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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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You Can’t Hurt Me: 7” EP
NOTE: All my 7” reviews were done with the lights out this issue. WHAT I THOUGHT IN THE DARK: Song #1: I kinda like this, there’s a part that reminds me a little of some of the bridge in “Erotic Neurotic” by the Saints. Song #2: I kinda like this, it’s got a cool lead. Song #3: I kinda like this, probably because i liked the first two songs. Bonus Track: HEY! “THROW IT AWAY” by the GERMS!!! I LOVE this song! This record is cool! WHAT I THOUGHT WHEN THE LIGHTS CAME ON: That was about it, since the record didn’t come with a picture sleeve. BEST SONG: “Throw It Away” BEST SONG TITLE: “Throw It Away” FANTASTIC AMAZING TRIVIA FACT: I like everything the Germs ever recorded in a studio, EXCEPT for the GI album, which is kinda weird, if you think about it. –Rev. Norb (Jonny Cat)

II: 7"
Headed by Alicja of the Lost Sounds (who also runs the excellent Contaminated Records), this all-female trio plays what I suspect most all-lady bands want to when the world’s sucking something awful. The song titles say it all – there’s no love loss: “Contaminated (By Your D*!#@K)” and “Girls Like U (Deserve 2 Die).” But, shit if it ain’t catchy in a Pixies, early Breeders way where there’s creepy, almost intergalactic, fungus seeping in on the edges, recorded excellently where it’s all raw and chafed as an untreated infection, and none of it sounds like mud. As it should be. –Todd Taylor (Big Neck)

Watching Them Burn: CD
First off, I think this might have been recorded and released a little prematurely. I can’t get over hearing the vocalist fall in and out of time, straining to squeeze in the lyrics. The vocal delivery is similar to Tim Armstrong of Rancid’s style. The music has sort of an early period Good Riddance sound. If the music was played tighter, the songs would come off stronger. I know metronomes suck, but I think it’s needed here. The intent is there but this release is hard for me to listen to. –Donofthedead (Ninety-Six)

Ignorant Assholes: 7” EP
By-the-numbers, vaguely metallic hardcore with a pissed off singer who seems to have some issues with women. I find it interesting that they claim in one song to see right through “racist nazi pig[s],” and then parenthetically title a song “Whoriental” four songs later. I guess if it’s in her “nature to be such a whore,” a little hypocrisy never hurt, eh? Methinks the title they chose is a tad more fitting than they intended. –Jimmy Alvarado (Rat Town)

Sealed with a Kiss: CD
Even though the whole pop-punk, Ramones/Screeching Weasel thing has been done to death, the Eyeliners still manage to make it sound fresh. Part of that has to do with the vocals. Laura can sing so fast and so clearly that I can’t decide if I want to sing along or just listen. The songs are full of hooks that dig into my brain and reel me in. And the music is just plain fun. But there’s something more. I liked the last Eyeliners album a lot, but something seemed to be missing. The songs seemed too simple. Too poppy. Then, I saw the Eyeliners as Al’s Bar a while ago, and the same songs were no longer too simple or too poppy. They rocked. That’s when I noticed that, on the last Eyeliners album, for some reason, the vocal’s were cranked way up in the mix and the guitar was hidden. Which is a shame, because Gel is a rocking guitarist. She's all over the place when she plays live. Beyond that, though, she adds a powerful element to the song that was  ignored in the last album. Well, that’s not the case with Sealed with a Kiss. The energy and power of the Eyeliners live set is cranked up, and the band is better represented. The songs are still poppy and catchy, full of hooks and fun as hell. They just rock more on this album.
–Sean Carswell (Panic Button)

Furniture + 2: CDEP
At first, I didn’t understand why Fugazi released an EP and a full-length album at the same time. Especially since there are no overlapping songs. When I listened to the full-length and the EP in order, it made perfect sense to me. While The Argument breaks off into new musical directions, Furniture + 2 is more reminiscent of Fugazi’s earliest stuff. All three songs have the driving rhythm section, the perfect melodies, and the moments when everything explodes that made 13 Songs such a great album. Listening to these new songs more than a decade after the first Fugazi album, it’s easy for me to see how I was so blown away by Fugazi in the first place. And I try to avoid talking about the lyrics because, well, if I go around quoting Fugazi lyrics, Jimmy Alvarado is gonna make fun of me. But when Ian asks “how many times have you felt like a bookcase… full of thoughts already written?” I actually do feel a connection. The tough thing about  Fugazi is that so many bands have done such a bad job of ripping them off that it’s almost given Fugazi themselves a bad name. Then, this EP comes along and makes them impossible to discount. -Sean
–Sean Carswell (Dischord)

