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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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FOR THE WORSE:
Couldn’t Give Two Shits About the Kids: CD
As I write this, the various Cthulhu-like arms of the Great American Media Conglomerate Monster are tripping over each other with the happy “news” that this day is the 40thanniversary of a certain mop-topped British muzak quartet performing on the Ed Sullivan Show. Being the keen sensor that I am, I detect that this warmed-over bit of nostalgic flotsam is dressed up as “news” in the hopes that sheep people cradled in the arms of the Media Monster will feel compelled – by some dim, flickering pang of sentimentality and/or a need to keep-up-with-the-Jonestowners – to rush out to the nearest Superstore and max out their credit cards on the mind-numbing array of products carrying this particular band’s brand name. Just a guess. I, for one, am not all a-titter over this marketing ploy disguised as news. Through the years, the constant barrage of pro-mop-top muzak/propaganda has forced me to detest everything they’ve become and most of what they stood for and to become so callous that I have been known to take a malicious, if juvenile, delight in the Meatmen’s anti-mop-top song “One Down, Three to Go.” (By the way, has Tesco changed it to “Two Down...” now?) In fact, to celebrate my profound disinterest in this happy day and that painfully played-out band, I will shut off my TV and radio and will steer clear of any “news” papers and will, instead, put For the Worse into my CD player over and over again. I will wallow in the pig-licious vocals that are a cross between Blaine from the Accused and Sam Kinison. I will drink heartily of the bloody lowbrow pro-rassler lyrics and toothless hate spew. And I will happily let the meat-stomping street punk crunch of the music render any remaining mop-top vestiges in my brain into an easily-flushable intestinal soup like the one in the toilet bowl on the cover of this disc.  –aphid (Rodent Popsicle)


FLAT STANLEY:
Analbum Cover: CD
This sounds like one o’ them bands from the mid-’80s that used to play hardcore and decided to experiment with their sound by introducing pop elements to the mix, like Marginal Man, After the Fact-era MIA, or TSOL right after Joe Wood joined the band. It ain’t bad, but this sounds a just wee bit dated.  –Jimmy Alvarado (Amp)


FIND HIM AND KILL HIM:
Cut Them to Pieces: CD
You know those shows where a band unknown to you burst out with their first song and catch your attention? They then fuck it all up by going on some political rant, which explains their next song, but the rant is longer than the song itself. And this continues for every song. Usually young. Mostly hardcore. Rarely profound. Enter Find Him And Kill Him. They include the rants after each song’s lyrics in the liner notes. One includes the following gem, “Every couple of years, various sub-genres of punk achieve some modicum of mainstream success.” First of all, you can’t achieve “some modicum” (literally “some a little”) of success, you can achieve a modicum, but that’s another story. My point of contention is in that they believe their statement to be true. Other than pop-punk (one sub-genre, one extended time frame), what facets of punk have become successful to even a small degree within mainstream society? The majority of the album falls into the same pattern of presenting a pretty weak argument for whatever it is that they’re against in a particular song. As for the music: pretty generic hardcore.  –Megan Pants (Happy Couples Never Last)


FIFTH HOUR HERO:
Scattered Sentences: LP
This is so damn good! French Canadians writing catchy, Discount-esque punk songs about the two great punk rock themes – love and politics! Je l’aime! I think I have finally found a record that can tear me away from my compulsive Onion Flavored Rings obsession! This is Cinnamon Toast Crunch – bouncy music you can rock out to while arguing about anarchism!   –Maddy (No Idea)


FALL-OUTS, THE:
Summertime: CD
There’s no way this is the same Fall-Outs that I remember. Their old records, Here I Come and Sleep, were pretty good. Kinda garage, kinda pop, heavily ‘60s-influenced. Maybe they weren’t exactly a rock sensation sweeping the nation, but they definitely had their moments. If anything cool happened on this album, I slept right through it. Who thought it would be a good idea to be artsy, anyway?  –Josh (Estrus)


