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· 1:Off With Their Heads Top Shelf Interview Podcast
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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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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)

Anticop b/w White American: 7"
It's a split decision at the record stores I frequent. Is it TSOL Jack or Joykiller Jack or Tender Fury Jack? Some fans from "way back when" don't seem to be stoked on Jack's voice but give Ron Emory and Mike Roche the thumbs up. Why? At times, Jack's a tad overblown (or spooky or cheesy, depending on who's casting adjectives). To me, it sounds like he's in "The Rocky Horror Picture Show." So, I popped back on TSOL's 12" self-titled EP from'81. Yup. Jack's more of an opera singer now. In fact, on the 12", he basically talks his way through. It's the classic quandary - do you want your favorites to progress beyond making the same album again and again (which TSOL could never be correctly accused of), or do you slag them when they zag when you expect them to zig? I like both songs. They're both very, very far from being shitty, and it's hard to deny instrumentation both burns and builds at the same time. That's a mighty difficult thing to do. Ultimate likeability all hinges on if you mind an affected voice instead of a more direct vocal delivery. I'm fine with it. I like this 7" and I like the new album. –Todd Taylor (Nitro)

Three-Song: 7"
If you look closely at the cover, the guy on the far right is clutching a 40 oz. of Mongoose malt liquor. This is significant. Mongoose, "the beer that bites back," is the Canadian response to King Cobra, one of the finest, best selling malt liquors in America. As part of my diligent research to get in the right frame of mind for the Trust Fund Babies (ripped to the tits), I bought a can after breakfast. Even on the label it says: "Warning: Because this beer contains nearly twice as much alcohol as regular beers, we advise that this beer be consumed in moderation!" Same goes for the TFBs. Dirty, sloppy, better-with-beer punk that's got similar alcoholic motivation to The Loudmouths and The Motards. When the mood grabs me, they hit the spot dead-on. Snappy 7". –Todd Taylor (Rapid Pulse)

Teenbeat: CD
1. I like Weezer. 2. I hate just about every band that reminds me of Weezer. Whether or not they are TRYING to be Weezer, I can't help assuming they are. 3. Someone less jaded than me might like this poppy, slightly heavy, vocally harmonic pretender, but all that studying is lost on me. 4. I really hope they're not "the biggest thing in the Netherlands." –Cuss Baxter (Coldfront)

Muscler: CD
Rodney Bingenheimer would love this. Minimalist new wave with female vocals that sounds like it was recorded with a very old synthesizer. It's not exactly earthshaking, but I do find myself going back to it again and again. –Jimmy Alvarado (Chainsaw)

Last Match: CD
Bands like the Thumbs are the reason why I should never start a record label. I'd hear their music, get all excited about signing them, help them put out an album that's incredible, then scratch my head, baffled by why the Thumbs wallow in obscurity while bands with half their talent, passion, and drive become huge. So here's another Thumbs album. It's fucking great. The songs have the ability to build and create tension and diffuse tension and explode in two minutes. Then, you add the vocals, which alternate between the guitarist and the bassist, who both sound like a bulldog - short and compact and powerful and ugly as hell in an attractive way. On top of that are fairly abstract but intelligent lyrics that justify the out-of-key screaming. So now I'm curious. The first Thumbs album didn't bring them fame. Maybe because it was on a tiny label and, though the songs are great, the recording of them isn't. The second Thumbs album didn't see them selling out shows, even though it was on a bigger label (Soda Jerk) and the recording sounds pretty damn good and the songs are even better. And now they're on Adeline, Billy Joe from Green Day's label. Ads for this album are popping up everywhere, and it's their best release yet. What will become of the Thumbs? Because it's not that I want them to be so big that I have to drive to Hollywood to see them play. I don't. I'm just hoping the years of steady touring pay off for them at least to the point where they can justify staying together as a band and keep putting out albums like this one. –Sean Carswell (Adeline)

Party with...: CD
Makes me want to build a porch so I can stomp on it while drinking from a jug. Saw these guys live, and I think they were touring in a beat-to-shit taxi. Wife and husband duo manning the vocal duties and two of the instruments, if I'm not mistaking, and they sung towards one another, framing the drummer. Fuckin' downhome, fun, and modern hillbilly, but not hokey nor disingenuous. Modern touchstones would be Rumbleseat; reveling in punk ethics, not punk restrictions. The lyrics are a perfect fit. They're sometimes romantic, ("yer beautiful and I've got a stupid haircut"), sometimes defiant (calling for an opening of arms from the Black Panther Party), and always encouraging ("steal back from the government"/"go around naked one day"). It's all very country-wise good advice with hints of bluegrass and the feeling you get around an open fire, hanging out with friends, and someone whips out a guitar and you thank them with a flask instead of beating them with their instrument. –Todd Taylor (Plan-It-X)

