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No Idea Records

Record Reviews

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DRAG THE RIVER:
You Can’t Live This Way: CD
Drag The River may or may not be breaking/broken up, and, either way, they’ve recorded their magnum opus. Admittedly, I’ve never totally got into one of their records before, but I can tell that if you’re looking for a place to start, this is it. The songs are generally melancholy, and, occasionally, chilling slices of small town life. It’s arranged really well; every song stands out. My only complaint on repeated listens is that they wait until the last couple songs to really turn up the rock, and I’m left wishing there was a bit more of that. But the slower stuff is done pretty well, making it a solid album. And as they do on all their records, the last track is reserved for a replay of the entire album, a trick so that the whole thing can be played on a jukebox for just one credit, which is pretty awesome. So, for the next time you’re at a bar with one of those digital jukeboxes, I give you my solemn word that it is worth a buck. –Nick Toerner –Guest Contributor (Suburban Home)


DORY TOURETTE AND THE SKIRTHEADS:
Rock Immortal: LP
The band was apparently a Mission staple in the early ‘90s (or at least that’s what the one sheet says.) Anyway, when I put Rock Immortal (featuring a future Future Virgin and recorded by Matty Luv) on the turntable, the last thing I was expecting was a filthy and horrendously catchy ‘50s rock record with the occasional nod to old (as in fifty years or so) country. I don’t know, consider Buddy Holly on crank with a gigantic, fake horse cock falling out of his pants and you’re on the right track. It’s tongue-in-cheek and almost offensively tuneful, but still, with songs like “I’m Too Young to Be a Pedophile,” “Sperm Comes out of My Eyes,” and “The Lord Said ‘Ejaculate,’” chances are good it’s probably not one you’re gonna want to play for your mom. Good record. –Keith Rosson (Thrillhouse)


DISGRUNTLED:
Hopeless World: LP
First impression I got was this band could have and should have been around the early ‘90s in Long Beach playing with Know Records’ bands Das Klown and The Fixtures. Something inside me tells me that they would have been on many of the same shows. They seem to fit that sound and era for me: aggressive hardcore punk but with a SoCal punk sound. Their three chords of anger also reminded me of the band the Nihilistics. The recording is raw and live-sounding—giving it a genuine sound—with vocals that are yelled but understandable, so you can clearly make out the lyrics. So it kinda surprised me that this band hails from Portland, OR. Tragically, right before the release of this LP, the drummer died in a work accident. Not sure if the band is done. But if they continue on, I would like to see if the band can progress into more of their own. –Donofthedead (Deadend)


DISFEAR:
Live the Storm: CD
I was incredibly stoked when I found out that Swedish d-beat machines Disfear had recruited the insanely prolific Tomas Lindberg of At The Gates/Skitsystem/The Crown/The Great Deceiver as the vocalist for their 2003 Relapse Records debut Misanthropic Generation. Admittedly, I was somewhat let down by the direction the record took, abandoning the brutal crust assault of Disfear’s earlier output in favor of a decidedly Entombed-influenced “death & roll” offering. The band’s newest release, Live the Storm, featuring one of Converge mastermind Kurt Ballou’s best production jobs to date, reverts to the Scandinavian thrash sound of Disfear’s earlier material while taking cues from some of their more melodic crusty brethren in the process. The result is not only the band’s strongest record to date, but also one of Relapse Records most memorable releases of the past few years. Devastating. –Dave Williams –Guest Contributor (Relapse)


