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No Idea Records

Record Reviews

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VARSITY WEIRDOS:
High School Teen Party: 7”
Okay, I’m actually going to write a review in which I describe what the band sounds like! This sounds like the Riverdales, with a slight Teenage Bottlerocket influence in a general sense. Pretty good stuff, but it’s no Radio Oh Oh Oh! Still, this band could become great, and they include one of those yellow 45 plastic things with the record! If this were a cereal, it’d be Super Golden Crisp. All the elements are there, but we need a final secret ingredient to push it to the top! –Maddy (It’s Alive)


VARIOUS ARTISTS:
Welcome to the Golden State: 11-song 7”EP
A nice, if rough, snapshot of current DIY hardcore in California. There’s an adolescent feel—almost a Pee Chee sketch and doodle quality to most of the songs—that’s both charming in its predictability and rough enough to believe that the bands believe in what they’re playing. This wheel’s been long-invented, but ‘81-style hardcore is like a ‘72 Nova. That shit can take a beating and it still, somehow, work and get to where it wants to go. Standouts are the tracks of Ecoli in the middle (one where they temporarily take the first person narrative of AIDS, then take issue with cell phones and skin disease), Broken Needle, Crawlspace, and Valoids. –Todd Taylor (Cowabunga, www.cowabungarecords.com)


VARIOUS ARTISTS:
The World’s Lousy with Ideas, Vol. 3: 7”
I’d like to personally thank the people at Almost Ready Records for not sending the full album art, but instead a jacket that consists of screen shots from Terminal Boredom. Hopefully this is a limited edition review cover and I can sell it on EBay and finally get that dental work I’ve been wanting. Or maybe I should just keep it and rock the four tunes that are on here till my brain bleeds with ecstasy. Featuring the Suspicions, the Wax Museums, the Romance Novels, and Nobunny; this comp. is a nice reminder of what’s great about these bands, or a pleasant introduction to them. Any fan of poppy garage, punk-ish pop, or garage-esque punk will appreciate this. –Daryl Gussin (Almost Ready)


VARIOUS ARTISTS:
The Altercation Punk Comedy Tour—Metal Up Live: CD
I feel like there’s been a gradual but ongoing crossover between music and comedy over the past few years. I like that. And much like more and more bands taking the DIY route and booking their own shows in whatever unconventional venues, I like the idea of different styles of artists taking that same approach. Such is the case here, with four “punk rock” comedians who took that same approach. I couldn’t help but feel that a lot of the “punk” elements of the routines revolved around shock value and stories about getting fucked up, which was a little disappointing (don’t get me wrong, I love me some Redd Foxx, but I can’t help but feel like it’s a really easy go-to, and cheapens the whole thing when it gets overdone), but there’s still some pretty great laughs amongst the four tracks here. I’d be interested in seeing what they do down the line. –Joe Evans III (Altercation)


VARIOUS ARTISTS:
Mad Mike Monsters Volume 2: A Tribute to Mad Mike Metrovich: LP
Some of my favorite people in the world are those who seem to be somewhat famous for just having good taste in music. Mad Mike Metrovich is one of those lucky bastards who made his way in the world sifting through dusty stacks of unwanted records. A Pittsburgh disc jockey, Mad Mike would scour the dirty corners of Pennsylvania looking for obscure records to play on his radio show. This series features some of Mad Mike’s most coveted singles, mastered into easily obtained collections, filled with Mad Mike’s story and loads of rock’n’roll. Fans of made up words, overdriven sax solos, and hootin’ and hollerin’ cannot afford to miss this series. Volume Two features songs such as the Del-Mars’ “Snacky Poo,” The Rhythm Addicts’ “Oomp Boomp,” and Count Farrell’s “Wizard of Ah’s.” If you’ve heard of any of those songs already, you’re waaaaay too cool to be reading this. –Billups Allen (Norton)


VARIOUS ARTISTS:
Den Magiska Cirkeln Presenterar Stolt en Vinylsingel Fem Band Fjorton Minuter: 7”EP
A compilation of contemporary Swedish hardcore. I think the title means: The Magic Circle Presents Something in Vinyl Single from Bands Fijordcore Minute and I couldn’t agree more. The comp instantly reminded me of regional comps that were coming out in the U.S. in the early ‘80s, especially in the Midwest, (like the Master Tape comps.) where not only does there seem to be fifty songs on a single 7” (there are really twelve), there’s more than one would expect in variation (although to have a tuned hardcore ear wouldn’t hurt to realize this fact), and that, on the first several listens, all you can do is hope to hold on to the speeding bullet and enjoy the whizzing-by scenery and then, later, try to match up Svartenbrandt, Bad Amputation, Instäng, Förmögennet, and Thurneman with their tracks on the vinyl. Well realized, executed in a way that I’ll definitely keep an ear out for all of the bands, and a handy snapshot of a part of the world I’ll probably never get to visit. I feel lucky that I got to sample “typical Swedish music” (said in travel brochure voice) in the comfort of my bedroom thousands of miles away from the nearest glacier. –Todd Taylor (DMC, myspace.com/dmc_rec)


