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· 1:The Backpatches of NYC (Collection 6) adelsouto.com
· 2:The Backpatches of NYC (Collection 5)
· 3:Featured Record Reviews Issue #93
· 4:The Falcon, The Copyrights, Sam Russo live at the Troubadour, July 16, 2016
· 5:#414 with John Di Marco


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Razorcake #93
One Punks Guide to Pinball, by Kayla Greet
Razorcake #92
Spokenest, Gone, Gone, Gone LP
Pinned In Place, Ghostwritten By LP


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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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EVERYTHING IS RUINED:
Self-titled: CD-R-EP
Raw punk songs of jagged love and disillusionment with life. Female-fronted vocals in a gruff This Is My Fist/Crimpshine-style. The music, though, is a more gritty, rock-based punk than it is the pop punk style of those bands. There’s a desperate, half-mad feel to these songs that will just grip your soul. It’s the sound of a candle burning at both ends. Sadly, that’s a truer statement than I wish it to be. EIS had broken up before I even received this to review. So get this while you still can. Really, don’t delay. –Craven (everythingisruined@live.com)


EARSLAUGHTER:
Turn the Screws: 7”
Sometimes you just can’t come up with anything for a review. I was a bit dumbfounded by this release. Had to give this one a few listens more than usual. I even asked a friend who sings for War Trash for his opinion. He said, “Reminds me a bit of Civil Disobedience and the kind of simple, straightforward songwriting recalls the early CT/East Coast crust bands like Deformed Conscience.” I not too familiar with the early East Coast crust scene, but I value his knowledge. The only thing that popped into my mind was the Canadian band Germ Attak. Sort of early U.K. with some d-beat. Overall I do like what I hear, but the burnout that I have had lately has made it hard to classify and find a genre to attach it to. –don (Earslaughter)


DRI:
Violent Pacification: EP
Wow! This looks pretty much like the original version. The only difference is the label who released it, the barcode, and the lyrics sheet is now printed on the inside of the foldout cover. Musically, this still holds up. Just as rippin’ today as it was in 1984. Fast as hell without being a blur or dull. DRI could thrash like no one else, yet their songs were memorable. Also, there’s no overkill of one hundred songs or so, like many bands do, who suck on the tit of DRI. There are five songs; short and to the point. Leaves you wanting more. So go get the twenty-two song EP to satisfy the need. Great job on Beer City for the superb reissue treatment. –Matt Average (Beer City, beercityrecords.com)


DRAMAMINE:
Self-titled: LP
Holy shitballs. These handsome Germans have just churned out what is perhaps the best record of its kind in a long time. Granted, I’m somewhat partial to Dramamine because I happen to know that these are some seriously wonderful guys (ex-members of Idle Hands, Press Gang, etc.), but there’s something undeniable about a near-perfect fusion of Fugazi/Rites Of Spring passion and Hot Snakes/RFTC minor key melodies and angular swagger. If ‘90s Dischord and/or the Swami Records scene is at all your thing, do yourself a favor and get your hands on this record. It’s so easy to muck up the “revolution summer” sound, but these fellas nailed it. Awesome. –Dave Williams (Sabotage)


DOLARHYDE:
Self-titled: LP
Dolarhyde play really well crafted pop punk and would have been massive had they come out in 1997. The obvious RIYLs still come into play, including NOFX and Pennybridge Pioneers-era Millencolin. All the songs on this record have their own unique sound and style, and all the vocals melodies are distinct, avoiding the pitfalls of the soaring, whiny vocals that turn me off of most pop punk. I’m not a fan of the style, but this actually won me over. This is a solid debut full length. –Ian Wise (State Of Mind)


DOGSFLESH:
Revival of Species: CD
Soap up that ‘hawk and throw on that greasy spiked leather ‘cause it’s time for the real deal. Dogsflesh are flying the flag of British punk rock in the vein of The Exploited, Varukers, or Charged G.B.H. Pissed off and relentless, they are going to have their say and make you hear it. Fuck the war! Fuck the politicians! Amazingly fresh sounding. A lot of those old bands are still out their slogging it, but Dogsflesh are bringing the goods. I’ve gotta go smash something now! –ty (Unrepentant)