EXFORK:
A Cure for the Disease Called Man: 10"
This is noisy hardcore with borderline cookie monster vocals – but on the good side of that vocal border. It’s a perfect soundtrack for a fucked up day. Musically, the band is tight, tense, and always on the verge of an explosion. It’s not what I normally listen to, but I like it. I don’t know if this will help anyone, but Exfork sounds like how I hoped The Locust would sound like when I first heard about The Locust.  –Guest Contributor (Geykido Comet)


EXCHANGE, THE:
Miss Hollywood: CD
Watch out Sweet Valley High, here comes the Exchange!  –Guest Contributor (The Exchange)


EVAPORATORS, THE:
Ripple Rock: CD
AT LAST IT CAN BE TOLD: I, Rev. Nørb, am partially of French-Canadian extraction!!! It’s true! My great-great-great-great-great-great-great-great grandmother was one of Les Filles du Roi – “The Daughters of The King” – one of around 700 swingin’ young ladies shipped out from France in the 17th Century to what is now Quebec – essentially the French government’s attempt at keeping the colonists of Nouveau Francais down on the farm by trucking them over a few boatloads of brides, owing to the complete and utter scarcity of Quebecian poontang in the 1600s (rendering 17th Century Quebec essentially identical to 21stCentury Wisconsin, i might wish to add). So, yup, i come clean: My great-great-great-great-great-great-great-great grandmother was a mail-order bride for some horny French-Canadian fur trapper. Now, you’re saying, gee, Rev. Nørb, that’s all well and good, but exactly how does your far-flung ethnic heritage have a god damn thing to do with the latest release from Nardwuar The American Original & Company? Glad you asked that, sir. You see, The Filles du Roi program was enacted under Louis XIV. Louis Quatorze, of course, had a song named after him recorded by Bow Wow Wow. Malcolm McLaren was Bow Wow Wow’s manager. Malcolm McLaren also managed the Sex Pistols. The Sex Pistols are in the Rock & Roll Hall of Fame (i THINK they’re in the Rock & Roll Hall of Fame – but if they haven’t been inducted, i know for a fact that some of the original lyrics for the songs on Never Mind the Bollocks are on display in the Rock & Roll Hall of Fame, so that counts). The Rock & Roll Hall of Fame is in Cleveland. Joe Siegel & Jerry Shuster were from Cleveland, and they invented Superman™. Jerry Seinfeld is such a big fan of Superman™ that, as i understand it, some manner of Superman™-image is visible in each and every episode of Seinfeld ever made. Who played George Costanza’s father on Seinfeld? Jerry Seinfeld’s dad! And who was Jerry Seinfeld’s dad recently in an AOL™ commercial with? That’s right! Snoop Dogg! And, on track 18 of Ripple Rock, who is caught in the act of absconding with Nardwuar’s Richard Pryor album? THAT’S RIGHT!!! SNOOP DOGGITY DOGG!!! So, as you can plainly see, Nardwuar and i are practically cousins! OUR GREAT-GREAT-GREAT-GREAT-GREAT-GREAT-GREAT-GREAT-GRANDPA JEROME TOLD ME TO TELL YOU TO BUY THIS IMMEDIATELY!!! My side of the family doesn’t go to the reunions any more, though, on account of we got pissed the Anglos wouldn’t admit the Rougeau Brothers were greater athletes than Iron Mike Sharpe. BEST SONG: I know it’s a cover, but who here cannot ask themselves this question and not come up with “Barney Rubble Is My Double?” BEST SONG TITLE: “I Say That on Purpose to Bug You (But Not Intentionally)” FANTASTIC AMAZING TRIVIA FACT: Also available on 8-track!  –Rev. Norb (Alternative Tentacles)


ESTROGENOCIDE:
self-titled: CD
I don’t know much about the electronic music that I just dub techno, but I know that this is awful. Sounds like they broke out the casio and pushed the sample techno beat and growled the vocals a bit to sound spooky. Lyrics like, “OJ’s wife was cheating/ So she must suffer/ It is better to kill her/ Than it is to fuck her.” No thanks.  –Megan Pants (M.H.)


