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· 1:Featured Record Reviews From Issue #81
· 2:#327 with Kurt Morris
· 3:Punk Parenthood for the Sleep Deprived
· 4:#328 with Bianca Barragan and Simon Sotelo
· 5:Creepy Emphera #1: Cadaver Synod


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Razorcake #81
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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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FOUR HUNDRED, THE:
Self-titled: CD
This band broke up just after they got the CD to the manufacturer. Big whammy. Shit, this reminds me of something. Something dream-poppy, droney and it's driving me crazy that I cannot remember. The occasional My Bloody Valentine/Yo La Tengo influence seeps through. The vocals aren't all that swell. The keyboards are a tad overpowering compared to the rest of the instruments, and the recording is nice, yet a little overly echoey. The songs are way, way too long for what they are. And too many things are layered over one another - not making a pleasant noise, but a chaotic, sloppy one. Bah. –Guest Contributor (Anechoic)


FORWARD:
We Need the Truth: CDEP
Punishing mid-tempo hardcore from this Japanese outfit. Kinda makes you wonder about the accuracy of their reputation for being a quiet and polite society, 'cause their punk bands never fail in delivering that solid kick to the head when you least expect it. In short, damn good noise here, kiddies. –Jimmy Alvarado (HG Fact)


FLIPPER:
Blow: CD
Originally released on cassette only in 1984, this is a document of sorts of what a Flipper gig was like back before Will Shatter pulled a Sid Vicious/Darby Crash and died a very hippie death. 'Twas a pity to see Willie go, too, 'cause Flipper was one of punk rock's truly original outfits, intentionally placing themselves in stark contrast to whatever was popular in punk at the time. While the "hardcore" groups of the day played short, fast bursts while waxing poetic with the political rhetoric, Flipper's songs were simplistic, messy, drunken, dirge-like noise fests that went on and on and on and on and on and seemed like their only purpose was to annoy the hell out of almost anybody within hearing distance. Yet a method could be detected underneath the madness by anyone who happened to pay attention long enough. Their lyrics were often frighteningly well-written considering the characters responsible for them, and their live sets were funny as hell to watch, especially if you happened to take a friend who'd never heard them before. Much of the between song banter is sorely missing from this recording, as is their "hit" song "Sex Bomb," but the performance of the songs themselves is pretty good and the whole thing is about as entertaining as it was back when this originally came out. After a day filled with listening to a bunch of third-rate cookie-cutter hardcore/popcore/pick-your-core bands this afternoon, this was a very welcome change of pace, and it was nice to be reminded of how fun one of my favorite bands of all time were. –Jimmy Alvarado (ROIR)


FILTHY SKANKS, THE:
Bigger Than the Beatles: CD
Hot damn indeed, this is filthy, vile, obnoxious, and outrageously impure scum-rock perversity at its most brain-bashin' best (equal parts belligerent bone-fracturin' punk and mayhemic metal meatiness)! The blazin' firestorm of sick and twisted songs contained herein rowdily run rife with demon-possessed rabid-dog vocals, big, beefy guitar riffs that murderously grind into the gut like a fully revved rust-encrusted chainsaw, thundering torrents of earthquake-rumblin' bass ballsiness, and a spine-crackin' assault of dinosaur-stomp drum boomings. Yep, The Filthy Skanks raucously roar through a fast-as-fuck assortment of frenetic tit-twistin' tunes about wrestling, rock'n'roll, poontang, and the big bad devil himself... and they effortlessly flail through an oddball array of cacophonously crazed covers of The Misfits' "I Turned into a Martian," Johnny Cash's "I've Been Everywhere" and "San Quentin," and the Ramones' "Havana Affair" and "Endless Vacation" (my all-time fave Ramones ditty, as a matter of factual insignificance!). Whooooodoggy, after a brew-drenched afternoon of endlessly replayin' this diabolically deranged disc, my ears are now a mangled mass of smoldering flesh! I've sold my soul to The Filthy Skanks, and I couldn't be happier! –Guest Contributor (The Filthy Skanks)


