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One Punks Guide to Pinball, by Kayla Greet
Razorcake #92
Spokenest, Gone, Gone, Gone LP
Pinned In Place, Ghostwritten By LP
Razorcake #91


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No Idea Records

Record Reviews

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THIS RUNS ON BLOOD / TRANSIENT:
Split: EP
Unfuckin’ real how horrible This Runs On Blood is. Think of the Blood Brothers meets An Albatross, and make them even more pretentious. This Runs On Blood are screamo crap with a lot of wanking going on in the studio with effects and samples for dramatic effect. The screaming vocals are atrocious. I guess the singer’s throwing some little shit fit I should be interested in, but ehhh.... Transient are run-of-the-mill modern day grind. I prefer them over This Runs On Blood, but, at the same time, they’re nothing special, and certainly not worth forking over your entertainment dollars in these less-than-free-wheeling times. The one positive about this record is the excellent packaging: offset three-color cover, sewn pocket for the blue vinyl, and nice hand lettering throughout. –todd (End Theory, endtheoryrecords@gmail.com)


TEENAGE REHAB:
Let’s Be Enemies: CD
This is the hottest shit to come out of Kentucky since Wild Turkey! (I haven’t drank that stuff in years but I remember it burns.) Produced by Joe Queer, this careens along like a drunk dog on a hardwood floor (don’t ever try this at home kids.) “Sunday Night Blackout” blasts through at the start of this one, and, really, don’t we all wish we could be hung over on a Monday morning? The boys kick it into high gear for “She Can’t Fuck Me” with a white hot ten second guitar solo tossed in for good measure. “Sick of Your Face” will also be a new crowd pleaser with the punters. Solid stuff, gentlemen. –koepenick (Jailhouse)


TEENAGE REHAB:
Let’s Be Enemies: CD
There are some Queerisms to be found here, which makes sense, seeing as Joe King co-produced and Wimpy wrote the lyrics to one of the songs, but that influence manifests less in the usual paint-by-number Ramonesy pop punk sense and more in loud, obnoxious ditties like “She Can’t Fuck Me” and “Pitchburnt Motherfucker.” Still, the band manages to maintain enough of the charm of their previous EP to make this well worth a spin or two. –jimmy (Jailhouse)


TEENAGE BOTTLEROCKET:
They Came from the Shadows: CD
Open up the insert of this CD to the middle, and prop it up so you can see the picture of the band clearly. Put on “Bigger Than Kiss” and be prepared to laugh your ass off. Dig deeper though, and you will hear more great songs about love lost, everyday problems that most of us go through at one time or another, and just life in general beating you down. But I triple dog dare you to listen to this record and not have a smile on your face by the end of it. “Call In Sick” will be the new anthem for unmotivated employees across America. And probably everyone has met someone like “The Jerk” before. Another quality release from these Wyoming roughnecks. Yee-ha! –koepenick (Fat Wreck Chords)


TEENAGE BOTTLEROCKET:
They Came from the Shadows: CD
Let me say right away, without hesitation, that Teenage Bottlerocket needs to receive a Punk Achievement award because they’re about seventy-five percent responsible for the resurgence of pop punk (which, in turn, has made my life about thirty-seven percent better) and they feature members of the Lillingtons, one of the best pop punk bands of all time! Plus, they might’ve set a record for the most “oh, oh, ohs” in pop punk history and I mean this in the best possible way. Let me put it this way. Every year, my boyfriend organizes a punk rock dance party on Valentine’s Day. I consider it the premier social event of the year, every year. And for two years running, at the end of the dance party, once everyone has left except the true believers, we put on Teenage Bottlerocket and dance like crazy! So, having said that, this is their worst record, but in saying this, you have to realize that they have the bar extremely high, being that they are Olympic high jumpers. This starts out with an amazing, soon-to-be classic “Skate or Die,” which contains everything you’d ever want out of a Teenage Bottlerocket song: ridiculous lyrics, (“So shut up, get rad ‘cause now it’s time to skate or die.”) unbelievably catchy guitar solos, and the appropriately extreme level of Ramones worship. Here’s the problem. This album does have some truly great songs, but it also has a few that sound like they’re a Fat Wreck Chords band. Now, I know what you’re thinking. They are a Fat Wreck Chords band. True enough, but I had considered their relationship to that label as roughly equivalent to The Strike’s relationship to Victory Records (who released their second LP). Sadly, I fear that the musical influence of Fat Wreck Chords is rubbing off, as demonstrated by a few songs that could best be described as boring, generic punk songs. Argh. I’ll still listen to half of these songs over and over again, but I think I’ll have to create a mix tape that weeds out the other half. If this were a cereal, it’d be a double-pack of Cinnamon Toast Crunch (yum!) and regular Cheerios (yawn). –Maddy (Fat Wreck Chords)