Self-titled:: CD
Are you kidding me? I’m gonna review a country album in Razorcake? That’s crazy. But I have a confession to make. I was raised on country music. Some really horrible stuff like Glen Campbell, but also great stuff like Waylon Jennings, Johnny Cash, and David Allen Coe. When my parents’ record player broke, I stole their Hank Williams Sr. album. It made me realize that the music that’s called country these days is just pop with a southern accent, and that country music, as a genre, can be pretty good. And Slim Cessna’s Auto Club has their shit down tight. They learned a lot from early country pioneers like Hank Sr. and Jimmy Rodgers, and they put together songs that make me daydream about hopping a freight train or driving a truck. The songs are slow, sure, but they’re so well layered with accordion and banjo and everything else that the songs are never boring. And there’s something really cool about a guy who can play a pedal steel guitar  well. Anyone who’s been listening to punk rock will admit that you can’t listen to punk rock all the time or you’ll get burned out. Every now and then, you need something to cleanse your musical palette. Slim Cessna’s Auto Club is perfect for that.
–Sean Carswell (Alternative Tentacles)

The Argument:: CD
I got the feeling with Fugazi’s last two full length studio albums (Red Medicine and End Hits) that they were trying to push songs into new directions, but they weren’t quite getting where they wanted to go with the songs. While they were both good albums, Red Medicine brought in jazz undertones that lost me and End Hits had arty moments that lulled me. Now, with The Argument, Fugazi has finally gotten where they seem to have been trying to go all along. Unlike jazz undertones that seek to destroy the structure of a song, The Argument builds a new structure to songs. They create and diffuse tension and travel all over the place, but always make it back to the underlying rhythm. And the power and anger balance out the art. All of the elements that make Fugazi a great band are in this album, but they finally seem to have come to such a firm understanding of who they are as a band that they can go beyond that. The Argument is an amazing album. Some of  the songs stand out on their own. “Epic Problem” is my favorite on the album and parts of it bring me back to Margin Walker. “Full Disclosure” blows me away in new ways. But what’s most impressive about The Argument is how it works as a whole. How all of the songs are completely different from one another, yet ebb and flow with perfect fluidity. It’s a tough album to review because it’s so different from anything else I’ve listened to that I can’t rely on buzz words, but, as a reviewer, that’s exactly what I love. -Sean
–Sean Carswell (Dischord)

Creating Forces that Don't Exist: CD
This album has been on high rotation around Razorcake HQ. It finds its way into the CD player every day. We’ve burned copies for a bunch of people. When someone asks me what really cool new band I’ve heard lately, I say, “The Tim Version.” Musically, they’re somewhere between Panthro UK United 13 and Tiltwheel, which is a great place to be, musically. The songs can be at once a wall of sound and a catchy hook. They know when to rock and when to let the songs breath. And, like Panthro and Tiltwheel, The Tim Version can play a song that lasts over three minutes and I don’t mind at all. That’s a huge compliment coming from me. I can relate to their songs, too, whether it’s an abstract rant on our consume and die culture or just a simple statement in a song title, like “Hardcore Drugs Made Me a Better Person.” The Tim Version toured this summer with Tiltwheel and the Super Chinchilla Rescue Mission. I’m bummed out that they didn’t  come anywhere near LA, so I didn’t get to see them. In a perfect world, that tour would be recognized as a great moment in musical history. In an imperfect world, I still have albums by Tiltwheel, Super Chinchilla Rescue Mission, and The Tim Version. And that’s pretty good, too. -Sean

–Sean Carswell (Attention Deficit Disorder)

Conquer Human Life: 7”
If you ever wondered what DRI would sound like with Glen Danzig crooning and providing the gloomy mental imagery, wonder no more. Evil Army embrace crossover metal, fronted by a dude who can sing punk-style opera and threatens to “Overrule this place with fire.” Better than Damnation and the current-day Misfits, that’s for sure, but not as good as Orange County’s Spooky or Japan’s Balzac if this is your bag of bloody halloween treats. –Todd Taylor (Contaminated)

