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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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CARRION:
Self-titled: 7” EP
Part Sabbath sludge, part hardcore, and it has a weird wobbly quality to it, which adds a sense of uneasiness to the proceedings. Do I like it? Dunno. All I know is that it makes me a little uneasy for some reason. –Jimmy Alvarado (Lysergic Soul Drain)


CARBONAS, THE:
Self-titled: CD-R
Lo-fi trash rock with a singer trying so hard to be annoying that he ends up sounding kinda boring. No “oomph,” you know? Still, musically, this ain’t too shabby. –Jimmy Alvarado (<www.the-carbonas.com>)


BUSINESS, THE:
Hell 2 Pay: CD EP
Well, if it ain’t the original godfathers of oi in all of their menacing cockney glory! It’s been several topsy-turvy years since I’ve acquired anything new from these mean and nasty psychopathic hooligans, and I’m damn sorry I haven’t been more attentive as to their recent attitude-driven output. This is boot-stompin’, bottle-smashin’ pub-punk bravado at its nostalgic best, the kind of musical maliciousness that inspires a man to drunkenly stumble through the cobblestone streets of his hometown late at night with his closest mates by his side boisterously singing an old Irish ditty or two. “Hell 2 Pay” is a ferocious metal-tinged screamer (think of Motorhead as oi street-scruff agitators, why don’t ya!), and the other two tit-twistin’ tunes, “Gangland” and “Do Anything You Wanna Do” (an Eddie & The Hotrods original), are prime sing-a-long examples of mid-tempo pub-prowlin’ rockers. It just goes to show: some things do indeed get better with age. The Business are more sonically stout than ever! –Roger Moser, Jr. –Guest Contributor (TKO)


BURDEN OF LIFE:
Self-titled: LP
Gorgeous wax, terrible noise/hardcore/metal to go with it. Buy, place on your wall as a decorative objet d’art, but under no circumstances should you play this. –Jimmy Alvarado (Attention Deficit Disorder)


BRIEFS, THE:
She: 7"
To be a self-contrarian, I tell myself The Briefs really can't be this good. I'll even convince myself of that time to time, until I pop one of their records on the turntable. Fuck it. They're great. They continue to rule. This single rips the Buzzcocks a new asshole and feeds it back to Pete Shelley, buffet-style, in penance for the last three albums the 'Cocks put out. The Briefs continue their legacy of fun, poppin', wavey punk that isn't afraid to glorify the best of the late '70s/ early '80s and make it better than a lot of the originals. Great stuff. –Todd Taylor (Dirtnap)


BRIAN JAMES MEETS FLATPIG:
New Rose 2001: CD
Former Damned dude revisits two of their “hits” (the title track and “Neat Neat Neat”) and another track I know nothing about so I assume is a newer composition. Musically, this is on target, sounding like a dead-on update of the sound the Damned achieved on their first album, all slash, stutter and swagger. The vocals, though…well, let’s just say there was a reason that Dave Vanian was the singer. –Jimmy Alvarado (Boss Tuneage)


BOX THE COMPASS:
Run the Easting Down: CD
Egads! Emo! Emo! Take it out! Make it stop! –Jimmy Alvarado (Substandard)


BOTTLES AND SKULLS:
Never Kiss the Wasp: CD

This was a hard CD for me to review. First, ‘cause I’m retarded. But mostly because this band is hard to pigeonhole. The foundation of their sound is grounded in garage style rock’n’roll. Throw in the best aspects of hardcore and street punk and spit this out on fast, loud, skillfully played guitars that constantly switch things up and always leaves you wanting more. This is Bottles and Skulls. You don’t know what to expect next from them except that it will knock you upside your fuckin’ head. The lyrics are pretty basic stream of consciousness ramblings about drinking, girls and just being an all around bad ass. This goes well with their sound. Check them out.

