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· 1:Punk Parenthood for the Sleep Deprived
· 2:#330 with Craven Rock
· 3:#329 with Daryl Gussin
· 4:One Punk’s Guide to Poetry
· 5:#331 with Mike Faloon and Todd Taylor


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Hurula, Vi ar manniskorna vara foraldrar varnade oss for LP
Razorcake #81
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Nights and Days in a Dark Carnival by Craven Rock
Chantey Hook, Underground 7" *Limited Color Vinyl


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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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DOWNTOWN STRUTS:
Sail the Seas Dry: CD
Here is a five-song EP from a band sounding a whole lot like a really poppy street punk band. The overall vibe is as if Ducky Boys or Reducers SF gave in to their pop element completely. Makes for a good, solid sound that I am usually a sucker for. –Mike Frame (myspace.com/thedowntownstruts)


DOWNERS OF THE WORLD UNITE:
Digital Teens/Nothing Looks Good: CD-R
As near as I can tell, this is a CD-R version of a digital-only release. (I guess they really had to have that Razorcake review!) As a crotchety, misanthropic old guy, I immediately shudder whenever I receive a one-sheet from a record label. It will assuredly be filled with name-dropping, shoddy comparisons, and poor grammar/misspellings. I’ll give it to DOTWU; there are no misspellings or grammatical fuck-ups in their one-sheet. This fact alone nets them a few points from me. There is, however, a rather lengthy list of bands they have shared stages with, along with a “similar artists” list. (Are reviewers really that lazy/musically uneducated that they have to be told who an artist sounds like? Couldn’t they just, you know, listen to the damn thing?) Of the fourteen artists listed, I enjoy only one. (This enjoyment also happened roughly sixteen years ago. I still have the records, but it ain’t like I’m pulling them out with much frequency.) That should tell you what I think of Downers Of The World Unite –Ryan Horky (Thinker Thought)


DON’T:
Away Away: CD
The first thing that crossed my mind is that this band must have named themselves after the fake trailer from Death Proof. Seems like the press kit would write itself…” If you—are thinking—of ignoring—this—band—DON’T!” Anyway, this is ten songs of moody post punky stuff from Portland, featuring ex-members of The Wipers and NapalmBeach. There is no way to get around it. The band sounds a lot like Sleater Kinney, which is just fine by me. Pretty good stuff overall that also veers into kind of Signal Lost territory from time to time –Mike Frame (Red Eyed Rabbit)


DISPLEASE:
Think!: CD
Discharge font, Peni cover, a song called “Nuclear War.” Should I even elaborate? Slicker-than-typical d-beat “warpunk” that quite intentionally sticks right to the painfully overdone rules. –Dave Williams (Old Hat, oldhatrecords.blogspot.com / Trismus, myspace.com/trismusrecords / Miravoice, myspace.com/miravoice)


DISCO FOR FERNS, A:
Self-titled: Cassette
Two-chord joke punk that reminds me of the humorous ineptitude of Butt Trumpet, only slower. They target frat boys and O.J Simpson. However, they are most on point when they bust on Henry Rollins, which leads to them singing, “I wear short shorts.” They get pretty off-color at times, which takes away from some of the levity as a whole. Made me chuckle a couple of times. –Craven (Oblong Box)


DIRTY MARQUEE:
Self-titled: 7"EP
Warmth. Melodic, moldering glows. Nothing too fast. Nothing too loud. Constrained, but jumpy and really catchy. That’s tough stuff to pull off because it runs along the ridge of slipping down the steep cliffs of boredom, corniness, or cliché. Pulling the string from Superchunk’s long legacy, echoing the ache and drive of The Carrie Nations’ Be Still, and reminiscent of the sweat-cooling, mellower parts of Sexy, this is another example of DIY punk not necessarily sounding “punk” to the outside listener. And that’s totally an advantage here because Dirty Marquee can both run under the radar and totally soar without a lot of tight-ass, honky pigeonhole constraints. Excellent all around. –Todd Taylor (Squirmy)


