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· 1:The Rikk Agnew Band, Symbol Six, Barrio Tiger and A Pretty Mess
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· 4:#323 - Future Virgins Edition with Todd Taylor and Mike Faloon
· 5:Burn Burn Burn Interview

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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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Playing 4 Square 2: CD
About half a dozen songs on this comp come from albums or EPs that are worth owning. Those songs are interesting, engaging, challenging, stimulating. There are twenty-four tracks. You do the math. –Puckett (Suburban Home/Polyvinyl/Fueled By Ramen/Drive-Thru)

1990-1995: CD
There are moments when this resonates with something more meaningful and emotionally stirring than generic hardcore, brief passages that sound more like the Mega City 4 or Hüsker Dü than another hardcore-by-numbers band with requisite youth crew anthems, but those moments are scarce and – considering what surrounds them – not worth finding. –Puckett (Boss Tuneage)

Fearless: CD
Jack Endino-produced college rock which sounds like a ten-year-old Grapes of Wrath master that someone discovered in a broomcloset. I’m amazed that people still make this shit, much less listen to it. On the other hand, if you’re a Rusted Root fan, this might seem quite appealing. –Puckett (Good Ink)

Eyes Adrift: CD
Oh, man. In which Krist from Nirvana, Bud from Sublime, and Curt from The Meat Puppets plead for attention and renewed relevance by playing country-inflected rock. I think my ears are bleeding. –Puckett (spinART)

Half-Wit Anthems: CD
Combine the worst excesses and most desperate commercial inspirations and aspirations of Big Chief, The Red Hot Chili Peppers, Primus, and a slew of would-be progressive yo metal bands who listened to too much Yes and fancy themselves to be talented musicians, and you have an idea of how much rancid, diarrhea-covered ass this sucks. –Puckett (Nuttsactor 5)

The Song Is You: CD
Some people might call this plaintive. I call it sniveling. Other people might refer to these melodies as lilting. I call them wanky. If you believe that using more than three chords is getting into jazz territory, then this is what our world would sound like if Kenny G had founded Stereolab – bland, mindless, inoffensive, innocuous, and so utterly indistinguishable from beige wallpaper that I can’t even call it background music. This is the eighth straight album (out of eight so far) I’ve reviewed for this issue that I hated. I’m beginning to wonder if Todd is punishing me for something… My only hope is that I can sell this shit for enough money to buy a pint of cheap whiskey to annihilate the memory of the indignities which I am currently suffering. –Puckett (Flameshovel)

Return to Zero: CDR
Good fucking God! It’s Turbonegro meets the Cars with a lot of ooohs and oh, oh, oh’s. It was clean and pretty darn catchy. Word to the wise: buy this, listen to it, and if you don’t like it… well, I guess you’re shit out of luck if you don’t like it, but I’m pretty sure you will. –erika (Self-published)

Self-titled: 7"
To start, and don’t get me wrong, I loved this record, but I’ve never been one to dig on the English accent sort of singing. The songs are raw and sound like they could fall apart if someone broke wind in their direction – what any good punk song should be. What else would you expect from members of the Baseball Furies and a spunky gal? –erika (Big Neck)

Modern Kicks: 7"
This 7” was sweet enough to leave me requiring some major dental work. I think it could have been better if either side wasn’t the same tempo as its flip. Both sides require a huge amount of pop enthusiasm. It’s a good buy if you’re trying to get a girl in the sack and need a mood setter. –erika (Vinyl Warning)

Split: 7"
Seattle slaps us once again with a double whammy. The Popular Shapes spin you on a tilt-a-whirl of pretty indescribable sound. Honestly, I can’t really put my finger in it. It really is like a carnival ride. The guitar and melody of their two songs leave you dizzy and wanting cotton candy. If you have enough balance to flip the record over, The Intelligence will soothe your sixties sweet tooth. All in all, it’s a pretty sweet ride. –erika (Dirtnap)

