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· 2:Bollweevils Interview
· 3:The Backpatches of NYC (Collection 2)
· 4:Interview with Western Settings
· 5:#408 with Michael Fournier


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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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GROSS URGE:
A Very Special Cupcake: Cassette
This minimalistic, artsy music exhibits everything from drum machines to what sounds like kid toy instruments. I’d call this an even less accessible bedroom version of Erase Errata. It’s music that delivers a brief retreat from convention. –N.L. Dewart (Baby Carrot)


GRANDPRIXX, THE:
Prixxology 1998-2001: CD
This album finely anthologizes The Grandprixx’s existence with forty-two songs, none of which reach the three-minute mark. The Grandprixx found their niche and hit the street running with all of these tracks, except one cover, written by them between the years of 1998 to 2001. I can’t deny their most apparent influence, The Queers, but I’d say the Grandprixx are less ‘50s/‘60s rock pop throw back and more rough around the edges. The music is fast and nihilistic with tunes like “Beers & 15 Year Olds.” This is a fast, fun album done with the right mix of stupidity, music production, and snotty sing-along choruses. The song contents rarely veer past pubescent troubles. What you see is what you get with The Grandprixx, but, at least with this anthology, you get your money’s worth with more than an hour of music. –N.L. Dewart (Cheapskate)


GOOD LUCK:
Into Lake Grifty: CD
Good Luck reminds me a bit of The Weakerthans, but in a way I can’t quite put my finger on. They’re a bit louder and rougher, with more infectious energy. The songs are kind of chaotic in that really great way where it makes you want not to dance so much as just jump and flail and look retarded (but have an awesome time doing it). I became officially sold on the song “Pajammin,” which ends with the chant “Oh the feeling/is spreading out to the ceiling/when the band plays everyone’s favorite song.” It’s worth mentioning that “Pajammin” is the second track on the album; the other eleven tracks were just gravy. –Sarah Shay (Self-released, www.myspace.com/wearegoodluck)


NICK GOLDEN:
6/24: CD
Full disclosure: It’s difficult to be tough on someone whose review material consists of a CD-Rapparently hand-coated in hot pink paint/nail polish. The 6/24 title looks like it was scratched into the surface with a blunt pen. How endearing is that? Alright, moving past the physical disc and onto the content, Mr. Golden’s forte is ardent, youthful folk punk likely being delivered on a beaten-up acoustic. I’m willing to overlook how off-key his high-pitched vocals can get but the manner in which he frequently tries to fit way too many words into his verses is very distracting. At points, you can just picture saliva gathering in his mouth as he struggles to simultaneously bang on his guitar and keep up with the uncomfortably swift pace he has set for his vocals. Should he learn to draw his breaths out. Plan-It-X fans take note. –Reyan Ali (Self-released, virb.com/nickgolden)


G.G. ALLIN:
Carnival of Excess: CD
This is about the corniest shit I’ve ever heard. G.G. Allin doing a stripped-down country album is as expected as Celine Dion tearing her microphone from its cord and snaking the live wire through her asshole into her bowels. I’m not sure what to think. Some of these songs actually sound pleasant. Well, the music, at least. The lyrics are true to G.G. form as he addresses being an outlaw, heroin abuse, guns, bottles of liquor, and fighting. But, “Carmelita” and “Guns, Bitches, Brawls, and Bottles” both lope along sweetly dripping with slide guitar. In fact, all the songs would fit nicely on a roots country radio station if the lyrics weren’t so profane. I’m not sure many corporate jocks would spin a tune with the line “For on that night I met a force that nothing will compare/I was born the Son of Evil and I fucked the devil there” on their weekly radio shows. I don’t know how many more times I’ll listen to this CD, but, astonishingly, I don’t completely hate it. –benke (Ponk, www.ponkmedia.com)


GESTAPO KHAZI:
Self-titled: CDEP
John Roller is on vocals here. For the record: I’m a huge John Roller fan—probably the biggest one you’ll come across. The thing with Roller—he’s a fucking L.A. punk throwback. I mean way back. Dangerhouse. SST. Posh Boy. Roller is the kind of guy who can (and will) call you out for confusing members of the B People with the dudes in Silver Chalice. In short: John Roller is bona fide. With that in mind, I’ve found that people who have a narrow fixation on one or two things in their lives are generally really good at their respective obsessions. (Conversely, Brion Gysin, who was all over the place in his artistic endeavors, received criticism for stretching himself too thin.) John Roller is certainly a gifted musician. And when it comes to creating an early ‘80s hardcore punk band—you’re not going to top the dude. It doesn’t hurt that Gestapo Khazi is rounded out by some shit hot musicians (hats off to, uh, Third Reich Mike on drums—let me know how those Jerusalem shows go…). Unlike a lot of bands working in the hardcore genre, Gestapo Khazi seems conscious of the use of space in music. What I mean by that—put on a Wall Of Voodoo record and really focus in on Marc Moreland’s guitar playing. If you’re not completely dense, it’ll bring you to tears—the way Moreland played guitar was more in the vein of Keith Levene or Andy Gill (but better), the former knew that silence was music, and that guitar playing shouldn’t be one-dimensional (in influence or performance). And I hear a little of that in Gestapo Khazi’s guitar playing—space and influence (punk, rockabilly, surf, etc.—get some, Stark Raving Erik). This is really an incredible EP. Fans of John’s old band (Geisha Girl) will probably be happier with Gestapo Khazi. (I’m sorry this review has been abbreviated. I’m watching Urgh! A Music War right now, and Marc Moreland’s guitar playing is making me totally useless. Unbelievable. The guy was truly a genius.) –ryan (Self-released, myspace.com/gestapokhazilongbeach)