–Toby Tober (Cheetah’s)


BOTTLES & SKULLS:
I Am No One, He Is No One: 7”
Motherfuckin’ hell, this is some of the hardest hittin’, most maniacal rock’n’roll fury to ever relentlessly attack my auditory senses! B&S sound uncannily like a deranged scientist’s experimental mutation of Black Flag, early Suicidal Tendencies, Jesus Lizard, and a fiery life-annihilating nuclear holocaust. It’s the ultimate brain-bruising musical maelstrom, folks! Now if you’ll please excuse me, I’ve gotta rush myself to the nearest emergency room so the doctors can hopefully alleviate the profuse bleeding in my ears before I’m fuckin’ drained dry. Thanks a lot, B&S. –Roger Moser, Jr. –Guest Contributor (TKO)


BETTY RAGE:
Self-titled: CD
Wahooooo, motherfuckers! Betty Rage sure do know how to raucously kick it into high gear with the utmost of sinful sonic sizzle! This is devilish, booze-fuelled auditory hedonism at its most animated, boisterous, and rambunctiously unrestrained. Hell yeh, imagine the Supersuckers as an inbred backwoods clan of toothless, cross-eyed hucksters tanked-up on moonshine whiskey, tobacco spit, and Tabasco-laced pork rinds. It’s trashed-out rock’n’roll evilness with a rip-snortin’, truck-drivin’ rockabilly edge! Damn shootin’, this here purty lil’ platter of demented musical sassiness is the liveliest and sleaziest shit-kickin’ hootenanny that my ears have ever yet attended. Yeeeeehaw, pass them pork’n’beans and a couple of cold brews on over to ol’ Rog, ‘cause I’m more’n ready to pass gas and burp up a storm in perfect harmony with Betty Rage. –Roger Moser, Jr. –Guest Contributor (Betty Rage)


BANTAM ROOSTER:
Mexican Leather: 7"
I can imagine the flipside “Summer in Hamtramck” on the soundtrack to a Jim Jarmusch film. It’s dirty, sensual, and immoral. The guitars ooze all kind of sexy love juice while the pounding rhythms collide into an orgasmic explosion. Oh, oh, the sax, don’t forget the big sax, slithering an improvisational burst in the midst of the song. "Harder, harder," she said as she flipped the disc over and haphazardously slammed the needle down while trying not to break from the beat of her “music appreciation." The primitive drums kick off “Mexican Leather” and the sloppy wet guitar slide back and forth, back and forth the long, hard, wooden neck of his guitar. He screamed into her ears, loud and clear, the intense gratification he felt during the song. She sighed, lit a cigarette, and called her boyfriend after she heard this single because she felt strangely guilty. –Namella J. Kim (Big Neck)


BOMBSITE BOYS:
Top Hits: 7” EP
A little bit o’ somethin’ for everybody here: a little bit o’ '60s jangle, a little bit o’ '70s power pop, a little bit o’ punk. Kinda reminiscent of those '70s bands that liked skirting the fine line between mod and punk. Not bad at all. –Jimmy Alvarado (Myopic)


BAD RELIGION:
The Process of Belief: CD
I must regretfully confess: I haven’t purchased (or even heard) any of Bad Religion’s auditory output since 1996’s The Gray Race. Although it was a fairly robust release, I felt that Mr. Graffin and company were mellowing with age. They just seemed to be lacking the fervent energetic conviction of their earlier releases. But what the hell, we all unfortunately tend to lose our youthful zeal for life the older we become, so I surely cannot judge one of my all-time favorite bands on the merits of nature’s inevitable aging process alone. With that said, my ears are downright tickled delirious by this latest Bad Religion offering of inimitable melodic mastery. As soon as the first addictive track, “Supersonic," frantically kicked into high gear, I was immediately enthralled, enchanted, and delighted by Bad Religion’s splendiferous return to topnotch aural originality. The perfectly crafted songs fluctuate from acoustic-layered maturity to melodiously frenzied kineticism – lyrically articulate, intricately structured, and sporadically raging with all-out passionate fury. Yes, indeed, Bad Religion have aged well and matured gracefully. These impeccably pristine anthems of the 21st century are proof-positive that the ultimate in life’s cultivation often comes with time. –Roger Moser, Jr. –Guest Contributor (Epitaph)