I Hate Your Secret Club: 7"
Fuckin’ rockin’! I lost my concentration the first couple of times I listened to this, but when I finally got it, I wished my record player had a repeat button. The three songs on it are all awesome. It was rock‘n’roll on a very fuck you level – well worth getting up to reset the needle. –erika (Estrus)

Self-titled: CD
...this is one of those impudent records that dares the listener to listen to it until either 1. it is comprehended fully or 2. you're sick to death of it – both fates have yet to transpire on my end, so i imagine their fiendish will is being done even as we speak. My original synopsis of "i guess this is what the Pixies might've sounded like if they hadn't sucked" having been long since discarded on the grounds of it being too fantastic a flight of fancy to be contemplated, i can only say in my client's defense that many of these tracks would sound not at all out of place on any given 1978 UK punk comp, probably right between Magazine and Subway Sect, and that most every unforeseen turn into, like, Guided-By-Voices-ism is countered with a similarly unforeseen turn into, like, Scared-Of-Chaka-ism, ergo the Cosmic Equilibrium is more or less maintained – e.g., "Leisureworld," where you'd SWEAR some wise-apple drew a vertical line down the center of the singer, declared one half of the body Brainiac and the other half the Sniveling Shits, then the two halves punched each other daffy throughout the entire number. Also notice how "Pacemaker" sounds exactly like a Manplanet song without ever actually sounding like Manplanet, and how the chorus to "Sister Automatic" sounds like it was written by Rick Sims, even though it's actually nothing at all like any band he's ever been in. Curiously inscrutable I SAY SHE'S A WITCH!!! BURN HER!!! BEST SONG: "Clone Song" but maybe "Sister Automatic" BEST SONG TITLE: "Go Go Machine" but maybe "Sister Automatic" (i agree – too Urge Overkill) FANTASTIC AMAZING TRIVIA FACT: "Sister Automatic" has the best typewriter solo since "Defamation Innuendo" by the Circle Jerks! –Rev. Norb (Dirtnap)

For Bosomaniacs Only: LP
...i dunno, if the Platonic rock & roll ideal made flesh in the form of an automobile is, say, a 1965 Ford™ Mustang, this is more of a '73 Maverick or something (but dude! Three on the tree, dude! Can't fit a half-full beer can on the dashboard or anything, but it's got that three on the tree, man!). When they try to do the '50s thing, they sound a bit like the Meteors; when they do the '60s surf/hot rod thing, they sound pretty uninspiring (except for the song with the horns on it, that was pretty cool, even though it got me to thinkin' that it would be neat if a band covered "The Horse," which is kind of a scary thought); and, as one might assume when a Belgian surf/hot rod/'50s/punk band presumably attempts to evoke the spirit of vintage '68 John Sinclair ("American Revolution"), they just sound...uh..."interesting." Towards the end, the transatlantic deviance finally kicks in to momentous effect on "Shake My Iguana," a song that sounds so great the first time you hear it that you're scared to check the track listing lest you find out that's not really what they're saying, but by then the album's pretty much run its course. As an ass man, i can only conclude that this album was mis-routed to me by the editor. BEST SONG: "Shake My Iguana" BEST SONG TITLE: "Shake My Iguana" FANTASTIC AMAZING TRIVIA FACT: Packaging depicts four nipples, three of which are female. –Rev. Norb (Demolition Derby)

