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No Idea Records

Record Reviews

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There Are No Answers: CD
Although I’ve never felt that louvered sunglasses have ever delivered on the vast promise they’ve always seemed to extend, and “Something Fierce” makes a better Gatorade™ flavor than a band name, this be-badged trio does a swell job of crossing the hop-around-your-room-like-you’ve-got-bugs-such-as-walking-sticks-inhabiting-your-shins bop-und-slam of the first Donnas album ((“Teenage Ruins”)) with spring-wound Marked Men-isms ((“Second Son”)), Clorox Girls/Busy Signals garage-Buzzcock-isms ((“Passion is a Fashion”)), and even updated Screeching Weasel-isms ((“On Your Own”)). I rarely say ((let alone think)) this, but I think I’d enjoy a lyric sheet. Go figure. BEST SONG: I was thinking “Teenage Ruins” but now I’m thinking maybe “Modern Girl.” BEST SONG TITLE: I was thinking “Teenage Ruins” and that’s what I’m still thinking. FANTASTIC AMAZING TRIVIA FACT: Band states they love the Returnables, and so should you if you know what’s good for ya. –Rev. Norb (Something Fierce)

There Are No Answers: CD

 “Teenage Ruins” is a perfect song. Something Fierce take a great hook and beat the tar out of it—it’s as catchy as the Undertones’ “Teenage Kicks” but it’s a different kind of perfection, faster, louder, more frantic. Fifty listens (and counting) it’s still holding up. That’s “all-time great” in my book. Now let’s say, for sake of argument, that There Are No Answers subsequently faltered, failed to scale those lofty heights, never again took in that rarified air. Would it be a record worthy of seeking out? Yes. “Teenage Ruins” is that good. But Something Fierce wouldn’t pull that one-hit wonder crap on you. Time and time again they uncork songs I turn up as a matter of reflex. Guitar lines that are simple and infectious. Lead vocals that melt into backing vocals as they hold the vowel sounds at the end of the lines. I almost never understand the lyrics and I howl along anyway. (Isn’t that a symptom of Marked Men Syndrome?) There are nine excellent cuts here. It’s like a greatest hits record. The remaining three cuts, the relative stragglers, sound like Pete Shelley and company. That’s right, at its relative weakest, this disc reminds me of the Buzzcocks! There Are No Answers is the heart of my 2009 soundtrack.

–Mike Faloon (Something Fierce)

“Loner with a Boner” b/w “We’re the Punkles”: 7”
Described to me as the Milli Vanilli of Tucson punk (due to the fact that much of what they’re playing is pre-recorded so they can jump around more), these two precious tracks were originally released in the (correctly maligned) cassingle format years back. The Sneaky Pinks are amazingly retarded, the Einsteins of garage-stupid, but holy fuck if I’m not humming these songs days later when I’m squeezing bread in the supermarket, making sure it’s fresh, muttering the dumbest shit to the checker and bobbing my head along to the song inside my skull. Well worth the international postage. –Todd Taylor (Bachelor)

Join the Shark: CDEP
I really don’t know if I can convey the radness of this to you in words, but I’ll try. Do you remember the scene in Rock’n’RollHigh Schoolwhere Riff Randell blasts the Ramones over the intercom? Imagine that scene in fast forward. That’s pretty much how my insides feel when this disc is on. This disc contains seven noisy indie punk tunes that don’t abandon melody or sense of song and are all fun as hell, clocking in at just under sixteen minutes! The vocals are tense and assertive and easy and inviting. Lyrically poetic or insane or otherwise, I’m not sure and I really don’t care. This shit is fucking great! (For a point of reference, think Mclusky (but not that smartass) with a wave hello from Les Savy Fav (but not pretentious at all)—but faster and more aggressive and more punk and better than that sounds.) This’ll have ya bouncin’, buzzin’, sloshin’, and spillin’ all over the place in wild abandon! So good!!! –Vincent Battilana (Doom Songs)

