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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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Mustard Shot: CD
I’m getting tired of bands naming themselves via the formula “X City Y.” Normally, you know exactly what you’ll get, both musically and lyrically, and while such tunes and lyrics are often welcome in my universe, they have become somewhat predictable and overused within the X City Y formula. In some ways, this record wasn’t much different (simple, fast tunes and songs about drinking and venereal disease), but, for some reason, Rat City Ruckus’s brand of cheap, trashy rock’n’roll wasn’t all that stale. I think it’s because of the immense influence of bands like the Dayglo Abortions that I sensed lurking just beneath the surface of this record. Musically, Rat City Ruckus plays fast and loose, bordering on being a pure hardcore band. Lyrically, they focus more on drinking than the Dayglos, rather than penning numerous tunes on farting and puking. Overall: loud, fast, and obnoxious. I liked it. –The Lord Kveldulfr (Rockin’ Stan)

Emericans: CD
There’s a sort of new school of punk (hell, maybe that’s what I’ll call it: nü-punk) that seems to be pretty present now. Music that seems to be really influenced by Against Me! and the more basic rock sound of current No Idea Records bands. Fortunately, they don’t necessarily have to suck as bad as Against Me! (And all apologies to Permanent Bastards if Against Me! is not an influence.) Passionate, at times folky, and indie singey at other times, but still very punk. It’s like a new generation thing,you might say, and I’m down with it when it’s done well, even if I won’t be listening to this kind of thing often. (The genre, anyway. I probably will come back to this band.) The lyrics on Emericans range from being overtly political to socio-political, which provides a pretty good balance. The lyrics are actually what carry the album, driving out a damaged, youthful hope. The lead singer’s voice is off-key and sort of, well, weak. Which gives the songs a sincerity when he belts out the choruses the best he can but it has none of that Leatherface/Hot Water Music-biting, if-you-sing-it-gruffly-enough-it-will-sound-like-we-mean-it trend in punk. Instead, it really pretty much has to grow on you. The rest of the band’s gang vocals help him out with choruses and some whoah-oh-ohs here and there, which works out well. This is a great punk album, the kind my music snob roommate would dub “shitty punk rock,” the kind of punk that record geeks and hipsters who only swear by the classics of The Clash and The Fall would never quite get. Which means it’s a damn good punk album for the punks. I can definitely get behind this. –Craven (Self-released)

City of Rotten Eyes: CD
Overnight Lows are one of those bands that could hold their own at pretty much any punk show you throw their way. The tunes here are filled with the kind of choice chord progressions to please yer average Dangerhouse Records fan, the raw sound that’ll keep the Rip Off heads happy, and a vitriolic delivery that virtually guarantees they’d more than hold their own on a bill with the Regulations or yer average straight-ahead hardcore band. Songs are to the point with little in the way of frills or extraneous bullshit, just stripped-down, pissed-off punk rock with catchy hooks up the wazoo. A doozy, this is. –Jimmy Alvarado (Goner)

Gagging + Swallowing: Cassette
Something about the riff and vocal delivery on the track, “The Stranger” reminded me of Nirvana’s tune, “Negative Creep.” So I examined this tape closer and found out Steve Albini recorded it. (Now I know Albini didn’t record Nirvana’s song “Negative Creep,” but it was a strange coincidence.) In reality, it’s hard for me to pin an influence on Over Vert’s sound, but it’s definitely some thrashy hardcore. It’s similar to the band Deep Sleep. Nothing here is played sloppily and everything hits hard, but Over Vert never progresses into sing-a-long pop choruses. These guys don’t rest on their laurels by just pummeling out straight-ahead power chords. Their riffs are always a bit more spaced-out sounding and droning so their tunes wouldn’t necessarily appeal to a pop crowd. Their song, “Burning An Eye” does a good job lyrically to describe what these guys and their music is all about: “There is a house with a joyous sound that keeps my ears ringing underground.” If you’re into thrash, get this tape. –N.L. Dewart (Five Ten Tapes)