This Is Not the Medway Sound: LP
...i saw this guy live w/full band in a bar across the street from where i work last year, and couldn't really make heads nor tails out of what exactly he was trying to do (although the fact that i don't remember whom he was opening for should be a backhanded compliment of sorts). On closer inspection, it is my esteemed supposition that, regardless of what he is TRYING to do, what he HAS DONE, as far as i'm concerned, is found a midground – (a midlands, if you will) – and, thusly, united – the section of the Venn diagram containing wry, quasi-smartass British songwriter types like Wreckless Eric, John Otway and the Jazz Butcher with the sector belonging to unaccompanied Billy Childish material and the like (may i note for your convenience that this album is a drumless work). Problem here is that, lacking the quirky songcraft of the former and the bloody-nosed immediacy of the latter, the guy achieves absolutely nothing superlative whatsoever (though he does score a few memorable lines like "we're all just animals...don't get cocky"). My favorite part is still the (likely unintentional) evoking of the Monkees first album in the instance when a refrain of "hey-hey-hey-hey!" in a song laden with 7th chords almost duplicates a similar passage in "Tomorrow's Gonna Be Another Day." I'm sure the guy is thrilled to know that. BEST SONG: "This Is Not the Medway Sound" BEST SONG TITLE: "Hey x 4" FANTASTIC AMAZING TRIVIA FACT: This stereophonic microgroove recording is playable on stereophonic and mono phonographs. It cannot become obsolete. It will continue to be a source of outstanding sound reproduction, providing the finest stereophonic performance from any phonograph. Well LA de fucking DA... –Rev. Norb (Smart Guy)

Little Man b/w Dr. Morgan: 7"
URGENT MESSAGE TO AMERICA: Well, two things, really. #1: Liam Watson is THEE man, and #2) Cease and desist all further attempts to produce this mercurial quantity known as "psychedelia." Your collective attempts at same over the course of the last thirty-five years have been little other than an national embarrassment and a placebo for the dim-witted and unshaven. Give the limeys their due: They INVENTED psychedelia (Alice In Wonderland, man. I rest my case), and, at this particular table, he who holds the Lewis Carroll card always has the high hand (plus they drink tea in the afternoon, superfluously insert the letter "u" into words like "labor" and "color" and wear ridiculous pence-nez spectacles at all hours of the day and night. If that's not psychedelic street cred in its purest form, i don't know what is) (and don't even start with the "but what about the weird gurgly noises on the Thirteenth Floor Elevators records?" bit, i don't even wanna hear it). I mean, NO AMERICAN can get away with singing lines like "fifteen tons of yellow orchids dancing on my bed" (nor should they), yet the Brits can pull it off, devoid of (almost) all irony, and have it ROCK magnificently, and never once incite the listener into wishing ass-kickings upon the artiste and his family. All told, i prefer "Dr. Morgan's Panacea" – sounding not unlike a lost "I Can Hear the Grass Grow"/"Cherry Blossom Clinic" era Move hit crash-landing into "Happenings Ten Years Time Ago" by the Yardbirds (given the restriction that the Move can't default into three-part harmonies whenever they get confused) – to "Little Man" – which sports the purest sonic simulation of "Journey to the Center of Your Mind"-era Nuge guitar as science will allow – but, on the whole, this record short-sheeted my brain and has surely warped my DNA to the point where, should i sire offspring some day, i'd be legitimately concerned about them being born with playing cards as bodies. BEST SONG: "Dr. Morgan's Panacea" BEST SONG TITLE: "Dr. Morgan's Panacea" FANTASTIC AMAZING TRIVIA FACT: Big Bear was my favorite member of the Forever People™, one of Jack Kirby's first projects after returning to DC™Comics in 1971. "Kirby says 'DON'T ASK! JUST BUY IT!'" –Rev. Norb (Butterfly)

5¢ Mail-In Rebate: 7"
...it's hard to tell if that (or anything) is actually the real title of this record, but i thought it described the band's sound more appropriately than other phrases on the cover such as "Four Zippy Songs" and "Malicious Fast & Furious Bar Chords." Indeed, the band is nowhere near as overtly poppy-punky as one'd assume from the neo-Otter Pop™ packaging, sounding much more like those bands that turn up on the Teen Line compilations of late '70s/early '80s underground power pop bands – bands who existed in that brief window when (ah, the fools!) actually thought that "pop" could be "rock," on accounta no one told them otherwise yet (or they merely didn't listen) – than it does like something that would own a Queers t-shirt and black Chuck Taylors™. I can't say as this actually made me pick myself off the floor and dust myself off after initial contact, but i think it's fair to state that if i came home from Drivers Ed 20+ years ago and found this in the same package as i found the Boyfriends and Zeros 45s i mailordered from Bomp!™, i wouldn't question the wisdom of my purchase. BEST SONG: "Nothing to Live For" BEST SONG TITLE: "Trouble at the Y" FANTASTIC AMAZING TRIVIA FACT: Cover clearly states "5¢ MAIL-IN REBATE – see inside for details." No details are provided inside. –Rev. Norb (Short Hare)