FARTZ, THE:
Self-titled: 7" EP
Four songs you can already get on their latest Alternative Tentacles CD. I don't get it. –Jimmy Alvarado (Transparent)


FARTZ, THE:
What: CD
I don't get it. They just released a discography no more than two years ago and it's still available. Now they release this, which consists of re-recorded 15 tracks, versions of all but two of them were on the other disc and one of those two is a Motorhead cover. They sound as swell as they ever did, but what's the point? They add nothing new to the songs. After the long silence at the end of the last track, we're treated to the whole thing all over again. Fuck, "Buried Alive" isn't even on this. –Jimmy Alvarado (Alternative Tentacles)


FALL SILENT:
Six Years in the Desert: CD
A goofy picture of an abandoned "Little House on the Prairie" is on the cover. There's a picture of the band in cowboy hats in time period dress - the type that you see families having the picture taken at some mall attraction - on the back. What kind of kooks are these guys? I did not know what to expect. No indication of what was in store when looking at the packaging. I sprayed a sloppy shit all over the inside of my shorts when the first track came on. How embarrassing to have to hose off my shorts because the chunks were clinging to the inside. What came thrusting out was a tornado mix of precise speed metal mixed in with a chaos mix of anger. The singer reminded me of a mix of Springa from SSD and Spike from DRI. Hey, two Initial bands in one comment! These guys have their metal chops down, and not like all these neu-metal bands that I see on MTV-X. More traditional in the licks. They seem to want to be complicated and at the same time pull forth a rage that catches the attention of this listener. Their punk roots show in their covers of Black Flag and 7 Seconds. Their campiness shows in their cover of Pat Benatar and the theme song from Sesame Street. This was a treat - like having your first wet dream and realizing that you didn't pee in your sleep. –Donofthedead (Revelation)


EX MODELS:
Other Mathematics: CD
A while back I got the "Demonstration" CD EP from these guys. I figured that, judging by the mannequin on the cover, I was gonna be underwhelmed by some lame, poppy techno crap "played" by guys who wore a lot of black nail polish, similarly hued dresses, and had a passing interest in Aleister Crowley. What I got was eight or nine minutes of some of the best art damaged punk I'd heard in years, shit that skirted a fine line between early Devo, New York's "No Wave" scene and a Scratch Acid, fueled with enough aggression and brevity of song length to satisfy any Circle Jerks fan. This disc contains most, if not all, of the songs from that EP plus a bunch more in the same vein, resulting in 24 minutes of hellacious auditory bliss. It's rare that I get truly excited about a disc anymore and this piece of processed plastic is more than deserving. Highly, highly recommended. –Jimmy Alvarado (Ace Fu)


ESL:
MIOK: 7" EP
UROK. Although not spectacular, points go to youthful enthusiasm and points are taken away for the "heard it many, many times before" factor. Oscillates between Mutant Pop's punk (think descendants of the Queers and Screeching Weasel) like early Connie Dungs (with less lead vocal nasality) or early Automatics and transfers - screamier and thrashier - to Everready territory (dirty, drunk, wonderfully sloppy pop punk). It sounds like a band figuring themselves out. "Are we poppy? Are we harder?" and force is lost in not knowing. UROK (read as "you are OK," not "you rock." Damn license plate lettering.) –Todd Taylor (GC)


ENDLESS:
With Everything Against Us: CD
Tough guy hardcore. It's really telling that they cover a Twisted Sister song, seeing as they sound about as dangerous as that long gone cartoon of a band ever did. Might I suggest a Quiet Riot cover for your next release? How about Great White, Dokken or Def Leppard? Especially funny is the song lyric "I can't sell out 'cause I'm down for life" and under the "special thanx" section of the booklet are logos for five music instrument corporations. Hard-fucking-core indeed. –Jimmy Alvarado (Da Core)