ESTER DRANG:
Infinite Keys: CD
Softer music in the vein of Radiohead’s The Bends. Think lots of pianos, high-pitched crooning. For a very long time, I bought damn near any Jade Tree release without question, simply because it was on Jade Tree. I trusted the label to provide more interesting fare like Cap’n Jazz, Lifetime, Trial By Fire, Kid Dynamite, Strike Anywhere, etc. (conveniently forgetting the Promise Ring discs). This album basically ended that for me. It’s not that it’s a bad record (I actually bought a copy before this showed up in the mail), it’s just that I finally got around to noticing that Jade Tree releases records which just don’t interest me as much.  –Puckett (Jade Tree)


ERROR:
Self-titled: CD
Funny, I liked ‘em more a decade ago, when they had completely different members, lived in Germany, and were called Atari Teenage Riot.  –Jimmy Alvarado (Epitaph)


ENDSTAND:
Hit And Run: CD-EP
Fancy photo of some obscure landscape, pretty butterfly behind the band’s name, fancy cursive font for the title… hmm… smells a lot like an emo CD to me. As I got ready to jam pencils in my ears again, this band turned out to be hardcore. Well, melodic hardcore, that is, kinda like Thrice with a singer that sounds like Roger Miret from Agnostic Front. Didn’t really do anything for me besides make me sigh in relief that I didn’t have to sit through another emo CD. If this is your thing and you can ignore the terrible packaging, check them out.  –Toby Tober (Combat Rock)


ENDS, THE:
New Rome: 7"
The Ends are one of my favorite new bands, but I don’t think this is my favorite single by them. Perhaps I’m crazy, but the recording on the a-side is a tad too hot for my liking. It’s almost like someone’s subliminally crinkling aluminum foil in the background. It’s not crackly, but it sounds tinny and it’s hard to crank the volume up on. The title track plays it really close to the Stitches’ “Brain’s on Vacation,” especially in the mid-tempos and vocal delivery (snot, whine, sneer, and if a striped shirt could make a sound). I like it when The Ends eviscerate while admiring bands of the past, like when they covered Eater and Elvis Costello. “Saw It Coming,” the b-side, is better, and does just that – conjures up some of the ghosts of the past while offering a row of freshly poured shots. “Saw It Coming” has got the elbowroom, swagger, and bounce that shows how good the Ends can be. Still, a 50/50 7” from this band is definitely not a throwaway and is better than ninety-eight percent of the stuff out there.  –Todd Taylor (Dirtnap)


EMERGENCY, THE:
How Can You Move?: CD
Judging on their brand of lame, quirky college bar pop, I bet drunk, slobbery college chicks are crawling all over ‘em. They make me wanna hurl for entirely different reasons, but, if you’re a drunk, slobbery college chick, they’re the best thing since REM and they need your lovin’ NOW.  –Jimmy Alvarado (www.theemergency.net)


EASTERN YOUTH:
What Can You See From Your Place: CD
Edgy, angular, post-prefix-core from Japan (and sung in Japanese). It has an emo breakdown edge to it and would probably sound really pretty to people who like their emo to have a delicate feel about with something resembling singing, with appropriate cracking as the vocalist begins to strive for registers which are beyond his range. It’s an odd and interesting fusion – there’s a definite influence of Japanese pop and traditional music here, particularly in the vocal expression, but the music seems to stem pretty solidly from the DC scene in the middle of the 1990’s. Regardless, a few interesting stylistic deviances or variances from an already shitty genre norm aren’t enough to make a good album.  –Puckett (Five One, Inc.)