Sweet Fuck All: CD
I think the singer is trying to be the modern Bruce Springsteen, even though the Boss is still putting out records. He sings in the same whispery gravel, and he’s got the science down pat. Too bad it just sounds like ass. The promo sheet said that they sound like Social Distortion, Leatherface, Replacements, and Hot Water Music. Seeing how I like three of those bands, and don’t mind the other, I feel offended for those bands. Maybe I should move to Portland, OR. –Megan Pants (Newest Industry)

Wet Slit and a Bottle of Whiskey: CD
Liquored up and with hustling, bustling ding dongs, Eat My Fuk lunge headlong into total fukkin’ GG worship, musically cloning (but with better production than) the mid-’80s “You’ll Never Tame Me,” but vocally closer to the GG of later years: hoarse and gruff. Problem is, Geege was so charming because he tried with all his might to outdo his heroes, and Eat My Fuk just tries to be GG. Very punkrockin’ and enjoyable if you can put up with all the hole-fingering, juice-gashing and face-loading of wads. –Cuss Baxter (Bestial Onslaught)

Split: 7"
Diskords: The first song, “Touch of Evil,” reminds me of “Tatum O’Tot”-era Red Cross. Their other track is a pretty pedestrian cover of “Summertime Blues.” Low Rollers: Lo-fi rock, one praising the ‘65 Thunderbird, and the other a cover of Elvis’ “Trouble.” –Jimmy Alvarado (Jonny Cat)

Dyslexic Experts in Reverse Psychology: CD
Holy shit, what a racket…. Take the synth chaos of a band like Le Shok, channel it through yer average grind band, dump it in a blender and hit “puree.” Don’t think I’m gonna be able to sleep too comfortably tonight. –Jimmy Alvarado (Alone)

Victim b/w Rayman: 7"
The A-side is the keeper and has the feel of the Gears, early Cramps, and a sprinkle of X (with the oscillating male/female vocals). Nervous, sketchy vocals, hollow-sounding guitars, jangling bass and solid songwriting that’s got a nice twang and groove. For the B-side, I don’t think it’d be a bad thing to cut some of the longer, slower fat that keeps the song together. It drags a little. However, that’s partially made up by the beautiful packaging: silk-screened fluorescent and silver inks, and a picture that looks like an alternate to early Briefs promo shots, but the band’s wrapped in explosives, not hit with bats and chains. –Todd Taylor (Rhinestone/Detonations)

windwardtidesandwaywardsails: CD
I’ve been dreading writing this review since the disc showed up in the mail. I had to special order this album when it came out to make sure I got a copy, expecting a return to the vintage form that DBL displayed in the first half of the 1990s, hoping that the four years which had passed since Fly the Flag would result in something which surpassed the greatness of Punkrockacademyfightsong, All Scratched Up and Last of the Sharpshooters, one of the best runs of great albums that any punk band ever had. To fully understand this review, you must also understand the following: I am a huge Down By Law fan. I played their first album in my first stint in college radio. Blue helped pull me through recovery after a major illness and surgery that laid me out for the best part of a year. I made out with my then-girlfriend while they played their cover of The Outlets “Best Friends” at The Palladium while touring to support Punkrockacademyfightsong. Hell, I took the name for my Web site from that album. All Scratched Up got me through one of the worst road trips and relationships of my life. Last of the Sharpshooters came along after my mom’s suicide and helped bandage some of those wounds as I recklessly tore San Diego apart on my mountain bike. If I were ever to get inked with any band-related tattoos, DBL would be the first. And I already have it designed. That’s the kind of shit you need to know to understand this review. And with all that said, this album disappoints me. I don’t suppose that I should be surprised, particularly given the ridiculously high expectations I had for it. I’ll start off as objectively as I can – superficially, this album is a return to musical form for DBL. The songs are short, fast and loud – it’s straight-forward melodic punk in the 1993-1994-era SoCal vein. The songs seem political but, again in the vein of vintage DBL, are primarily expressed in personal terms – simply put, people possess politics which are shaped and framed by their experience and DBL has always acknowledged that. And with all that said, there just seems to be something missing from this record. While Fly the Flag was, by and large, a forgettable album, this disc is infuriating precisely because it’s better than the previous release, because it echoes DBL’s great records of the past yet somehow still comes up lyrically short-handed with lines like “Now he don’t know but he’s been told / That no government ever had soul” and “No flag can help the Lone Ranger tonight.” And perhaps it’s the case that the tenderness and affection that DBL once expressed when writing about struggling with growing up (like “All American”) now finds itself framed in lines which seem trite to me (“Teenage nights / Lead to grownup days / That’s alright / ‘Cause you learn how to play”). However – and this is the hardest part of this review for me to write – if I’m going to be completely honest with myself, I suspect that this album is exactly the sort of thing that flipped my lid in all the right ways back in 1994 and 1995 and that if I had heard this album ten years ago, I probably would have gone nuts over it… but that was ten years ago. It’s not now. Some years ago, I wrote a bio of sorts for Down By Law and in it, I noted that punk rock was never supposed to be about the past; it’s not supposed to be about who you were, it’s about who you are and, more importantly, who you’re going to be because the best punk has always been about change, not nostalgia… or, to crib a line from DBL, “I’m looking forward to not looking back.” Over the past decade – hell, even over the past year – my tastes have changed radically and while I can listen to this album and hear something that would have had me down front at a show, howling along with every word when I was in my twenties, it doesn’t say much to me about who I am now, what I’ve seen and where I’ve been. In a lot of ways, that was always what I loved most about Down By Law’s music. The songs reflected where I was and who I felt I was; to crib from the new Give Up The Ghost record, I loved the songs because I lived the songs. In them I found a mirror that reflected me. And at this moment, the hardest part of being both a fan of this band and friends with people in it is that while these songs may speak to someone at the same place I was, all they say to me is that I’ve changed and that, while we can still be friendly and respect each other, our less-traveled roads have parted ways. –Puckett (Union)

