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· 3:Record Reviews in Razorcake #79
· 4:#308 with Kurt Morris
· 5:Record Reviews in Razorcake #79

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No Idea Records

Record Reviews

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Death, Honor, or Glory Bound: CD
Unlike many of their peers, Tommy Gutless deliver street punk that they appear to have put some thought behind. Sure, many of the usual trappings can be found here, from the nationalism to the “crew anthem,” but it is clear from the tone and the little explanations at the beginning of each set of lyrics that whoever wrote the tunes was truly attempting to make clear his point in an intelligent fashion, and in some cases that point includes casting a critical eye on skinhead culture itself. While I can’t quite say they were the best lyrics I’ve ever read, nor can I say I agree with some of their positions, I do give them much credit for putting the requisite work in to make them the best they could muster, which is more than what can be said for most. The music, derivative though it may be, was pretty good, too. –Jimmy Alvarado (Street Anthem)

Fly: CD
Sounds like what the Mystery Girls might have sounded like had they been really into the Dictators—songs about jailbait, smokin’ dope, dirt, anti-depressants, and apemen, delivered unto us in a lowish-fi, almost Freestone-esque rock via punk via rock via punk via rock methodology. If you pretend that these songs are all lost Killed By Death era numbers, it works a lot better than trying to speculate on whether they’re like the new Red Cross or something like that. Kinda cool, but could use a few more hits. Perhaps they could page Annette? BEST SONG: “Dirt (My Best Friend)” BEST SONG TITLE: “Teenage Is The Stone-Age” FANTASTIC AMAZING TRIVIA FACT: The CD version has a black & red cover; the LP has the same cover art, but orange and green. Score one for the digital revolution, i think. –Rev. Norb (Birdman)

13 Ft. and Rising: CD
This record’s first track, “Swingset Superman,” kicks off with an intro similar to that of the Sex Pistols’ “Holidays in the Sun.” If you’re going to start your album with that reference, you’d better be able to back it up, and likewise, Throw Rag’s history of great live shows threatens to make any studio album a letdown. But 13 Ft. and Rising lives up to all those challenges. Dino, the guitarist, moves easily from punk to country and back, but the musical core of this album is a series of wonderfully sleazy-sounding riffs that recall the best of Link Wray. The lyrics jump quickly from one subject to the next, like rants of an overheated mind, and Captain Sean Doe’s vocals strain to stretch out the most painful parts of the songs. Jacko, possibly the only washboard player/bugler in rock, sings lead on a couple tracks and makes the most of the opportunity, especially on the visceral “Rotten Me.” There are also guest appearances by Jello Biafra and Lemmy from Motörhead, but the most memorable cameo is Keith Morris’s mix of singing and spoken word on the final track, “Children of the Secret State.” Throw Rag’s second album, Desert Shores, remains the band’s best, but this is a great follow-up to that savagely brilliant record. –Chris Pepus (BYO)

Your Rules: 12"
Todd sang the praises of Deranged Records last issue, and I’m about to do the same thing here. Deranged is easily one of the most consistent hardcore labels around; from early records by DS-13 and Tear It Up to underrated gems like United Super Villains and Out Cold all the way to genre-redefining classics like Fucked Up and Career Suicide, they’ve put out great records and never get caught up in any kind of hype or record geek minutia. And between this and the new Burial, the well shows no signs of going dry any time soon. Terminal State draws heavily from early ‘80s DC and Boston hardcore, meaning that (hopefully) you already know what they sound like, but that doesn’t make this any less of an adrenaline shot to the chest. Eight songs that blast right by with a vitality that’s damn near unmatched today. Absolutely top-shelf punk rock and an instant classic. –Josh (Deranged)

Self-Titled: 7"
Hey, Against Me!, thanks a fucking lot. And you there, This Bike Is a Pipe Bomb! You’ve got some shit to answer for as well, pal. You know why? Because you’ve created monsters, that’s why. It’s funny to think that even as recently as four years ago, an entirely new sub-genre of punk was actively being fleshed out. I’m talking about, like I said, TBIAPB, the first two Against Me! seven inches, etc. Folk punk. Punks with acoustic guitars. Frankenstein’s foundation, intentionally or not, was being built. Admittedly, I love the first two Against Me! seven inches, love ‘em. But I’m continually amazed at just how many people have jumped on the bandwagon. Reminds me of the pop punk explosion, ca. 1994-95. Green Day had signed, Screeching Weasel was still putting out great records; you couldn’t take a piss without running into some band that sang exclusively about girls and had lots of “whoa whoa whoa’s” in the background. So add Team Chocolate to the creeping influx of bands that are now forsaking ye olde distortion pedal and hitting things clean. Befitting their name, the band’s a male/female two piece (probably involved in a relationship, judging by the amount of handholding and hugging that’s going on in the accompanying lyric booklet) that is just as sweet as all get out. Decent lyrics for sure, but the woman’s voice is like a straight shot of saccharine right into a vein: cloying as hell. Best I can say is, if you’re a fan of acoustic Plan-It-X stuff, specifically Erin Tobey’s solo stuff or the Abe Froman songs where she doesn’t screech, then you’ll probably love this stuff. Me, I listened to it and felt like I’d just beer-bonged nine gallons of cocoa. –Keith Rosson (All Things Ordinary)