EAST BAY CHASERS:
It Came From the East Bay: 7”
Loud but pretty nondescript punk rock. Pretty much forgot what it sounded like as soon as it was over.  –Jimmy Alvarado (Five and Dime)


DRESDEN 45:
Paradise Lost (Expanded): CD
This band passed under the radar for me during the late ‘80s. It was a weird period for me in regards to punk. My alcohol intake was at an all-time high and I had stopped reading zines. I bought punk records randomly and at a high risk of buying something bad. I didn’t know who was important or not, but I was not completely out. The first thought I had when I saw this CD in the review bin? “German.” Wrong. I look on the back and see that this band was from Texas. What the heck, I’ll bring it home and check it out. What’s it going to hurt? The first thought I have when the CD starts is that these guys sound Nardcore meets East Coast hardcore. A mix between Ill Repute and RKL infused with the Crumbsuckers and Ludichrist. You can hear the crossover sound laced all over the songs, which was rampant at the time. Double bass drums and the guitar solos. As they progressed, the rock/metal element took hold more. There is even a song with some rap. This is exemplifies my memory of what punk became late in that decade. Sort of a confused patchwork of influences. I’m not trying to dismiss this at all, because I truly am enjoying listening to this. My band at the time went through the same progression and never really has focused on one sound. This hits close to home. I believe this a discography of sorts. It’s kind of cool that it gives me a second chance to hear a band I have never heard.  –Donofthedead (Arclight)


DOWN AND AWAY/ SMALLTOWN:
Split: 7"
For every fifteen bonehead/retread oi/streetpunk bands, there’s usually a couple that aren’t embarrassing to listen to in mixed company, who go beyond the “we’re from the streets and we like to drink” cul-de-sac of musical inspiration. The Brassknuckle Boys, The GC5, Wednesday Night Heroes, and The Boils come immediately to mind. I’m going to have to add Sweden’s Down and Away to that list. (Smalltown’s already on it.) As with hardcore, the challenge in oi isn’t in stretching its boundaries, but reinvesting in its authenticity, updating its membership, and playing songs that aren’t merely to be played over the gravesites of dead greats, but something that sounds like a buzzsaw cutting down the house of history. Down and Away’s songs are on par with the top terrace of bands currently playing this style. Smalltown could be poised for a breakout. It’s been ages since I thought that early Stiff Little Fingers could be toppled on its own terms and Smalltown’s creeping up to the greatness of “Alternative Ulster.” Their cut on this split, “Changes,” just puts one more poker chip on the top of the pile I’m hoarding to bet they’ll be a lot of people’s favorite band in the upcoming year. Flawless track.  –Todd Taylor (Broken Bones)


DEXATEENS:
self-titled: CD
Tim Kerr-produced trash rock. This is pretty strong musically, but the whiney, wimpy quality of the singer’s voice just left me limp.  –Jimmy Alvarado (Estrus)


DESPITE ALL THIS...:
Self-titled: CD
Black and white picture of a leafless tree on cover. That usually means one thing to me and Megan Pants agreed. Emo. Megan actually said that nine times out of ten, that’s usually the case. But what you get here is what I classify as a garage emo/punk band that should have waited another year to go into the studio because the music just doesn’t sound tight to me and the songs haven’t fully grown. The vocals need a harmonizer or some serious Pro Tools work on them. But hey, it’s self-released. So in their minds it’s probably justified that I have to listen to it.  –Donofthedead (Despite All This...)