DJ CAR STEREO (WARS):
Explains It All: CD
DJ CS(W) has decided to recreate the sound of flipping through the radio stations and then try to pass it off as an album. The constituents of each track—the first two or so that I made it through—are bits and pieces of actual songs. These parts are strewn together to create new “songs.” All the tracks bear titles that are takes on programs that aired on Nickelodeon in the ‘80s and ‘90s; the theme of the titles was the only thing that made me think for a second that it could possibly not totally eat turds. I have no idea if this is this clown’s thing or what, but fuck him for making this. –Vincent Battilana (artifactworkshop.com)


DISPARO:
Self-titled: 7” EP
This Spanish hardcore band turns in one thrasher and a gaggle of mid-tempo burners. Lyrics are at turns topical and introspective; tunes are catchy, and the whole EP is definitely worth a listen. –jimmy (nodo50.org/trabucrecords)


DISCIPLES OF CHRIST:
Demo: EP
Members of Magrudergrind, Coke Bust, Sick Fix, and Juice Time are the makeup of this project, which sounds like something that would have come from the WestBay circa 1995. A mix of sludge, grind, and powerviolence. Listening to this, I think about the shows I used to see at the Cupertino Library with Spazz, Noothgrush, Agents Of Satan, and the sort. If you like any of those bands you’re probably going to want this, if you don’t already have it. There’s nothing pretty, poppy, or catchy about this. All ugly, all misanthropic. Only three hundred in existence. –Matt Average (To Live A Lie, tolivealie.com)


DIET COKEHEADS:
Nasal: 7”
Noisy, blown-out madness. Distortion and feedback reign supreme with two songs that sound like they were recorded in an empty warehouse and sound is bouncing all around. Despite the spacious sound, the noise creates a dense, near impenetrable layer that becomes this abstract mass that hovers in the air between you and your stereo. Can’t be ignored, and as the songs go, the listener can pick out bits and pieces with each listen. “High Country” is my personal pick of the two—starts off slow and drawn out, builds up with more and more sound, then shifts into something more distorted and relentless. –Matt Average (Vinyl Rites, vinylrites.net)


DIRTY TACTICS:
It Is. What It Is: CD
Once I was camping with a bunch of friends as this festival and we kept hearing about this Tuvan throat singing metal band that was there. Eventually, we met the woman who was behind this whole thing as she was walking around our camp throwing her head back and making gargling sounds that clearly wasn’t Tuvan throat singing, but instead, her imitating the sounds of Tuvan throat singing. We never could figure out if she was trying to get one over on us or if she had actually convinced herself that she knew how to do it. I’m reminded of this woman when I hear Dirty Tactics. They play a bunch of songs about keeping it real and how they don’t need “buses and riders and deli trays” and are fine with “stay(ing) on the side of the road stealing what (they) need to survive.” However, their music is MTV-friendly, teeny-bopper pop. Whatever you say, weirdoes. –Craven (Say-10, say-10.com)


DESTRUCTORS, THE:
Dead Beat to White Heat: CD
New release from this long-running U.K. punk band. They have now gone back to their original moniker, after a stint with 666 added at the end of their name. I’m seeing a lot of press that lumps them into the ‘80s oi movement. But most of that genre is not my cup of tea. This band seems to be working outside that narrow framework—with much better results. It’s eighteen songs, so it’s a lot to take in all in one gulp. But “PC Gone Mad” and “Like Watching a Carcrash” are hard-driving rockers. Two covers on here which may be too much for some listeners. I preferred The Electric Prunes cover myself. If you dig ‘80s-style punk like Chelsea or UK Subs, The Destructors would certainly fit neatly into your collection. –koepenick (Rowdy Farrago)