AUTHORITY. THE:
The Fight: 7"
Oi-inflected 77 punk. The B-side, “The End,” is the better of the two tracks here, with a pretty good hook. Better than I thought it was gonna be. –Jimmy Alvarado (77 RPM)


ANTISEEN:
Screamin’ Bloody Live: video-enhanced CD
What we have here is the latest sonic assault of roarin’, rootin’-tootin’ Antiseen fury! It’s loud, live, violent, and brutal; fuelled by a barrel full of Jack Daniels and a washtub brimming with homemade meth. This is the auditory equivalent of a monster truck rally, Armageddon, and a pro-wrestling tag-team match between Godzilla, Gigantor, King Kong, and Satan himself! Antiseen pack an explodin’ cannon ball’s wrath of frenetic unrelenting aggression into this performance, and it sounds uncannily like a ragtag troop of Confederate forces shelling the fuck outta a garrison of blue-bellied Yankee sons-of-bitches. Indeed, if this crazed quartet of rough’n’rowdy good ol’ boys had been fighting alongside their Johnny Reb brethren during the Civil War, we’d all be full-fledged card-carryin’ members of the Confederacy of Scum right about now. Yeeeeehaw, motherfuckers, Antiseen are the undisputed ragin’ aural warriors of the New South! Kiddies, beware: this dastardly lil’ disc is definitely not for lily-livered politically correct pussies. If you unfortunately fall into that category, go play some of your cuddly-sweet emo music and drown your putrid lil’ miseries in a big ol’ glass of latte. Amen and a-burrrrrppp… –Roger Moser, Jr –Guest Contributor (TKO)


ANTI-FLAG:
Mobilize: CD
Politically conscious, melodic hardcore is a hard thing to pull off. It’s tough because it begs the question: how can you take an angry cry for revolution and turn it into a catchy song? Several bands have tried it. Very few have done it well. You can almost count the good ones on one hand: Good Riddance, Strike Anywhere, Kid Dynamite, Propaghandhi, and, of course, Anti-Flag. Anti-Flag has been pulling this sound off for years, now, and their last album, Underground Network, is probably their best so far. So when I saw that they were releasing Mobilize – which has eight new songs and eight live versions of previously released songs – so soon after having released Underground Network, I wondered if they’d put the time and thought into this that they’d put into their previous albums. Listening to the first eight songs, though, convinced me that this wasn’t a throwaway album. Mobilize doesn’t seem to be a collection of songs that were left off of they’re last album because they weren’t good enough to go on it. It seems like Anti-Flag has just been paying attention to a lot of the fucked up things that have been going on lately, so they wrote some powerful songs to discuss these fucked up things. And, again, it works. The revolution is still fun to sing along with. Long live Anti-Flag. As a special bonus, too, this CD comes with an A-F Records sampler. You get a taste of some of the more popular bands on that label, like Pipedown and The Unseen, but the sampler also has a lot of stuff from their lesser known bands. Among my favorites were the two songs by Thought Riot and the two songs by Whatever It Takes. The big surprise, though, was the Voids song at the end of the sampler. All of the bands that come before the Voids have releases on A-F Records. The Voids, though, aren’t on any label. As far as I know, they only have one seven inch out. But the last time I saw them play, they had enough original material for a full-length. Could this mean that the Voids are gonna release a full-length with A-F? If the Voids are gonna release a full-length, can I start getting excited about it now? –Sean Carswell (A-F)


AMDI PETERSENS ARME:
Self-titled: 7"
I heard a few people tell me and read that “APA is coming, APA is coming!” I never heard of them. Where are they from? Copenhagen, Denmark. What kind of music do they play? Old school punk that reminded me of Minor Threat mixed with the Big Boys. I got off my fat ass and had to find out what I was not aware of. A real raw and low budget recorded 7" that reminds me of days long gone with the guitars that are barely distorted but forced. Sounds like a classic from the past available now. –Donofthedead (Kick N’ Punch)