TASTE THE FLOOR:
Self-titled: CD
So far as I’m able to tell, this is an Italian hardcore band that sings in English. Some of the malapropisms lead me to believe that the singer, or at least the person responsible for the lyrics, isn’t a native speaker, but they make their points clear enough and they deliver ’em with enough angry heft to keep yer attention. –jimmy (risingriotrecords.com)


SWORN LIARS, THE:
Vile Device: CD
Goddamn, do I hate the way CDs sound, everything so crisp and bright. Makes me want to head to the nearest pig farm, throw the Sworn Liars CD in the mud, and let the hogs root around with it for an afternoon. “Vile Device” comes off sounding pretty darn generic and I attribute most of that to the overly clean production. A song like “Tired of You,” with its outer space keyboard intro and wall’o’sound guitars, would sound a helluva lot better with some greasy globs of booger snot in the mix. Same goes for “Krank.” These guys are all over the place musically, with a couple cool satanic horror punk songs, some Circle Jerks hardcore (“Every Body”), and some bizzaro countrified rawk (“Kill Me,” “Foul Thing”). The songs aren’t bad, but it’s all a little too scrubbed-behind-the-ears sounding for me. –benke (Big Neck)


SUNDOWNERS:
Gnome & Glacier: LP
Surprisingly, this is the first time this band found its way onto my turntable. That’s too bad, ‘cause this is right up my alley. Scrappy, DIY pop punk that’s obviously unorthodox, but in ways that aren’t instantly obvious. Oddball, but still very familiar. Like Tulsa with a little more meat on the bones, or Off With Their Heads with less of a bone to pick. Sundowners put the spring in Springfield and will fulfill your need for a solid, well-rounded album. On 45 and the grooves go all the way in! –Daryl Gussin (Dirt Cult)


SUBURBAN NOISE:
El Sonido del Suburbia: CD
Italian emo/pop punk in all the horrifying hues those words imply. –jimmy (sp-records.com)


STRUCK BY LIGHTENING:
Serpents: CD
Whoa-ho-ho-ho! I’ve sat in this room for the past couple nights listening to this disc in total awe. There’s a definite Tragedy influence in their sound. But Struck By Lightening are most definitely on their own trip. They’re waaayyyyyyy heavier, darker, and the metal influences propel them above the mindless masses attempting the same sound. Drumming that sounds like large machine guns going off. The way they are recorded is perfect. I haven’t heard any drums anywhere recorded this well. You can hear and pret’ near feel every hit. The bass has a great and dirty sound that gives the songs a sinister edge, and the guitars are one sheer din of energy. The vocals are great as well. Nothing overdone or overdramatic. Strong, effective, and intelligible. This is one of those albums you can immerse yourself in. The songs are solid as hell, the time changes dynamic, and, as the album progresses, so do the songs—from semi speedy tempos and to sludge. The instrumental, “Collection of Teeth” with its cold tones and piano is a great break from the guitars and drums assault. It underlines the overall feel of the album. Also, it sounds like it could easily fit into a soundtrack for a Fulci film. Feel the darkness and wallow in it. Easily one of the best heavy bands out there at the moment, and I will stand behind that statement. –Matt Average (Translation Loss, translationloss.com)


STRONGBOW:
Corner Bar Poetry: CD
This German band has been running around for eight years now, pumping out melodic punk like an assembly line. The singer pretty much cribs his whole steez from Social Distortion, while the band marches ahead with straightforward melodic punk rigmaroles. RIYL the same shit over and over. –Andrew Flanagan (Longshot, myspace.com/longshotmusic)


STRESSED OUT / RIP IT UP:
Split: 7”
Look, I know you don’t care what I have to say about the music. All you want to know is which Arrested Development character they thanked on the liner notes. The answer is Tobias. If you like good hardcore punk bands who watch great comedy television programs, you can’t go wrong with Rip It Up. Stressed Out thanks a lot of people I’ve never heard of. Obviously, they are lesser human beings for not thanking a fictional character. B+. I still don’t trust download codes though. –Bryan Static (Self-released)


STRENGTH APPROACH:
All the Plans We Made Are Going to Fail: CD
Italian hardcore from Rome. This record is over a year old, but I’m really digging it. There are riffs that wouldn’t be out of place on an S.O.D. record from the mid-‘80s, but it doesn’t feel dated or rehashed. Granted, it’s not the most original material, but it’s a lot of fun to listen to. There’s something to be said for getting older and refusing to slow the fuck down. –Jim Ruland (Pee)


