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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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Self-titled: CD
At the four second mark of the first tune, I looked at the back of this to see if it was a Zodiac Killer release and, sure enough, it was. As has come to be expected from that label, this is loud, raucous rock/punk stuff sure to tickle the fancy of anyone who thinks bands like Speeddealer, Zeke, or the like are nifty. –Jimmy Alvarado (zodiackillerrecords.com)

Secret South: CD
These guys are Denver darlings in the music scene out there and for good reason. If you haven’t heard them, it’s easy to throw out labels such as goth country, but it’s truly a sound you have to experience. This album starts out fast and rockin’ with “Clogger.” But then things begin to slow down as 16 Horsepower taps into their more visceral and atmospheric musical prowess. It’s not uncommon for various string instruments from banjo to violin to tastefully grace a tune. Even the electric guitars sound organic and natural in the fog of 16 Horsepower’s sound. This is an album worth getting only if you’re willing to invest the time to sit down and appreciate the art that it is. This is not background music. –N.L. Dewart (Alternative Tentacles)

Musica de Tormento: CD
When Mitch Clem told me to check out 100 Damned Guns over a year ago, I filed the name away with the dozens of bands people tell me I’m totally going to love. I figured they’d fall somewhere in the broad genre of alt.country, maybe cowpunk with some mandolin or Dobro thrown on top. When I got a copy of Musica de Tormento, their first full-length album, I was completed blown away: solid, well-written country songs—real country, you understand, neither preservationist old-timey tunes nor the slick pop country of today’s radio, and just barely falling under the “alt” tag in its honest simplicity. Sure, the fact that all the members were previously in punk, garage, or metal bands does come through occasionally. The track “Red RiverValley” probably gets the punkiest, picking up the speed with a fast, solid drumbeat, but it’s immediately followed by “Hard Row to Hoe,” which I have every intention of playing for my dad (a confessed CMT addict). In essence, 100 Damned Guns is country and western music—and they’ve been named C&W Band of the Year in their hometown of Fort Worth, Texas, two years running. They’ve played bluegrass festivals, shared bills with Wayne “The Train” Hancock, and recorded with The Marked Men. The only way out is up. To put it succinctly: I love this album. –Sarah Shay (TXMF)

10000 Light Years: CD
Eight earhole-eating extravaganzas from KK and his cacophonous cohorts. Delightfully disjointed drum rhythms ride roughshod 'round grave and gutwrenching guitar goodness and vocal violence. This majestic mayhem meanders maliciously through a miasma of metal monkeyshines, mister. –Cuss Baxter (Neurot Recordings)

White Blood Cells: CD
I haven't had a favorite band in a long time, but gosh darnit, this band takes the cake (razorcake that is...). Ever since I watched Meg White pounding on those drums, my heartbeats became just as strong, and I've never seen a guitar come alive the way it does while Jack White strums his strong fingers across every inch of its neck. Not to mention all the above-mentioned is achieved while wearing very constricting (and revealing) clothing. If you are familiar with the White Stripes, then you will come to recognize this album as the perfect blend of their first self-titled album (This album is heavy guitar fuzz playing some rockin' blues) and their second, "De Stijl" (A softer record containing more ballads and acoustic guitar). My favorite song is "Fell in Love with a Girl." Its catchy chorus and steady rhythm make me wanna get up and dance. This extremely talented (and sexy) duo deserve all the attention they have attracted. –Guest Contributor (Sympathy)

Brand New Day: CD
Social Distortion, anyone? Somedays, I listen to this and I can't stand it. Other days, I really like this. More of a modern rock sound with a country blues vibe laced in the background. Polished and professional. Mixed emotions permeate my mind. It's one of those like it or not releases depending on what mood you are in. I did really like their previous CD that I got, titled "Broke Down," and the "Lame" 7". Demote me to a person who can not make up his mind. –Donofthedead (BYO)