EAST BAY CHASERS, THE:
Lock and Load b/w Blood Money: 7"
Suppose someone loaded a few of Mike Ness' syringes with estrogen and he started turning into Perry Farrell. That's who sings for the EBCs, and they play rock music, the kind where they had to put "punk rock and roll" on the cover so you'd know. They also want you to know East Bay Ray (from the Dead Kennedys!) produced it. The cover is nice but how many more cartoons of cars with giant shifters driven by monsters do we need? –Cuss Baxter (Industrial Strength)


DONOVAN:
Tiny Crustacean Light Show: CD
This is trippy, spacey, and effervescently eclectic acid-drenched audial dementia at its most tantalizing, titillating, and orgasmically intoxicating... it's a mind-altering, intricately swirlin' wahwah-laden melange of sparkle-shine psychedelia ala Hawkwind, Quicksilver Messenger Service, Bubble Puppy, a bit of 13th Floor Elevators, Electric Prunes, "Are You Experienced?"/"Axis: Bold As Love"-era Jimi Hendrix, and early Syd Barrett-fronted Pink Floyd. After numerous awe-inspiring hours of aurally ingesting the floating, fluttering, fucked-up musical magic on this here pulsatin' platter of celestial sonic atmospherics, I dreamily feel as if I've been serendipitously dipped into a multi-colored sugar-swirl vat of tropical-tangy rainbow-dyed kool-aid... and now I just wanna get buck-ass naked and freely frolic in an overflowing field of brightly glowing flowers... wheeeee, and far-fuckin'-out, man! Even though Donovan's Brain inspired me to kick off my Converse, slip into a comfy pair of beaded moccasins, light the ol' lava lamp, and fire-up a floral array of incense sticks, I assuredly ain't no hash-smokin' tofu-munchin' longhaired hippie freak... it's just that the majestic musical ornateness contained herein is so damn inspirationally divine, I momentarily lost myself in a thick billowy haze of childlike fruity-pebble nostalgia. Nothin' wrong with that, is there?! –Guest Contributor (Get Hip)


DISCORDANCE AXIS / CORRUPTED / 324:
Three Way Split: CD
I'm am so grateful that Tadoshi from HG Fact is doing what he is doing. I am also glad that he is supporting this here zine. This latest release is up there with the many great releases this label has put out. Great packaging and high quality production (I'm getting too old for the xerox covers that looks like my baby niece would have drawn). Discordance Axis start off with their trademark guitar and drums barrage of manic rage that comes and goes so quickly that it feels like you were mugged in 20 seconds. They follow with an instrumental track that is almost ambient with mellow tones to lightly stimulate your senses. The infamous Corrupted from Japan follow next and play a little shorter than they must be accustomed to. They also offer two tracks of their pure sludge sung in Spanish. You should get their full length. It's so painful and hard to listen to. It's two tracks on two CDs. I hear that they are the winners of the unofficial longest song. Topping off this release with three songs is 324. If you never heard of them before, I, and many, believe that they are very similar to the '80s grindcore band Terrorizer. Pummeling and energized grind thrash that is not easy on the ears but full of energy that makes you want you to crash your car while in a state of rage. –Donofthedead (HG Fact)


DIRTBOMBS, THE:
Ultraglide in Black: CD
Thick modern soul via Detroit, when the mood you're in is silky, fithy, and swingin'. The lineage: Curtis Mayfield, Barry White, and Marvin Gaye - all of whom they cover. It's got the right swagger, the right heart, the right licks, the right licking, the right harmonies, and the honey in the right places. All with grit. ("Underdog" could fit perfectly in the original "Shaft.") The band's centered around Mick Collins (ex-Gories, ex-Blacktop, ex- King Sound Quartet, currently also in The Screws), and the sound's knob polished into perfection by Jim Diamond. I say buy this for fuckin', especially if your lady or man don't dig the punk when you're gettin' the sweat on. –Todd Taylor (In the Red)