DEREK LYN PLASTIC:
The Smell of My Room Vol. 2: Serious Injuries: CD
Derek Lyn Plastic (yes, that’s one guy, not a band name) has been putting out dark, angry new wave-ish songs with keyboards for a bunch of years now. This CD has twenty songs, including four demo versions. Three of the demo versions are of songs that are already on this CD. It’s overkill, particularly for this type of sound. I’m torn here—at first you think he’s doing something pretty unique, and it’s really close to being something I could get into, but I think the problem is the way he sings or how it comes across—kinda too affected, too aggressive, even, maybe. If you like dark new wave, or if you like Jay Reatard (which everyone should!), you should at least listen to one or two of these songs online and decide for yourself. America=democracy. You decide. –Maddy (NMG)


DEREK LYN PLASTIC:
Life and Death: 7"
Top-notch 45. Loud and noisy—a lot like the Demon’s Claws and some of Jay Reatard’s solo stuff. Certified PR has been putting out some quality vinyl. This is no exception –Ryan Leach (Certified PR, certifiedprrecords.com)


DEREK LYN PLASTIC:
I Can’t Pass a Drug Test: 7"EP
Another release from this prolific one-man new wave/sleaze band. For some reason, I like this band less and less over time. I think there was a point where his songs sounded more punk rock and less sleaze-core. Now, I don’t know. Maybe it’s just that I’ve heard too much of it and it’s not all super awesome. Really, all of his songs are starting to sound the same. I think, if anything, it’s an argument against releasing every song you’ve ever written (or close to it, perhaps). –Maddy (Certified PR, certifiedprrecords.com)


DEMENTS, THEE / NUMBER 71 MONOBANDS:
Split: Cassette
Thee Dements have a nice thing going on—very much camped out in the lo-fi, spastic garage rock vein, light on the distortion and heavy on the sass. It’s mostly a little too goofy for me, but they’ve got some real moments of magic, like with the oddly convincing “Keep Droaning On” and “You Are a Fool”—where they channel a weird kind of 1960s Animals-like somberness. Surprising; it really shouldn’t work but it does. Number 71 Monobands, however, doesn’t fare nearly as well—this one-man band sounds like the sabertooth tiger from the Flintstones found a kickdrum and learned a few blues riffs, or the Almighty Do Me A Favor guy doing mescaline with the Tasmanian Devil until they both wake up the next day with weird, embarrassing tattoos. That may sound great, but trust me, it isn’t. –Keith Rosson (Bubca)


DEAD UNCLES:
“Flatlining” b/w “Best to Forget” and “Little Tragedies”: 7"EP
I don’t feel like making friends today, so I’ll say that pop punk people who are completely locked in pop punk boxes are sad, vicious creatures who—by copious evidence—have developed a special venom on the interwebs. So when pop punk comes across my desk, I have to take a deep breath and whisper, “Don’t let the chodes dictate.” The Dead Uncles are very good. I like them. Ironically—as with Be My Doppelganger—they didn’t instantly convince me. It’s ironic, because the underpinning of pop punk is the goal of being instantly catchy pop instead of “re-listen and soak in it” music. But, there’s no mistaking that Dead Uncles grew on me with each spin—there are multiple musical levels at work and the lyrics belie a certain level of candidness—reminding me of Dear Landlord and The Dopamines. I like those bands and I’m willing to full-face admit it to some digitally-infuriated doucheburger who can’t see beyond their small, precious, ultimately suffocating fascinations with a rigid subgenre. –Todd Taylor (Shock To The System)


DEAD PAWNS:
Stupid People Shouldn’t Breed: CD-R
Bored. To. Death. This was one of those formulaic records that I really wanted to be able to like, but it was just so damn dull because it sounds wholly derivative. The first song, “Politician,” holds its own, but then my chin started hitting my chest as the record became a punk rock paint-by-numbers. Actually, this might be a good record for a punk rock dinner party—ambient sounds that one doesn’t really listen to. –The Lord Kveldulfr (8 ↑, myspace.com/thedeadpawns)


DARRYL JENIFER:
In Search of Black Judas: CD
The first solo record from the Bad Brains bassist finds him enlisting everyone from that band (even original vocalist Sid McCray!) to help out. There’s a bit of a hardcore riff to tease us on “Black Judas,” but this is a dub record. I like “Black Brains” and “Babylon Leave Me Alone” the best here. If you weren’t opposed to playing a Money Mark CD back in 2000 or so, throw this on and light a fatty. You’ll be laid back and groovin’ in no time. –Sean Koepenick (ROIR)