Funny: 7”
Funny has instantly appealing sing-songy tunes anchored down with the weight of morose lyrics. These tunes’ ingenuity captures life’s dichotomy of happy and sad. On one hand, Onion Flavored Rings’ guitar riffs make me feel super happy and carefree, like I was fourteen years old again and listening to early Green Day for the first time. On the other, scratch just beneath the surface of their sugar high riffs and you’ll find things are a bit more serious and not quite as happy as they appear. Take the poignant song, “Gurgle + Coup” about the birth of a child: “For you the flower of youth is blossoming; ‘Scrap Heap of History’ for me.” It’s songwriter, Steve Funyon, musing of how the happiest moments in life are truly the ones that bring the most suffering and frustration. This plays out through the entire EP. In the track “Running Away,” the happiness of one lover’s freedom is the anguish of the other one’s loss as the chorus explains, “You’re running away, Now it’s your moment: Free from underneath the thumb of torment. And your success now, Is my catastrophe.” Musically, the band never seems to seep down into a minor key anywhere. All five tracks come across rocking out—really up beat—like an Egghead or Nerf Herder tune. I don’t’ think any other band possesses the ability to make life’s mishaps sound so happy the way the Onion Flavored Rings does. This is one 7” worth getting. –N.L. Dewart (Thrillhouse)

The President Is Dead: 7”
A complimentary release to the CD Asleep in the Ashes that came out recently. These two tracks were recorded back in 2006, a year earlier than the tracks on the CD. They’re a little more raw and direct than the CD: two charging tracks that reek of a dark, apocalyptic environment fueled by a metallic and crust punk backdrop. I appreciate this band even more from seeing them live a few times now. Hearing the band live, you can really experience the moodiness and aggression firsthand. Going back to the recordings, it recaptures those moments of sonic stimulation. This release is more straight forward than their current CD, but they still do capture an underlying melodic element that brings forth the aggression and makes it stimulating to the aural senses. Power and fury, a combination that is undying. The growth of this band keeps me intrigued. There is a split 10” with the Makai out there that I now have to get. –Donofthedead (Defector)

Long Walks on Short Piers: LP
Apparently named after the Hüsker’s bass player (Greg Norton), this record reminds me less of the Dü and more of some of their contemporary anthemic, hardcore-rooted punk bands like Scream or 7 Seconds, only with more gravel voiced vocals reminiscent of Razorcake favorites Davey Quinn or Frankie Stubbs. In any case, this shit grooves and you should check it out. Tremendously eye-catching collage work on the album cover, too. All in all, very well done and very well put together. –Jeff Proctor (Rinderherz)

Self-titled: 7”
Side A’s a barnstormer that would’ve fit perfectly anywhere in their final full length, Midwestern Blood. Side B’s got a restrained-then-raucous Gibbons cover (terrific band that also shared an awesome split 7” with these guys a few years back) and a slow, pensive number that closes things out. That last song really tends to color things with a bit of solemnity to it when you consider that this may be the last thing this now-defunct band ever releases. These guys—especially their later stuff and especially for a three piece—frequently managed to pull off a kind of, I don’t know, emo with muscles, you know? There were buckets of raw emotion in the music these guys laid down, but it was all wrapped up in a frayed coating of duct tape and peppered with shards of safety glass. I don’t know. Great band, pretty good last vinyl outing, if that’s what it proves to be. Bummed that I never got to see ‘em live. –Keith Rosson (Kiss Of Death)

Cokie the Clown: CDEP
There are five songs on this EP. “Cokie the Clown” is top notch NOFX musically, but has some stupid lyrics about… a drug addict clown. “Straight out of Massachusetts” is a full band reworking of a song Fat Mike did acoustically for the kid’s show Pancake Mountain. It’s all right, but the novelty of the lyrics wear off pretty quick after the first listen. “Fermented and Flailing” and “Codependence Day” are two more rather interchangeable songs where Fat Mike sings about how cool it is to be a drunk and/or drug user. He really needs to stop going to that lyrical well because it’s sounding lame at this point. Finally, “My Orphan Year” is an acoustic reworking of the same song from the Coaster album. This actually may be the high point of the EP. The lyrics about the year Fat Mike lost both his parents are surprisingly heartfelt and serious, at least as far as NOFX goes. All in all, I would say this is two-and-a-half out of five. –Adrian (Fat)