GERALD PROKOP:
Exits & Obstacles: CD
Firstly, I would like to tell the person who made the map-based packaging and artwork to the CD that they did a wonderful job and I think that it’s really rad. The music is in no way punk rock. I’m pretty sure of it. It’s more like folk with a soft voice behind it and mostly acoustic tunes. With that said, if you take it for what it is, it’s not bad. As for something I would enjoy listening to on a daily basis, I don’t think it really fits in with my style. I should also mention that the song “Safe and Sound” has some really annoying radio like noises in the background that made me want to punch some glass. Fuck the person who thought that sounded cool. –Corinne (Prokiev Projects & Publishing)


GASLIGHT ANTHEM:
The ‘59 Sound: CD
The much-anticipated second full-length album by this New Jersey band. First off, let’s get it out of the way; yeah this band is clearly influenced by GardenState legend, Bruce Springsteen, and are not interested in hiding the fact (even more so than the Hold Steady, if that’s possible). But they focus on the compact, economical songwriting of the Boss more than the self-indulgent soloing, bar band tendencies of the E. Street Band that the Hold Steady revels in. That being said, Gaslight Anthem has really filed off the charming minor rough edges of their debut 2007 album, Sink or Swim for a sound that is radio friendly with a capital R. I don’t think you could really even call this a punk rock record in the context of 2008. There is not a single shitty song on the album, but, by the same token, nothing seems to rise far above mediocrity. If you enjoyed the first record a lot, this is worth picking up, but I am guessing most readers of Razorcake would find the production off putting and the songs too middle-of-the-road classic rock to embrace. I can say I do still recommend this band live (if you can still see them in a reasonably sized venue with their increasing popularity) where the new songs are presented in a much more organic context than an overproduced record. –Jake Shut –Guest Contributor (SideOneDummy)


FUN HOGS:
Party!: CD
Not my favorite band, but I can see myself going to check them out if they passed through my town. From Evansville, Indiana, this band is from the same scene that produced Be My Doppelganger. The songs don’t exactly leave a bitter taste in my mouth, but I haven’t warmed up to them and I don’t know that I ever will. The album has short tracks, pop punk beats, and simple lyrics that I (and probably most of us) can relate to. This quote is from the fifth track, “No you can’t catch up with sleep, so catch up with life and stay up all night.” –Corinne (Bird Mouth Mouth, angelfire.com/falcon/bmmr)


FOUND DEAD IN TRUNK:
Kerosene Cocktail: CD-R
For some reason, Found Dead In Trunk’s name conjured for me thoughts of Deadguy and Buzzoven. I don’t know why and I know much better than to make such assumptions going into a record because I’m rarely right when I do. That said, Found Dead In Trunk are no-frills rock’n’roll, sometimes bordering on hardcore, with a slightly jangly garage sound and lack of production value running throughout. Sometimes when I listen to this record that’s a bit disconcerting, as if I really want F.D.I.T. to decide once and for all what sound they want to go with and get on with it. But since I screwed the pooch on the initial pre-aural assessment, I should know better than to put expectations such as that on this. In the end, this is low-fi and sloppy, which I like lots. I’d love to see these guys playing in a basement. –The Lord Kveldulfr (F.D.I.T.kgrave2000@hotmail.com)


FOOD:
Self-titled: LP
Sludge. Stoner rock. Doom. Whatever it’s being called these days, it’s a tricky genre to pin down and appreciate for what it is. One thing you definitely need is patience. And you’re going to need to exercise patience to take in five songs in forty minutes. Some of the songs take an incredibly long time to take form and become interesting. I would hear parts that stuck to me but then would be let down with a build up that wouldn’t quite deliver. I did like the vocals, but there were times when I had to remind myself this wasn’t an instrumental album. I was hoping to be floored but I wasn’t. It’s too bad because the vinyl is super thick and the packaging is all made out of recycled materials. –Juan Espinosa (Molsook)