DARK RIDES:
Self-titled: 7"EP
2011 is a much different DIY punk trip than 2001. The 00s have shifted over to the left. What was once a 10,000 print run is now 1,000. So it takes a certain level of grit to just keep your head above water. It takes a larger amount of buoyancy to make songs that are about soul, about the power of human will, of fighting back not with weaponry but thoughts and actions. The short crib is that Dark Rides is superlative “Chattanoog-y” (the “y” because I’m not sure they all live in Chattanooga) melodic punk. It’s sweet, rough, catchy, homegrown, modest, and forthright: People and music beautiful from scars. Beautiful glints in the eyes when brushing themselves off from being knocked down again. Sparking and staring right through opponents. Dark Rides bark militant compassion and sing about not giving up as the only viable option. For those who’re drawing out the band family trees on napkins, Dark Rides includes Eric and Buddha of Hidden Spots, Ashley of Future Virgins and Sexy, Amy of Savage Weekend, and Morgan of Tulsa and Black Rainbow. This record’s awesome and totally worth seeking out. –Todd Taylor (Do Ya Hear We?)


DANIEL JAMES GANG, THE:
Nothin’ I Can Do: 7"
Daniel James (who, when I lived with him in a punk house in Milwaukee, went by the name Dan Disturbed) was a guitarist in the Chinese Telephones. In his current incarnation, Daniel James has unleashed his ‘80s glam rock/slightly metal side, in full glory! If you came to punk rock via Kiss (which, for the record, was not my trajectory), you’d definitely be into this. And more importantly, if you haven’t seen this guy’s guitar moves, you are missing out! –Maddy (Lost Cat)


DANGEROUS ACES, THE:
Deny All Responsibility : CD
The Dangerous Aces have a fairly standard U.K. punk sound: snarling, obnoxious, lightning-fast hammer-blow hardcore. Yet, at the same time, there’s a slightly whimsical feel to the record, especially when the Aces move away from a pure hardcore sound; when they move to mid-tempo The Aces rock just as well as they thrash on the hardcore tunes. Lyrically, The Aces present nothing new: alienation, exasperation, and defiance. They may border on being stereotypical in this regard, but the sheer might of the melodies carries them through. I liked it. –The Lord Kveldulfr (band@thedangerousaces.co.uk)


DAG NASTY:
Dag with Shawn: LP
These nine songs were recorded before Dag Nasty’s 1986 record Can I Say? with the band’s original singer Shawn Brown at the helm. After the band went through a lineup change, these tracks were shelved and have appeared only as a bootleg. Although all nine songs appear on Can I Say, these versions are rougher with more defined back ups. Brown’s vocals bring gruffness to the band’s signature melodic sound that is unprecedented in their discography. I’m a fan of the band’s first two albums, but I don’t go too far with melodic hardcore, and I wasn’t sure this was going to be essential, but I’m glad I took the plunge. –Billups Allen (Dischord)


CUSTODY BATTLE:
Self-titled: 10"
There’s an interesting dichotomy at work here—Custody Battle is couched somewhere firmly between the snarling, poppy, sweat-stained T-shirts and duct-tape everywhere approach of Shang-A-Lang and Future Virgins, but with flourishes and occasional structures and melodies that’s much more suited to stuff like Savant or even Here Comes A Big Black Cloud. Meaning these songs are lo-fi and fuzzed-out but scattered among some slow, dirty, droning, crazy shit. It works, but there’s a grace period involved; it took me a few spins to get locked into. The outside of the record’s pretty uninspired, but there’re some nice interlocking moments between the dissonant and jamming here. Not a jawdropper, but not bad. –Keith Rosson (no address)


CRUMBS, THE:
Gator Kicks: LP
The nice thing about repetitive choruses is that you’re pretty much guaranteed to sing along by the end. That’s what this record was made for. They won’t win any points for originality here, but I’ll award them plenty for having fun, and also a pretty sweet cover of The Who. It won’t change your life, but it will probably change your mood, which means it’s definitely worth a repeat listen or two. Grab a beer and dance; The Crumbs want you to have a good time. I want you to have a good time! Put on this record. Also, thumbs up on the candy green vinyl. I wanted to eat it. –Candice Tobin (Livid, lividrecords.com)