TRUCKSTOP LOVECHILD:
A Damn Good 33:52: CD
Truckstop Lovechild is an awful cock rock band, somehow trying to fit in as a grimy punk act, since even metal types are likely to shy away from such lameness. One of the most irritating albums I’ve heard in ages, this shit is full of ‘80s lead guitar lines. If it’s kitsch they’re going for, it isn’t funny. With witless lyrics about devil worshipping, liquor, and trucking, it all falls flat. They’re good at what they do if what they’re doing is trying to clear the room. –Art Ettinger (Zodiac Killer)


TRAP THEM:
Seizures in Barren Praise: CD
Saw them at Murderfest last year and I was truly blown away by their power. Now, finally hearing a recorded product, they really know how to take that live energy and bottle it up in the studio. They are a mixed bag, taking bits and pieces from here and there to create their inferno of noise. You hear everything from punk, hardcore, grind core, d-beat, crust, sludge, and metal in their recipe for music. It’s like dissecting bands like HolyMountain, The Victims, and Kylesa and sewing them together to create a new angry entity. From start to finish, I felt like I was being taken for a ride through a vacuum. The intensity which came across immediately kept me at attention throughout the entire listen. Hope to catch them live again and experience these songs with more familiarity. –Donofthedead (Deathwish)


USELESS ID:
The Lost Broken Bones: CD
Mid-’90s style pop punk in the vein of No Use For A Name. Their claim to fame is that they’re the biggest punk band to break in Israel, which, admittedly, is an interesting detail. Lyrics are introspective and there’s a gloomy tone . My problem with the record is that it straddles the line between decent melodic punk and that bland corporate emo sound that I really can’t stand. I think they’re good at what they do, but maybe I’m just a little too old for this style of punk. –Evan Katz (Suburban Home)


VAGINASORE JR:
This Here Peninsula…: CD
My first introduction to Vaginasore Jr (other than chortling at their name) was seeing them at this year’s Fest. What I remember, in particular, is seeing guitarist Dave being floated through the crowd, while playing guitar, as people poured Sparks down his gullet. They also played “Don’t Change” which is, in fact, the greatest song INXS ever wrote (as if there was any doubt). I didn’t remember much else about the band, as after about five days of swilling cheap beer in the prolonged Northern Florida summer, bands and specific details all kind of mesh together after a while. So, from the limited memory I had from seeing them at Fest, I was excited to give this a spin and re-acquaint myself with the band. What we have here is some real solid, sincere and gruff, fun punk rock akin to singer/guitarist Russ’s other band, the Tim Version and other Floridian cohorts such as Grabass Charlestons and Billy Reese Peters. A dozen songs that are quite remarkably like lyrical essays; they tunefully fit a dictionary’s worth of words into songs that are social commentaries on our scene, life, relationships with friends and family and more. What is particularly pleasing is the absence of the twang-y bro down that’s infested itself in this part of the punk world like a parasite, thanklessly feeding off of its host, leaving behind a trail of zombified Hot Water Music/Merle Haggard mash-ups. None of that stuff here, friends, just dudes ripping shit up and having fun doing it. Thankfully, they let us in on some of their fun with this album. –Jeff (A.D.D.)


TOO MANY DAVES:
2008: A Shit Faced Odyssey: 7”EP
Stupid is a slippery slope. Too Many Daves have golf shoes on. It’s just the right degree of stupid—astronauts-with-bongs, pizza-eating, Pabst-at-the-dawn-of-time stupid—but played with a self deprecating smirk and true, songcrafted hooks. “Fat Doodes” is both an anthem and a way of life distilled to three of four lines, with a guitar lead that snakes around and squeezes the best of its “song juice” out like a python. How many songs can you say do that? A guilty pleasure without the guilt. –Todd Taylor (Kiss Of Death)


