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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:
Dirty Faces Volume One: CD
A label sampler that also serves as a surprisingly good international punk compilation. Although I personally could do without the few ska tunes on here, even I find it damn hard to dislike that includes tracks by Antidote, Daily Terror, Colera, Agrotoxico, Blind Pigs, Calibre12, Public Toys, and a NEW TRACK by the legendary Olho Seco. Good stuff. Send ‘em money. –Jimmy Alvarado (Dirty Faces)


CLAIRMEL / CEASE:
Split: 7"
Some bands tow along fury. Clairmel is one of them. It’s an unplaceable element, but it drives the songs harder, more true, more directly while establishing new ground musically. Think of a tornado, then the tenderness of the Red Cross. And when they establish a rhythm, they take it down winding, interesting audio roads, which serves the listener from becoming bored or yelling, “Ah ha, you boner. You ripped off ____________ (fill in the blank)” at the turntable. Clairmel’s also one of those bands that are really fucking cool musically, then you read the lyrics, and it gets all the better. (i.e. “I never thought I’d be crawling just to walk on the other knee”). They’re in the same dugout as Tim Version, The Arrivals, Spontaneous Disgust, and Hot Water Music (with whom they shared a split 8”). Honestly delivered vocals, tight and bombastic instruments, emotionally charged, and soaring. Thumbs up. Cease: chonka chonka, pause, pause, growl. It’s silliness by some dudes that play way too much Dungeons and Dragons and rearrange Slayer lyrics like those poetry refrigerator magnets. Lots of screaming about doom and abysses and stuff. I yell, “Ah ha, you boner.” I rip it off the turntable. –Todd Taylor (Attention Deficit Disorder)


CHEMO KIDS, THE:
Radiation Generation: CD
What you’ve come to expect from Pelado. Fast, snotty rock and roll with occasional lyrics like these from the song “Cunt”: “Gonna tell my baby what I want/Get on all fours and shut the fuck up right now…My baby she lives in my town/When I get home gonna slap her around.” Which is, well, stupid. If you can overlook cliché suck-my-dick-or-I’ll-hit-you-girl lyrics (or if that’s your thing) the rest of this pretty much rocks. Plus they say it was recorded on December 7th, 1941 in Pearl Harbor. Punk rock! If this were a cereal, it’d be a combination of generic Fruit Loops for the generic sugary rock and roll excitement, combined with something like Barbie cereal, for its silly attitudes towards the females! –Maddy (Pelado)


VARIOUS ARTISTS:
Cock and Roll: CD
The title pretty much sums this one up. Twenty-six songs covering all the stylistic ground between Kiss and Motley Crue. If you think you’d like bands like Rock City Crimewave, the Dog Shit Boys, and the Trashcan Darlings, then you probably already have this. –Not Josh –Guest Contributor (www.sleazegrinder.com)


CASUALTIES, THE:
Die Hards: CD
If ya have a hot’n’bothered hankering for the spikey-haired, studded-leather, ghetto-punk hooliganism of The Exploited, G.B.H., Broken Bones, Discharge, One Way System, and Blitz, then look no further! The Casualties seditiously possess all of the outrage, attitude, aural belligerence, lyrical objectivity, and scruffy nuclear-mutant appearances of the aforementioned progenitors of their particular genre. It’s working-class punkrock rage for the restless, downtrodden, oppressed, and furiously insurgent. Unadulterated sonic chaos at its most savage! Rock, riot, and rebel with The Casualties, and I promise you’ll never grow old. –Guest Contributor (Side One Dummy)


BEATINGS, THE:
Kiss on the Cheek: 7"
Pretty rockin’ seven-inch from a band that seems to have that Dimestore Haloes/Johnny Thunders thing goin’ on. Note to self: figure out what sort of good luck resulted in me getting a ton of Thunders-esque stuff to review in the past few weeks! It’s making me put on the Heartbreakers more and more, which is definitely a good thing! If you’re into the whole NYC circa ‘75/’76 thing (which I certainly am!), you’d like this record! There are even the mandatory references to heroin! Punk rock! If this were a cereal, it would be Golden Grahams because I sometimes make the mistake of going for months without eating them, only to discover them once again in all of their glory! –Maddy (Pelado)


VARIOUS ARTISTS:
10: CD
This is the tenth release (hence the name) from Chicago’s Punkhead Records. Twenty-six bands from twelve states. There’s definitely some great stuff on there: Grabass Charlestons, This Bike Is A Pipebomb, the Bananas, Against Me!, and the Carrie Nations are in my tops. As far as comps go, it’s pretty awesome – not too many bad tracks at all. I’ll definitely be looking for more by bands on here and from Punkhead in the future. Plus you can’t go wrong for $3.50 (postage paid and with stickers and a poster) The only thing that gets me is on the included poster. They have a map of the US with all the states that the bands come from highlighted. I look up in the upper right corner, expecting to see that beautiful Vacationland state I call home, but no dice! They cut Maine right off the map! It got me so pissed I had to listen to the Carrie Nations track three times in a row, quickly followed by the Bananas before writing this. –Megan Pants (Punkhead)