Must Die: CD
I'm not the only one around Razorcake HQ who's a fan of the Weird Lovemakers. Several contributors sing the praises of these guys. I'm just the only one who reviews the WLM's albums because I go to the post office everyday and I know what comes in before anyone else does and I'm selfish when it comes to the Weird Lovemakers. So I snatched up "Must Die" and have been listening to it incessantly. It's like being a little kid and watching the first episode of the "A-Team" - full of explosions and impossible stunts and welding torches and big, powerful, destructive machines made from the most unlikely crap you can find in the garage. It's not like an "A-Team" episode, though, in the sense that it's completely devoid of bad acting, and the writing on "Must Die" is actually pretty good. This album was originally scheduled to be released in June. Now it's been pushed back to August. I'd suggest sending advance orders in to Empty just to pressure them to release this four-headed punk rock monster as soon as possible. –Sean Carswell (Empty)

Self-titled: CD
Ahhh... my favorite nerd is back and his glasses are thicker than ever. With the exception of Matt Sharp, the band that gave me a good excuse to drink juice boxes and wear v-neck sweaters has returned. More fuzz, more frolic, and an anthem for teenage pot heads. It is so very hard for me to completely express in words how much I love this band. Great song writing, perfect levels, all the right sounds touching all of my right places. Nerdy boys rock. –Guest Contributor (Geffen)

Split: 7"
Voids: Straight-ahead, blister-tipped, socially conscious dueling female and male vocal hardcore that's catchy as all hell. Adri's voice has the qualities of Crass's Eve Libertine; a trilling, sweet-edged razor that can both wail and cut. Chris provides the grumble shout counterpoint. The music itself's got the old/new feel where it retains the spilling urgency of early '80s hardcore (like Negative Approach) yet has the layers of fast, almost blurring, complexity of thrash experts DS-13 and the "man, I wanna listen to that again"-ness of Kid Dynamite. Fast and crunchy and good. Narcolepic Youth: Like an unwashed, dented Nova with greasy windows, nothing makes them particularly memorable - lyrically, vocally, or musically. Middle fast. Standard beats and riffs. Could have easily been made fifteen years ago. –Todd Taylor (Straight Jacket)

One-Sided EP 1999: 7"EP
If I'm not mistaken, this was made by one man, a guitar and a drum machine. You get four hardcore songs aren't too bad musically, but the lyrics sure weren't nothing to write home about. –Jimmy Alvarado (Knot)

How Do You Sleep?: CD
This CD might have been out for a while, but I'll be damned if I'm going to let it slip by me without reviewing it. The first track, appropriately titled "How Do You Sleep," opens up with an intro that builds and builds. Holding you in suspense and wondering whether or not the band will still produce with the same energy, the intro reaches its climax and explodes with full force, sending glass shards and nail tips spraying from your speakers, tearing apart everything within a twenty-yard radius. Not for a moment do the Varukers let up. Twelve angry, drunken, pissed off, punk rock songs that seem to get better one after the next. Not since "Bloodsuckers" have I heard it this good. –Keith Rosson (Go Kart)

Your Machinery Is Too Much for Me: 7"
Geykido Comet put out some pretty interesting comps. This one has four bands on it. The first one, Intro5pect, play political, ska-tinged hardcore. It's better than you'd think. The second band is No Erasers Allowed. They have play noisy a instrumental song. It's better than you'd think. The third is Kill the Scientist. They're even noisier, somewhat digital, and they do a lot of screaming. It's not better than you'd think, but I can sit through it to get to the next song. The fourth band is ESL. They play sloppy pop punk that reminds me of some of the stuff off the Adolescents blue album sometimes. I like it. Like the GC comp I reviewed in the last issue of Razorcake, this one comes with a pretty interesting piece written by Jeff from Geykido Comet, explaining his politics of punk record pressing. –Sean Carswell (Geykido Comet)

