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Razorcake #90
White Murder, both LPs
Treasure Fleet, The Sun Machine LP
Razorcake #89
White Murder, Form Early LP (CLEAR VINYL)


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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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VARIOUS ARTISTS:
Wrecktrospective, Twenty Years… and Counting: CD
Congrats on twenty years, Fat. They’ve become one of my favorite labels of the last few years with releases like Until We’re Dead, Oh Calcutta!, Potemkin City Limits, Cuban Ballerina,and the first Fat album I ever bought, SituationistComedy. The first disc is like a chronological greatest hits from a sizeable chunk of Fat’s bands. None of this disc is unreleased material, so it’s very likely that fans of any of these particular bands probably have these tracks already. There are a lot of goodies on here though, and it’s a good primer for people who may not know certain bands on the label. I learned, with the exceptions of Propagandhi and Swingin’ Utters, that I have very little interest in most of Fat’s pre-2000s catalog. Lagwagon and No Use For A Name just never really did it for me. Disc three is a compilation of the Fat Club single’s series. While I don’t own any of the actual singles, I’ve somehow come to own about half of these tracks over time on B-side comps. There were some things I didn’t have which were great to hear, like the Vandals and American Steel songs. Disc two is where the real rarities come to play. This is a compilation of demos from many Fat bands, new and old. While some of these songs are pretty close to what ended up on the final versions (seriously, what’s the difference between the demo and final version of Rise Against’s “Alive and Well”?), some have pretty entertaining quirks in their raw forms. Standouts include the Lagwagon song that has the super loud drum mix, Dead To Me’s “Writing Letters” with different lyrics, and Against Me’s “You Look Like I Need a Drink” rendered in acoustic form. Included with the set is a poster showing every Fat release up to the present. It’s pretty cool to see the label development in picture form. This is a pretty cool comp to pick up for the price. –Adrian (Fat)


VARIOUS ARTISTS:
Rodentagogue: The Best of Dark Roots Music II: CD: CD
This is a soundtrack for campfire suicides, lonely horseback rides, and loss. I don’t know what “dark roots music” is, but the bands on this collection fall into two groups. The first take the dustiest, dirtiest sounds of old-school country and do everything they can to add an impenetrable bleakness. They do not make music for sunny days. The second really need to stop listening to MurderBallads-eraNickCave for awhile. Luckily, bands that fall into the first group far outnumber those that fall into the second. Actually, I don’t know if that’s lucky at all. I think I have to turn this off because the sadness is fucking crushing me right now. –mp (Devil’s Ruin)


VARIOUS ARTISTS:
Our Boy Roy: LP
The Roy in the album title is Roy Orbison and this is an LP’s worth of cover tunes done by some of today’s most vaunted garage rockers. For those who don’t know Orbison’s music (and if you don’t, please explain exactly what planet have you been living on), he’s the guy who sang “Pretty Woman,” which Ty Segall gives an echoed, spooky treatment. It kind of works, but it’s tough to better such an iconic piece of musical Americana. What works incredibly well is the Jacuzzi Boys version of “You Got It,” taking a fairly straight forward tune and tweaking it with exuberant, psychedelic vocals and a perfectly executed fuzz guitar run. Other standout tracks come from the Camero Werewolf Band, Bloodshot Bill, Teenager, Red Mass, and Cheater Slicks, but you’ll have to pick this up, which you should do, to see what tunes they sing. –benke (Telephone Explosion)


VAPID:
Practically Dead: LP
A couple of years ago, I reviewed Vapid’s pretty good Do the Earthquake 7”, which was danceable riot grrl-sounding stuff. This LP, while it has some of the energy of that 7”, doesn’t have an LP’s worth of it. Some of the songs are kind of lulls. Though every song on here unquestionably comes from the same band (mostly courtesy of the vocalist), it kind of seems like Vapid doesn’t really filter out any of their material. There is probably enough good stuff here to fill out a 12”EP, but this just kinda lags as it is. –Vincent Battilana (Deranged, derangedrecords.com / Nominal, recordsnominal.com)