DESCENDENTS:
‘Merican: CD-EP
Long has my love affair been with the rock that the Descendents bring, roughly since 1982 or so, when they were one of the staple bands on Rodney B’s radio show. I have personally turned hundreds of people, including my wife, onto their perfect blend of tough as nails hardcore and sappy, lovey dovey pop, a sound that has since been co-opted, corrupted and perverted by the corporate music conglomerates and can currently be heard being profaned by Blink 182, Bowling for Soup and hordes of other lesser bands. The efforts of these lesser bands have thoroughly soured me on a punk sub-niche I once held sacred, yet a new Descendents disc can still make me wanna bounce off the walls while singing mushy love shit at the top of my lungs. Hypocrisy, you say? P’shaw, says I. Aside from the fact that the Descendents virtually invented the pop-punk style currently polluting the airwaves (taking no so subtle cues from predecessors like the Buzzcocks and the Last), they have managed over the years to retain the one thing those that have followed lack: a feeling of honest sincerity. From the first note, you know they ain’t following some formula while trying to chase the fame train; this is the REAL THING. A lot of effort and work is put into what they do and it shows. Even through their weakest efforts (the All album they did right before Milo went back to college, for example, was spotty at best), one can sense the level of commitment they have to the music they play. The four listed tunes (and bonus tune tacked onto the last track) on ‘Merican bookend nicely with the tuneage found on the band’s previous effort, 1996’s Everything Sucks. The years of playing incessantly as All (sans Milo) has honed them into one mean machine, able to break your heart with the vocals, slice up the remains with the buzzsaw guitars, and pound whatever’s left into oblivion with a rock-solid backbeat. Best thing of all is that this is just a tease to get the kids lathered up in impatient anticipation for the upcoming full-length due out in a month or so. Although seven years is quite a long time for any junkie to get his fix (and please, guys, take pity on us poor saps and drop these bombs with a little more frequency), the wait was well worth it. Neither recommended nor considered mandatory listening, this is essential in ways only previously reserved for things like air and water.  –Jimmy Alvarado (Fat)


DESCENDENTS:
`Merican: CD-EP
I am not worthy! Here is a release that is as comforting as a familiar blanket, your favorite beer, or masturbating. It’s a four song EP that include two songs from the upcoming (or by the time you read this, the new) full length, Cool to Be You. These four songs are just not enough! I want more! Gimme, gimme, gimme! It’s good to see the band was able to pull Milo out of the lab where he was doing experiments on vegetables to grace us again with some fine tuneage. If you were to ask me about favorite bands, the Descendents are one of them. I’m pretty sure Milo Goes to College is one of the first ten punk records I ever bought when I was in junior high and that was a long time ago. They are also one of the few bands that I try to have a complete collection. There are only a few things missing that I am not willing to spend big bucks on. But I know I have every single full length. Now back to this here release. For a quick description of this EP, I would say that it is a combination of Enjoy! and the All LP. Also, I truly believe from this teaser that the songs are going to be even better than the songs from Everything Sucks. That’s saying a lot because I believe they haven’t put out a bad release to date. To show how much I like this and how much of a music junkie I am, I’m going out next week and shell out some bucks so I can get the vinyl copy. I’m such a geek!  –Donofthedead (Fat)


DESA:
Demonstrates Birth: CD-EP
Average pop punk band with emo overtones. I was more excited wiping my cat’s ass after a stinky shit in the litter box.  –Donofthedead (Substandard)


DECEASED:
Rotten to the Core: CD
At first I thought it was one of those wacky punk-o-rama CDs, with all the hullabaloo hits of my high school punk years highlighted. Instead, it’s a typical hardcore band doing lame versions of some of my – and everybody else’s, even the cheerleaders – favorites. Avoid.  –Speedway Randy (Malt Soda)


DEADSURE:
From Your Head to Your Sacrum: CD
This is one o’ them “tough call” discs for me. While the fact that it’s loud doesn’t hurt, and there’s no denying they’re proficient at what they do, the artiness of their sound veers a tad too close to emoland for me. Gonna hafta pass on this ‘un.  –Jimmy Alvarado (www.noidearecords.com)


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Razorcake Podcast Player



·GRANNIES, THE
·END OF ALL
·DUEL
·THISISATRAINWRECK
·NERVOUS CURTAINS
·LOOM
·EXTRAVAGANZA, THE
·HEADIES, THE
·ROTTEN APPLES


Black and Red Eye



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