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Razorcake #93
One Punks Guide to Pinball, by Kayla Greet
Razorcake #92
Spokenest, Gone, Gone, Gone LP
Pinned In Place, Ghostwritten By LP


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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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DATA CONTROL:
One God, One Love: CD-R
I was quite impressed with the last EP I heard from ‘em, and this reinforces that initial appraisal. This time they kick down with eighteen tracks, just over half an hour of serious tuneage. Fans of old L.A. punk, the Regulations, and similar sounds will find much to appreciate here, but, for my money, the goods are truly delivered here when the band stretches and expands, slips a sick, poppy undercurrent into the proceedings, dollops heavy helpings of churning guitars and hypnotic riffs on top, and just lets shit get freaky. According to the insert, they’re hoping this bad boy will eventually be released on vinyl, and lemme say I’m wholly in agreement. I have no trouble whatsoever seeing these cats becoming a big fuggin’ deal in the very near future, so I highly suggest y’all get in on the ground floor now.  –jimmy (Data Control, facebook.com/datacontrolhardcore)


DAVID ARVEDON:
The Best of Dave Arvedon Volume 2: LP
What, uh, what did I just listen to? Who is this guy? And why is his pedigree such that he needs three (yes, there’s another one after this) solo/best of records? Because—this one? It’s full of strange Lou Reed / David Bowie worship and overwrought melodramatic pop songs that mostly just leave me mystified. I don’t get it.  –keith (Mighty Mouth)


DAY CREEPER:
Central States: LP
Know fuckall about these cats, but this has all the earmarks of laid-back Middle American punky pop of mid-’80s vintage. Upon closer inspection, however, one finds it was recorded last year. They’ve got the moves and the sound down pat and they do it well—pick any two songs here, press it on wax and you’ve got yourself a fine single.  –jimmy (Superdreamer)


DEADNECKS (MT) / TALES FROM GHOST TOWN:
I Smoked Meth and All I Got Left Is This Lousy EP: CDEP
Two bands from Montana come together and lay down their jams on this disc. Tales… is actually a one man band project. It looks like Deadnecks has actually thrown in the towel at the time of this writing. But maybe if you buy a truckload of these CDs, they will reunite. Dare to dream, kids! Deadnecks calls themselves a country punk band. Some of the songs here actually feature some banjo played at breakneck speeds. I’m not hearing too much of the country influence in the lyrics, but the title of the last song is “Whiskey, Loose Women & Gamblin.” Tales’ side starts with “Welcome to Montana” and then there is a live song which is raw but entertaining. The last song is an unlisted medley where the two acts play together. Foot-stompin.’  –koepenick (Sxratch Native, talesfromghosttown@gmail.com)


DEARLY DIVIDED:
Self-titled: CD
This four-piece EastBay punk band apes all their local predecessors along with MXPX and some old Fat Wreck acts. The eleven-song, thirty-three minutes of music on this self-titled album is all too reminiscent of the melodic pop punk the BMX kids were listening to in my high school in the mid-’90s. I thought the vast majority of those bands were boring. I wanted to listen to punk and hardcore bands from the late 1970s and early ‘80s—give me something with some aggression and power, or, barring that, something with a little emotion. I still feel that way when I listen to Dearly Divided.  –kurt (Morning Wood)


DEATH BY ARMBORST:
Salome: CD-R
Just as I was about to relegate this disc to the bottom of my review stack based on the color photocopied art and hand-printed CD-R, something told me to give it a spin. Boy, am I glad I did, as this release is easily one of the best things I have heard in months. The band’s sound is hard to pin down. Apt comparisons are failing me—surely a sign that something good is going on here. Tempos are brisk and the overall feel is heavy in a non-metallic way, though the guitarist isn’t afraid to toss an incendiary lead into the mix at any given time. Robert Smith fronting Rise Against? Not exactly, but not totally off base either. Somehow this is more compelling that it might sound. Totes recommended.  –Garrett Barnwell (Suicide)