DIRT BIKE ANNIE:
Sweatin: CD
Sweatin' to the Oldies" has all the factors I like in a live album. I like the band. I like their happy, poppy songs. The male/female vocals go together well. The energy level in this album is way up, and though the songs seem faster than on their records, all the songs on this album are tight. And the band is definitely having a good time. It's fun to listen to them get winded at the end of the album. It's fun that, despite how winded they are, they still want to play two more goofy songs. So I like all of those things. The between song banter bugs me, especially when it launches into a "Happy Happy Birthday" song, but, to be honest, the between song banter on all live albums bugs me after a few listens. I wish that all live albums would tack the complete album minus the banter on the end of the CD as a hidden track or something. But I don't know why I'm bitching. "Sweatin' to the Oldies" only costs four bucks and it's thirteen songs and it solves a big problem in my life (my girlfriend stole my copy of DBA's first album "Hit the Rock." I can't ask for it back without completely destroying my tough guy punk rock cred, but I really want to hear it). –Sean Carswell (Mutant Pop)


DIRT BIKE ANNIE:
Superscope: 7"
I hate it when people try to define punk rock because whatever definition they come up with will leave Dirt Bike Annie out. And I like Dirt Bike Annie. And I like to think that I only like punk rock. So I'm gonna make up a new term for them. They play poppy-as-hell-but-Sean-still-likes-it punk. I know the term's not catchy and won't stick, but the songs on this seven inch are catchy as hell and get stuck in my head and make me sing happy, poppy songs. And yes, when no one's around, I try to hit the high notes that Jeannie sings. I don't care. This seven inch has four DBA songs that I've never heard. They rock in a happy way. I'm still a fan. –Sean Carswell (Break-Up!)


DIOS HASTIO/THE FUTURES:
Split: 7" EP
Dios: Hyped-up Peruvian hardcore that has just the right elements to keep things interesting, yet not so much that you end up feeling bludgeoned into numbness. Real good stuff. Futures: Sweet Jesus, I'm glad I listened to the other side first, 'cause this side is mind-blowing. Take the force of Assfort, mix in a little of Bulimia Banquet's quirkiness (hey, it was the only reference I could think of that fit!), add some razors and broken glass for texture and voila! Some primo, grade-A chaos to make your heart warm and your ears bleed. –Jimmy Alvarado (Answer)


DIOS HASTIO/THE FUTURES:
Split: 7" EP
Dios Hastio: Discharge meets Mob47 in Lima, Peru. Absolutely superb thrash. The Futures: Melt Banana meets Gauze meets the Boredoms in classic insane Japanese fashion. Number One spazz attack. Four songs each, one solid fuckin' round thing. –Cuss Baxter (Answer)


DIOS HASTIO/THE FUTURES:
Split: 7"
I don't recall if I own anything from Peru. If they sound anything like Dios Hastio, I need to find more from the region and that band. These guys rage in a hardcore, fastcore or power violence way. Four tracks of mayhem that shriek with uninterrupted energy. The band's name, The Futures, sound like some new wave band. These guys from Japan sound like a mix of early Secret Hate meets Minutemen to me. The choppiness of the music while being quirky brings me back to the early '80s when you got a variety of music that flew under one banner. I almost passed on this release and missed out. Good old Retodd told me to pick this out of the bin. You can't always judge a record by its packaging. –Donofthedead (Answer)


DICKIES, THE:
All this and Puppet Stew: CD
The long-awaited Dickies record on Fat Wreck Chords! I heard this was recorded and done almost two years ago and is just coming out. Another story I heard was Stan Lee never heard of Fat when Fat Mike approached him about putting this out. He and the band must be happy now, since I think XXX Records and A&M didn't do them justice and Fat will take care of them well. I am so happy that this is in my hands. I can't believe they have been around so long. I can't remember the exact year these guys started but I think it was around 1976 - 1978. They have been pumping out the music for all these years. You get 13 tracks of pop magic which includes the tracks on the "My Pop The Cop" 7" that was put out, I think, about three years ago. The Fat production is here with their brand of melodic bliss and their trademark silly lyrics. I'm so ecstatic that this is playing on my CD player. I have talked to others who have gotten it and we are in agreement that this is another great release. Imitators beware, the Dickies are alive and kicking. From start to finish this is one of the best releases of the year. It's so much fun that my hair is standing on end and a permanent smile grows while I have this cranking on my stereo. Can't wait to see them again at the Holidays in the Sun festival in San Francisco in August. –Donofthedead (Fat)