STORM OF STRESS:
Self-titled: CD-R
Storm Of Stress play angry speed metal with pedantic lyrics about refusing to help friends who can’t help themselves. “Nut Up,” “Leech,” and “Waste” are gleaming examples of the self-righteous attitude in hardcore/speed metal that sends me lunging towards the “stop” button on the CD player. To these guys’ credit, they do acknowledge their own fallibility in “Slipping into Darkness” and “Let Down,” mentioning vague failures and wishing for real-life do-overs. The music is played fast and tightly with a few decent breakdowns and the singer is appropriately indecipherable in his overblown, unholy delivery. The dude could’ve sung in Polish and I wouldn’t have known the difference save for the lyric sheet printed in the liner notes. One suggestion, SOS: If your lyrics and message are important enough to print out for people to read, it’s a good idea to proof read them and correct the spelling errors. –benke (Self-released)


STATUES:
“We’re Disparate” b/w “To the Top” and “Young Enough”: 7”EP
Equal parts Dilbert, The Jam, and Allan Sillitoe’s Saturday Night and Sunday Morning. You could say that it’s geeky (check), you could say that they’re bouncy and non-ass power pop with sharp punk teeth in their chainsaw (check), and you could say they’re working class without the nutty boots, birds, braces, dual, fat-fingered patriotism (check). Rural Canadian spectacle rock is a go. Haven’t heard one bad song from this trio yet. –todd (House Party / P.Trash)


STATIONARY ODYSSEY:
Sons of Boy: CD
The Good: These cats really know their way around their instruments and have the sense to really mix up styles—ethereal post-rock, blues, and noise are all in evidence. The Bad: There’s also a heavy dollop of prog rock here, which really showcases their ability to play on this mostly instrumental release, but after a while gets about as interesting as an ELP album. The Fucking Awesome: Artist John Casey deserves hugs—and lotsa cash—from everyone in the band for the faboo illustrations he gave ’em for this release. –jimmy (Joyful Noise)


SPROCKET:
Medicated Empty: CD
Faceless, radio-friendly pilf that hits all the key “modern rock” demographics but is wholly devoid of any risk, edge, or anything else that would make ’em remotely interesting. More succinctly, this challenges the status quo about as much as the Mary Poppins soundtrack. –jimmy (myspace.com/sprocket)


SPRINGHILL:
…You Saw Me Laugh, You Saw Me Cry…: CD
It took me forever to dig up anything about the band due to the lack of any info with the CD besides a Japanese mailing address, but after some searching I found out that they were a German pop punk band in the early to mid ‘90s. This release is more or less their discography. These guys are somewhere between Millencollin and Face To Face. There are lots of harmonies, fast punk that dips into the slower, epic emo end of the pool quite often, and accents galore. Some of the lyrics do get a little embarrassingly direct, like the song “That Girl,” whose chorus is “there is a girl and I love her.” But, for the most part, this is pretty good stuff. The best, no doubt, is the lead-off track “Windmill.” This sounds like the best song that never made it onto Face To Face’s Big Choice, or one of the good Unwritten Law albums. Freaking great gem of a song. –Adrian (SP)


SPEARS, THE:
Shove: CD
What do you get when you hand Gary Strickland, vocalist for legendary Florida hardcore band Hated Youth, a bass and stick him in a band with Pink Lincolns vocalist Chris Barrows, Down By Law guitarist Sam Williams and current DRI drummer Rob Rampy? A hardcore album that may not burn with the same intensity as early DRI or Hated Youth, but is still rife with rock solid tunes that occasionally come within sight of Zero Boys-level greatness. –jimmy (Jailhouse)


SLOW POISONERS, THE:
Magic Casket: CD
One dude with an exceedingly cool band name at his disposal cranks out eleven tracks of swampy, quirky rock songs about witches, zombies, and humans regressing back into living underwater, among other things. –jimmy (Slow Poisoners)


SLEEPWALL:
Is That Factual?: 7”
It’s unfair to impose Zen Arcade on a two-song 7”. Two different states of vinyl mass. But much as with Tenement’s recent Ice Pick 7”, it’s hard not to make Hüsker Dü-ian references to another band that is looking far beyond its constraints from the Land Speed Record gate. This shit’s expansive, layered, tension-filled, and is suited for a double LP to have it wash, glaze, and wander around your ears for awhile. I’ll go ahead and mention that some Dinosaur jr. is in the mix. Bug wouldn’t be a bad comparison. Funny thing is that Sleepwall’s first 7” was much more Deep Wound meets Superchunk; working well as a 7” capsule. I’m super interested how all the pieces are going to come together for a full length. –todd (Toxic Pop)