DEATHSKIN RAZORS:
Who Can Belong: CD
Shouty metal that vacillates between gallop speed and overdrive. Songs are short enough to highlight the hardcore influence, and while the singer’s monotone howl does cause the songs to blend into one another, they ain’t all that bad at what they do. –jimmy (Splattercat, no address)


DASH RIP ROCK:
Call of the Wild: CD
What usually happens with this band and me: I pick up a disc with no recollection of hearing them before yet remembering their name, I do a quick search of them and subsequently dread listening to the disc because I have an admitted aversion to most things identified with the words “southern rock,” plop the disc into the player, and find that all the involuntary wincing was totally unwarranted. While the last outing I heard focused on reinterpreting Dante’s Inferno, this time they opt for a full-on party record. Sure, there’s no shortage of either the “southern” or the “rock” in evidence here, but there is also much humor, intelligence, soul, dirty funk, and other stuff mixed in as well. Tunes are catchy, fun, and worthy of a spin at your next clambake, and they’ve even thought to include a fitting cover as the “hidden track” for the next morning. –jimmy (Alternative Tentacles)


DAN WEBB AND THE SPIDERS:
Oh Sure: LP
Hands down one of the best, dirtiest, soulful, yearning punk records I’ve heard in a long time. Firmly rooted in rock music, the way the Humpers or Lazy Cowgirls were, but without the frequent veneer or swagger of garage punk. In fact, these songs sound like a punk band that’s trying like hell to sound like a folk band but just can’t. Simple songs, free of adornment, with the vocals and lyrics perfectly conveying a sense of regret and a great, great fatigue. A dozen precise rock‘n’roll songs with a glorious sloppiness to them. Two-minute anthems with fuzzed-out vocals, melodies accompanied with just the right amount of gravel, and guitar leads that are so simple they’re great. The bummer is I’m not even coming close to doing this justice. For whatever reason, I came across Oh Sure at just the right time. Never even heard of these guys before and then I listened to this record once and it’s been on permanent rotation since then. If I had my druthers, “I Was a Mess” would start playing every time I walked into a room. No-frills, one-hundred-percent-effective punk rock music; will assuredly make my top 10 (if not top 5) of the year. –keith (Dan Webb)


DEAD CLASS, THE:
Stick: CD
This is surfy/circusy-sounding crapola that’s halfway between Dead Kennedys and System Of A Down without the creativity or originality or either band. Sadly, the two best tracks (where the band breaks out of their “wacky” mode and turns in a coupla decent tunes) are buried deep in the middle of the CD, where only a reviewer who is duty-bound to listen to the whole damn thing will find them. –Ryan Horky (Antipop, antipoprecords.co.uk)


DC FALLOUT:
Retreat!: CD
Modern melodic hardcore fodder that will likely earn ’em a spot on the next Warped Tour. –jimmy (Felony)


DEAD FRIENDS:
Self-titled: CD
Atonal punk that doesn’t stick in my head very well. I have a pretty loose definition of “hooks,” but this doesn’t really have any. I get the feeling that this might be exciting live but it’s pretty boring on CD. Some of these dudes are in Assholeparade and Religious As Fuck. I think Religious As Fuck is the best band name ever. –Ryan Horky (Plan-It-X, plan-it-x.org)


DEAD MECHANICAL:
Addict Rhythms: CD
Take Jawbreaker, make them one of the best bands of ‘90s alternative rock, while channeling post hardcore/Revolution Summer era DC. Have them being the ones who are slowly pushing into more indie rock territory, but while retaining their edge. This isn’t a huge departure from what they’ve done before, but they’ve really hit their stride this time around. –joe (Traffic Street)


DEAD MECHANICAL:
Addict Rhythms: CD
Dead Mechanical is one of the best of today’s poppy punk bands. Hailing from Baltimore, the land of John Waters and Insubordination Fest, this new full length is in heavy rotation in the pop underground. These twelve dark songs cover subjects ranging from addiction, being in the wrong place at the right time, and playing a last show. The vocals have a unique touch to them that reminds of the first time I heard Blake Schwarzenbach or Larry Damore. Addict Rhythms is a musical refocus on a seemingly tried and true subgenre. The Dead Mechanical experience is literally like getting a new pair of glasses or contacts, sans the pricey exam. –Art Ettinger (Traffic Street, trafficstreetrecords.com)