Split: 7” EP
My personal take on hardcore—in the short hair / boots / eight-or-ten-songs-on-a-seven-inch-record sense of the word—is that it was “good”—in the “not sucking” sense of the word—from about summer ‘81 ((or whenever that Teen Idles EP came out)) ‘til about New Year’s Eve, 1982. 1983 was okey in the sense that it let the third tier cities ((like Green Bay)) catch up a bit with the second tier cities ((like Detroit or DC)), who had, for most intents and purposes, already caught up with the first tier cities ((like SF and LA)). 1984 equates with “metal contamination” in my mind and 1985 is right out, so reasonably, if you wanted a quick and easy non-calendar-based rule of thumb as to when hardcore ((in whatever sense of the word I was just talking about)) was, like Gillette®, the Best a Man Can Get, I think you could make a case for it being the period starting five seconds after the Teen Idles EP came out and ending about a week and a half before the first Suicidal Tendencies album was released. That said, since the first song on Saul Turtletaub’s side of the record—“Moe”—reminds me of the reckless young Canadian micro-squall of the Neos, that makes it late ‘82-ish, thus, by my reckoning, “good.” The other three songs ((“Larry” “Curly” and “Shemp,” if you haven’t guessed)) strike me as a bit more ‘83/’84-ish, maybe kind of Imminent Attack-ish, and, since Imminent Attack were better in ‘82 than they were in ‘84, you can probably see where I’m going with this one. Slapendehonden’s ten songs are reminiscent of a cross between Anal Cunt and Government Issue’s “Legless Bull” EP, if G.I. were completely undecipherable—i.e., twenty seconds of spastic metal barfing interspersed with some fast ((but surprisingly un-heavy)) punk bits. Any misgivings I have about my potential square-ness in not fully appreciating this band is offset by their stunningly daft portrayal of Wire’s “12XU” as an “MT cover” ((MT as in “Minor Threat,” duh)), after which I mentally downgraded them from “sounding like ‘Legless Bull’” to “sounding like that Youth Brigade 7”.” Take that! BEST SONG: Saul Turtletaub, “Moe” BEST SONG TITLE: Saul Turtletaub, “Shemp” FANTASTIC AMAZING TRIVIA FACT: Saul Turtletaub’s side of the record is called “Hey! Ho! Brasciole!” –Rev. Norb (Geet)

Self-titled: 7”EP
Seems that I’ve heard variations of The Sirs over the years: regional bands with someone in the band that has a good enough job on the side to put out some vinyl. Melodic, but not pop punk or melodic hardcore. Sorta garagey in the guitars, but not a garage band. Slight delay in the vocals, so the quality of the vocals has an up-front Pennywise feel; and I have a feeling a Pennywise reference is not what they’re going for. It’s fine for a band to not be genre-locked, but The Sirs just don’t leave much of an impression on the ground they occupy. I have a feeling that they can see much more interesting points, but they’re just not there as a band. Sorry to say, but pretty generic stuff. –Todd Taylor (Psychic Volt, no address)

Self-titled: 7”
The Shirks help destroy the community’s idea of what goes on in the Washington D.C. punk scene with one of the most driving 7”s of the year. “Dangerous Girl” features loud rock riffs played at a blistering pace. “Young and Filthy” and “Get Out” are more of the same. The Shirks deliver Saints’-style singing from the singer/guitar player of the long-gone and great Problematics. He even sings a little better. Much needed for fans of the golden age of Rip Off Records. –Billups Allen –Guest Contributor (Big Neck)

Split : 7”
Turkish Techno’s first appearance on vinyl and, boy, is it a great start. Like a drunken boy’s choir of Riverside, these four dudes belt out two songs of Leatherface/Stiff Little Fingers/Jawbreaker punk rock. A mainstay in today’s DIY Riverside scene, these guys always put on a lively, energetic show. Shang-A-Lang: these Las Crucians know how to put together poppy, self-examining songs of substance. Two more songs that will make your work week a little more tolerable or your hangover a little less excruciating. Highly recommended. –Daryl Gussin (Muy Auténtico, myspace.com/totallyofficial)