Jag Mår Så Illa: 7"
Recorded by a lone gunman in his kitchen, "Down in Hell" sounds like something Mojo Nixon would've done had he have grown up in whatever weird Scandinavian country puts the little circle above the letter "a" (either that or Gilbert O'Sullivan whacked out of his gourd at 4 AM on crack and box wine); by contrast, "My Voodoo Dolly" sounds like the missing link between the Rude Kids and the acoustic songs on the first Led Zeppelin album that we've all been deathlessly waiting for (or, if you will, it sounds like THE Missing Link singing acoustic songs on the first Led Zeppelin album), and "Who's Fooling Who" sounds like a demo version of a song that could've been a great b-side or a solid album track for virtually any Northern Hemisphere Rock Band, any genre, from the period 1967-74 inclusive (obviously, the title track needs no explanation). I feel SOMETHING, but am unsure as to whether or not it is, in fact, love. BEST SONG: "Down in Hell" BEST SONG TITLE: Duh, it's obviously "Jag Mår Så Illa" FANTASTIC AMAZING TRIVIA FACT: Advertising materials contained herein indicate that this product is one of three "new releases" on the label, and the only one i didn't get to review was the one with the Iron Sheik on the cover, which figures in a Murphy's Law sort of way, but doesn't figure at all in that the Sheik-emblazoned release is not this release. –Rev. Norb (Subway Star)

Kris and Holly Sides: 7"
...i mean, i quite understand the various forces that impel guys to form two-piece bands with their girlfriends (or sisters, or ex-wives — or someone who qualifies for all three categories at once [hey, Michigan's a weird place, man]), ya know? I'm COOL with it. What i'm NOT cool with is why i hafta be the poor sap stuck LISTENING to the results — i mean, what the fuck am i, the rock & roll chaperone? Can't you guys just practice, then get drunk and fuck on the anvil case or something? Human Spam™ Filter, kindly refrain from subjecting my hi-fi to further PDA-by-proxy materials! 'Sfar as the music goes, the Esquerita cover plows a pretty happnin' trench thru the combined fertile muck and bountiful mire of the eighth Cramps and second Supercharger albums, but the three originals have already slid from my short-term memory bank straight into the recycling bin, which is likely whence they came anyway. Kinda hard to play the "blues" with anything resembling conviction when any second it sounds like this record is gonna start drinking a chocolate malted with two straws and making out with itself. BEST SONG: "Rockin' in the Joint" BEST SONG TITLE: "PDX, OR, USA" FANTASTIC AMAZING TRIVIA FACT: The track hereon entitled "Sugar, Sugar" is not the Archies cover of similar name, which is generally spelled without a comma (and is a superior song). –Rev. Norb (Subway Star)

Wreck Collection: CD
Sweet Jesus, I don’t even know where to begin with this ’un…. This is a retooling, rather than a reissue, of a posthumous release by this Austin, Texas monster of a band, originally put out by legendary punk producer Spot on his No Auditions label back in 1987 or so. A whole slew of rare live, comp and otherwise previously unreleased tracks have been tacked onto what was already and damn near perfect album, making the whole deal that much sweeter. If, by some fundamental flaw in the space-time continuum, you’ve never heard of the Big Boys, do yourself a favor and buy everything you can find by them, starting with this album, as it serves nicely as an introduction to a band that impacted everyone that crossed their path, from Minor Threat to Black Flag to X to the Red Hot Chili Peppers and beyond. This was a band that transcended all the stale boundaries the hairless hardcore hordes were already imposing on punk rock by the early- to mid-'80s and made some jaw-dropping good music that cut a wide swath across every genre available to them at the time, a band that could follow up a hail of thrash beats with a Kool and the Gang cover without batting an eye, a band that could make you think while you shook your tail feather, a band that actively searched out the best ditches to skate and encouraged others to “start your own band.” Pick up a copy and file it under “essential listening.”
–Jimmy Alvarado (Gern Blandsten)