UTOPIA:
Niee: CD
Musically, they sound like your average modern punk band with all the requisite trappings. Lyrically, however, if the English-from-Polish translations are accurate, they’ve got a nice poetic streak going for them, with some introspection and intelligence in evidence. Can’t say they were the best thing I’ve heard all month, but what they turn in here is a respectable effort. –jimmy (Trujaca Fala, trujacafala.com)


TUBERS:
Anachronous: CD
I would—and indeed, will—call this angular, technical punk. Drive Like Jehu comes to mind. The songs, for the most part, are good but not quite balls-out frantic enough for my taste. What I actually like best on here are the slow instrumental songs. “Unmutual” and “40 XL” which are where the band lets songs breathe a little bit and, in the process, build tension that they aren’t quite hitting in their other songs. These quiet songs show the band approaching I Hate Myself territory, which being my favorite emo type band, is a really good thing. I’m on the cusp of saying these guys are doing really good on here, but what I really want is a little more push to both extremes of aggression and quiet restraint. If that happens, then I’ll say this band is in awesome land. –Adrian (No Idea)


TROUBLEMAKE / TURKISH TECHNO:
Split: 7”
Turkish Techno is neither of those things but a fun, punk anthem band, singing about cool girls that will give you something to live for while making you grow old every second—but they ain’t bitching about it! Good stuff. Troublemake is also a solid anathematic band, hailing from D.C., but making sounds in the Dillinger Four universe. This feels more produced than earlier songs—but with the strong, eager oomph they’ve always had—driving the songs with a spirit you can get on board with. This is the kind of stuff that makes house parties pop, getting everyone to sing and scream together. On their myspace page, main man Sam says he doesn’t want to sing and play bass, so they are looking for a singer or a bassist. I love that—no rock bullshit! Just energetic fun. Looks like they got a bassist so the peppy voice stays. –mike (Traffic Street, trafficstreetrecords.com)


THAT’S INCREDIBLE:
Self-titled: 7”
It’d be pretty hard for me not to like this record. I already love all of their previous/other bands, not limited to Toys That Kill, Dick Army/Four Deadly Questions, The Soviettes, and Killer Dreamer. I know people always say they hate it when reviews just list off other bands, but this is pretty much a sum of its parts —all of which are great on their own—and comes up with a whole new animal. I highly recommend this. –joe (It’s Alive)


TASER BREATH:
Self-titled: 7”
Whoa!—this is chaotic and a lot for the ears to digest, even in the span of one song—but I like it. There’s a strange containment to it all after the first several passes. Grindcore. Someone-lived-in-Tucson-at-one-time weirdness. Dirge. Amphetamine Reptile-style spent fuel and diesel exhaust rock. Samples. It’s like listening to The Locust, where twice as many notes are shoved into a limited space that it’s a bit much to cram in all at once. But once the ear holes get dilated, and you know that the roller coaster isn’t completely coming off the tracks—that it just hasn’t followed a regular maintenance schedule—a nice, punchy, jarring ride with moments of pure fright that you’re gonna die followed by snatches of pure freefall and pleasant instrumentals spins off the 7”. For the four of you this’ll make sense to, invert the awesome quirkiness of the Cuntifiers into a dark and bad-drug filled place. Rub some Anal Cunt into that… then that’s what Taser Breath starts to sound like. –todd (Goin’ Ape Shit)


SUSPECT PARTS:
Seventeen Television: 7”
Dudes from the Clorox Girls and the Briefs get together to create perfectly executed Buzzcocks-inspired ‘77 pop. A-side “Seventeen Television” reminds me a bit of the Buzzcocks tune, “Nostalgia,” which I suppose is an appropriate Buzzcocks song to remind one of when playing this style. B-side is more of the same with “Lesson,” followed up with the swinging psychedelic cover of Two Cheques’ “To Stone.” Three short and very sweet, enjoyable tunes here. –Jeff Proctor (Deranged)


