our Little Dirt” (great song!), “World Bouquet,” and “No Place for a Tiger.” Quality listening. –Matt Average (25 Diamonds, 25diamonds.blogspot.com)


SUSAN SURFTONE:
Shore: CD
Haven’t heard one of Ms. Surftone’s releases in a while, but this doesn’t disappoint if you’re one of those souls who don’t break out in a rash at instrumental albums. There’s less emphasis on straight surf rock here, though you can definitely feel its tinge all over the place, and the songs showcase a wider selection of influences—garage rock, a bit of new wave, straight rock, and even a cover of the Doors’ “Riders on the Storm” makes an appearance. She’s clearly adroit with her weapon of choice, mixing skill with feeling in ways too many guitar slingers sacrifice for fiery flashes of wankery, and her backing band give her all the room she needs to shine. Not bad at all. –Jimmy Alvarado (Susan Surftone, susansurftone.com)


STEVE ADAMYK BAND:
Forever Won’t Wait: LP
It’s not always a good thing to have your band compared to the Marked Men, because well…it’s the MARKED MEN! Side by side with the average punk band, you might as well be comparing stains in the carpet to holographic alien hieroglyphics. There’s a pretty high bar. But The Steve Adamyk Band aren’t an average punk band. Utilizing the same pent-up energy and harmonic elements, they follow a similar path giving equal credence to power pop, garage punk, and poppy punk rock. Once again, Ottawa attacks with a barrage of absolutely killer choruses, yet this time they send in the finisher disguised as a crucial Dickies’ cover. If you haven’t checked this band out due to the international shipping rates, here’s your chance; and it’s worth taking. –Daryl Gussin (Dirtnap)


SPOONBOY:
The Papas: CD
There’s apparently a zine that accompanies this with lyrics ‘n’ assorted tales, but I wasn’t privy to it, so based solely on the music, yer gettin’ quasi-angry poppy/punk/indie stuff here. While the nasal vocal delivery kinda wears thin and the songs start to blend into one another after a while, Mr. Boy knows his way around a hook and lyrics, and in smaller, more digestible bites, the tunes would make for worthwhile radio listening, assuming of course the radio was still worth listening to in the first place. –Jimmy Alvarado (Discount Horse, discount-horse.com)


SPITS, THE:
Self-titled – but I’m calling it Five: CD
Well, I think it’s time to say it. The Spits are—whatever generation this is—Ramones. They simultaneously make the same record over and over again. But that’s a fuckin’ lie. Because there’s always some new mutation radioactively lurking from under the bed or zip-zap lightning bolting from an airborne creature’s eye with each self-titled record. They’ve taken back the alleys. They’re now in the water supply and spray painting dongs on the top of Mt.Shasta. Like mold culture spreading, changing colors, and sprouting hair on the forgotten last slice of pizza rattling around in the box, the Spits have harnessed the power of readymades-made-dangerous. All you—as the listener—have to do is decide to chomp on down instead of throwing The Spits away like an empty box. Pupils dilate. Motor skills slacken. Craving for glue increases. Durable punk for these weird-ass times. Who knew The Spits would have such legs, be so prolific, be some of the last men on earth? Great radiation-mutant rock. –Todd Taylor (In The Red, intheredrecords.com)


SLOW DEATH, THE:
Born Ugly Got Worse: LP
Premature death’s a funny thing, especially if it’s exaggerated. So, Pretty Boy Thorson And The Falling Angels didn’t actually die. A couple of them went off into relationship cocoons that transformed into butterflies that flew back to Minneapolis. But in that pupal stage of becoming pretty in other states, Jesse Thorson was busy gettin’ himself a little lady, took up a deep interest in ducks and tractors, and formed a new band. “So, Todd ‘you still make that little zine?’ Taylor, what you’re saying is that Jesse Thorson is now in two bands?” No. He’s in four. “Well, what’s the difference?” Does it really matter? Actually. A bit. Flip the cards over one after another: Jesse dances in this band since he isn’t tethered by a guitar. Saw him throw up twice in one day—two sets five or six hours apart. Meat. Potatoes. Homemade pizza. Your drugs are mine. Midwest. Bad decisions as rusted crowns. Large bellies as fulcrum points to not passing out. Happy misery. Miserable happiness. Now, debuting ‘lil happiness. Long drives on questionable tires. Mikey Erg. Harpoons of self-doubt. Paddy Costello. Johnny Cellphone. DaveStrait. Super. Group. Of dudes. Cock Sparrer as American, country-fringed, and snow-tough. Or Johnny Cougar playing Defiance songs. And really great enunciation. This isn’t a diss: this record’s like an invisible electric dog fence. I’ve been hearing Jesse sing these songs for years—you can see the well-worn tracks in the lawn—but it’s always a pleasure to watch him catch those frisbees, bring them back, then pee on your leg for your time. Guess what? Excellent record. PS: I’m offering ten dollars for anyone to send me a copy of Jesse’s emo zine that he’s Stalined. –Todd Taylor (Kiss Of Death)


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