BAD FORM, THE:
Self-titled: 7" EP
Picture a hybrid mutant bastard stepchild of Tanner vs. The New Bomb Turks. Tanner, because they’re spazzy, but in that experimental who-done-it way. There’s a large flank of melody and butchering. New Bomb Turks because their shameless embracement of lo-fi, deep fried, and undignified rock’n’roll…. Hey, wait a minute. This little pink pill of vinyl is 33 RPM. What the fuck? Big hole in the pink = either 1.) your mom or 2.) 45 RPM. This is a tad slower than I first gave credit to, so the Tanner-isms become more gravelly and more like the ball-in-dirt vocal dragging of the Laughing Hyenas. So, here’s me wanting something a little more wicked and frenetic. I wish I could play it at 39 RPM (half way between 33 and 45). I’d like the instruments fast as possible and the vocals not to squeak. Needless of my inability to operate my turntable, it’s pretty good. Wonderful packaging. Neon green inside the sleeve, fold-out poster lyrics sheet, the aforementioned blow-up doll colored vinyl, and it comes with an extra spindle for the big 45 hole. –Todd Taylor (Youth Attack)


UTAH!:
Plays Well with Others: CD
I was so happy with the first song. I like that people are getting more creative with instruments and creating new sounds. Utah uses cellos, claves, xylophones, and more. The first song still retains a rawness and desperation and the cello gives it a resonance that makes it feel that the pain is important. From then on it’s all downhill and goes into what one would expect from the aforementioned instruments. So mellow I think I’ll send it to my mom. –Megan Pants (Bifocal Media)


BACKSTABBERS, THE:
To Eleven: CD
Someone’s been listening to a lot of Pagans.... Loud, obnoxious boogie-punk with good chops and even better hooks. The style’s being beaten into the ground these days, but this is an exceptionally good entry. –Jimmy Alvarado (Dead Beat)


URBAN WASTE:
Self-titled: CD
Here is the long lost 1982 New York classic on CD! As far as I know, this was originally released as a 7” on Mob Style Records in 1982 and re-released as a 12” on Big City Records in 1987. I know the whole record was also bootlegged on the Four New York 7”s comp. LP. Tracks of this recording were also on the Compilation Dedicated to Tim Yo Mama and Killed by Hardcore, Vol. 1. I’m not sure if other tracks appeared or are bootlegged elsewhere, but this is what I found in my collection. I think my brother has an original copy still. I do remember hearing it back then on the local college radio punk show. This exemplifies the start of the hardcore revolution. Punk became harsher and faster. The lyrics reflect living under the Reagan administration. This style of punk was fresh and powerful. Twenty years later, you can hear the same stylings now in young punk bands across the country. This is a recording that deserves to be brought back from its safe storage. I wish this was more of a discography. I’m not sure if they had more recordings, but I’m sure they had more than just this. If you have followed my writing for any length of time, you will know I have a big soft spot for early ‘80s punk. That was the period that I had the fondest memories from. Oh, to be young again. –Donofthedead (Hungry Eye)


ARRIVALS, THE:
Goodbye New World: CD
Hell yeah. These ears are always thirsty for great music that rocks in new ways. The Arrivals amaze me. Their lyrics are whipsmart, heartfelt, and honest. The instruments crackle like unharnessed lightning and contain an untraceable chemical that has me reaching for the repeat button again and again. What gets me is how catchy they are without being either too simple and boneheaded about it, and the songs are relatively complicated, but they make the music flow so easily and forcefully. With bands like The Arrivals, I get the feeling that it’s four guys playing the exact same song for the exact same reason at the exact same time. That may seem like a real obvious thing, but it’s not. How many bands do you see or hear, and it sounds like they’re going for an effect or are aping an already stripped sound, or they endlessly tinker, or the individual members can’t wait to boost themselves in the mix? Far too many. Not only are The Arrivals technically tight, they’re seamless. The result is pure propulsion, complete charge, a completely new take on punk that jettisons cliche. Take the solid fuel rocket boosters of Naked Raygun, bolt it through an honest sounding voice (a strong, sure, non-mimicking one), structure the songs so they sound instantly classic, yet couldn’t have been made ten years ago (fuck if I know how they do it), and dash in a little Dillinger Four (I’ll never say that lightly), and let it all sizzle and pop. Don’t let the emo-y, bulb-setting blur-fest picture on the cover steer you wrong. This is crystal clear explosion. Snatch this fucker up. It’s fantastic. –Todd Taylor (Thick)