DISCO LEPERS / KERMIT’S FINGER:
Split: 7” EP
It’s too bad, really: I generally love this label. Sure, not all of their bands are exactly espousing the most progressive, thought-provoking stuff, but you simply cannot beat No Front Teeth’s sheer sassitude and spot-on visual and sonic ‘77 punk aesthetic. That’s why this one was such a bummer. The day-glo snot and scabies and scent of unwashed pits just wasn’t there on this one. I’ve got an old split Kermit’s Finger did with Zippo Raid from years back; I remember being pretty meh towards them at the time, and it turns out that the years have not warmed me to them. Granted, at times they sound almost like the Motards, or a band trying to cover the Motards, but lackluster lyrics and songwriting that’s just a tad too generic doesn’t put ye up in the same league. In the meantime, Disco Lepers claim their stuff was “not mastered, not produced, not engineered.” However, it apparently was recorded down the hall from where they actually played the songs, because the sound is, uh, thin, to say the least. They have eight songs on their side of the split and no lyrics printed at all. Then again, with song titles like “Nazi Pop,” “Puke on the Youth,” and “Feces Party,” I’m probably much better off anyway. Good label, but I’m gonna have to pass on this record. –Keith Rosson (No Front Teeth)


DISCO LEPERS / KERMIT’S FINGER:
Split: 7” EP
Disco Lepers: Sounds like it was mixed in a shoebox by someone with tinnitus, but their short, spazzy punk—which reminds me of a thrashy, inept version of the S’Nots—ain’t too painful. Kermit’s Finger: Jeez, haven’t heard from these guys in ages. Still peddlin’ the same snotty hardcore keen on pointing out life’s hypocrisies, I see, which is just fine by me. Best tune here, hands down, is “Take Your Shot,” which illustrates how much things have changed in the intervening years between Suicidal Tendencies’ “I Shot the Devil” and the post-9/11 world we find ourselves in by commenting in the second verse about what could be the government’s reaction to what they’re singing in the first verse. –Jimmy Alvarado (No Front Teeth)


DISAPPEARED, THE:
A Realization of Hope: 7”
Man, reviews like this one are hard—where you can totally appreciate what the band’s doing, but their music fails to cause a reaction. The fact that this is a two-song 7” is offset by the fact that a) the packaging is really nice, b) the vinyl itself is a gorgeous purple with turquoise splatters, and c) there’s a fully packaged CD (not CD-R, so it might last more than eight seconds before getting scratched to shit) with the 7” songs and three more. Nice work there. And they’re totally on-point with their awesome, pro-DIY lyrics. But the music fell a bit flat for me, sounding somewhat like Davey Havok or a Misfits-era Danzig who croons and sometimes shrieks through some spastic screamo stuff. I appreciate their politics and the sentiments expressed, but the music itself just wasn’t my thing. –Keith Rosson (I Hate Punk Rock)


DISAPPEARED, THE:
A Realization of Hope: 7”
Lyrically earnest, DIY-to-the-bone-proclaiming, basement-proud punk rock. I’m down with that. But, musically, the band owes a lot to Pennywise and other no-longer-in-the-basement bands like Dillinger Escape Plan, where I get the feeling that some of the dudes secretly want to just display their proficiency and let the vocalist say whatever he wants. (Could be wrong. Just a guess.) I’m glad there isn’t a list of their equipment manufacturers or sponsors, on the record. But here’s the thing that bugs me. They’re reacting and commenting on the binary. There’s no good reason to react to eyeliner in a song (even if it’s in defense of younger punks not knowing better). Dude, eyeliner’s a trend. You sing about reacting to that trend, which, in turn, limits the life of your song, and dates it in a bad way because fashion will be tutus or muumuus or whatever in a year or so. So, instead of a band making something of their own (memorable songs with a distinct personality that have a shelf life), it’s a reaction to something that’s best shrugged off. Seems like a quibble, but it illustrates a big difference in head space and approach. –Todd Taylor (I Hate Punk Rock)


DIRTY MONEY:
No Escaping This: CD
The one sheet for this record indicates that the band includes current members of Frightener and likens their sound to that of No Warning, Breakdown, Cro-Mags, etc. This is a decent explanation of what’s going on herein. For me, that kind of sound always takes a bit of getting used to when the diamond-tipped laser first reads the disc since that initial punch in the gut is always painful and surprising, but I’m glad that I stuck around with this, as I usually am with such stuff. Dirty Money are heavy and crushing, but there is a good rock’n’roll groove running through much of this that kept me licking my chops, like my dog does for the scent of blood. The CD is comprised of their new four-song 7” and their 2006 demo of three tunes. If you like this type of sound, it’s worth it. –The Lord Kveldulfr (Dead And Gone)