DEATH CAT:
Submit to Nothing & Guadare La Morte in Accia: both are CDs
I could have just written about Death Cat as another band going out of its way to make abrasive, irritating music to cover up their marginal talent or lack of ideas. However, Death Cat has plenty of ideas, so many that they say they’ve been described as, “space punk, noise punk, fast blues experimental, thrash, screamo, art rock, and Satanists.” They’ve been going at this lack of a sound for seven years and set up shop in Chicago and Detroit before landing in Los Angeles and “getting kicked out of more venues than (they) can count.” They’re serious about this, I’ll give ‘em that. Unfortunately, on their uneven and scattershot albums of you-can’t-handle-it-core, they still sound like another group of stoners who hit the basement after listening to way too much Butthole Surfers and Mr. Bungle and recorded their jam session... And recorded... And jammed ...And recorded... And jammed. Okay! This is beyond horrible and pretentious. –Craven Rock (Not)


DEATH EYES:
Self-titled: 12” EP
This San Diego hardcore supergroup formed following the dissolution of two of San Diego’s best, Death Crisis and Rats Eyes, both of whom had fairly storied pedigrees, themselves. Following the breakup of Death Crisis and Gabe Serbian’s exit from Rats Eyes, Death Eyes very nicely picks up where the two left off, marrying Death Crisis’ former wild-eyed, maniacal front man Alberto Jurado with the remaining members of Rats Eyes. It’s a wonderful fit for all parties involved. Death Eyes stretches their musical boundaries just a touch more than Death Crisis did, offering up a complex score of tempo and rhythm changes, slow dirges, and powerful blasts of pummeling hardcore, all of which gives Alberto a platform to show off some vocal and lyrical range. Lyrics alternate seamlessly from English to Spanish, with vocal styles alternating between an insidious, raspy, nearly spoken style, to lupine yelps and howls, to hauntingly curdling screeches and screams. Vinyl plays at 45 RPM and comes on a clear blue slab o’wax. Cover art by Mike Boston Mike depicts a demonic-looking, disemboweled Pope Benedict with upside down crosses pouring out of his eyes. The whole package, from the tunes to vinyl and the cover, are all put together quite well. This is a really solid debut effort. Looking forward to much more output from these fellas in the future.  –Jeff Proctor (Route 44)


DEATHWISH:
Out for Blood: LP
Out for Bloodwas one of Beer City’s many Record Store Day releases in 2015, showcasing a stellar, current Wisconsin outfit in a semi-high profile way. Deathwish is heavily reminiscent of other popular metal-friendly hardcore bands of today, with Midnight being a prime example. The production is tight, the lyrics are fierce, and one of the band members hilariously goes by the name Guinea Pig Champion. It’s a taut full-length, clocking in at well under a half-hour, which is the way hardcore full-lengths should be. It’s definitely worth seeking out, and Deathwish is sure to make quite a dent in their scene if this great record is any indication of their capabilities.  –Art Ettinger (Beer City)


DECLINE, THE:
Radio Revolution: 7”
The author of the liner notes for this 7” from Long Beach’s The Decline praises “how damn refreshing it is to hear a dirty punk rock 45.” I get it. We all want to relive the first time we heard Television or saw a picture of Johnny Thunders. Inside, the singer wears a T-shirt made to look like Joe Strummer’s now iconic “Brigade Rosse” T-shirt. It’s unfair that Joe is dead and Blink-182 continues on, despite one member surviving a plane crash and another leaving the band. The title track here reminisces about the days of punk past, and claims that a “radio revolution” is coming “‘cause the troops are comin’ home” so “you better cut your hair and your disco flairs.” This is where the band loses me. It feels forced, shoved in my face and—sorry to say—I’m full already. As for disco flairs, I’ve never even seen a pair.  –John Mule (Hostage)


DETACHED OBJECTS:
Self-titled: 12”EP
Six tracks of nervy, anxiety-ridden garage punk. In my opinion, the last Baseball Furies LP is an incredibly well executed and awesome-sounding record. It also feels like a band that is about to break. Detached Objects resurrects that sound. The sound of standing at the very edge, hanging ten above the oblivion. Walking the Tempe streets amongst the heat-stricken, bath salt wingnuts, armed only with your guitar (there’re three guitarists in this band, two of them played in bands called Hotdog! and Rumspringer) like a six string samurai. This record is badass.  –Daryl Gussin (Gilgongo)