DICKIES, THE:
All this and Puppet Stew: CD
Waiting for a new Dickies album is like going to a doctor's office. You sit and wait and wait and wait and, just when you've just about given up hope, here it comes bounding down the hall. Your attention now full upon what's before you, fear starts taking center stage. What if it's going to hurt in ways that you never thought possible? It has been a long time since you've been in this room, and you no longer remember whether it was painful the last time you were here. You plop the needle (or laser) down and, lo and behold, it isn't anywhere near as bad as you feared. You remember this feeling well. Everything's gonna be just fine. Doctors Leonard and Stan have given you just the right amount of what you need to get you through the next ten years before you find yourself in this place again. The Dickies still rule. –Jimmy Alvarado (Fat)


DEVIL IS ELECTRIC, THE:
Self-titled: 7" EP
Ever wonder what Fifteen sounded like with a lady at the helm, but didn't suck quite as bad as Fifteen? TDIE's "Important Public Announcement" preach punk where the music is secondary to the message, hamstringing the notes being played to the point of merely being a frame. Not so butt wiggling. Too harsh? Nah. Discount had fantastic music, a golden social conscious, and rocked like the dickens. You gotta bring the rock. Otherwise, write a pamphlet. –Todd Taylor (Plan-It-X)


DEVIATES:
Time is the Distance: CD
Can you say, "Offspring"? I guess the money's starting to get a little thin over at the former and future home of Bad Religion. –Jimmy Alvarado (Epitaph)


DEROZER:
Mondo Perfetto: CD
Derozer are an upbeat Italian equivalent of the best of Bad Religion brashly blastin' a mindblowin' montage of mayhemic melodicore magnificence! The impressively flashy musicianship is a blistering blitzkrieg barrage of steady, precise, and relentlessly furious instrumental mastery: fiery staccato eruptions of frenzied guitar wizardry, thunderous godlike bass rumblings threateningly looming larger than the big ol' bouncy balls of King Kong on a rapturous pussy-seekin' rampage, thick brick-bashin' chunks of deliriously hard-driven drumming madness, and smooth but somewhat gravelly spit-spewin' vocals dramatically drenched in emotion, energy, and everlasting elation. And I'll be delightedly damned, even though the lyrics are sung entirely in Italian, the resiliently sapid songs contained herein are universally appealing and aurally all-encompassing... indeed, they're immensely engaging enough to traverse the seven seas, cross the seven continents, and cozily find a home deep within your inner ears. After just one life-altering listen to this distinctly dynamic disc, I euphorically felt compelled to rocket to the moon and back again while loudly lauding the soul-stirring sounds of Derozer... it's that damn good, folks! –Guest Contributor (KOB, Mad Butcher)


DEADLY SNAKES, THE:
I: CD
These Deadly Snakes are downtrodden yet optimistic. "By the time I'm gone, you'll be twice as dead as me..." Sheesh, that's a statement every burnt ex-lover can look forward to. "I'm Not Your Solider," their second full length, displays their broad range of influences from countrified, electrified, rhythmic blues to Kinks-influenced sways, back down to drunken honky tonk angst rock. This album separates these gentlemen from the boys still floundering in the cesspool of tired, ordinary garage rock'n'roll. The Snakes wear their dripping, bleeding hearts proudly on their sleeves and transform a shitty day - aw heck, their shitty lives - into a 14 track CD of pure emotional rescue in the form of a three-and-a-half minute song. Greg Cartwright is at the helm producing as well as balladeering these diamond-hard cuts much along the lines of what he had begun with the Compulsive Gamblers and his presence resonates throughout. If you've been around the block more than once and still love to hate it, this album is for you. –Namella J. Kim (In The Red)


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