Self-titled: 7”EP
It’s strange to not be able to think of the last band I’ve listened to that took such a liking to “New Rose”-era Damned and the first track, “Cannot Calm Down,” starts off with an unwinding church organ until the drums gallop in and the guitars slide into their dark places. I’ve always enjoyed the charred-remains, desolation-at-dusk feel of the Damned and the Sedatives nail that feeling and atmosphere. When they speed up the tempo, the references jump forward in time to the cretin cheering of the Spits and the tense, creased power pop of fellow Canadians, Statues. A nice, unexpected surprise. –Todd Taylor (Going Gaga)

Split: 7”
A good pairing for a split, since bass player Andy Nolan is/was in both bands. Limited to three hundred copies pressed total and one hundred mailorder copies are on white vinyl with special hand stenciled second cover and a bonus 7” with stenciled band logos. That second 7” is unplayable but looks cool, if you were wondering. Shank: They do a cover of Citizen’s Arrest Number that has the same production sound of the last two Victims records. Absolutely powerful and yet raw at the same time. One of the last songs recorded before their break up. The Endless Blockade: A cover of Judge’s “Fed Up” is presented on their side. The band definitely put their own spin on their contribution. It’s a dirtier and harsher version which, I believe, is much faster than the original. –Donofthedead (Schizophrenic)

Faster Than the Speed of Drunk: CD
First the cool: There’s a bottle opener hidden under the CD tray. It’s a small thing, but it still was a pleasant surprise. As for the music… well… I dunno. This is my first exposure to the Secretions, but based on the Ramones-core of most of the songs I doubt if most of their other stuff is that different. I love, love, love, the Ramones, but there’s a lot of Ramones-core bands I don’t like at all. A lot of the bands seem stuck on writing self-reflexive songs about being a clichéd, drunken, punk rocker. It’s like that sad feeling you get when you see a band of forty-year-olds in leather called something like the Punkasfucks who seem to only play songs about drinking, about being punk, how punk it is to be drunk, how punk they are ‘cause they drink a lot, and be in rabid denial that anything has happened in the world since 1984 or so. Punk becomes a parody instead of anything honest. This album tends to keep drifting into that zone for me. The music itself feels pretty shopworn and unexciting for the most part, but it’s okay enough pop punk. The “Viva la Lucha Libre” song though… that flat-out sucks a truckload of ass. –Adrian (Silver Sprocket)

Demo: CD-R
The cover of the demo is of Max (Where the Wild Things Are) alone and depressed at a party. It’s been hella long since I’ve even seen the book, so I can’t say if the drawing was lifted or not. Either way, it’s nice. The recording quality is not so nice. Forgetting that, the band seems full of energy and into what they are doing. But, what they are doing is very Lifetime. It just reminds me that I haven’t listened to Jersey’s Best Dancers in a bit and that I really should. –Vincent Battilana (Self-released)

Split: 7”
Hunchback: Make me re-think my not liking Neil Diamond. My mom loved The Jazz Singer. Just joking. It’s a Neil Young cover and in Hunchback’s able hands, I can see what others see in Mr. Young, even though I feel no compulsion to buy, or listen to, any of his records directly. Screaming Females: apparently another Young cover and it reinforces what I was thinking with Hunchback. People with wider ears than mine can interpret him for me; I’m cool with that. I totally bonered my last Screaming Females review, saying that Miranda was Marissa, and she’s not; she’s two different people. Marissa has a great, shaky, watery voice, but she’s not in Full Of Fancy. That would be Miranda, who was also in Hunchback, Neil Young’s first band, before the one where he was with that ill-tempered, fat, mustachioed hippie. –Todd Taylor (Freedom School)