DFMK:
TV & Dirty Trash (EP, Demos and Crap 2010-2013): Cassette
A cassette collection by DFMK from Tijuana, MX compiling its earliest material. These cats have been a Razorcake HQ favorite for a few years now but have recently gained the respect and admiration of like-minded punks all over the West Coast, having built quite the reputation with their over-the-top live shows and constant touring. Musically, it’s on track with some of the bands who don’t fit the typical hardcore mold (think Neighborhood Brats). There aren’t any speed limits being broken and the guitar hooks are catchier than most. The vocals are mostly sung as opposed to being shouted, which is certainly not very typical in punk these days but is still as effective. As previously stated, these guys are native to Mexico and thus all the lyrics are in Spanish, but you don’t need to understand the words to speak the international language of friendship through DIY punk. Pick this up at one of their shows, and while you’re at it, ask them about one of their Don’t Fuck My Kids T-shirts which are perfect for Sunday church with the fam. –Juan Espinosa (Get Better)


DIE WRECKED:
Mongrel Hordes: CD
You don’t hear much from my old home town of Leicster (other than the football team staying up the Premier league this year). This band plays speedy UK82-influenced punk with male/female vocals. In the early ‘90s I was all over bands like Resist and Deprived, who I guess this band could be lumped in with. I’m not sure I need another low rent version of Zero Tolerance or any of those other bands you would see at a punx picnic gig after drinking liters of warm cider in the sun. Perhaps what I really need is an afternoon drinking warm cider in the sun to appreciate this lot.  –Tim Brooks (DIY Conspiracy)


DIFFERENT METHODS:
Demo: Cassette
Leaning towards pop-heavy living room punk that flirts with rock’n’roll, post-punk, and Guided By Voices-esque raggedness, Different Methods is a little hard to pin down on this three-song tape. “I Want an Enemy” is the obvious hit, but the highlight is the cover of Mable John’s “No Love,” maybe only for the moment when the cover slides into a sample of the original. They’re on the general U.S. homemade garage wavelength, not exactly compelling and not exactly charmless. There’s something here, though it’s hard to tell what it is or where it’s going.  –Matt Werts (Subject)


DINGUS:
Who Cares?: LP
This is an LP of pretty slick ‘90s-influenced pop punk, but also contains gross modern-era twee emo/pop punk leanings that simply just make me cringe. If they could stick to the songs that remind me of NOFX or even the other songs that remind me of later-era Mr. T Experience and leave all of that Warped Tour emo influence behind, then I could probably really get behind this. The musicianship is on point and the aesthetics of the packaging are seriously straight out of the ‘90s with the silkscreened LP cover, but it’s pretty hard to find the majority of these songs to be, you know, listenable.  –Mark Twistworthy (Bloated Cat)


DIRT BOX DISCO:
Only in It for the Money: CD
Okay, first listen I’m hearing some straight-up British street rock with some ripping guitar and some humorous lyrics. Very catchy. The second song on the disc is called “The Art of Conversation” and it is one of the best new songs in weeks. I love it. The rest of the disc is good, but that one song stands waaaay out from the pack. Now here is where it gets weird. I looked them up online. It seems they are a hilarious performance punk band with each member sporting a costume and a persona. They have a lot of records out so I assume they’ve been around for a while. In the end it’s all pretty entertaining, but that one song is THE BEST! I want more like that.  –ty (STP)


DIRTY FENCES:
Full Tramp: LP
Dirty Fences is a New York City-based band taking cues from the ‘70s part of the Big Apple’s dirty rock’n’roll past. There’s plenty of Dictators and Ramones influence here without ever sounding anything like either. You can tell that the band decidedly pull the most influence from the “rock” sides of those bands’ discographies (as opposed to the “punk” sides), and it really works well for them—the songs sound fresh and exciting without sounding derivative. Every song has an undeniable hook, often rammed home with the use of a crafty vocal harmony that I’m an absolute sucker for every time.  –Mark Twistworthy (Slovenly)


DISCARD:
Death from Above: 7” EP
A Czech repress of the 1990 EP from a band featuring members of Mob 47 and Protes Bengt. As the band name implies, Discharge is a heavy influence here, but like its sibling bands—not to mention the bulk of Scandinavian hardcore—that band’s heavy shadow is cast more on the verse/chorus formatting than the so-called d-beat, resulting in a sound less aping, more zippy and caustic in delivery, and one of the better releases in the genre. This repress comes in a nice screened cover, to boot.  –jimmy (Insane Society)


DIS-TANK:
Hardcore D-Beat Bruisers Volume One: 7” EP
As the band name and title hint, you’re getting hardcore with a heavy dollop o’ Discharge. Songs are short and fast, and they’re plenty rabid in their attack, but in the end it all pretty much sounds like tons of other bands and releases doing the same exact thing in exactly the same way.  –jimmy (Kibou)