DIRTY CHINESE THIEVES:
Jesus Hates: 7” EP
With the lack of an address, the stenciled cover, the hand-markered labels, and the limited press (this one says 14/25), I thought for one hot minute this was some sorta Spontaneous Disgust side project; but judging solely by the sound, it ain’t. Simple punk rock, heavy on the rock here. That ain’t terrible, but I’m willing to bet it comes across much better live. –Jimmy Alvarado (no address)


DICKIES, THE:
Idjit Savant/ Dogs from the Hare That Bit Us: CD
This CD compiles the Dickies output that was originally released on Triple X Records. This mid-period Dickies has its moments, but never really compares with the manic fervor and joyousness of their early releases. Idjit Savant has a few standout tracks, including “Golden Boys,” “Pretty Ballerina,” and “I’m on Crack,” but nothing that really grabs one by the (metaphorical) balls and doesn’t let go. A few of the slower songs, like “House of Raoul” and “Song of the Dawn,” sound bizarrely out of place. On the cover album, Dogs…, the only songs that just didn’t buzz by me are “Solitary Confinement” and “Nobody but Me.” These are the only two covers that live up to the Dickies’ covers of old, with the rest of the songs not really standing out in any noticeable way. A good summation is this compilation is that it’s about 50 percent “this is pretty good/alright,” 45 percent  “meh,” and 5 percent  “what the hell is this?” –Adrian (Captain Oi)


DESTRUCTORS 666:
Sachen Lassen Mit Fremden Machten: CD
Destructors are a U.K. band that has been around since the ‘80s, or at least their name has sans the 666. The bass player, being the only original member still in the group, has taken over the vocal duties. Back in the day, the original unit shared the stage with the likes of UK Subs and the Damned. The resurgent line up has released mass amounts of material as of late, and the subject matter seems to revolve around science fiction. They like space ships. So if you like mid tempo punk tunes about space ships, asteroids, ray guns, and the movie Plan 9, you’ve found your flagship. I am by no means cool, but I think I my personality would have to reflect that of Comic Book Guy to appreciate this CD. Worst space ship band ever! –Dave Disorder (Rowdy Farrago, myspace.com/thedestructorsuk)


DESPISED, THE:
One Punch: 7”
Hotlanta’s own Despised recorded a three-song souvenir of their last tour in the Land of the Rising Sun as well as including three new tracks on the flip of fiery hardcore bliss for even the most discriminating, looking-down-the-nose fuck. Judging from the gatefold on this single, it looks as though the Japanese have really seemed to take a shine to these guys, now only if they could only get a States/ West Coast tour happening (what the fuck, Shayne?). I’ve done nothing but give these Georgians major thumbs up since I’ve caught their first few singles some ten years ago, and I’ll continue to do nothing BUT. This isn’t that pull-up-your-goddamned-sagging-pants, nü-metal, craptacular OzFest “hardcore.” And it sure as shit ain’t that mesh-trucker-cap-pulled-to-the-side-of-your-head-with-an-H2O-hoodie-on-in-90-degree-heat “hardcore,” either. No, FUCK alla that. This is “get in, or get the fuck out” hardcore. The real deal. This is The Despised. –Designated Dale (VIP)


DER TODESKING:
Birdbrain: CD
Frayed at the seams, this is some ‘80s hardcore worship that sounds like it’s just barely keeping itself from falling apart. There’s a strange vocal blend going on, too: I’m hearing both Martin from Career Suicide and Ryan from the Manholes, which is one fuck of a weird, snotty combo, I assure ye. There’s also a surprising amount of Greg Ginn channeling in the guitars, which offsets the fact that the songs themselves last just a tad longer than they need to. Not sure who the dude’s yelling at in the first song, “The Doombird Cometh,” when he screeches, “Wave your white flag, you pussies!” because virtually no information’s included, least of all lyrics. Still, one gets the feeling that these guys would tear up your basement like dervishes if you gave ‘em a shot at it. –Keith Rosson (Der Todesking)