TOM GABEL:
Anna Is a Stool Pigeon: 7”EP
It’s sometimes easy to forget that recorded music’s not that old. That electric instruments took prominence in the 1950s. And that for thousands of centuries, music was acoustic, familial, tribal, and immediate in vicinity. I don’t know if Tom Gabel’s a historian of music, but what I do know is that he has an ageless sensibility on how he approaches his songs. “Dude and guitar” music, more often than not, sucks hard, probably because it’s music at its most bare, and so many musicians mistake over-inflated egos with talent. Sweet lord, Tom Gabel can write and sing a song. These three cuts are him stripped down to the waist: voice, acoustic, friend Chuck Ragan on backups and harmonica on the title track. These recordings are crystalline, personal while remaining universal in intent, and full of protest that’s as much Woody Guthrie and Bruce Springsteen as Crass and Crimpshrine. –Todd Taylor (Sabot)


TODD CONGELLIERE:
People in the Sand: 7”EP
Todd C., of FYP, Toys That Kill, Underground Railroad To Candyland, and Recess Records is a humble guy. When I saw this record sitting around and asked him if I could have a copy, he became embarrassed. He’s super comfortable with getting excited about bands he’s put out, like The Arrivals and the Bananas, but turn the conversation directly to his personal music, and… let’s just say we both get uncomfortable. I hate words like “genius” (unless you figure out cold fusion or discover a sustainable model for DIY punk worldwide, where musicians get paid as well as plumbers), but I think Todd’s a really, really smart guy, a creative and courageous musician. When I’m talking about him and say, “This is great singer-songwriter stuff. If you liked the feel of Bird Roughs, this isn’t that far from it,” please don’t picture Todd being a douchenozzle, petting his ego with a feather while glazing himself in self-importance like a winter ham, but a guy playing stripped-down, slower songs that are pleasing, odd in Todd ways, and a nice, “makes sense” addition to his catalog. Imagine a movie like The Life Aquatic without the preciousness but all of the charm and wit. Are there really only fifty of these or is this part of a limited press? –Todd Taylor (Ol’ Tennis Shoes—try Steinbeck’s old address in Salinas?)


TIPPER’S GORE:
Unsettling Loss: EP
A lot of hype around this band. While they’re certainly not the second coming of Christ, this record isn’t shabby. It’s actually quite good. Standard hardcore punk that holds its own quite well with all the other bands out there kicking up the same storm. A definite early ‘80s influence, but still more modern than retro. The vocalist spits the words out in a frantic pace, which makes me think he’s frothing and slobbering all over the place like a rabid dog. The music is frantic as well, at times verging on total thrash. “Talk for Me” cranks away, and the repetitive chorus reminds me of the early thrash bands that sounded fast then, but not fast now, yet still good. I like that you can hear the bass in the mix, even when the songs get a bit hectic. “I’m Disappointed” is slightly slower and still a burner. “Get Up” is a good mix of mid and fast. Starts off with a foreboding mid tempo then kicks in the speed, as well as throwing in some stop-go breaks. –Matt Average (Flat Black)


TIMEBOMBS :
Kill Music: EP
Looking at the low rent art (Robocop clutching a decapitated head) and dumb lyric sheet, it appears this band doesn’t have much going for them. That’s part of what makes this work so well. Pressed on this record are five songs of raw, early ‘80s-style hardcore punk rock that musically recalls Teen Idles, Neos, and a host of other bands of that era. Jagged and abrasive guitar sound, chaotic drums, a vocalist with a voice that cracks. The songs are speedy, urgent, and go for broke every time. No obtuse lyrics, just teen angst. Easily the best band on the Flat Black label. I’ve played this record about twenty times today. So f’n good. It’s pretty near mind-blowing that a band today can tap into that energy of old bands and make it sound legit. This is one to get. –Matt Average (Flat Black)


TIJUANA KNIFE FIGHT:
Self-titled: CDEP
Seven songs on this CD EP by the Long Beach band, released on their own record label, Stab! Stab! Stab! What you will find here is more of the Automatic Midnight era Hot Snakes style stuff that Tijuana Knife Fight is aggressively claiming stake to as their own, with a hint of Toys That Kill here and a dab of Shark Pants there. The songs are honest, full of passion, full of soul, and entirely worthy of your attention. –Jeff (Stab! Stab! Stab!)


THURNEMAN :
Don’t Guess It’s GHS: 7” EP
I first heard of this band through the DMC: Hardcore Compilation 7” and it’s nice to hear their earlier material. Sorta-fast, Swedish hardcore punk with multi-vocalists and melody to boot. This 7” is good, but I’ve heard where this band is going (via the DMC comp and a CD-R of a future 7”) and I really like it. I can’t wait for the Luggsliten Levnad EP to be released on vinyl. –Daryl Gussin (DMC)