FILTER KINGS:
Finer Things: CD
Finally, Nebraska is growing more than corn! Roots rock and honky tonk from the plains with a full, rolling sound built of both electric and acoustic guitars and basses. Honest lyrics delivered via an irreverent hollerin’ layer with a singing pedal steel and a melancholy fiddle. Some nice male/female duets. Very solid effort, despite a little muddiness at times. –thiringer (Speed! Nebraska)


DUN 2 DEF / DESTRUCTORS 666:
Deus Ex Machina: Split: CD
Dun 2 Def were called ‘77 in the 1990s and are back in action. The Destructors were one of the original U.K. 1970s punk bands and are likewise back in action, as Destructors 666. Both of these bands comprised of old British dudes are holding up exceptionally, playing a blend of fast, hardcore punk with earlier 1977 stylings thrown in. Dun 2 Def covers a U.K. Subs song and does two originals while Destructors 666 does three originals and a GBH cover. Sometimes, the oldest people in the room don’t suck. Sometimes. –Art Ettinger (Rowdy Farrago, www.destructors666.com)


DUDE CITY:
Self-titled: CD
An eight track CD of blues punk with indie and folk touches, which seems to be the product of a one fella backed up by a drummer. Not bad, but rising little above mediocre. A couple tracks grab one’s attention with ample energy such as “Vampire Boy” and “The River,” which really stomp. However, the disc left no major impression and I don’t feel driven to want to listen to it again now that the review is written. –Jake Shut –Guest Contributor (Devil’s Tower, no address listed)


GUILTY HEARTS:
Pearls Before Swine: CD
Sounds like my old buddy Hermann Senac (full disclosure alert: he produced Our Band Sucks’ EP while I was still in the band and we have shared more than a few bills and beers over the past nearly twenty years) has found hisself another doozy of a band to get mixed up in. For anyone familiar with his résumé, which includes such genre bending punk outfits as Blood On The Saddle, Crowbar Salvation, Skull Control, Bea Pickles, Groovy Rednecks and others, that this latest endeavor is equally resistant to fitting into some simple pigeonhole should come as no surprise. This time ‘round he and his cohorts—Leon Catfish, Edgar Rodriguez, and Gabriel Hammond—are strip mining a melding of ‘60s slop, sludgy Scientists swampland scree, Gun Club slide-happy roots punk, and maybe even a dash of early Dream Syndicate punkedelia (compare “Seven Days” here to the Syndicate’s “Days of Wine and Roses”). The results are brooding, heavy, at times almost trance-like, always right on point and rarely nothing short of brilliant. With slack-jawed reverence I bask in the awesomeness evidenced here and can’t wait to witness these monstrous Hearts live. –jimmy (http://www.voodoorhythm.com/)


GORDON GANO’S ARMY:
Self-titled: LP
Hot off the heels of their 7”s, this English trio slows it down a notch. At first, it threw me. It feels more “tea” than “coffee.” Some of the songs are longer and more languid. I listened to the record a couple times, then put it aside, not quite sure what to think, but willing to give them another chance. What a difference a couple of weeks made. Just as seeds planted at the right time sprout almost instantly, the songs quickly budded and revealed their easy, softer beauty on these return visits to the vinyl. The doves are in the details. Gordon Gano’s Army’s music resonates with a wide-eye wonder (while the lyrics motor through darker tunnels), incorporating a Superchunkian sense of melody. They exercise the patience for a song to breathe and climax. What they gave up in straight-ahead, rough-and-tumble early-Jam raucousness they more than make up with the comfort that you’re in the hands of crackerjack songwriting. My working knowledge of current Britpop is nonexistent, but if the following terms aren’t mutually exclusive, GGA’s a non-twee, non-precious, unstyled DIY band playing pretty songs with a thick-knit British accent. Maybe a closer-fitting moniker would be “office worker punk,” lyrically parked in the lot next to Canada’s Statues, waiting until the exact last minute before the workday starts to get out of the car, smacking the steering wheel, singing along to songs as a form of therapy. –todd (Art Of The Underground)


GLASS TEETH:
Demo: CDEP
Jeff Robtoy must lose his voice after every gig. He sounds like the drunk, death metal version of Jeff Pezzati of Naked Raygun, hissing and snarling. The synths set this apart from your average grindcore outfit. Here’s to looking forward to future releases with sharper acoustics. Recommended. –Kristen K (Self-released, myspace.com/glassteethmusic)


GIRLS, THE:
Self-titled: 7"
If you miss the punky new wave of the Epoxies and don’t mind a smidge of power pop thrown into the mix, these kids’ll do the trick. –jimmy (http://www.milkandchocolate.de/)