UNIT BREED, THE:
Walking the Death Watch: CD
I can’t tell if they wanted the art or the music to get out more. The lyric sheet is filled with paintings. The music is also super-arty and just as repetitive as the Dali rip-off paintings. The perfect way to listen to this would be: easy chair, feet up, cold beer, good book, volume off. –Megan Pants (Suburban Justice)


ANTI-SEEN:
15 Years of Fame, 15 Years of Infamy: CD
I guess I have been living in a cave but this is my first encounter with Anti-Seen. This is a compilation of rare tracks, 7 inches and live recordings from the past 15 years. So I have missed out on this band for 15 years. There are 28 kick ass tracks on this CD. They remind me of Motorhead with a little REO Speedealer (now just Speedealer). I’m sure most of you have heard them before but these songs might be new to you. Titles include “Jailbait,” “Hippy Punk,” “Fuck All Ya’ll,” “Date Rape,” “Wifebeater,” and “Fornication.” How could you go wrong with titles like that? They even do a cover of Talking Heads’ “Psycho Killer.” For those Anti-Seen fans, this is a must have I’m sure. For those of you, like me, who haven’t heard them, get out there, do yourself a favor and discover the great sound of redneck punk rock. –Toby Tober (Steel Cage)


TSOL:
Divided We Stand: CD
Assuming that everyone reading this has at least an inkling of who TSOL are, I’ll skip to the meat: Their “comeback” album, Disappear, was a good punk album. Sure, it took a little getting used to, primarily because of the band attached to it, but it was good and got better with repeated listens. It was not, however, a good TSOL album. Some bands, whether they perceive it as blessing or curse, you just expect more from. In the case of TSOL, their strength lay in their experimentation within punk’s rigid boundaries – their melding of “gothic” and “hardcore” sensibilities, the complex interplay between instruments, a seeming fearlessness to challenge the listener to accept what they were doing on their terms rather than what was expected. That said, this IS a good TSOL album. Starting off with a couple of decent, if pedestrian, punk rave-ups, the boys spend the remaining eleven tracks plundering a whole host of styles and inspirations, tossing out knowing references to old English influences (the bass line that starts out “Fuck You Tough Guy” is reminiscent of the Damned’s “Neat Neat Neat;” the chorus of “See You Tomorrow” references the piano plink plink of the Buzzcocks’ “Something Goes Wrong Again”), adding to some numbers acoustic guitars and keyboards (the latter supplied by Greg Kuehn, who did time in the band during the Beneath the Shadows years and later joined Jack in Cathedral of Tears) in others, and varying tempos and styles enough to keep listeners guessing from one song to the next. The result leaves the impression that Disappear was merely a warm-up for the band, a chance to reacquaint themselves with form before they got down to the serious business of being TSOL and coming up with this, their true comeback album. Given that this is marked improvement on an already solid foundation, and assuming they plan to continue on this trajectory, the next album should be a monster. Glad to have you back, guys. We missed you. –Jimmy Alvarado (Nitro)


8ROOF:
Yeah! If You Can: CD
This frenetically fierce trio of jet-propelled Japanese noise-makers jubilantly blast a fun and upbeat barrage of Descendents/Generation X-style pop punk that’s raucously bellowing with thick chunky shards of Cheap Trick-like hooks and harmonies. On top of that, toss a loud hefty dose of The Clash, Sex Pistols, and Dils into the mix for good mayhemic measure! While continuously listening to the addictive punkrock clamor of 8Roof, I just could not sit still. My feet steadily tapped along to the pure rhythmic joy contained herein, my hips uncontrollably swiveled, my head buoyantly bounced around in a fit of hyperactive giddiness, and my hands were in constant air-guitar mode. Man, 8Roof are among the most energetically engaging song-destructionists my enfeebled old ears have had the pleasure of hearing in a very long time. They’re a whirlin’ rip-roarin’ tsunami of sound, and I’m utterly completely blown away! –Guest Contributor (Snuffy Smile)


440:
Hot to Go: CD
Rippin’, smokin’, death-defyin’, rockin’, and any other hackneyed descriptive terms you can think of that essentially mean that this is one cool-ass piece of plastic. Hardcore, punk, blues and rock‘n’roll meet in a dark alley, decide to join forces and set forth to tear the universe asunder. Yogi has been raving about this band for a couple o’ years now. Hell, when he mentions them, he even gets that little twinkle in his eye like that dude did in the opening credits of the Wonder Woman television show. I’ll concede that he’s usually got pretty good taste when it comes to punk rock, but for some reason, I never went to the trouble of finding anything by them. Maybe it’s ‘cause of the Lizzy Borden, Thor, and Cat Stevens albums he’s secretly got tucked away in his closet so that no one will ever know he actually owns ‘em. Well, no matter. The point is, I shoulda listened to him more when he ranted on and on and on about these guys. They really got it goin’ on, baby doll –Jimmy Alvarado (Steel Cage)


