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· 1:The Rikk Agnew Band, Symbol Six, Barrio Tiger and A Pretty Mess
· 2:Interview with Adam Gnade
· 3:Sign Up for a Razorcake Automatic Payment Plan
· 4:#323 - Future Virgins Edition with Todd Taylor and Mike Faloon
· 5:Burn Burn Burn Interview


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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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FAT ASS:
We Have Come For Your Mothers: CD
So I’m sitting here wading through some bottom-of-the-barrel reject discs I’ve been putting off reviewing for this issue and I come upon this buried in the crap I’ve scooped up. Depressed and more than a little punchy, thanks to the long line of affected college boys who have vented their politically correct rage into my ear over the course of the previous fifteen releases I’ve listened to today, I look at the cover, grunt, place the disc in the stereo and hit “play,” bracing myself for the pop punk onslaught that will no doubt come belching forth from my speakers. Much to my surprise, what came from said speakers if some prime-rate punk rock that sent my depression scampering for the hills. “Man, I needed this,” I say to myself as I crank it up to eleven. Fuck comparisons, this is just one of them discs that just rocks and nothing more need be said about it. A glance at the “thank you” notes on the inside reveals a Razorcake mention and I think how symbiotic that is – we Razorcakers only dig the finest in music and, in turn, are thanked by only the finest of bands. –Jimmy Alvarado (Diaphragm)


FARCES WANNA MO:
If Not Why Not?: CD
Serious nerd-out from 29 Palms, CA. First track: “Grammarchy,” a discourse on language to the tune of “Anarchy in the UK” (barely). Others include “Who’s Got Time to Build Infrastructure?”, “Here is a Cake,” “Bela Lugosi Loves Honky-Tonkin’” and “If the Egges Don’t Cooke.” It’s a huge mess of samples, talking, countless musical styles, and goofy nuttiness. Brings to mind the stuff on Eerie Materials, a label that put out scads of weird homemade weirdness (is it still around?), or maybe a Negativland-obsessed Sockeye. Must get pretty boring out there in the desert. (Incidentally, I saw another Farces Wanna Mo CD at the Children’s Hospital thrift store yesterday. I didn’t buy it.) –Cuss Baxter (My X-Lover)


EXPLODING FUCK DOLLS, THE:
Here’s to Your Fuck: CD
Career retrospective of a band that had Duane Peters in it about ten years ago. Sixteen songs from 1998-92 (reverse chrono order) sounding very much like a SoCal Clash or Sex Pistols. My guess is they were probably a lot more interesting to watch than listen to; some video would have been nice, but I reckon it’ll bring back some pleasant memories for those who did see them. –Cuss Baxter (no label)


EVIL BEAVER:
Pleased to Eat You: CD
Well, I have to say that this CD got my attention very quickly with not only the band name and album title, but the song titles and the fact that there were two attractive ladies on the CD sleeve as well. When I popped it in, however, it was something I wasn’t expecting. I was all ready to hear some low brow porn/thrash/metal/punk a la Stool Sample or something like it. This turned out to be more of an emo/metal CD. I’m not too familiar with this genre so I will have to take some steps back to compare it to what I remember. Grunge is the first word that pops into my head. For instance, if this was 1993, they would have no trouble getting signed to Sub Pop. It’s got a deep, fuzzy sound with decent female vocals singing melodically at times and angry and others. This appears to be two females, one on drums and one on bass. No guitar. It’s not absolutely terrible, but I think this first listen will be its last. –Toby Tober (Johann’s Face)


EVEN IN BLACKOUTS:
Foreshadows on the Wall: CD
“Hey, you ignorant music reviewer, you! Our band plays punk rock using solely acoustic instruments! We will bludgeon over the head with this fact until you proclaim us to be the saving grace of modern punk rock!” Guess what? It sucks! The press sheet even calls them minstrels! Maybe if they had electric guitars they wouldn’t sound like the Dixie Chicks. –Josh (Knock Knock)


ESTROGENOCIDE:
Self-titled: CD
This is either two people who have way too much time on their hands or your porthole into the mind of a bi-polar maniac. Equal parts new wave, gore porn lyrics and a drum machine. Songs are sung in a monotone goth-like manner. Irritating enough to bug me after awhile, so you can imagine what the average person would think. –Donofthedead (M.H.)