DEM NASSTY HABITS:
Self-titled: 7”
If you’re hearing this music, you are one of three places: a fucked up junkie warehouse with a practice space, some shit hole where you can smell the urinal from your seat at the bar, or working next to this girl who I used to work with and her GG/Mentors tape has just finished and this is the next thing to come on. Super lo-fi, what I call “Three F’s” punk. The three F’s are of course “fucking,” “fighting,” and... um… “finding and then doing drugs.” Tolerable moments are the Fear and Supercharger covers. –Steveo (Die Slaughterhouse)


DEFEATIST:
Thanatonic State: 7”
I am amazed that there are actually people who listen to grindcore. None of the songs are catchy, the lyrics aren’t coherent, and you can’t even sing along. What’s the appeal? If you’ve heard one grindcore band, you’ve heard them all. However, if you have never heard grindcore, this 7” might be mind blowing to you. –Bryan Static (Level Plane/Enucleation)


DEATH TO OUR ENEMIES:
: CD
Cobain-esque grunge rock band. Could have easily been one of the many that moved to Seattle in the ‘90s looking for that golden ticket to over-indulgent rock stardom. Excellent use of the cow bell in track two. –Dave Disorder (Learning Curve)


DEATH IN CUSTODY:
Infected with Rage: CD
Some good ol’ meat‘n’potatoes hardcore steeped in influence from Negative Approach and the like. Lyrics and the vocals contain the requisite anger, the beats are consistently frantic, and what metal there is in them Marshall stacks is kept to a bare chugga minimum. –Jimmy Alvarado (Insurgence)


DEADCATS, THE:
Feline 500: CD
The whole psychobilly thing is a bit of a mystery to me. I like the tunes for the most part, but hate all the trapping and attitudes that go along with it. Well, I’m not here to review an entire genre here, so let’s talk about the music. The Deadcats have been at it for years and I suppose that I might have a bit of a bias towards them since they do hail from my part of the world. The fact remains that they were out there doing this long before every Tom, Dick, and Douchebag had a pompadour and creepers. This record is right up there with the rest of their work. Catchy, creepy, and easy to move your feet to, they manage to refrain from the over the top howling of newer contemporaries such as Tiger Army or Nekromantix. Throwing in a cover of the Young Canadians’ legendary “Hawaii” can’t hurt either. –Ty Stranglehold (Flying Saucer)


DEAD END KIDS / JABS, THE:
Split: 7”
No Front Teeth is a special kind of record label. They are taking all the best of what’s happening today in punk, oi, and skate rock and putting out there. There are well known bands being thrown in with virtual unknowns and it all works. Europe and North America are equally represented, too, which brings us to this split single. Florida’s Dead End Kids and The Jabs from London. The Kids are first up with three tracks that bounce all over the place and refuse to get pigeonholed. It’s the best stuff I’ve ever heard by them. The Jabs bring the catchy singalongs that aren’t really like oi, but have those infectious choruses. I wound up getting “Somalian Ketchup” stuck in my head forever. Could it be possible The Jabs might be a new favorite here in the Stranglehome? I think so. –Ty Stranglehold (No Front Teeth)


DAS KAPITAL:
Died True: CD
Das Kapital is not a metal band; just bear with me on this one. Last spring, my friend Troy started trying to get me into metal. It’s not that I don’t like metal, I just have a really hard time getting into anything that: a) is longer than about a minute and a half, or b) doesn’t have immediate hooks. Troy played the same side of an Iron Maiden album for weeks in a row until I was asking him to burn me a copy. I kind of feel the same about Das Kapital. I’ve seen them live a few times now and always liked them (and, in full disclosure, I’m quite fond of two people in the band), but when I first got the album, it didn’t grab me instantly. The hooks weren’t immediate and most songs are over two minutes, but, I put it on at work, and sometimes I get quite lazy and just hit repeat over and over. Before the end of my shift, I had “Lions in Winter” stuck in my head. The next day, I brought it to work again and had “A Drunken Wager” following me the whole way home. Then I started playing it at least once a day. Weeks later, it’s secured a place in my recent heavy rotation. –Megan Pants (Johann’s Face)