Not So Quiet on the Coldfront: CD
Label sampler with something like 23 bands (28 songs) of whom precisely four do not sound exactly like all the rest: Vindictives, Wesley Willis (good one about mullets), Marshall Artist (75% Fastbacks), and Broken (ex-Pist). The balance of the thing is smelly, emotive pop slush. –Cuss Baxter (Coldfront)

Many Miles Away: CD
Do you hate - if you are a male with a hairy anus - that you get a lot dingleberries after repetitive ass wipes if you shit more than once day? It's pretty amazing what collects down there when you rub the soap between your cheeks. Chunks and chunks of foreign matter. My tangent consists of shit and this release is shit. A bunch of shitty bands doing shitty covers of the Police. I don't get it and I rather concentrate on my butt. Another free jewel case. –Donofthedead (Solarmanite)

Les Pauls and Breaking Glass: CD
A Sin City Records sampler featuring previously released tracks by American Heartbreak, Dead Boys, Toilet Boys, Bellrays, Electric Frankenstein, Candy Snatchers, Libertine and others. As you can expect, some of it's good, some ain't too hot, and some of it just sucks. Try as I may, that's pretty much all I gotta say 'bout this. –Jimmy Alvarado (Coldfront)

Killed by Crackle: CD
A great sampler comp from Crackle that is the rawer label version of Fat/Honest Don's. Many bands to choose from if you are into more of the melodic stuff. My favorite, by far, on this is Servo. They're a female-led band that creates a sweetness and ambience when you listen. Many other bands include Skimmer, Sicko, Broccoli, Crocodile God, Soon, Chopper, Dillinger Four, Skimmer, J Church and others. I'm a firm believer of purchasing comps to get a test drive before purchasing. –Donofthedead (Crackle)

Is It...Dead?: CD
Northwest powerviolence in its varigated forms. Lots of screaming. Lots of herking and jerking rhythms, where the vocals seem tend to be slower than the music. Some, "hey, that's my scrotum in that tractor gear" vocals and esoteric topics of discourse, such as Teen Cthulhu, who release this head-scratching gem: "in this world without unicorns, we live in a world of electric light." Personal faves, Bloodhag, pay homage to Kurt Vonnegut, Jr. ("simple, perfect text, unblemished by excess"). With Botch's "Hutton's Great Heat Engine," I read along to the song, and couldn't make out a single blooming word, but they made me think of the pain I get from listening to later Melvins. Raft of Dead Monkeys win best band name. Imagine an electric knife's serrating a vocalists' throat. That's Akimbo, one of three bands with a song over four minutes long on this CD. There's a band name here that looks like a vehicle identification number. It's long. Even if I typed it, you wouldn't remember it. Naha's kraut rock, like Can - sythesizers, off-timing, and clinically fucked. Rounding out the lineup are: Homo Eradicus, Hollywood Mike Miranda, Old Rawler, and Hexadecimal. All in all, angry, angry stuff that makes me feel like punishing small cats, well, at least yell at them really loud and call them pussies and stuff. –Todd Taylor (Sub Pop, Crash Rawk, Rock'n'role Play)

Internationally Yours Vol. 1 and Vol 2: 7"EP
Two swell old-style DIY comps, the real, help-out-your-friends, fuck-the-money kind of DIY. These could as easily have come out in '83 & '84 as '99 & '00 like they did. Vol. 1 has four bands, including the Netherlands' Antidote, and the mood is sort of uptempo punk. Left me unprepared for the extra asshole Vol. 2 tore me. Seven bands here (two from the first volume, but they got better! And faster!), over 71% balls-out thrash from some of the best bands you may never have heard of (Goddamn Ditchdiggers, the Stillborns, Unfortunate Sons, Aaargh, Planet Trash, and the rest). –Cuss Baxter (Ditchdiggin)