Pair-A-Dice Casino: CD
Supersift have cacophonously created a meaty and meritorious punkrock masterpiece that thunderously thumps me upside the head and then steadily stomps all over my ruthlessly abused eardrums. The high-energy instrumentation is tight, concise, and rabidly upbeat... the vocals chaotically careen between poppy schoolboy sweetness and manly gravel-throated burliness... the lyrics are hellaciously humorous and sarcastically witty, rowdily referring to the most deliciously titillating aspects of life like beer, cars, bowling, punkrock, porno, and the frivolity of apathy. Man, these raucously crazed Canucks are highly skilled manufacturers of sizzlin' sonic sassiness, and I'm damn well impressed beyond belief! Thanks to Supersift, my ears are as content as they'll ever be... –Guest Contributor (Hourglass)

No Traffic: CD
Purveyors of what I guess could be called modern power pop. I would've preferred it if the recording wasn't so clean and the band itself had more of an edge, but their hooks are nice and they play them well. –Jimmy Alvarado (Fueled by Ramen)

A Blackout to Remember: CD
The number of greaser/rocker/maximum rockabilly bands I currently know and like are few: Throw Rag, Blazing Haley, The Masons, and The Cramps are about all I can come up with. Add in The Starvations. It's hard to sound so believably desperate yet pull it all together in a collection of twelve songs without once falling into a cliché pothole of flaming dice, beating off to Mopar, or Betty Page-o-holics. There's an almost painful hollow feeling - and a hollow-body sound - that permeates the whole record, which makes it all the more catchy and distinctive. It's undeniably well played. Standout tracks are "Queen Bee's Lament," (with "swollen livers and eviction eyes") and ("I'm burning down the") "Church of the Doublecross." The entire CD also has an unaffected, eeire American gothic (as in the unexplainable and forlorn like Edgar Allan Poe, not spooky pancake makeup) feel. I look forward to more. An unexpected surprise. –Todd Taylor (Revenge)

Step to This: CD
This band bases themselves on the video game of the same name. That's all I have to say. –Guest Contributor (N/A)

Carved from Empty Words: CD
Intelligent, thought-provoking lyrics. Too bad they waste them on jacked, sub-par Slayer riffs. –Jimmy Alvarado (Thorp)

Split: 7"
Here is the second latest release from my moneybags friend, Derek of the infamous Soap and Spikes Empire. He snags not one but two superstar bands for one of his releases. His left testicle must be made of gold. He had a release with One Way System and now he has Special Duties and Violent Society on one release. The cover is glossy and in full color and can almost compete with the latest Britney Spears or Backstreet Boys release. If I ever save up some money, I need to see what hot digs this man who presides over a punk rock empire is living in. Oh shit, glossy insert too. Now he is trying to spoil the punk rock consumer. A little info of the bands that I can muster up: Special Duties first got things going in the early '80s in the UK and have reformed recently to keep the old school spirit alive. They perform two great tracks, one being a cover of the Adverts "Gary Gilmore's Eyes" that is as competent as the original. Violent Society started around 1990, or at least put out their first release that year according to their website. They give you three songs that include one cover of Special Duties' "Violent Society." The best release - by far - as in bands and packaging from this old man who refuses to give up on the original punk spirit. –Donofthedead (Soap and Spikes)

Songs from the Earth: CD
All on one disc, you get Davey Havoc from AFI, Todd Youth and Steve Zing from Samhain and London May who played drums for Danzig. I also heard from many that Danzig is on this but is unlisted. You can hear his trademark howls in the background. A treat for many of the Misfits and Samhain fans out there. If you have seen Davey lately sporting his devil lock, you know this must have been a dream project for him. AFI have been displaying a lot of Misfits overtones in their music lately. They also did a Misfits cover on one of their 7"'s . What you get here is a band that if Danzig was fronting this himself would be identified as Samhain or modern day Misifts. Not like those current goofballs that call themselves the Misfits these days with their stupid dolls, comics and bad releases. If you hated the latest Danzig record and the current Misfits stuff, you would totally be pleased with this. Thanks Dexter. –Donofthedead (Nitro)

Blue Gravy: CD
Could not wait to toss this baby in my CD player to get to their undeniable brand of pop secretions. I popped out the CD magazine out of the back of my truck and pulled out that shitty CD that I got for review and threw it aside. I think that shitty CD is still floating around underneath a seat. I slipped that baby into the magazine and jumped into the truck to hear the new Snuff! Bam, like a boot to the head, the first track starts playing. My enthusiasm drops to an all-time low. I had the same look when the Jehovah's Witness showed up at my door when I was expecting a friend I hadn't seen in awhile. What the fuck is this? The opening track, "Slipt," is so flat that it barely reaches any level of excitement. It felt forced and the band sounded like they didn't even enjoy recording it. I can't believe this is the opening track! You have to go in with force on the opening track. Now, track 1 is the throwaway that I have been skipping over. Things go back to normal on track 2 - 7 where you get four new songs and two new versions of previously released songs. At the end you get, as filler, two live tracks. I like the studio versions, personally. Live stuff usually doesn't have the presence and the sonic energy that the studio can create. Overall, not their best but enough to tide me over until their next full length. They are still one of the best. No one as of yet has captured their style and magic. –Donofthedead (Fat)

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