SUSPECT PARTS:
Maneater: 7”
I’m a huge dork for The Briefs. I love their music and put an effort into getting into the guys’ side projects, such as Steve E. Nix and his various Leper outfits. So Suspect Parts, that has Chris Brief on drums, is no exception to this. In fact, their other 7”, Change Your Mind, by Suspect Parts was pretty good. This two track 7” just wasn’t as fun. The side-A track, “Man Eater,” has my lame brain conjuring up lines of cheesy Hall And Oates tunes, which I actually find more appealing than “Man Eater.” It’s an acoustic ballad that seems like it’s going for that ‘60s rock feel but the vocals sound annoyingly out of key. Side B actually dons a decent cover of Modern Lovers’ song, “She’s Cracked.” The only problem is the tune sort of reminds me of a down tempo-ed Briefs song, which only makes me wish I were listening to The Briefs. –N.L. Dewart (Taken By Surprise)


SUPERIOR UNITS:
Take Her in the Classroom: 7”
Three songs of snotty high school punk (Plastic Idol’s website says they really are teens?!), with a confused feeling that’s really fun and loopy. Are they learning how to play? Drunk? Scotch tape holding instruments together? Ah, who cares? It’s the youthful energy and dirty fuzz that sounds great. Sort of joke lyrics, although “2 Many Dipshitz (in my town)” is as realistic as it gets. It’ll grow on you like puberty. –mike (Plastic Idol)


STUN GUNS:
And There Was Nothing We Could Do about It…: LP
Coincidentally, I picked this up right after watching the documentary, Cocaine Cowboys, and it definitely helped set the scene. The Stun Guns were Miami’s favorite fuck ups circa ‘95/’96. Like if Radon had been transported to the urban corruption and cultural clashes of Miami all the while retaining their light-hearted, witty, numb-nut spirit. Any fan of bands like Onion Flavored Rings, Hidden Spots, Future Virgins, and the Beltones should consider this re-issue a mandatory history lesson. –Daryl Gussin (Do You Hear We?)


SPOOKS:
Death from beyond the Grave: LP
Quite a bizarre album here from these Atlanta garage punks, featuring member(s) of the Black Lips and others, somewhere between a Halloween sound effects album and synth punk a la the Screamers, Los Reactors, and the Spits. Some of it is really terrific and engaging, and some of it is really unlistenable. Either way, the fellas seem to be having a fantastic amount of fun with the material and I imagine something like this is better meant to be experienced live. Overall, I think this should have been condensed into a 10” or 7” even, as this is met equally with great enjoyment and great disappointment. Comes on clear vinyl with a pair of 3-D glasses. –Jeff Proctor (Die Slaughterhaus)


SPENCEY DUDE & THE DOODLES:
Self-titled: 7”
Hell yeah, there’s some zany songs here but it was all I could do to keep from just moving the needle back to the tune “Girl Crazy” over and over again. The ending of said tune goes, “You’re girl crazy” and then some funny voice says, “hit the clinic.” It’s definitely a must-hear track. For a song that’s about a minute and a half long, it had me smiling twice as long after I listened to it. This entire 7” is just one concept album of love songs that seem transported straight from the ‘60s. Spencey Dude & The Doodles sound a lot like The Troggs with every thing from their production aesthetics, reverb, and harmonies. “Flirting,” is about a man who gave his girl a quarter to stay in the bar and play the jukebox instead of going out and flirting with the guys. Annamal Doodle’s female back up vocals really add a nice touch. This is just one fun and funny EP here. –N.L. Dewart (Rob’s House, robshouserecords.com)