Dunebuggy Gang: 7”
NOTE: All my 7” reviews were done with the lights out this issue. WHAT I THOUGHT IN THE DARK: Song #1: Neat instrumental, considering it reminds me of both Agent Orange and Radio Birdman, two of the most overrated bands ever, plus i gotta crank the stereo so high to wring any volume out of this 45 i’d probably blow a fucking fuse if i had the lights on right now. Song #2: “Dunebuggy Gang?” Whoever wrote this piece of shit oughtta be dragged thru a gravel pit behind one, unless they honestly woke up one day in such a state of dementia they truly believed they were the male coming of Nikki Corvette, in which case they should merely be locked up and sedated heavily. Song #3: This song, apparently entitled “California Nightmare,” is, without question, the GAYEST FUCKING WASTE OF SONIC WAVES i have EVER heard IN MY LIFE. This song is so fucking gay the only way i’m going to be able to sleep at night is to pretend it was all just a clever and ironic parody. This is the kind of shit your roommates wake you up with at like 3 AM on Thursday morning. In a word: “One Way Ticket to Manitowoc.” Wait, that’s more than one word. WHAT I THOUGHT WHEN THE LIGHTS CAME ON: Wait, the Demonics? Is this the same Demonics who didn’t used to suck, or is this a whole new Demonics who have been invented with sucking as job #1? BEST SONG: This record is a piece of shit. BEST SONG TITLE: This record is a piece of shit. FANTASTIC AMAZING TRIVIA FACT: This record is a piece of shit. –Rev. Norb (Gearhead)

They Found My Naked Corpse Face Down in the Snow: 7” EP
Angry, noisy hardcore with oodles of violent lyrical imagery and mile-long song titles a la Charles Bronson. –Jimmy Alvarado (Grey Sky)

: Cassette tape
Well, hell, I got pissed off when I put out a tape of my band and certain fanzines had a no-tape policy. I don’t know if Razorcake has a policy, but this is the first tape I’ve gotten from Todd, and I think it’s exactly the reason certain zines have a no-tape policy: the recording level is so low it’s barely audible at top volume on two different tape players, the lyric sheet isn’t even set up to go in a cassette case (okay, I guess, since it didn’t come in one – it came in a rubber band)(wait, I think it came in a safety pin and I put the rubber band on later), and there’s no land or email address, just a phone number. “ECFU” apparently stands for “Electric City Fuck You” but “you” starts with a “y.” Songs are about “I hate my dad,” “I hate work,” “I hate my school,” “I hate New York City,” “I like to skate” and the movie Return of the Living Dead. Call ‘em up: 518-346-7291. I think they’re from Schenectady. –Cuss Baxter ()

Raise the Sword: EP
Hard rock punk rock about magic power and wizards and swords and stuff. Not as stonery as you’d expect; more along the lines, musically, of Boston’s Hullabaloo, if anyone remembers them: gruff, goofy vocals, sloppy hard rock riffs and endearing who-gives-a-fuck silliness. The Electric Eye are from Portland, Oregon, though. –Cuss Baxter (Super Secret)

Electric Wisdom: CD

CD: Okay. First song!