Raw Romance: Cassette
The introduction to this tape is the scene from Buffalo 66, where the dad lets himself get talked into playing his tape, then—boom—the beautiful rock and roll is delivered from No Bunny. Always right on time, always ready to party and blow the roof off a dive bar in Tijuana or a backyard near you. This definitely shows a lot more early ‘60s lo-fi rock and roll feel than the earlier ultra-Ramones influenced stuff, yet even the acoustic tracks really carry that strong fun energy. Fun lyrics, fun music, fun fun fun. –Rene Navarro (Burger)

Inductive Reasoning: CDEP
Hell yeah to The New Mexico’s ability to spit out five songs in a little more than eight minutes. They actually could have skinned the fat off of their first song that has a 45 second intro of drums and then guitar following the drum beat. The highlight of this CD is the tune “Benjamin’s Cause,” where these guys splice a few seconds of radio friendly buttrock as an introduction and then the tune emerges with a pulled needle sound, then The New Mexico slam into their hardcore diatribe against such poser music. These guys know how to flawlessly lock their guitars in step with the drums to deliver some four chord punk. They sound like there’re influenced by the early ‘80s SoCal punk stuff like Youth Brigade. They’ve got some high energy, well-played tunes here. –N.L. Dewart (Live Nasty Dynasty, louisvillehardcore.com)

Where Were You When It Happened?: CD
I caught this Israeli three-piece at the Knockout in San Francisco with Triclops! over Thanksgiving weekend about two years ago and was impressed by the wild man antics and stage show put on by the nearly naked, hirsute, and mustachioed front man, Ami Shalev. Singing atop the bar, pouring candle wax into his underpants, shooting fireworks out of his ass, it was certainly a sight to see. Didn’t actually remember much what they sounded like before picking up this here CD out of the review pile at HQ. What we have here is sort of a missing link between the doom and sludge of later Flag albums like Loose Nut or Slip it In, the head banging lumberjack big fuzz of Mudhoney’s “Touch Me I’m Sick,” and Nirvana’s Bleach:sharp blasts of rip roaring rock and roll interspersed with heavy jams that trudge along like clockwork. And for a band with no bassist, there is some serious groove to these tunes. As well, they do a nice job of filling out the sound; no emptiness or hollowness to the recordings. Definitely a band worth seeing live. And when they come to town, pick up this record. It’s worth your hard-earned dollars. –Jeff Proctor (Drag City)

Another Cheat on Me: 7”
“Another Cheat on Me” is a nice garage rock stomper that’d make Jack White shake in his boots with envy, while “Down by the Graveyard” has a bit more of a country feel to it. Nice bit of diversity in evidence while still keeping things close enough sonically that one sounds like a natural progression to the other. –Jimmy Alvarado (Douchemaster)

Needs Medicines: LP
This sounds like something I would have heard in the late ‘80s, early ‘90s. Very much like something you would hear on Slumberland Records. Nervous Systems have a sound that’s a mix of post punk with synths, indie rock, and shoegazer music. There’s a familiarity about the sound, though I can’t point to any direct influence. The keyboards have a cold tone that floats and hangs in the air. The guitars hammer and churn; at other times they sound forlorn. The vocals took a couple listens to get used to. But the music is really good and has enough of a dark atmosphere for this to work properly and keep me listening the whole way through. “Sleeping Arrangements” is the definite standout song on here. The vocals sound very similar to Bernard Sumner, the music is slightly darker, and the lyrics about letting go are the best of the bunch. “Mains Hum” is a strong contender as well. These two songs would have made for a spectacular single. –Matt Average (Obscurist Press, obscuristpress.com)

Self-titled: CDEP
Lo-fi, muddy, and raw, this demo sounds like it was recorded in abandoned factory. “Scary Larry” will keep you up at night for many moons. But somewhere along the way I got lost. This shows promise, but I need more cash up front gentlemen (and miss!). I would like to know where you got these kick ass CD-Rs that look like vinyl on the back. –Sean Koepenick (Self-released)