SNARLAS:
Self-titled: 7”
When I received this record in the mail to review, I was really excited since I knew that it was the band that Cindy Crabb ofDoriszine and her sister were doing. However, in spite of my excitement, I ended up shelving it for a while. Why? Because I didn’t want to be disappointed. Just because someone can write a great zine doesn’t mean that everything they do is going to be great. However, when I did get around to playing it, I found that my reservations were ridiculous. It’s a great record. It’s dirty three-chord punk with shouted dual female vocals. A raw, urgent, beautiful mess. The subject matter of the songs has a lot of the same themes you’ll find in Doris zine: songs about respecting past revolutionary struggles and some about self-preservation and empowerment. A lot of the songs also deal with living through trauma and abuse. For instance, the song “Generation 5,” seems to be in the voices of both an older and younger sibling as they try to heal from sexual abuse from their childhood as adults: “tell me, tell me / we can trust each other now / there were nights I knew nothing about / I couldn’t protect you like no one protected me.” The song “The Things That You Fear Are the Things That Will Save You” is an anthem about not listening to what we’ve been taught to fear by society and our upbringings and how wonderful and full that can make our lives. What more could you ask for in a punk record? It’s heavy, powerful, gutsy stuff. –Craven (Snarlas / Plan-It-X Records South)


SOURPATCH:
Crushin’: CD
This is pretty much adorable from start to finish. The songs are poppy and clever and the recording is just sloppy enough to be interesting. It reminds me a lot of the records I loved as a teenager in the nineties. Not slick, not angry, just a bunch of cool songs that make me feel good when I hear them. And the first track is a little kid being egged on by a grown up to introduce the album. Which should be cutesy and annoying, but it’s actually damn cute. –jennifer (Happy Happy Birthday To Me)


SNAKES, THE:
Hiya Hoya: 7”
Dripping with symbolism, this seven inch appears to be a sort of parable of punk rockers or indie rockers as the ill-fated American Indians, being forcefully assimilated into the greater WASP culture, having their identities co-opted and watered down in to a mainstream mess. The cover art prominently displays a picture of a braided Apache-chief-from-Super-Friends-looking dude ripping a pilgrim in half, with the A-side “Hiya Hoya” and B-side a couplet of tracks dedicated to the seventies half-breed anti-hero, Billy Jack. Musically, it is akin to the more tuneful Flipper numbers: perhaps a bit off-putting at first with its thrashy noise; with repeated spins you’ll come to find a seductively clandestine layer of pop sensibilities buried beneath the sonic rubble. This is an interesting and unexpected follow-up to their previously released split with 1-800-Band, also released on Slow Gold Zebra. –Jeff Proctor (Slow Gold Zebra)


SMALL BROWN BIKE:
Composite, Volume One: 7”
Listen, I’m not going to pretend to understand this band or why they have the rabid, ferociously loyal following they have. I honestly just don’t get the appeal. I tried repeatedly to get into Our Own Wars ten years ago and there was just no spark there for me. Same goes for Dead Reckoning just a few months ago. And now there’s this two-song 7”, their first release since reuniting last year. I’ll admit, the band can certainly craft songs that sound thematic and cohesive, it’s just that those songs also sound… boring. They sound as well put together as they ever did—if you’re a fan of the band you’d probably say the songs sound dense and complex and have been crafted with a solid foundation and very little gimmickry or pomp, etc. Me, I think they’re just kind of… there. The second song, “Hourglass,” starts off promisingly, with a strangely playful indie rock guitar line; it actually managed to hold my interest for a few spins. But I think we’re all agreed: one song on one seven inch over a ten-year career isn’t much of a batting average. –keith (No Idea)


SIN REMEDIO:
Border Hoppin’ Hardcore: CD
Los Angeles’s Sin Remedio play music from two poles: grindcore and norteños. They play these widely divergent styles of music with equal focus and power. My favorite tracks are where they oscillate and blend the two styles. “Manias del Pensamiento” is a prefect example. The women’s sweeter voices hover over the ragged rubble of the guys’ voices; there’s a nice and tender sweep of instruments before the rough and broken concrete crash of guitars. In a lot of ways, tracks like this make me instantly think of East L.A. itself. Seeing innocent things—like a public park taken over for a kid’s birthday, bright piñatas and balloons, Esponja Bob jumpy castle—surrounded by walls and sidewalks of graffiti, haloed by barbed wire snagging trash above nearby buildings. It’s this contrast of dark and light, celebration and decay, that makes Sin Remedio such an interesting and memorable band. My only question mark about this album—due to how textured and multi-moded their sound is—is how it would sound recorded more fully. I’m not saying Fleetwood Mac full, Tragedy full, so you can hear both the atomic blasts and the more floral, delicate nuances. If you’re into hardcore, Sin Remedio is well worth your time. –todd (Sin Remedio, sinremedio.net)