SLEEPIES / OLD TESTAMENT HEROES:
Split: Cassette
The packaging for this is pretty all right stuff. It comes in an envelope, like a 6” x 9” manila envelope but black, with a hand-printed graphic. I still haven’t been able to figure out what the pic is, but I enjoy looking at it. Inside the envelope is a lyric book that is just a bit smaller than the envelope and a ten-minute white cassette with the band names hand written. I appreciate that these dudes are down enough for their stuff not only to release it themselves, but put a bit of effort into packaging it. Nice. Sleepies: The last thing that Sleepies put out, Join the Shark, was an awesome surprise; definitely one of the better EPs that I’ve heard this year. So I was no doubt stoked to get this cassette that has two new songs. They both seem to be a continuation of the rambunctious indie punk offered on the Join the Shark EP (which is only three dollars), but maybe a little moodier. I still want more. Awesome. OTH: I grew up around a few guitar players, but not many drummers or bassists. So I was constantly hearing dudes playing just guitar. It was something that I tolerated, but I never quite understood it (probably because I play no instruments whatsoever). Over time, I’ve come to be kinda able to recognize (what I would consider) an okay guitar riff or whatever. This is the drummer from Sleepies doing some solo stuff with an electric guitar doing a concept record in about five minutes. It’s about agrarian reform in North Korea through the eyes of somebody with some reverence for Kim Jong-Il’s father; judging from the lyric book, it might have come from a library book. The guitar is okay, reminds me of some good, kinda aggressive yet folky pop punk; but, as I mentioned above, I don’t quite understand just electric guitar. –Vincent Battilana (Doom Songs, herecomethesleepies@gmail.com)


SLAYER:
World Painted Blood: CD/LP
Ah, a new Slayer album. Who knows what we might get? Their 2001 release, God Hates Us All, was a solid album, while their last album, Christ Illusion, was fairly mediocre. Ever since what many consider to be their last great album—1990’s Seasons in the—each new release by the metal masters has threatened to be (like Metallica) a return to their roots. While that’s a bit much to be expected, World Painted Blood (like Metallica’s most recent release Death Magnetic) is a pretty good album and does reveal the band to be implementing aspects from their heyday while following along a natural progression from where they have been most recently. There is a healthy mix of guitar work from Kerry King and Jeff Hanneman, with both men displaying some vicious shredding while Dave Lombardo’s drumming further proves that he is by far the best thrash drummer ever and Tom Araya’s vocals sound just as solid as on any other release. The album starts out with the almost six minute title track and, instead of drawing things out, the song works; sounding very reminiscent of something off of Seasonsin the Abyss or South of Heaven. And, really, the influence of those two albums is a pattern seen throughout the eleven tracks that comprise the approximately forty-minute record. The songs are intense and there is a decent mix of fast, punk-influenced tunes written by Hanneman and brutal, crushing songs written by King. Hanneman’s material is first-rate and almost catchy in that same way that, say, “Skeletons of Society” sticks in your brain. King’s songs are harsh and definitely have more muscle, but along with that is the fact that King writes the lyrics for his songs and it seems as though he’s writing the same lyrics I would’ve written as an eighteen-year-old. King’s lyrics on God Hates Us All were blunt, but they were also occasionally witty and creative. Here, they are just blunt without hiding anything. None of this is to say that Slayer has ever been a fount of intelligent beauty in their lyrical content, but I do expect a little better than some of the mediocrity I hear on World Painted Blood. Nevertheless, it doesn’t hide the fact that the intensity is there, the musicianship is tight, and, overall, this album finds Slayer returning to a territory I think most fans will appreciate. No, this isn’t a masterpiece, but it’s a must for any fans of the band as well as those of you who may have written the almighty Slayer off some time ago. –kurt (American)


SKIMMER:
Smitten: 2 x CD
This two-CD release is a discography of all of Skimmer’s releases from 1993-1998. The first disc consists of six seven-inchers and some demos, while disc two is their Vexed LP and a few outtakes. I like Skimmer’s poppy, poppy, and yet-still-more poppy punk sound, but at times it got a bit old. But, good stuff when considered as a whole. My biggest problem is, in fact, the whole: because of the sheer mass of the record (fifty-two songs, what a bargain!) the tunes frequently started to run together and everything wound up sounding the same with nothing really standing out. I suspect that if I heard Skimmer (this was my first Skimmer-time) in shorter blasts of context such as the individual seven inchers, I’d have a much more positive reaction. Good photos, flyer art, and liner notes on the recording sessions are included, too. –The Lord Kveldulfr (Crackle)


SIXES:
Self-titled: 7”
Brutal hardcore with downtuned guitars and surprisingly clear vocals. They swing back and forth between blasting and moshing and do this cool thing where they add slower breakdowns to the end of their mosh parts. I know that sounds like a dumb “Pimp My Ride” joke (“I know you like moshing, so we added mosh parts to your mosh parts so you can mosh while you’re moshing”), but they do it well. This is some seriously dirty, gritty, pissed-off music. Four songs, the last one being an introspective dirge with spoken vocals. Put it on and cover your eyes in case the nearest cinderblocks explode. –CT Terry (Our Sound, outsound.net)


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