GROINOIDS:
Radiobeat Sessions: 7” EP
I remember gettin’ the Boston Not L.A. comp at Roadhouse Records not too long after it came out. Although I was immediately drawn to the über-hardcore of Jerry’s Kids and Gang Green, the tune that had the most lasting impact was “Angel” by the Groinoids. Why? They sounded so completely unhinged rather than just pissed off. Simple riff, singer screaming “Chef’s gonna boil,” and it sounded like he’d be just the kinda motherfucker that would crank the oven up and dance around while the unnamed chef did just that. Outside of one other tune, “Empty Skull,” that appeared on the Unsafe at Any Speed comp, I don’t think they ever released anything else and remain one of the more obscure Boston bands from the early ‘80s hardcore scene. Well, it appears someone agreed with my estimation and saw fit to release this five-track collection of tunes recorded for those vaunted compilations of yore, and sweet crispy Christus, is it good. Why on earth Modern Method, XClaim! or any of those other labels back then never saw fit to release this in its entirely back this is a fuggin’ mystery, ’cause this is a veritable hardcore masterpiece, a nice bookend to, say, the Mentally Ill’s Gacy’s Place EP, just as loud and heavy as anything SSD produced in their prime, but with an extra dose of weird to give it some pizzazz. Word is a CD is on the way, and I’m hoping they see fit to send it this way, ’cause I’m gonna wear the grooves down on this pretty goddamned quick. –jimmy (www.i-dealrecords.com/fatalist)


GUILT TRIP!:
Self-titled: 7” EP
Decent enough hardcore here, with alternating slow/fast tempos. Kinda hard, though, to take seriously rants against the internet and lines like “I won’t join the Myspace generation” from a band that includes the address to its Myspace page at the bottom of the insert. –jimmy (Absent)


GROUCHO MARXISTS, THE:
Manifesto!: LP
Chris Pierce’s new band (technically not “new,” but it took a while for the record to come out), who’s a New Jersey legend who’s been in Doc Hopper and Sinkhole, not to mention recorded a bulk of music to come from the New Brunswick/New York City within the past few years. Most of his previous endeavors were heavy on the Descendents/ALL/Cruz Records influence, and this is no different—it’s poppy but with a hard edge, yet with a fun, goofy sense of humor to it. It’s good to hear Chris is still coming up with good stuff like this. –joe (Don Giovanni)


MIDWEST BEAT, THE:
At the Gates: CD
I’m confused a little bit about this one. The insert says Ryan Adams played on this platter. Yet there is no mention on their site about this. Is this a joke or did Ryan put a gag order on this now that he is eating bon bons in France with Mandy Moore? Oh… yes, the music contained herein. Good garage rock with some solid songs. Backing vocals that add just enough texture without getting sappy. There’s a Zombies influence at work here, so if an updated version of that vibe is up your alley, you may want to storm these Gates. I’m sorry—I know that was bad. –koepenick (Duck On Monkey, www.myspace.com/duckonmonkeyrecords)


LICK GOLDEN SKY:
Demo: 7”
This record is kinda weird for a couple reasons. First of all, this is appears to me to be a bootleg. It comes with a note that states, “In pressing this record we did not get permission so much as acknowledgment and the personnel involved in the recording had almost nothing to do with this record being released. Hopefully we succeeded in doing the band justice. Thanks.” So, neither the band nor the people who did the recording had anything to do with this being released? Sounds like a bootleg to me. Apparently, these guys were a hardcore band from Pennsylvania and what appears here on the record is a demo they recorded in 1998. The people in the band went on to be in a bunch of other bands I don’t give a shit about. Also, this comes with an insert detailing the expenses associated with putting this out, and justifying why it costs $7. If you wanna charge $7 for the thing, just do it. Feeling like you have to explain it to the point that you include an insert with the record giving all the details makes it seem even more iffy to me. Anyway, as far as the music goes, this is basically Hulk Smash hardcore: angry dudes playing and singing angrily about stuff. Maybe they ran out of 76ers jerseys and bandanas at the mall the day they recorded this. –Jeff Proctor (Square Of Opposition)


GG KING:
Adult Rock: 7”
Nothing wrong with a little self-satirizing. Members of the Carbonas/Gentleman Jesse lay down two tracks of punked-out pop with what I presume to be humorous lyrics, but I can’t understand a word of what’s being said. As long as the tracks are this catchy, I don’t really care who they’re clowning on, though. –Daryl Gussin (Douchemaster)


GET OFFS, THE:
Airplane Fight: 7”
A-side was a mostly jangly bit of trashy punk that brought to mind the Templars, though they sound nothing like them. Flip is a bit of quasi-‘60s slop about bein’ drunk. –jimmy (johnny@midheaven.com)


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