AMAZING TRANSPARENT MAN :
The Death of the Party: CD
Recorded at Sonic Iguana, so you’ve got the classic pop punk sound. Okay. Nothing mind-blowing. When I hear pop punk of this vein, I wanna hear really cool harmonies. Nothing that elaborate here. Songs about girls and being in a band. If this were a cereal, it’d be Kellogg’s Corn Flakes ‘cause you know what you’re getting here. –Maddy (Springman)


ADAM WEST :
Right On! : CD
Testes, testes, one, two, three. This CD has more conejos than a stag Mexican bachelor party tour bus! Yikes, I love machismo punk if it’s done right, i.e. The Dwarves, GG Allin, The Knack, etc. but Adam West leaves quite a large amount to be left desired. It’s inane 3 chords are played over and over again with seriously corny guitar yanks (note: use cock rock sparingly). The lyrics spew evolutionary arrested development, like Unfrozen Caveman Lawyer, if he was defrosted and told to write rock songs. I’d probably liken this record to a man who buys a Porsche – small wee wee, small brain. My livid self has grown tired of this crap, I want to get up, drink some cheapass Steel Reserve malt beverage and shave then perhaps get in a fight with someone much smaller than me. Try, try again boys. ` –Namella J. Kim (The Telegraph Company)


20 DOLLAR WHORE:
Teenage Fuckin’ Boredom: 7" EP
Don’t quite understand the significance of the Black Panther and Cassius Clay pics on the sleeve…. The music is super fuzzed punk rock that’s pretty strong on hooks and drive. Not bad. –Jimmy Alvarado (Big Neck)


DEMOLITION DOLL RODS:
On: CD
Haven’t heard from these kids in a while, so this ‘un was a nice surprise this review cycle. They’re still serving up healthy doses (twelve of ‘em this time) of blues-inflected, post-Cramps sludge rock, and the world is a better place for their efforts. Included this time ‘round is a decidedly e-vile cover of “Big Rock Candy Mountain.” Recommended. –Jimmy Alvarado (Swami)


DEFECTORS, THE:
Turn Me On: CD
I’m new to the Danish band the Defectors, so I don’t have the previous full lengths to go on. They are a mix of ‘60s Nuggets bands and the Scandinavian ROCK sound that seemed to really catch some attention in 1998. The strongest song is “It’s Gonna Take Some Time,” where they really do come across with what could be an obscure song from 1968. Sadly, some of the tracks fall back on lazy rock clichés. They do come across as a band that is still experimenting. –Wanda Sprag –Guest Contributor (Bad Afro)


DEAD CITY REBELS/ HIGH SCHOOL ROCKERS:
Split: 7"
High School Rockers: Rock’n’roll from the Rip Off school of noisemaking. Not bad, but not unique enough to shake that “been there” feelin’. Dead City Rebels: A tad less primitive and much catchier than the band on the flip. Two tracks of hook-infested rock’n’roll. The grooves on this side are gonna get worn out long before the other. –Jimmy Alvarado (Rockin’ Bones)


D-CUP:
Shark Attack: 7"
An OC punk three-piece is a rare breed, indeed. I’m hypotheticalizing, but it’s much easier to fuck up in a larger band, to spread the blame around, get wasted, and fill in the blank for an excuse when you don’t feel like showing up and playing. D-Cup are even stranger by the fact that they remind me what the early, ringing Jam songs would sound like if filtered through Dramarama, mixed in with Southern California fuckup beach culture, and sneered up just a tiny little bit. Both songs are mid-paced, well structured, catchy, and to the point. Quite possibly the most pop effort I’ve heard on Hostage, and that’s very far from any sort of slag. Good stuff. –Todd Taylor (Hostage)


DAYS LIKE THESE:
Charity.Burns.Green: CD
I wish I didn’t grab this. I didn’t look at the label. I was trying to weed out and lessen the amount of CDs in the mystery meat pile. Look what happens when you try to be the good guy. I get another emo-ish CD that Jimmy Alvarado could mistakenly have gotten or Dale could have reviewed for punishment. No blue Twinkies coming out of this asshole. –Donofthedead (Lobster)


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