TOYS THAT KILL / FLESHIES:
Split picture disk: 7”
Toys That Kill. What can I say? What band, with Control the Sun, their second LP, can get slower and stranger, but better? What band has the big, sweaty balls to double scoop their originality and still want to pile more on? I mean, it’s punk, but it’s like how the Minutemen and The Big Boys were punk: a reinterpretation of the original meaning, so it remains vital and keeps the ears from getting lazy without it being a complete what-the-fuck?-athon. The guys pull one out of the vaults (looking at the date of recording and all) from The Citizen Abortion sessions, and it’s a smoker. “Angels with Dirty Contracts” starts with a recorded fight, has synchronized whistling, and all the stakes that cordon off their distinctive style. Fleshies: the dirty underwear, microphone lariat brigade continues with a mid-paced crooner, “My Buddy,” reminiscent of The Psychedelic Furs Talk, Talk, Talk, mixed with goat-throwing guitar sexy, and balled up for enjoyment akin to the delayed and pleasant stupefaction of just the right amount of cough medicine mixed into vodka. The new chocolate and peanut butter? Yes, sir, two tastes that go great together. –Todd Taylor (Geykido Comet)


TRIGGERS, THE:
self-titled: 7”
I am so happy to see girls who aren’t afraid to rock just as hard (if not harder) than most of the boys. The Triggers are no exception. Punk rock with heavy influence on both punk and rock. I haven’t listened to a bad song from these guys yet. –Megan Pants (Johnny Cat)


440s, THE:
Flamethrower Love: 7"
Man, I absolutely utterly love The 440s (especially their lasciviously luscious’n’loud lead guitarist/vocalist, Sparkle Plenty... Joan Jett ain’t got nothin’ on the sinfully delicious Sparkle!). Their “Hot to Go” disc is a constant maniacal mainstay in my CD-changer, and now I thankfully have this tough’n’nasty neck-snappin’ 7-incher to thoroughly rough-up my eardrums. Side A snottily snarls with a rude, crude, and lewd rendition of the Dead Boys’ “Flamethrower Love.” Wooooo-weee, it’s a-causin’ me to spazz in a fanatical fit of full-throttle rock’n’roll ecstasy, by golly gawddamn! Side B is a devilishly delectable lil’ ditty about the sin-inspiring Unholy One himself, ol’ Beezlebub of Hades. “Satan’s at the Spot” is as wildly primitive a song as ever was force-fucked into my ears! I’m cross-eyed, slobberin’ silly, and about to desperately drop to my knees. The 440s have once again robustly seduced my aural senses, and I can only hope that I never fully recover! –Guest Contributor (Steel Cage)


TORA! TORA! TORRANCE!:
A Cynics Nightmare: CD
My mind says this is a mixture of The Hives, At the Drive In and The Strokes. –Donofthedead (Militia Group)


THREATS:
Twelve Punk Moves: CD
All new recordings from a band that survived into the mid-’80s their first time around and have now reformed to give it another go. The cuts here, hip deep in the British “street punk” thang, are strong and full of energy, which makes for some primo listening. Recommended. –Jimmy Alvarado (Dr. Strange)


THESE ARMS ARE SNAKES:
This Is Meant to Hurt You: CD EP
An emo band that sounds a tad more pissed the their bespectacled, agonizingly wimpy brethren. I’d say they sucked, but I’m afraid that they might get pissed off at me, I would summarily be put on their “enemies” list, and I wouldn’t have a hope in hell of ever getting any homemade vegan cookies from them come the holiday season. –Jimmy Alvarado (Jade Tree)


THEORY OF ABSTRACT LIGHT, THE:
: CD
Here’s what you might call a suite; nine tracks that could stand each on their own, but wouldn’t have the same impact that way. Now, if you cut out the roughly four minutes of acoustic guitar strumming, you’d have around forty-eight minutes of high-grade ambient noise, the kind of noise that gets generated by machines and recorded on hidden recorders in public and is less like being in a motorcycle crash than it is like having a dead elephant delicately set on top of you; no sharp edges, no blunt trauma, just encompassing suffocation and slowly crushing mass. It’s all about the mass. No, it’s also about sparseness, like massive sparseness. Simple drones and sounds that are so distorted you don’t know what the original sounds were. This guy, Ben Carr (he’s in 5ive), he knows what the fuck to do with solitude and a tape recorder. –Cuss Baxter (Odd Halo)


THISTLE:
Tired Anchor: CD
Indie pop. I liked the ever-present drone in the music, but the hackneyed whine in the singer’s voice made my stomach turn. –Jimmy Alvarado (Tiberius)


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