Me: Songs that sound like the Tight Bro’s From Way Back When covering “Flowers” off of the first Psychedelic Furs album! (DING!)

CD: Second song!

Me: Uh... songs that sound like “Play-Doh Meathook” era Electric Love Muffin covering “Hot for Teacher?” (DING!)

CD: Third song!

Me: Songs that very briefly remind one of that Love & Rockets cover the Gaza Strippers close their set with? (DING!)

CD: Close enough. Fourth song!

Me: Pass.

CD: Fifth song!

Me: Songs you hear outside a Fireballs of Freedom show that at first you think are covers of “Milk & Cookies” by the Offbeats?

CD: I’m sorry, time is up.

Me: Okay, well, thanks for having me.

BEST SONG: “You Got It Wrong” BEST SONG TITLE: “(Fuck Off) Grim Reaper” FANTASTIC AMAZING TRIVIA FACT: The Who Sell Out is generally considered the first rock album to omit the song titles from the exterior packaging. –Rev. Norb (Dirtnap)

Self-titled: CD
I don’t get this whole screamo phenomenon any more than the emo phenomenon. I mean, some asshole yelling in my ear does not make the music any more creative or less pretentious, and basically you get the same suckass emo crap with the added bonus of a jerkoff bucking for throat polyps. They can keep it. –Jimmy Alvarado (Dead Tank)

Guernica: CD
In 1937, at the height of the Spanish Civil War, Nazi forces bombed Guernica, a small Spanish town. Ostensibly, the Nazis were bombing Guernica to protect the fascist dictator, Franco, who was attempting to forcibly take control of Spain. On the day when the Nazis bombed the town, though, there were no soldiers in the town and no real military targets for them to go after. They essentially bombed a marketplace, killing more than a thousand people, mostly women and children. The whole point of the attack was to demoralize Franco’s opposition. It worked. People in Spain were very bummed out. The bombing changed the face of modern warfare. Since 1937, every military in the world that has dropped bombs has intentionally dropped bombs on civilian targets in order to demoralize their enemies. One of Pablo Picasso’s most famous paintings, Guernica, is a memorial to this 1937 bombing. The painting Guernica used to hang in the press room of the United Nations building as a reminder of the UN mission to stop this type of tragedy. In March of 2003, Colin Powell insisted on covering the painting up before holding a press conference at the UN, during which he announced that the US would attack Iraq. The album, Guernica, is the type of smart and angry hardcore that you would expect from a band who would name an album after these events. From the first song, “No War but the Class War” to the last song, “Antifascists,” Czolgosz wear their politics on their sleeves and rip through some pretty powerful songs in the style of Toxic Narcotic and the Pinkerton Thugs. –Sean Koepenick (Rodent Popsicle)

Dan Sartain Vs. the Serpients: CD
I’m not sure what this is. The liner notes say that this Dan Sartain guy recorded this himself and played most of the instruments, except when he was helped out by some semi-famous musicians like Gar Wood and Mario Rubalcada (Rocket From the Crypt). My theory is that it’s a huge inside joke made by the incestuous San Diego/Swami Records scene, like Beehive & the Barracudas. The music is basically stripped-down roots rock, and it’s pretty good. I hear some echoes of RFTC and Hot Snakes, and maybe a bit of the Starvations here and there. –Not Josh –Guest Contributor (Swami)

Dan Sartain Vs. the Serpients: CD
I actually saw Dan Sartain play the same day that this came in. He opened for his label-mates the Husbands. He got me up to the front of the club, but couldn’t make me dance. It seemed to teeter on the edge of rocking on out, but then got reined back in. A whole room of people standing in appreciation, but wanting just a little more. That’s how I feel about the album, too. The best track is easily the first, “Tryin’ to Say,” which is a hard one to follow up. It’s raw and the emotion seems genuine. From there we go into “PCB 98” which is a huge step down, but then the bar is raised again on “Walk Among the Cobras Part 3.” The rest of the album continues on this pattern. Not a bad album. There are definitely some great tracks on there. Best for late night drinking music when you don’t want to piss off the neighbors too much. –Megan Pants (Swami)

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