DEAD MECHANICAL:
Addict Rhythms: LP
One major problem with digital is that it’s either there or it isn’t. Pure black or pure white. No storming sunsets with impossible oranges. No ice scraping at dawn through holes in gloves. And when there’s meaning to find behind the bash and crash and basement screams, it’s much more than just a shame that most people will never read the lyrics to this record, even if they hear it. Just bleeps and bloops yanked from one isolated place to another. And maybe that’s part of why people feel more and more lost; disconnected in the same room, staring at glowing screens, screaming on message boards, widening the distance between flesh and blood people sitting next to one another. And I may just be old fashioned and foolish that if I think a piece of paper with words that accompany noises twining off spinning pieces of vinyl is different—that it’s naïve or purist to say that I care about the contents of a band’s soul, no matter how good the band sounds. We all die. I want to die with some good ideas, awesome songs ringing in my ears, good friends, and tight family. Dead Mechanical play and sing day-to-day vignettes that give into politics reigning down on your shoulders like bombs, and soak into your shirt like tears and the sweat of a hard day. They aren’t crutching on platitudes or slogans. They’re heartbreaking and defiant and poetic and funny. They also just happen to be amazingly tight and fluid. I think they’re one of the best bands playing DIY punk in America today. This band means more to me at thirty-eight than Jawbreaker did to me at twenty-one. Pack up your nostalgia, quit huddling under a shelter of past memories lived or pined for, and join a roaring band in the ascent… or continue bleep blooping to the newest whatever, biding time before everything goes black again. –todd (LP on Toxic Pop, toxicpoprecords.com, CD on Traffic Street)


DEATH IN THE PARK:
Self-titled: CD
Oh boy. The cover alone has a sticker that says this was produced by some guy who’s apparently worked with “Maroon 5, Jennifer Lopez, NSYNC, Gavin Degraw…and yes, we listed that here.” Sounds like someone’s got a lot of money to throw around, great; buy me lunch. The music itself is standard MTV/mall pop punk, with some half-assed murder/crime theme. The fact that the liner notes have skipped out on lyrics in favor of pictures of a girl who’s supposedly been murdered leads me to believe that this another “Wah, a girl broke my heart once, ergo all girls are jerks,” outfits that ultimately seems like it was put together in a board room with the plan of “Eh, we can make a few bucks here.” Again; buy me lunch. –joe (End Sounds)


DAMAGE:
Energy: 7”
A Swedish band doles out some Eighties-influenced hardcore with English lyrics. Tune subjects are focused on gettin’ old, still bein’ a punk and such. Decent cover of the Germs’ “Media Blitz,” too. –jimmy (damagelkpg@gmail.com)


DALI’S LLAMA:
Howl Do You Do?: CD
A Fuzztones influence is in evidence here, beginning with their attempts to adhere to the garage rock template whilst retaining a “modern” sound. They more than handle the task at hand, though I wish there were just a wee bit more oomph in the lead vocals. –jimmy (dalisllamarecords.com)


DALETH:
Lady of the Lake: CD
“Initiation” starts out as a nice thrash blast rife with basement-tape acoustics, like a jam from a HolyMountain practice tape. I totally dug it and it made me want to yell made-up lyrics over the top. The rest of the album, however, is more in line with the split Daleth did with Blueshift a while back—long, sludgy dirges that take a while to get moving. Daleth, made up entirely of one J. Merrill, is not my bag at all (apart from that first song!) but I fully admire the man’s insistence on doing things his own way. As with previous endeavors, this one comes in some creative, well-executed DIY packaging. Noise enthusiasts take note. –keith (For Documentation Only)


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