ENDS, THE:
New Rome: 7"
In the span of a little over a year, the Ends have become one of the best bands around, luring the listener in with their happy, bouncing rhythms, and then attacking with razor sharp guitar hooks and snotty vocals. That being said, the title song is a bit of a letdown. The music is repetitive and mid-tempo, the vocals are really mumbly, and the whole thing brings to mind a more pedestrian version of the Stitches. The B-side more than makes up for it, though. They play like a band building on their influences rather than being mistaken for them, and it’s a winner. –Josh (Dirtnap)


EMBROOKS, THE:
Back In My Mind: 7"
Strong psych-pop that’s very true to the period they’re obviously influenced by and perfect for my trips to ItchykooPark. What did I do there? You figure it out. –Jimmy Alvarado (Butterfly)


EMBROOKS, THE:
Back In My Mind b/w The Time Was Wrong: 7"
This band’s Our New Day album was one of the top two or three records of 2000 A.D. and remains in the All-Millennium Top Ten (assuming you, like i, consider Y2K to be the first year of the new millennium, even though, owing to an accounting error, 1 B.C. proceeded directly to 1 A.D. without benefit of a year zero – thus technically rendering year 2000 the last year of the second millennium A.D., not the first year of the third); in marked contrast, their first album isn’t even worth listening to. This latest 45 is somewhere in between. The a-side pretty faithfully recreates whatever interval of sonic time (uh... “tyme?”) was in effect when UK freakbeat started to morph into psychedelia; the b-side, apart from a few discontemporaneous production flourishes, sounds like one of those almost-brutal, almost-ballads on The Who’s A Quick One and Sell Out albums. I don’t dislike it, but i don’t really hear a hit here, either – nor is the slashing, punky energy of Our New Day there to give a cursory lapdance to my eternally punk rock lap. New album, please. BEST SONG: “Back In My Mind” BEST SONG TITLE: i don’t like either. FANTASTIC AMAZING TRIVIA FACT: Back cover photo was taken at approximately 5:53 local time. Also, their bass player is actually Lucky the Leprechaun from Lucky Charms™ cereal. –Rev. Norb (Butterfly)


ELECTRIC, THE:
Poor Loretta: 7"
Hey, I’ve “snorted cocaine off the torsos of the daughters of kings,” too. Nice to know I wasn’t the only one, although I never went so far as to write a shitty song about it. –Jimmy Alvarado (Bert Dax Cavalcade of Stars)


ELECTRIC FRANKENSTEIN/EL NADA:
split: CD
A good split. First off, we have Electric Frankenstein. They have been around for many years, released a ton of records, and they continue to play good, low-down rock’n’roll, or garage, if you want to call it that. If you like them you will want to get this CD. Next up is El Nada. If I’m not mistaken this band has the same Dave Chavez who was in Sick Pleasure, Verbal Abuse, and many other bands. The dude still skates and plays hardcore after all this time, and hardcore is what El Nada is all about. Fast, old school style and guaranteed to make you love ‘em. Each band on this split does three originals and then does a cover of the other band’s song. Now go out and get this CD. –Mike Beer –Guest Contributor (Finger)


DOOM BUGGY:
Versus the Beast: CD
I get the eerie chills of listening to the Suburban Lawns, X-Ray Spex and Lene Lovich, but all at the same time. When I’m ready to shoot something down, a band puts me in my place. –Donofthedead (Noise Maker)


DOGS, THE:
Suburban Nightmare: CD
Everyone’s favorite LA-by-way-of-Detroit proto-punk band resurfaces with some top-notch rock’n’roll. It’s rare when a band manages to release an album of new material that can stand up to their “essential” efforts of the past, and this is such a case. The songs are strong, the band sounds like it hasn’t aged a day, and the whole thing manages not to sound dated in the least. Crank it up and prove to your mom that people her age can, indeed, bring the rock. –Jimmy Alvarado (Dionysus)


D.O.A.:
25TH Anniversary Anthology: CD
This starts with “Disco Sucks,” from 1978, a cool, raw punk song that shows DOA as a band full of talent. Next you have songs from the two great DOA albums, Something Better Change and Hardcore 81, followed by War on 45, in which DOA – sometimes known as the Canadian Clash – prove that they’re absolutely NOT the Clash and should never try reggae again and never, ever, ever cover “War” again. Good god, y’all. “Fuck You” comes in as a testament to the old days of DOA’s greatness (though it is, of course, a Subhumans [Canada] song), before they mired themselves in metal and pretty much stayed there from 1982 on. In short, this anthology is just like DOA’s music career: fucking awesome at the beginning, and let’s just ignore the rest. –Sean Carswell (Sudden Death)


DIVORCE:
self-titled: 7” EP
Tumbling-a-piano-down-the-stairs type thrash/grind stuff. Your parents will love it every time you put it on at family gatherings. –Jimmy Alvarado (Tsunami)


DISTRACTION, THE/ THE HATEPINKS:
split: 7"
Distraction: Jangly guitars, keyboards and tone-deaf vocals. Hatepinks: a former Gasolhead, distorted guitars, and a Swell Maps cover. Hatepinks win by a landslide. –Jimmy Alvarado (Lollipop)


DIRTBOMBS, THE:
Dangerous Magical Noise: CD
The Dirtbombs probably should’ve stuck to covering other people’s songs. This doesn’t suck, but it’s not anywhere near as good as Ultraglide in Black, which in turn wasn’t nearly as good as the Gories. It’s a pretty spotty listen, and like almost every supergroup, it seems like a big inside joke. It might’ve made a good seven inch. –Josh (In the Red)