1977-2002: CD
A collection of diverse tracks featuring the same drummer. The sounds here range from drum solos to soft pop to avant-jazz (courtesy of Monster Island, a band also featuring Henry Kaiser) to Stoogy punk rock (The Destroyed, who would’ve made a killing if they had only bothered to take the time to record at least a single). Sound quality varies from track to track, with some rawer than others and the occasional drop-out in sound. Overall, the proceedings were relatively painless, and homeboy’s a damn fine drummer, but I’m not quite sure the world really needed a ten-minute garage recording of a jam based on Ozzy’s “Crazy Train.”
–Jimmy Alvarado (www.bertswitzer.com)

Fidatevi: CD
Anyone who knows me knows that I am a huge Screeching Weasel fan. I own all the songs in their discography. I have Weasel promo pictures and posters displayed in prominent areas around my apartment. I won’t let anyone talk smack about the band. I regard Ben Weasel with high esteem, and that is why it has taken me so long to write this review of his new solo album. You see, I like what Ben has done with Screeching Weasel, I want Ben to like me, but there is no way around it: I did not like Fidatevi. I tried to give it time and the benefit of the doubt, but this album just does not rock the way I wish it would. I know I shouldn’t compare it to the other band, but it pales in comparison. Without Jughead’s happy guitar behind Ben’s pissed-off-sounding vocals, the songs lack balance. On one hand, yes, the lyrics are more introspective and do show a growth in Ben as a person. I like these qualities in his column. Far be it for me to tell someone to not grow and develop as a human. But on the other hand, knowing the kind of music that Ben Weasel has put out in the past, I just wasn’t impressed with this particular album.
–Felizon Vidad (Panic Button)

Permanent Jetlag: CD
Imagine Depeche Mode trying to earn some “cool” points by pretending they’re a real band and adding touches of hip hop for additional street cred.
–Jimmy Alvarado (www.beatcorp.com)

Rip Your Heart: CD
If I tell some of you that this is Finnish punk rock and roll, you’re gonna go buy it no matter what my review says. (Someday, it is my great hope that Scandinavia will invade the US, put Turbonegro on the radio, and give us all free health care; but I digress.) The Bad Machines play old school punk rock and roll, in the Pagans vein. Unlike a lot of punk rock'n'roll these days, this is actually pretty catchy. Plus they all have long hair and two of ‘em wear cowboy hats. Those crazy Finns! If this were a cereal, it’d be some Finnish cereal. (Sorry, I am no expert in Scandinavian breakfast food!)
–Maddy (Dead Beat)

Easter Queen: 7"

Record: Knock knock.

Me: Who's there?

Record: The White Stripes.

Me: Oh.


 TRIVIA FACT: Mary and Richard play drums, guitar and vocals!

–Rev. Norb (SS)

Oil: CD
Seventeen songs on this gave me some of this to say: ick, bad, bad-bad, God no!, don’t care, dumb, even worse, boring, oooh funk!, blech, and various others. However, there are two great tracks amidst all that. (Which is a pretty good ratio if you check out the Fueled By Ramen standards.) The Matics and the Arrivals are just so damn good. If you hadn’t noticed by last issue’s cover, we like the Arrivals over here at Razorcake HQ. They just consistently blow me away. Little Dave kept talking about the Matics the weekend that we interviewed the Arrivals, so I’ve been meaning to check them out. This was a hell of a nice cut to be my first taste. There’s a definite similarity to both bands’ sound, but they both put their own spin on it and create something entirely original. If you want a whole buncha crap, get this. If not, just go pick up The Matics and the Arrivals. –Megan Pants (Thick)

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