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Razorcake #84
Tim Version, Ordinary Life LP + bonus 7"
Radon, 28 LP
Zisk #25
Razorcake #83

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No Idea Records

Record Reviews

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To Be Me: CD
It’s funny how almost unavoidable it is to mention Circle Jerks, Adolescents, or Germs when describing Regulations’ sound. It’s a stigma that I’m sure the band members are tired of being attached to. But I recently came to the conclusion that Regulations has been able to accomplish what none of those bands were able to: consistency in quality. Not one of those bands had more than one record that would ever live up to their brilliant debuts. Regulations came from out of nowhere with two excellent EPs in 2003. They were quick to follow those up with a ridiculously good full length, a mini LP, and a third EP just to let everyone know they weren’t going anywhere. A couple of years and some side projects later did nothing to slow down what has already been an impressive stream of great releases. A second full length should have been where the bottom finally fell out for these guys, but, fuck me, this is just as great of a listen as any of their previous works. Old school dinosaurs be damned and current bands take notes: be unto the Regulations! –Juan Espinosa (Deranged)

1979: LP

Please understand what a one-in-ten-thousand shot this is for this record to come out as well as it did and prevented it from becoming merely a footnote. One: The fact that a pre-Minutemen band practice tape from the late seventies was even found. Two: The fact that the Reactionaries’ tape didn’t just fall apart when it was discovered and played. Three: The fact that the tape was handled like a deceased friend: with care, respect, and with all intent of honoring the dead. Singer Martin Tamburovich and guitarist D. Boon can’t be anything but smiling down from where ever they are. Four: The fact that the “record collector’s impulse” didn’t intentionally keep this tape obscure, sneak out some pressings on Ebay, then rake in some back door, gray market cash, garnering the respect and envy of a small group of well-heeled vinyl dorks while keeping it out of the hands of folks who love music and are willing to pay modest prices for it. Five: The fact that the fidelity of what’s transferred to vinyl sounds honest and true to the time; it’s carefully preserved. It’s far from mud. And it’s far from being pro-tooled to death or “Let’s fix the bottom end” bullshit. Six: With all that said, if there was just an A side to this record—the practice tape—it’s an amazing historical, archival effort—with its heart in exactly the right place—where you can hear the molecules and DNA of the Minutemen banging around and forming. But the fact that the B side is roundtable congregation of over thirty current (mostly) San Pedro musicians covering the songs on the A side is flabbergasting all the way from a conceptual to a logistical point of view. History ain’t dead folks; no reason to jump into a coffin before your time. Music ain’t dead, either. There’s a direct legacy that continues on through today. It still can be done “in house.” No need for larger labels, fancy-assed studios, or unsympathetic outsiders. Going back sometimes means leaping forward. Protection is often for the survival of the species. Seven: Most of us don’t even have pot thoughts this lucid and complicated. The fact that this record not only exists but was pulled off with so much focus and audio payoff warrants as many people as possible who claim to like punk to listen to this one-in-ten-thousand shot.

–Todd Taylor (Water Under The Bridge / 45 RPM, waterunderthebridge.com)

Self-titled: 7”
The first thought that ran through my mind when I put on this 7” was, Q And Not U reunited and changed their name. After looking into it more, I found out that that’s not true. However, these guys do cite Q And Not U as a band with a comparable sound. The Read has the whole dance punk thing going for them with that strange Dischord guitar riffage sound intermixed into it. Unfortunately, these tracks lack originality and they feel like collages of different Q And Not U songs. I’m going to have to give their full length a chance, which is supposed to come out some time this year, before I can decide if I like their music. I’m not sold on this 7” alone. –N.L. Dewart (Phratry)

Distorted Temptation: 7”

The lyrics are filled with desperate calls for humans to act as individuals and according to their own human nature; not just as mingling automatons stoked full of societal clichés. Their writing just holds up a mirror to the social roles we play day by day. “Distorted Temptation” has a resonating verse of what I feel like being working class: “Overwhelming feelings of dread. Breed grim notions inside your head. The excuse becomes your noose. Killing yourself to survive. Just to get by.” All the writing on this 7” is just so powerful and poetic that even the choruses are brimming with meaning. Take the chorus lyrics to “Games and Fun”: “Having all the games and fun. Hips that shake, a mouth that runs. Having all the games and fun. I’m you’re knife and you’re my gun.” This isn’t the style of hardcore punk I sit at home and listen to, but these guys really put out a potent EP here that is well worth sitting down and listening to. Musically, this 7” is interesting for how the two guitar tracks play various noises and sixteenth note riffs that seem to suck the air out the songs, mirroring the desperate, suffocating feeling of the lyrics. All the song structures are pounded down tight by the rhythm section that enables these guys to make their very own rally cries against insipid social games.