DARTZ!:
This Is My Ship: CD
There is never a point in this record where you say to yourself how good it is or how awful it is. The music is at a stand still, wedged between boring and original, not leaning towards either one. I’m not impressed, yet not annoyed. Strange. It seems like it’s almost boppy dance type music, but it’s not consistent enough to dance to. It’s also not bad enough for me to make fun of it. I keep giving it chances over and over and every time, I’m just not having that good of time listening to it. I’m waiting for it to be over, and it shouldn’t be like that. The insert says fans of Franz Ferdinand would be into this. No wonder I can’t relate to it. –Corinne –Guest Contributor (Deep Elm)


DARLINGTON:
Live Dallas 2007: CD
Live records are dust collectors. They sit on our record shelves and get passed over for their studio counterparts. Deservedly so, most live records capture lazy bands trying to make easy money. The exceptions—Live at Budakan and, well, let’s assume for the sake of argument that there exists another worthy live record (Don’t bring up It’s Alive. I refuse to believe anyone prefers that to Leave Home or Rocket to Russia)—offer something we didn’t get in the studio, whether it’s new songs, new arrangements, or good stage banter. No dice here. Live Dallas 2007 captures the instruments and the vocals but not the show. It’s taken from the mixing board so there are no audience sounds, which eliminates the possibility of interaction. The performances feel more like a band rehearsal than a show. Yeah, it’s mildly amusing to hear the band critique the lack of backing vocals on “My Corolla,” but it also adds to the complacent, punch-the-clock feel. At one point Darlington, who, like Sting, Cher, and Topol, uses a single-name moniker, says, “I was dangerously close to overrocking.” A live record should capture a night when the band wasn’t pacing itself. –Mike Faloon (Darlingtomusic.com)


DARK AGES:
Demo: CD-R
Thrashy, bold hardcore that can bring the breakdowns without coming off like total d-bags. While not as proficient as righteous bands like Government Warning and Career Suicide, comparisons are not unwarranted. The hand-stamped, hand-screened paper CD cases receive high DIY marks as well. Luckily for all us CD-loathing goons, and anyone who didn’t get a copy of the demo, these songs are gonna get pressed by Get Revenge Records. –Daryl Gussin (Big Brown Shark)


DAN PADILLA / THE TIM VERSION / HIDDEN SPOTS / TILTWHEEL:
Split: 7”
Short version. Buy this. It’s damn-near perfect. Long version: Dan Padilla: Their song is about J. Wang’s grannie getting shoved in a closet during a home invasion and the weapons stolen from her husband are used to kill a family of four, point blank, several miles away. It’s about Mamie testifying against them by solely their voices. Chilling… and a very cathartic to sing along to when less devastating things are happening in everyday life. Quite possibly my favorite Padilla song so far. The Tim Version: Pound out a living, breathing ballad about looking at the scars of living; not necessarily with regret or pride, just taking stock of it all. The Tim Version, like all the bands on this split, make me wish there was another category besides “punk” to place this in because it doesn’t quite do them justice, and “great music,” seems too vague. Imperfect lexicons: what’re you gonna do? Hidden Spots: Ever drank a beer, swallowed someone else’s cigarette butt, spat it out, shrugged it off, and rationalized that much worse could have happened on that day? Chattanooga’s gentlemen sound like they’ve been handed a lot of beers with butts, but their answer to that is to make party songs about all means of defiance: church, state, and personal. How can dirty sound so catchy? Mike Pack’s been answering question for years since The Jack Palance Band. Tiltwheel: It’s a blast from the vault; Leatherface in full effect, and wonderfully so: snaking guitars, bright tones, gravel throat. It’s a song about alcohol(ism), from the inside out. It’s not party-hooray, yet still uplifting. Funny, how all four bands can give tragedy some sunshine in the form of lasting music. –Todd Taylor (ADD)


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