Self-titled: CD-R
The vocalist/guitarist is twelve-years-old and the drummer is thirteen-years-old—the bassist is twenty three years old. Their glossy, full-color one-sheet has a picture of the three of them from an extremely low angle lookin’ hella serious and tough; it also mentions that they are “punk rock prodigies.” There are two dancing skeletons and six skull and crossbones gracing the cover. Needless to say, my expectations weren’t exceptionally high. Regardless of my expectations, these dudes hold it down instrumentally—and the vocals ain’t horrible, especially considering that the average age of the band members is sixteen. Anyhow, these dudes could give The Distillers (Sing Sing…) a run for their money. I don’t care for The Distillers and I doubt I’ll ever listen to this again, but for two hella young dudes to break out some shit this solid is fucking surprising. Also, there are two covers: Bad Brains’ “Big Take Over” (not so great) and the Gits’ “Second Skin” (not so bad). –Vincent Battilana (Self-released)

Honor Among Thieves: 7"
Modern day Bridge Nine style hardcore that reminded me a little of the band Strife. –Donofthedead (Tension Head)

X-Mas Lights Plugged in: 7”
Aside from having an amazing name, these guys bring a kickass blend of punk rock and dirty blues to the table. The songs manage to be ragged and tough while still leaving room for melody and nuance. There’s even an anthemic quality in parts; the vocals, while stark, manage to cut through the wall of sound. –Guest Contributor (Vertical House)

Demo: CD-R
Not my cup ‘o tea commercial metal that sounds like the band Disturbed. –Donofthedead (Revengine)

That Evil Drone: LP
One of Tucson, Arizona’s best kept secrets, The Resonars play a style of ‘60s psychedelic pop that is reminiscent of the Beatles’ early experimental stage. The Resonars have an excellent grasp on the high-flying vocal harmony over driving guitars and slightly distorted bass. The Resonars are following up 2007’s Nonetheless Blue and appear unstoppable in their category. “No Black Clouds Float By” is an example from Drone of multiple layers of “oh” traveling up and down a melodic bass line. “No Horizon” has a catchy, Fab-Four-sounding chorus that fades into a psychedelic riff. Drone features a couple of instrumentals that are neither here nor there; but, Drone overall is an amazing album, considering that their music is technically complicated and their current output appears to be annual. The Resonars feature, and appear to be exclusively Matt Rendon from the punk rock band The Knockout Pills: a band who also worked with superior vocal harmonies in more of a Dead Boys vein. Fans of ‘60s music would do well to give the Resonars a listen. Since the band appears to be mostly Rendon with a few guests, it seems unlikely that you will see them play. But their albums are a noble homage to a specific era of psych and well done. If you think that psych can no longer be expounded on, think Resonars. –Billups Allen –Guest Contributor (Burger)

That Evil Drone: LP
If the past forty years didn’t happen in music, if digital didn’t 0 and 1 itself into existence, Matt Rendon would be right at home. It’s far from a diss. That Evil Drone conjures up memories of the Yardbirds, Zombies, Roky Erikson, and The Peanut Butter Conspiracy—pure ‘60s AM gold—subtle in its complexity, humble in its presentation, thickly produced. The Resonars is an odd moniker because it’s singular; just Matt in his studio, playing every instrument, recording every track, adding everything up, bringing everything down. And far from waxy idolatry, acid reflux from regurgitating semi-digested chords, or sounding like a dusty-jacketed Goodwill scratch-up, Matt has the feel of someone totally inside of songs, excited, expert, and from another era. As per my character, my favorite tracks are the fastest ones. “Black Breath” could have easily been placed into any of Matt’s former band, the Knockout Pills, albums. This is his fifth release as The Resonars. –Todd Taylor (Burger)