Hangin: CD
It's what I'd imagined Your Flesh Fanzine (established, 1981, still defiantly independent) would sound like if it came as an audio collection. Of all the songs I knew prior, they're all alternate takes, which is nice. Mirroring Peter Davis' tastes that lick the musical wound from dirty rock'n'roll all the way to art damage (heavy damage, heavy art), he's got the entire spectrum representing. Proceeds go to a good cause and his name is Peter Davis. Beware: if you can't tolerate arty rock, this won't make you happy. Thurston Moore: no longer a mere youth, a man, mild mania, and an acoustic guitar. Lifter Puller: an echo remix of "Math is Money" off of the so great they had to break up in obscurity album "Fiestas: Fiascos." Turbonegro: "Good Head," indeed. Hole in the ground. Erection. Long live the denim devils. The devils are dead. New Bomb Turks: unplugged, piano-aggressive wail of "Spanish Fly" (aka the "Candle in the Broken Wind" mix). Goatsnake: Woo. Stoner rock. Kyuss the sky. Slaves: droning, keyboarding antipop with handclaps. I think they're now called Pleasure Forever. Electric Airlines: "Stull"-era Urge Overkill-ish; satiny, stained male vocals and easy jangle backup. Eyesinweasel: Indie rock that doesn't suck. Rare breeding of melody and adept use of the anti-whine filter. Bardo Pond: four bong hits, handkerchiefs of ether, and think they're the modern Rick Wakeman from the perspective of the pan flute. Michael Gerald (ex-Killdozer): reads from a fish and game pamphlet backed by a Tiajuana brass loop (Remember, heavy art, heavy damage). Woulda loved a remix of the Killdozer/Alice Donut junket into that song from the hippie film, "Hair." Supersuckers: You know, I'm glad at how semi-popular these guys have remained. Popular enough not to get other jobs, but still unknown enough to play all the dives. Keeps the rock honest. Thinking Fellers Union Local #282: They do John Cage proud. Indeterminancy; you are what slakes you. The Vandermark 5 with Wolter Wierbos: No. Squeaky intergalactic balloon music sucks circus clown anus, all eight minutes, fifty-seven seconds of it. Monster Magnet: Isn't one of them wearing a codpiece now? That puts them in the arena with WASP and Cameo. Song's gritty and sounds recorded from the bathroom next door. Cobra Verde: They provide the title track. It's a happy, peppy, and a fun little song. Sun City Girls: would go well with that Warhol film that's eight hours long of people sleeping. Rocket From the Crypt: Bless 'em and their matching outfits. They sound more Jehu-y than RFTC-y but that's OK because they share the same Speedo. Bluebird: The LA one. Hummy, fuzzy, with little bits of crunch on the edges. The Bellrays: live from a local dive, Al's Bar. If Lou Rawls took estrogen shots and binged out on the MC5. Lisa's got hot damn pipes. –Todd Taylor (Your Flesh)

Dance to Revolution: CD
Ska punk. There's one or two attempts at "street punk" but, mostly, it's ska punk. Why won't it fucking die, at least for a decade or two, so I can at least listen to it again without suffering from a case of acute projectile vomiting?! –Jimmy Alvarado (Mad Butcher)

Bad Story, Happy Ending: CD
Back in the mid-90's, Jimmy Alvarado and I stumbled upon a huge brick of C4. That's plastic explosives. Imagine our joy when we blew up all the NOFX cloning factories world wide. Many a high five was had. We whooped, we hollered like we thought we were really saving the world. In our joy, we overlooked a band we didn't consider a sleeper threat. Lagwagon. Discuss amongst yourselves if you think that one Lagwagon is OK. Two Lagwagons is very, very far from fine. Useless ID, you suck so much Lagwagon load, I'm sure you'll be huge. Boy band punk. Yuck-o. My ears feel dirty, like they've been listening to old people fuck. –Todd Taylor (Kung Fu)