CROSSTOPS:
The Ego That Ate the World: CD
The closest I’ve ever come to liking dirty southern punk is Zeke, but as a general rule, if any GG Allin influence is apparent, I’m almost immediately turned off. So what do I think of the Crosstops? Well, I’m not a fan, but let’s disregard that for moment. Do they deliver their promise of comedy? It’s definitely along the lines of older comedy punk bands like Dayglo Abortions or Fearless Iranians From Hell, in so much that it would definitely offend somebody’s grandma, specifically because they have a song about a grandma giving head to her grandson. –Bryan Static (Rockstar)


COUNTDOWN TO ARMAGEDDON:
Eater of Worlds: LP
I thought the Turn into Shadows tape they released earlier was pretty good. But this album surpasses all they’ve done prior. The songs have a darker and more ominous tone and a stronger dynamic structure. The title track is a great example of this. The drums roll through with an avalanche in slow motion style, while the guitar rings out like a siren, and then there are some really cool accents from the bass. The cold and bleak feel of their music really comes through here. Plus, the recording is much more solid. Everything has more “oomph” to it. The opener, “Hymnal 238,” is fuckin’ epic! “The Scourge” is an absolute ripper! Fast and tight execution. I like how clean the drummer pulls off the rolls and makes use of the kit. Then they transition from that song into “Turn into Shadows,” and it’s pure godhead! They also re-record the excellent “Like Animals” (which also appeared on the Turn into Shadows tape). The closer, “Construiremos De Nuevo,” is perfect and wraps up the record with an even more ominous feel. Seriously, some of the best d-beat crust I’ve heard in a long time. –Matt Average (Aborted Society, abortedsociety.com)


COUGS, THE:
Self-titled: Cassette
The Cougs play really lo-fi rock’n’roll. It seems like there might be some decent songs on here, but they’re hard to decipher through the poor recording and cruddy cassette tape sound. Not an incredibly memorable release. –Ryan Horky (People’s Republic Of Rock And Roll, thepeoplesrepublicofrockandroll.com)


CORPSE, THE:
Fight against the Rules: CD
From what I can tell, this is a CD reissue of a tape-only release by this pissed-off Polish hardcore band that existed from 1985-1989, though a lot of the information in the liner notes is in Polish (the lyrics and an interview conducted in 2007 are thankfully translated into English), so don’t quote me on that. This isn’t normally my thing, but this band is definitely as good as, if not better than, a lot of the western crossover bands that existed at the time. Plus it’s always amazing to me that bands like this existed in the Soviet bloc. A really neat piece of history! –Chris Mason –Guest Contributor (Refuse, refuserecords.nfis.aplus.pl)


CONTRAST ATTITUDE / SEE YOU IN HELL:
Split: EP
Contrast Attitude gives us two blazing, noisy, blown-out d-beat-thrash songs, “Mind of Devil” and “No Line.” Distortion permeates everything, creating a white hiss similar to bands like Gloom and Disclose. My favorite song is “No Line.” Starts off with a scratchy guitar, explodes into a rager with a quick pause, then bridge, then back to the chaos. See You In Hell, once again, are the band to really pick this up for. They definitely have a classic Japanese hardcore punk influence, but they do it well and put their own angle on it. “Anonym” is a semi-speedy number, with lyrical matter either inspired by a horror film or about blackmail. Either way, it’s interesting. “Celisti” has more of a Scandinavian influence; raging music, but catchy at the same time. Awesome stuff, once again! –Matt Average (Insane Society, insanesociety.net)


COMPLAINTS:
Secrets: EP
I would say they pretty much pick up where they left off on their Wanna Be Bored EP. But there’s just a little more fire going on with these new songs. Stylistically, they’re the same, and they recorded with the same person at the same studio as last time, but these four songs have a little more punch and urgency to drop jaws and bug out the eyes in surprise of those who have listened to the first record. Speedy punk rock with some catchy choruses. The two songs on the B-side, “Sound of Truth” and “Born Bored” slow things down a tad, but lose no momentum in the process. You gotta breathe at some point. I can’t decide if “Secrets” or “Bail Me Out” is my favorite on here. It’s not like I’ll listen to one over the other. Fuck it, put this on, and let it rip! –Matt Average (Meaty Beaty / No Front Teeth, longshotmusic.com/mbr)


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