Destroy All Evidence: CD
Blistering return from these punk rock veterans, now with added firepower from Erik Denno (ex-Kerosene 454). This is a varied release, with acoustic interludes tempering the harsher passages. Bondi and Robbins trade off vocals and songwriting efforts, and the end results are stellar. And if you haven’t ever heard Zentek play drums—you’re in for a treat. The man kicks serious ass on the skins. “Bush Is Brezhnev” is definitely the most rocking Bondi composition here. ‘The Loyal Opposition” is the best Robbins pen to paper on this one. But all the songs are vicious here; it just depends what mind frame you are in. When your eardrums have receded into your skull, play “Blue Fade Grey,” a mellow tune from Robbins that will make you think as it lulls you to sleep. –Sean Koepenick (Alternative Tentacles)

Split: 7”
This split pairs up two seriously brutal, inventive bands. Both throw a noisy, industrial wrench into their scream-filled hardcore machines. Neither band is very accessible. Both appear to be in the first wave of an as of yet unlabelled subgenre. I could feasibly hear this blaring at some dance club, but I can’t imagine seeing it performed on stage at a bar. The experience of listening to these bands is kind of like tasting an exotic, kind of gross dessert: it’s nothing I’d hunt for intentionally, but I have to admit that it was a unique experience. –Art Ettinger (Realicide Youth/Outfallchannel)

Self-titled: CD
Very good oi from Russia with great lyrics and a really tight sound. While the music itself isn’t that surprising, the approach is, and it really brings the album to life. Original cover art, a worthy cause, and a very surprising final track make this a must have for fans of street punk that colors outside the lines. –Rene Navarro (Boycott the Fencewalkers!, daddydamage@gmail.com)

Self-titled: LP
Much light has been shed on The Rats since the Unknown Passage: The Dead Moon Story. For fans of garage and punk music, the footage of The Rats is the highlight of the film. Fred Cole has been outside the music business, playing for many years. While his playing has spanned a Spinal Tap range of styles, his DIY ethic is impressive. The Rats is his most punk rock outing from the early ‘80s. This re-issue of the first album proves their relevance. The Rats’ dry, lo-fi recordings and repetitive, driving drumming is similar in style to The Urinals. The Rats lyrics are perfect trash melodic: simple vocal melodies with a high-pitched yell for backups. Simpler songs like “World War III” and “Teenagers” are perfect, straightforward, angst-ridden art punk songs. The song “Flash Dogs” features a punchy, Farfisa-sounding organ, giving the song a budget-rock 1960s feel. Fred Cole was in a psych pop band in the ‘60s called The Lollypop Shoppe. This sparse brand of ‘60s influence is most prevalent in the vocal melodies. Sloppy, drum-driven ‘80s punk is always appreciated, and The Rats do not disappoint. This album, along with a recent collection of songs by Florida’s The Eat, proves that there are plenty of forgotten punk bands to unearth. –Guest Contributor (Mississippi)

PPPPPEP: Split 7”
Prizzy Prizzy Please is a strange but cool mix of synth, peppy drums, fuzz bass, and surprising sax—maybe even accordion or something else weird in there. Vocals are speedy and gruff then pop up to high pitches, too. For a split second, I thought of the noodling of Joe Satriani. No shit. It’s fun but a little too produced for me. Could be more dirty. Gotta have some mistakes in there to keep it exciting. Push-Pull have the same strange effect on me—not as fast but a weird mix of produced electronics, slap fuzzy bass, some jazz prog rock noodling—I swear I heard Dinosaur Jr. on this side. If you are in the mood for all this, you’ll be thrilled. –Speedway Randy (Joyful Noise)

Heart to Elk: CD
How this came to Razorcake, I’m not sure. This sounds very coffee shop to me. I mean that it’s something that one of your local baristas would probably enjoy, but it’s not anything that would scare off the morning rush who are there only to get their coffee (or whatever) on the way to the office. It’s kinda drone-y and ambient indie rock while not forgetting to have some aim at pop. Nothing on here gets out of control, but nothing gets too accessible, either. –Vincent Battilana (Self-released)

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