Japan Today: CD
"Japan Today" was the tenth Subs release to date as of 1988. I think there was a little experimentation going on at the time due to the whole eighties thing, but it adds a certain collectors-like charm to the release. Then again, what the hell would I know? With Charlie in charge, it's bound to sound good, and throw in the help of Knox (The Vibrators, Urban Dogs) on guitar, and "Japan Today" is a classic! The song list includes the original "Another Cuba," and the full four tracks from the "Hey Santa" 12" EP, not to mention "Skateboard Billy," "Surf Bastard," the fucking "Punk Rap" and interview with "Yuki Yumi." The release might bend your ear at times, but it's all classic UK Subs. –Keith Rosson (Captain Oi)

Tora Tora Tora: 7"
This seven inch convinced me to go get the new U.S. Bombs album (see above review). "Tora Tora Tora" is a true punk anthem. The Bombs opened their show with it the last time I saw them, and everyone went nuts. It's the first real evidence that our combined hatred of George W. is leading to some great punk rock. The cover has a funny picture of George W. with a Hitler mustache, and, though the song is on "Back to the Laundromat," this version has different little cool aspects in the mix. The b-side, "Yer Country," is the second piece of evidence that bad president = good punk rock. It's a hell of a seven inch. A very powerful single. Both of these songs are on the "Back to the Laundromat," but if you're unsure whether or not you want that album, this is a good way to test the waters. –Sean Carswell (TKO)

Back at the Laundromat: CD
I couldn't imagine this would be a good album. Duane Peters had just put out two really cool albums with the Hunns in less than a year, and I couldn't imagine him being prolific enough to be able to put anything into a new Bombs album. I was dead wrong. I forgot about the rest of the band. I forgot that the U.S. Bombs aren't a one man show. Kerry Martinez is one of the best guitarists in punk rock. He's like the old, crusty guy you see at the skate park who drops into the bowl and pulls off mind-blowing tricks with seemingly less effort than he puts into tying his shoes. But it's not about the tricks. Kerry is all style. He's not showing off. He's looking at the bowl and figuring out how to carve it. He's guitar equivalent to Duane's skating, I guess. Then, you back these two up with Chip on drums and Wade on bass, driving the song into a swirling pit, and "Back to the Laudromat" is every bit as good as "Garibaldi Guard" and the rest of the albums. The best compliment I can pay this album, though, is this: I saw these guys about a month ago. They played mostly their newer stuff. The whole crowd seemed to scream along with every song, and even though I went in hoping to hear a bunch of old songs, I wasn't disappointed. I left thinking, shit, I'd already seen them play the old songs years ago. I'm stoked I could see them play new ones. –Sean Carswell (Hellcat)

Disappear: CD
To hear that one of the bands from my childhood was going to be putting out a new release was exciting for me. Like a spoiled child, I kept asking the Razorcake staff if the new TSOL had come in. Once it finally came in, they were nice enough to give it to me for review. If you know anything about TSOL, they progressively changed their sound on every record. During that period of the first self titled 12", "Dance with Me" LP, "Weathered Statues" 7" and "Beneath the Shadows" LP, I saw them so much during those years that I could grow and evolve with their change in sounds. I still put those records on to this day and enjoy them. They went rock in the Guns and Roses way after Jack Grisham and Todd Barnes left the band and suddenly disappeared. The original members did some reunion shows in the '90s under the LOST title because of name ownership issues. In between the "Beneath the Shadows" LP and this one, I won't count the rock records, Jack Grisham was in: Cathedral of Tears, Tender Fury and the Joykiller. Also in that time period, Todd Barnes the original drummer died of causes I can't currently remember. As for this record, it's hard to judge for me. Ron Emory's trademark guitar sound is here. Jack is Jack on vocals and Ron is Ron on bass. Maybe my expectations were a little too high. I like it but I do not love it. To me this sounds like Joykiller Jr. I listen to it constantly but it has not completely won me over. Who knows, maybe in time. –Donofthedead (Nitro)

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