DIPLOMATS OF SOLID SOUND, THE:
Let’s Cool One: CD
Easy listening for those with taste, class, and a sense of sophistication all your own. The Hammond buzzes a warm and mellow groove while the band liberally douses with handclaps and genuine instruments jangling into a perfected state of blues-ed out bliss along with some frantic barnshakers. I endorse it and fully live it! –Namella J. Kim (Estrus)


DIPERS, THE:
How to Plan Successful Parties: CD
Very arty, but noisy, which I guess means it had some redeeming qualities, but I’d be hard pressed to think of any others. –Jimmy Alvarado (Omnibus)


DILLINGER FOUR:
Live at 7th St. Entry: CD
Drunk, out of tune, and funny as all hell, this is just like a real Dillinger Four show! If you’ve ever seen these guys, you know what to expect: two minutes of music followed by five minutes of jokes. This is worth having around for the between song banter, but it mostly just underscores the fact that these guys need to go on tour again. If you don’t even know who they are, do yourself a favor and get all of their studio albums first. –Josh (LSD)


DEXTER DANGER:
Written In Blood: CD-EP
A bargain bin Tiger Beat punk band with loud guitars, agonizingly ineffectual vocals and zero songwriting talent. When they see there’s no money to be made in punk and promptly fuck off to the next big trend, I will personally breathe a sigh of relief. –Jimmy Alvarado (Orange Peal)


DESTROYED, THE:
Outta Control: CD
This is, apparently, a sequel to an earlier CD released by the drummer, which, presumably for benefit of family, friends, the guys down at work and maybe two or three other people, collected what i assume to be his life’s entire recorded output on one handy compact disc; said output consisting primarily of work in the late ‘70s with the Boston punk band The Destroyed, plus two mysterious collaborations with fancy-pants guitar player Henry Kaiser (?!). And, because YOU demanded it, this follow-up features six recently-recorded tracks of the drummer drumming and the singer singing and playing guitar on midtempo punk tunes about death via bludgeon and the electric chair, plus the guitar-playing singer’s original demo version of one of said compositions, plus two more Jeff Beck (i think?) styled guitar wig-outs with Henry Kaiser, plus ten Destroyed tracks ca. 1977-79 taken from old cassettes. I think i speak for all us guys here at the shop when i say that we’re all proud as punch of you, and are certain you’ve got a great future ahead of you in The Biz! BEST SONG: “We Got It,” but pretty much all that old Destroyed stuff is kinda great simply because the singer’s rampant and shameless Iggyisms are so Ig-tastically over the top that they make Rik L Rik’s contemporaneous Iggishness seem positively Bowie-esque by comparison. BEST SONG TITLE: For pure sleekness, i enjoy “Let’s Go Electric,” but the sentimental favorite is “Don’t Worry, That Train Ain’t Gonna Hit You” FANTASTIC AMAZING TRIVIA FACT: Though the band is Boston-based, the Lemmy-lookin’ drummer sports a White Sox – not a Red Sox – cap. NINE-teen-SEVEN-teen! (clap! clap! clap-clap-clap!) NINE-teen-SEVEN-teen! (clap! clap! clap-clap-clap!) –Rev. Norb (Bert Switzer Media Empire, Ltd.)


DENUNZIO:
The Three Point Stance: CD
As I lay on my couch listening to this through headphones, I found myself trying to come up with a single decent punk band Denver has produced. Including DeNunzio, I couldn’t come up with a single one. –Jimmy Alvarado (Hej Music)


DEADLY WEAPONS:
self-titled: 7"
A new outfit featuring Tina from the Trashwomen handling vocal duties. Included here are two doses of the high-energy punk that Rapid Pulse bands are known for delivering, and a cover of GG Allin’s “Don’t Talk to Me.” “You Wreck Me” could easily have been a hardcore punk favorite had it been released back in the early ‘80s. Good stuff here. –Jimmy Alvarado (Rapid Pulse)


DEAD HEROES:
Let it Ride: CD
By looking at the front cover artwork you would expect either a rockabilly band or something else other than what comes out of the speakers. Flip over to the back and you get a picture of three guys wearing their leathers and possible favorite bands. Let’s see if they can pull this one off. The band is competent here. A mix of Motorhead meets GBH mixed with modern day UK in the likes of Sick on the Bus. The music here is what sells it for me. They make a conscious effort to pay tribute to the UK bands before them. They are not a copy cat band by any means. They add their own personality to the mix. But you can here where they are getting their basis from. Bad cover, good music. –Donofthedead (Sin Klub)


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·HELL, THE
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·BOMB, THE
·WEIRD LOVEMAKERS, THE
·Complete Peanuts, 1953-1954, The
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·HUSSY, THE
·PSYCHO 78
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