DIS-TANK:
Hardcore D-Beat Bruisers Volume One: 7”
Just once I’d like to put a record by a dis band on the turntable and be surprised. Shock me with some ultra chill reggae or maybe a bunch of intense violin solos. Then again, it wouldn’t be a dis band then, would it? Dis-Tank stay true to their d-beat forefathers while taking the energy level up a notch higher than many of their dis-brethren. The speed of the songs is not a substitute for lack of ideas. Split second guitar solos bristle with electricity. The echo effects on the vocals give an aftershock to the message: Stop pollution. Stop war. Stop hate. Don’t stop playing this record.  –mp (Desorden)


DIVERS:
Hello Hello: Cassette
There are a lot of things people tell you when you move to the Pacific Northwest from down south, mostly having to do with rain and “hipsters.” They do not tell you that every single punk you meet from here on out is going to be prostrated at the altar of Portland’s Divers. I found out pretty immediately that there was some big deal about them up here but avoided every opportunity to find out what it was. I’m gonna skip the self-flagellation and get to the part that matters: Divers fucking rules, Hello Hello fucking rules. If Gaslight Anthem never really lived up to what you thought “Springsteen punk” had the potential to be—or even if they did, honestly—Divers are the guys you want. But it’d be a mistake to distill Hello Hellodown to that most obvious comparison, as soulful and Boss-like as frontman Harrison Rapp’s whispery rasp may be. Slow burners like “Listen, Teller” and “Last Dance” dig up layers of ‘80s influence that don’t surface nearly as often as Springsteen and Westerberg do in modern punk—I’m hearing strains of U2, Simple Minds, Human League, all these little scraps and strands of nostalgia pieced together in strangely wonderful ways. Of their contemporaries, Restorations is the most comparable, unsurprisingly. But despite the long list of unmistakable influences, this band is anything but derivative. They pull off every angle: pensive, plaintive, anthemic, dreamy… it all just works in this many-layered, unpredictable way. This is a special band.  –Indiana Laub (Stay Punk)


DOCTOR AND THE CRIPPENS:
Singles Unreleased Live: CD
The title pretty much puts a bow on it—a collection of singles, live tracks, and unreleased demo recordings made between 1990-93. Though I was well aware of the name, I’d never actually heard much from these guys back when they were active, so this was a nice introduction. They take a hyper-thrash base and expand into all sorts of wild directions—sludgy Flipper-like dirges, zippy hardcore, Stoogey quasi-psychedelic workouts (compare “Fish” here to the Stooges’ “Penetration”) over thirty-two tracks. Also included are lyrics, liner notes contextualizing everything, and photos to keep you occupied while the disc spins.  –jimmy (Boss Tuneage)


DOCTOR BISON:
The Bloated Vegas Years: LP/CD
Yet another quality reissue from Boss Tuneage and one which I am more than familiar with, having owned the original tracks since the mid 1990s—plus I have known half of the band for the best part of thirty years. Born out of the ashes of The Abs and H.D.Q., the criminally underrated Doctor Bison was responsible for some excellent anthemic, melodic punk rock, which, to this day, lifts my soul in ways that most other bands can’t compete with. The union of Dickie Hammond’s distinctive guitar and Baz Oldfield’s vocals has always been a joy to behold. However, the remastered version results in a cleaner and more powerful production, adding new vigor to the songs. I’m still slightly flummoxed how the digital wizardry works, but I don’t really care as a great record has been improved and it sounds, for all intents and purposes, like a brand new album from the present day.  –Rich Cocksedge (Boss Tuneage)


DODSVARG:
Gladjedodaren: CD
Honestly, I’m not simply saying this because Dodsvarg is Scandinavian, but the singer’s screams are similar to that of Dennis Lyxzen’s. No shit. The tunes veer to the slower, doomier side of hardcore, with lots of operatic guitar leads, but the recording has enough grit to keep me interested.  –Steve Adamyk (dodsvarg.bandcamp.com)


DYSNEA BOYS:
Find Water: 7”
Skateboarding has been a huge part of my life for a long time. Even though I haven’t been able to ride a board for many years due to (skate related) injury, I still remember the feeling and think about it daily. Dysnea Boys is from Germany (with some American and Canadian flavor in the mix). Listening to this record feels like riding down fresh asphalt in the middle of the night. It just feels right. West Coast skate rock via Berlin. It just makes sense to me. I want an LP like yesterday!  –ty (Dysnea Boys)


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