Self-titled: 7” EP
Wow, they sure ain’t afraid to cover a lotta ground. On the four songs here, they manage to touch bases in trash rock, art-damaged sludge rock, girl group fodder, and even throw in a moody, surfy instrumental for good measure. Mighty impressive and pretty danged good. –Jimmy Alvarado (Bachelor)

Self-titled and also Radioactive Boy: 7”
Another thing to thank punk rock for: its stubborn refusal to let the seven-inch single/EP format go the way of eight track tapes. The strength of the medium is that each release ostensibly forces a band to plop down at least one of their A-grade tracks for a given release if they have any desire for anyone outside their immediate group of friends to pay any attention to ‘em. The most memorable singles often had two A-grade tracks, and it appears this is a tradition Modern Action has paid close attention to not once, but on both of its first two singles. Four tracks of choice punk rock here, tight and wicked catchy, and though it’s clear they could’ve fit a couple more tunes on the second single given its brevity, they’ve wisely left listeners barely sated and hoping they don’t break up or fuck off for a couple of decades before dropping release number three into their laps. –Jimmy Alvarado (Modern Action)

Discography: 2xLP
MK Ultra existed pretty much all through the ‘90s and released a series of splits and songs on compilations before calling it quits in the early 2000s. The band might not get the attention and reverence of their Chicago peers Charles Bronson and Los Crudos—and MK Ultra were admittedly less prolific than both—but they were at least as good as either. And for the time being, they’re the only band of the three that now has a proper “best of” properly committed to vinyl. This is an epic fifty-five songs, plus a live set from the Fireside Bowl that’s spread across two LPs. The songs are arranged in reverse chronological order, so you get to hear the band dissolve from the straight-forward Chicago hardcore of the late ‘90s (with Ebro of Bronson/Crudos fame on the drums) to the early days of heavier, Born Against-inspired hardcore with their original drummer. I liked the older stuff better, but that’s just me. The packaging is excellent and comes with a massive pro-printed book that reprints a good bit of the artwork and lyrics from the records as they were originally issued. –Ian Wise –Guest Contributor (Youth Attack, ihateyouthattack.com)

She’s So Crazy: 7”
From the grimy north side streets of Chicago comes Mickey, a ramshackle five-piece rock’n’roll band who deliver a swaggering blast of glittery gutter glam and an earnest “this is who I am, warts and all” ballad. “She’s So Crazy” is damn near perfect: a maddeningly catchy guitar hook, bouncy bass line, superb drumming, and vocals, a la Mac Blackout, that sound far crazier than the accused “She” in the title. The desperate obsession of the chorus seems to indicate that maybe, just maybe, the singer is projecting his insanity onto his object of desire: “and when she walks in the room/I go into a trance/if she would just give my love/just give my love one chance/but I ain’t stalkin’ and I ain’t stuck on you.” What does stick is this tune. In your head. For weeks. The B side, “I Am Your Trash, I Am Your Man,” sways along sweetly while the lyrics detail the heel-like behavior of the singer. He talks about drinking, getting into it with his girl, being rotten and not understanding why she loves him, finally exploding with the defiant proclamation “I am your trash/I am your man.” A touchingly menacing masterpiece. –Josh Benke (Horizontal Action)

Something I Remember: 7”
Great single. I can always depend on HoZac to deliver great, trippy punk rock with their roster of The Functional Blackouts, Wizzard Sleeve, Woven Bones, Blank Dogs, et al. And, sure enough, Mess Folk fit right in, as they tightrope walk the fine line of weird punk, combining meandering drone-y vibes with really tight corners and sharp edges. They have a messy feel, like each member is working out their own take of the song with singing washing over it all, and it really works. Phillip Tarr is the mastermind of the band, starting it as a solo project that has morphed into this group. Mess Folk hails from Sydney, Nova Scotia, appropriately known for toxic waste dumping. Canada breeds some great punk, but Nova Scotia grows a special strain of noise. –Speedway Randy (HoZac)