Homocore aus Dänemark: 7"
I dunno. I get “core,” and i get “homo,” i think, but i don’t really get “homocore.” Like, not to put too fine a point on it, but... uh... WHO CARES??? Like, i understand why gay dudes who are into punk go to gay punk dude festivals, because, after all, they’re essentially gay punk dude conventions, and, you know, if you’re into gay punk dudes, might as well go where the gay punk dudes are, because, hey, the math is there. However, i don’t understand “homocore” because, as a non-homo, all i can think of is that if some band put out a record purporting to be “comicbookcore” or “MilwaukeeBuckscore” or “GreenBayPackerscore,” i, even though i am a diehard fan of comic books and the Bucks and the Packers, would not imagine that such a record would be worth more than a cursory spin or two. The whole idea of this sort of “focus group rock” just seems trivial and lame to me. I dunno. Whatever. Tave sound like the kind of mid-’80s style hardcore band that one usually finds on the undercard in gigs in smaller cities (where such a style is still the dominant punk rock idiom), and they primarily sing about being arrogant heterosexuals who like to get drunk and fight. If a record like this is what you need to get thru your troubled adolescence, you have my sympathies. BEST SONG: “Gasser Rundt” maybe? BEST SONG TITLE: “Skraat Op Skrid” FANTASTIC AMAZING TRIVIA FACT: The superhero depicted on the cover is Iron Fist, whose real name was Danny something or another. –Rev. Norb (Audiofellatio)

Kings of Culo: CD
This is such a fucking hard band to describe. I could say that they take all the compressed weirdness of No Means No and mix it with the trashy, fucked up rock and roll of the Motards, but that doesn’t really seem to fit. I could also say that, when I first heard the term “powerviolence,” this is what I hoped it would sound like, but that’s not gonna help anybody, either. So I’m about to just give up trying to describe this record because every second that I spend typing is one less second that I’ll be able to spend playing air drums. All I can say is that I didn’t know if they could top The Mongolita Chronicles but they did, and if you like spastic, weird, impossibly catchy punk bands like Toys That Kill, the Bananas, and Fleshies, you should just weld your CD player shut with this inside it. –Josh (Recess)

Die Bobby Die: CD
This Atlanta band has been keeping it crunk for so long that i have forgotten whatever it was i once knew about them, and now only remember that there was once something i knew about them but that i no longer know it. But at least i know i don’t know it! As it stands, the band reminds me about five percent of Love, five percent of Cher, about ten percent of the U-Men, and the other eighty percent of Lou Reed-slash-the Velvet Underground, from the period beginning after (but not including) White Light/White Heat and ending before (and also not including) Metal Machine Music (not surprisingly, the singer/guitarist /head dude goes by the telltale moniker of “Rockin’ Clay Reed.” Hmm... i wonder if he’s related to the dad from The Brady Bunch?). That is to say, not a bunch of flipped-out crap with cellos, nor a bunch of brain-blistering distorted guitar wig-outs, but that whole economical-yet-powerful approach of records like VU (a posthumous Velvet Underground collection that is actually their third best album) and/or Transformer (minus the whole he-she aspect of things). That is to say, they sound sort of like a cleaned-up Guided By Voices, but forced into a more traditional bass/drums/guitar framework, or sort of like M.O.T.O., but not punk/punkish. The whole affair is occasionally untidied by the fact that Rockin’ Clay Reed’s vocal register is a bit higher than Sweet Lou’s; therefore, in songs like “Why Don’t You Give Up on Flowers,” the entire faux-Velvets vibe is kinda wrecked by the fact that Lou Reed wouldn’t be singing that high in that key, which, in turn, brings to mind the old tale about how Eric Clapton started shooting heroin because he heard it would give depth to his voice, like it did for his idol Ray Charles. I played this album twice, then listened to the first four Velvet Underground albums in a row, which, as far as i can tell, makes Die Bobby Die a gateway drug of substantial insidiousness. Not at all a bad record. BEST SONG: Believe it or don’t, i like “Don’t Answer the Phone,” but i’ll also throw in “Garbage People” to maintain punk cred. BEST SONG TITLE: “Why Don’t You Give Up on Flowers” FANTASTIC AMAZING TRIVIA FACT: Packaging is made to resemble the “Golden Book” series of children’s picture books. –Rev. Norb (Slovenly, www.slovenly.com)