SHELLSHAG:
Rumors in Disguise: LP
Shellshag is hard to define. If you’ve read any of the reviews from their first record, the word “experiment” usually appears at least once in some form or another. After two years, I still can’t figure out how to describe this band to people, but I do know that everyone should at least listen to them once, if not just for the strangeness of it all. Shellshag has also done the impossible task of ruining themselves. If you’ve ever seen them live, you know exactly what I mean. I can’t help but imaging them playing in a cramped living room at my friend’s house when listening to this. Their songs, no matter how well they’re recorded, never capture the amazing talent and fun they exude when in front of an audience. Oh yeah, the record is fucking great. Essential listening. Nothing I said should undermine how good of a record this actually is, but if they’re ever in your town (or within proximity), go to them. You shall understand. Amen. –Bryan Static (Don Giovanni, dongiovannirecords.com)


SCREAMING FEMALES:
Singles: CDEP
Before seeing Screaming Females live, I hadn’t done the math in my head. All of those tricky guitar parts—Jimi Hendrix by way of Pussy Galore’s Cristina Martinez—was coming from a shy, soft-spoken lady who turned into a lion on stage. Watery waver to full roar; she does all the singing, too. Apparently, Marissa self-taught herself years of guitar when she was taking care of her grandmother, which explains a couple of things: her proficiency and the fact that she doesn’t sound exactly like any other guitarist I can think of. This CDEP is a six-song collection of their little vinyls—splits and 7”s—and if you’re into loud guitars doing wicked things, here’s your ticket. –todd (Don Giovanni, screamingfemales.net)


SCHOOL JERKS:
Self-titled: EP
Gawwwwwwwd damn! The best record I’ve had the chance of reviewing this issue! Raw hardcore punk that reminds me of early Black Flag (a comparison I don’t make often—do your research if you doubt me) with the guitar sound and the sinister way it all plays out. The vocals are seriously killer, totally spat out and foaming-at-the-mouth style. Sounds like someone throwing a shit fit, and they’re so mad the words are a series of splats, blats, and bluhs. Not that cheesy Cookie Monster grindcore growling shit, either! This is the real deal hardcore punk rock. Worthy of repeated listens and phone calls to your friends; “Dude, you gotta get this record!! Seriously!” type conversations. I hear this is their second EP, and that half of them are from TerminalState. Huh?!?! Never mind all that. Get this and crank it the hell up! One of the better records to be released in some time. Definitely worth driving to a record store for, or even going to some shitty show and rummaging distro boxes to get. –Matt Average (Cowabunga, cowabungarecords.com)


SCHATZI AND HAZELTINE:
Happy Birthday Baby b/w When Yr Alone: 7”
Two pleasant retro-girl group songs with a bit of country jangle to them. I’ve never heard of them before (admittedly, this is the kind of stuff that I enjoy, but don’t tend to actively seek out), and get the impression this is a one-off project. Probably for someone’s birthday. I’m smart like that. Neat stuff! –joe (Burger)


RIPSHIT / DYLAN BREDEAU:
Split: 7”
With a name like Ripshit, they sure have the confidence to live up to it. Four songs of fast, raging, political hardcore which rail against consumption, laws, America and all the stuff that punk is epically pissed off about. Nothing has changed, so why stop? Female-fronted, this band is best on the song “Ripshit Votes Kill ‘Em All and Let God Sort ‘Em Out” which rails against the ignorance of voting for Hillary Clinton as being feminist and for voting at all. That’s the first time I’ve heard that cliché put to good use! Dylan Bredeau is a three-piece of ‘90s-style emo hardcore with shrieking gang vocals. These are good hardcore songs if you don’t think about the horrid lyrics about holding hands and sharing soy ice cream. –Craven (Spicy Soup)


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