Split: LP
MDC: Nothing tops the Millions of Dead Cops LP for me. That record is as equally powerful today as it was when I first heard it when it came out. Only the Multi-Death Corporations 7” came close. I have to admit that everything afterwards has just been okay with me. This, surprisingly, sounds real good to me: charging punk rock that they basically wrote the instruction book on. The only thing I wish is that the guitar sounded heavier. They are a bit clean for my liking. I would put this as number three on my list for their output. Restarts: I tend to favor this side of the record from these U.K. punks. This side definitely got more repeat listens. I remember first hearing them off their System Error CD that Havoc Records put out awhile back. UK82 meets today without sounding like a carbon copy. They continue that tradition and what stands out for me is that they still know how to carry a melody. They play songs that are catchy and infectious, yet still know when to put forth some aggression. This side gets my beer-raised salute. Overall, a good release. I did like the record nerd touch of the vinyl being split brown and white, matching the color scheme of the cover. –Donofthedead (Rodent Popsicle)

Drops a Deuce: 7”
Surprisingly rockin’ and muscular for a band that professes such love of marijuana. The A side, “Cable TV Eye,” is a solid rocker, and the B side, “Hands Up!” is a live track that’s live in the sense that Kiss’s Alive II (or was it Alive?) was live. Musically (and artistically, for that matter, looking at Bjerke’s cover art), this record is like the art of Robert Crumb meets that of Peter Bagge: groovy ‘60s psychosis meets a hard-edged ‘80s and ‘90s aggression. I liked it. –The Lord Kveldulfr (Mighty High / Mint Deluxe)

Knifed: 7” EP
What a difference five or so years make. Half a decade ago, it was a three-way sprint between the Epoxies, Briefs, and Spits to the swirling vortex of the middle of my record player’s spindle. The Minds were that perfect vanilla/chocolate/Crustie-O’s swirl of the Epoxies’ ray-gun synthesizers, Spits’ fiery, fungusy snot, and Briefs’ duffle bag of tight-fitting hooks. When punk was beating up new wave, then putting its arm around it, giving it a too-close hug, then taking another close punch. Well, Cerra Bella Palsey, Bobby Brains, The Cortex, The Thinker, and one of my favorite bashers Mikey Mind (aka Bloodbath and Beyond’s Mikey Napkin) haven’t mellowed, haven’t tamed any demons, and come out like a Moog on fire while casting sharp-hooked lures into the eyeballs of their audience… and that’s a supreme compliment. (If you can find it, The Minds Plastic Girls full length is well worth your time.) –Todd Taylor (Plastic Idol)

Split: 7”
This Is My Fist: Gave these kids a spin ‘cause, let’s be honest here, they’re working at a severe disadvantage being coupled with the band on the flip of this and I wanna give ‘em the fair shake they deserve. “All That Is Wrong” is a nice’n’solid, catchy bit of punky pop. “Bad Seed” starts off at a gallop then slows things down a bit midway through, with a structure a bit more complex than most. Can’t remember if I’ve paid much attention to ‘em before, but plan to do so in the future ‘cause this is some good stuff. Marked Men: At this point I seriously wonder if there’s any praise left for these guys that hasn’t already been heaped on them. If you happen to be one of the three people on the planet that has yet to hear ‘em, they specialize in a brand of frantic pop that sounds butt simple until you either try to play it yourself or really pay attention to what’s going on and find the treasure trove of obscene hooks buried deep into every note. Two tunes this time ‘round, short, to the point, and so catchy you almost wanna beat ‘em up for being too goddamned good. I once proclaimed ‘em god, and this doesn’t sway that opinion one iota. –Jimmy Alvarado (No Idea)

Van Activities: 7”EP
In this post-Rivethead / Banner Pilot, Dear Landlord-ascending world with the Dopamines peeking over the cinder block wall like Kilroy, The Copyrights’ show the previous night still ringing in the air, and Jesse Thorson driving the van telling them of all the things they’re doing poorly, The Manix Minneapolis-icity/Midwestern pop punk-isms are undeniable. They play ball bearing tight with no irony in sight: songs about the simple life and the nine-to-five version of death that so many Americans punch themselves in the face with every day. The dividing line between “Yeah, it’s all right” and “Flip it over. Play it again,” in pop punk is the thinnest of lines if you’ve been listening to it for more than five years. The Manix have both the compressed “we’re in it together” feeling and that electrical spark that keeps on zapping through all four songs. Well played. –Todd Taylor (Whoa Oh, whoaohrecords.com)

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