–N.L. Dewart (Feral Kid)

Sexual Assault Rifle: LP
First of all, the title of the record is just brilliant. Something I wish I would have thought of first. Secondly, the album artwork, all of it, is particularly striking. A silk-screened cover, very colorful, with a cardinal perched atop a rifle with a grey kitty looking on. The labels on the record are of a giraffe with boobs and a hornet with an erection. Furries are stoked. And it comes with an insert of what might be a crucified Magnum P.I. Musically, the first thing that comes to mind is Pink Razors, which might make sense since they are both from Bloomington. It’s not that it sounds exactly like Pink Razors, because it certainly doesn’t, but it sounds as if they both live in the shared space of a Venn diagram that includes modern DIY punk, ‘80s college rock, and ‘90s indie rock. They live in a world of pop punk but are acutely aware of more challenging sounds and styles, incorporating complex timings and arrangements with bits of pop sensibilities a la Tanner, or a slightly tamed Triclops! There’s a lot of stuff going on here; effects are employed quite nicely with what sounds like perhaps Theremin, moog, or tape looping. But with precious little information provided, I can neither confirm nor deny the existence of said devices. As well, this is one of the few times I receive a record and wish I had a lyric sheet to go with it so I can sing along without having to guess and make up my own lyrics. It is early in the year, but I think so far I have my favorite new record of the year. Sexual Assault Rifle has me a Pony Boy fan. –Jeff Proctor (Let’s Pretend)

Kick over the Traces: CD
What does it mean when one of your favorite bands releases a greatest hits album? Sadly, I am no expert in philosophical pop punk inquiries, so instead I’ll just say that I’ve listened to Pinhead Gunpowder in every possible context: in my bedroom in high school after enduring my mom screaming at me, on my headphones during countless late-night bike rides, in my college dorm room in the middle of ridiculous, almost-emo-ish relationship crap, in my apartment writing articles about labor history, and on the dance floor at punk rock dance parties. And, somehow, Pinhead Gunpowder always seemed like the perfect band in all of these places. Even though I’ve listened to these songs hundreds or thousands of times, it’s still hard for me to deal with how good these songs are. I drove from Minneapolis to Milwaukee last weekend and I listened to this CD for five straight hours. By the time I got to my mom’s house, I had a sore throat and my eardrums hurt. If this were a cereal, it’d be Lucky Charms, the highest honor this Razorcake reviewer can bestow. –Maddy (Recess)

Superficial/Artificial: LP
Petroleum By-Product is a synth-driven punk band. Their album Superficial/Artificial is surprisingly solid—influenced by all the right people: Nervous Gender, Screamers, Wall Of Voodoo, etc. There’s playfulness with Petroleum By-Product; a sort of B-52’s take on the vapidness of daily life in consumer culture. It’s reinforced vocally by girl group-style call and response in the vein of Fred Schneider/Wilson and Pierson, recalling the halcyon days of planned obsolescence (see the late ‘50s/early ‘60s). It should go without saying that you can dance to this record. The cover art is amazing, too. –Ryan Leach (Mona Mona, myspace.com/petroleumbyproduct)

Our Beloved City of the Dead: CD
Just to give some context about how this album flows, this CD is a bit more than twenty-six minutes in length and is ten tracks long. Out of those ten tracks, one of them is an extra track with the first one being a one minute and fifty-two second introduction with some strange, psychedelic-influenced rant about the crappy state of the world. Then the second song “Dead End” begins with its own weird intro that plays for about thirty-nine seconds. It includes another guy talking through a distorted loud speaker, telling people to choose between a red pill or blue pill, I assume paying homage to The Matrix. From the start, this album picks up pretty slow and is confusing because the listener still has no clue after about two and a half minutes of listening what the music is going to sound like. In short, this is a reggae-influenced punk album. I’d say these guys are trying to sound like Tim Armstrong’s solo stuff. When they finally get to the music, these guys actually have some decent songs. “Artificialized” is a fun track, as Pusher has a cool way of transitioning from reggae beats on the verses to the more explosive four-to-the-floor choruses. This would have been a more solid EP if these guys just stuck to the music instead of all the filler hi-jinks. –N.L. Dewart (Knot)

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)

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