THINGS, THE:
Some Kind of Kick: CD
I tried to just concentrate on the music here, but there were a couple other distractions that I could not pull my eyes away from. First, the packaging sucks. The liner notes are so small they might as well have been written in Latin for all I can make out. And the bassist is wearing a super skintight shirt on the inner cover. It’s beyond regular Swiss cheese. The music is serviceable, but nothing that will kill any brain cells. Unless all your Cramps (R.I.P. Lux Interior) records were destroyed in a fire, you probably don’t need this one. –Sean Koepenick (Nicotine)


TEN VOLT SHOCK:
6null3: CD
Maybe a bit too intellectual for me to appreciate completely, but I can hear the potential of this being awesome live. This band from Germany reminds me a lot of SavageRepublic. A noisy, dissonant group who have a under layer of melody beneath their pulsating din of tones and beats. They have a rhythmic effect that make me feel like zoning out. Interesting, to say the least. –Donofthedead (Dead Tank)


TEENERS, THE:
Gold: 7”
The artwork for this seven inch has a whole bunch of very crudely drawn rats strewn all over it. It looks like a little kid could have done them and it makes me giggle. It looks like the kind of record where, if you happened to be browsing somewhere, you would never buy. However, your guess would be that it would either be complete garbage or it would totally kickass. What you end up getting is three songs of fast, sloppy hardcore in the vein of early Die Kreuzen. They’re from Austin and like most things from Austin, it rocks hard, is completely unpretentious, and really doesn’t give a damn what you think. Now when you see this record, you know you should pick it up, because I said so. That’s why you read these things, right? –Craven (Super Secret)


TEENAGE KICKS:
4 Pasos Al Power Bailes: 7"
I don’t know what Teenage Kicks you’re thinking of, but this is the punk band from Tijuana, Mexico. Four aggressive, driving tunes that aren’t afraid to slow down, open the flood gates, and let a little feedback enter the situation. Sung completely in Spanish and with hand-screened covers by the band, this one’s a keeper. –Daryl Gussin (Nuestra Lengua)


INDIGENTS, THEE:
Brain Dead World: 7"
The first time I heard Thee Indigents on the Tower 13 album, I thought, how the fuck did this band get onto this comp? I thought it was the only stinker on the record. The last time I heard the Tower 13 comp, the song by Thee Indigents was one of my favorites. My initial dislike had to do with the ridiculously snotty vocals. I mean ridiculously snotty. This guy makes Joey Vindictive sound like he just blew his nose. Thee Indigents’ singer makes the Stitches’ Mike Lohrman sound like goddamn Frank Sinatra. That’s how snotty he is. But the band that backs him up is so tight that they propel you through the songs. They get you tapping your toes and running a one-man circle pit in your living room. They keep you interested so long that you’ll start to like the vocals. Then, you’ll start to love them. What can I say? The snot grows on me. This is another ringer from Hostage. –Sean Carswell (Hostage)


I FARM:
Two Selected Works: CD
This CD definitely kept me on my toes. Just when I settled into one rhythm, it changed musical styles immediately and would continue to do so again and again. The majority of what they played was pretty damn good, going from mostly melody oriented upbeat punk, to hardcore, to something without much melody at all. All within each song. Most of the CD kept my attention. However, some of the quick changes in the songs really lost me. It was like the minute I had my head bobbing or my foot tapping, they switched gears faster than an ambidextrous hooker without much endurance in her right hand. I would usually end up feeling like the job wasn’t finished. With that said, I do find myself going back to this CD and giving it a listen every now and then, without any intention of selling it back. As an aside, I’m not sure if this has anything to do with their schizophrenic style of music, but according to their label, they got their name cause they farm meth. –Toby Tober (Big Action)


HUSBANDS, THE:
Daniel b/w You Need Hands: 7"
These three ladies from the San Francisco area haven’t failed me yet. They’re like the little sister gone wrong of the Detroit Cobras. The one that’s not afraid to get a little dirty and break curfew. Raw rock and roll at its best. –Megan Pants (Blue Bus)


HUNNS, THE:
Long Legs, Die Hunns: CD
I’m not sure if the band is no longer Duane Peters and the Hunns. Are they now the Hunns or Die Hunns? I have to admit that I have not followed Duane Peters or his other band, the U.S. Bombs. I know I liked one song from the latter band. But I sure like this band or the line-up of this band on this release. For me, the highlight is the additional vocal duties of the ex-Nashville Pussy amazon, Corey Parks. Her vocals dueling with Duane’s adds additional character to the songs, especially when she dominates most of vocals on certain songs. Great choice of cover songs that start off the CD like “Time Has Come Today” by the Chamber Brothers. Also included are covers of the Undertones, the Wipers, and the Sex Pistols. The originals are no slackers either. Straight-up punk with a late ‘70s, early ‘80s So Cal sound. Cool as shit, hot as ice. –Donofthedead (Disaster)


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