Loose at the Moose: CD/DVD
I’ve got to admit that I didn’t want to like this, but something about the DVD portion of the package really got me to admire these guys as total working stiffs who just have a love for one another, their fans, and their music. The DVD is their live show at what appears to be a really small venue in Pittsburgh, the Smiling Moose. Their banter in between songs and the little interviews with different fans and members of the band makes this out to be almost something of a sociological study. The band definitely has a good sense of humor even if their music isn’t the most thrilling thing in the world. In the end, I found myself fast-forwarding through the music (who wants to see a shirtless fat guy with flabby arms and man-boobs play guitar anyway?) and just watching the interviews. That alone made the viewing of the DVD not just sufferable but even somewhat enjoyable. Granted, Submachine fans will want to get this for sure, but it still may prove to be an enjoyable time for fans of punk music in general. –Kurt Morris (Da’ Core)

Limited Edition Demo: CDEP
Well, there is a sense of apprehension whenever a beloved band from days gone by decides to take another crack at it. You hope with all of your might that it will rule, but deep down you know it can never live up to the “glory days.” I’ll tell you that I was more than excited to hear that three-fourths of the original lineup of Vancouver’s Subhumans was getting together to play shows. Upon arrival at the debut show, I was even more impressed that they had written some new stuff and a four-song EP was available. Impressed and scared. I am pleased to report that the Subhumans’ new stuff is great! All of the urgency and wit is there, served up with a sarcastic grin that will keep us smiling as we march to our impending doom. In four tracks they manage to cover a lot of ground including war, religion, celebrity, and misery. Mike Graham hasn’t played guitar since he left the band twenty years ago, but you’d never know it. The band is tight, and the good news is I hear that a full length is in the works. Dimwit (RIP) would be proud. –Ty Stranglehold (no address)

Warfucked: 7"

Vicious early ‘80s-style hardcore with no metal. I’ve heard a lot of good things about this band for a long time, and they do not disappoint. One thing, though: I know that calling your record Warfucked doesn’t leave much room for interpretation, but how about a lyric sheet? –Josh (Kangaroo)

–Josh (Kangaroo)

Warfucked: 7"
Goddamn it. No matter how many times I proof things, I clock in at least four or five conspicuous fuckups per issue when I’m editing it. Last issue, I called this band Strung Out in their review. Fuck. Sorry. I’m retarded. Strung Up = really good hardcore. Strung Out = not-so-good band experiencing an identity crisis. Oopsadoodle. –Todd Taylor (Tankcrimes)

Blood.Faith.Loyalty: CD
Think SOD without the speed, the talent, or the sense of humor. –Jimmy Alvarado (Spook City)

See You at the Bottom: CD
This struck a strange chord with me. It’s not bad, not great, but catchy. The more I listened to it, the more I began to feel like I’d heard the songs before. Then it hit me: there’s a lot of stuff stolen, borrowed, or extremely coincidentally sounding like parts from other songs. The song “We’re Alright” bears a strong resemblance in the chorus to “So Lonely” by the Police. I wasn’t sure if it was intentional, but the fact that they attribute all of the songs to themselves and then close with a “Lean on Me (One Life One Love),” which has a chorus of “Lean on me when you’re not strong/ I’ll be your friend/ I’ll help you carry on.” One of the guys does win the pretty-damn-great-shirt award for his “All Ramones All The Time” shirt which, in the spirit of the music, I might just rip off. –Megan Pants (www.fullbreach77.com)

Sweet Heartache and the Satisfaction: CD
It seems as though Angus Young has joined a punk rock and roll band, up in Oregon, USA. This has an obvious AC/DC influence, as well as the Dead Boys, of course. The heavy, riff-crazy guitar sets them apart from the sea of rock and roll bands out there, but it’s still lacking those catchy choruses a band like this needs. The name “the Stivs” stupefied me. I mean come on, you don’t advertise the singer from the band you’re trying to emulate. It’s like calling your Clash wannabe band “the Strummers.” And you set yourself up for a mighty tough comparison. If you like heavy, wanking rock punk, you’ll like this. If you’re looking for catchy Dead Boys songs, stick to Young, Loud, and Snotty. –KO! (Boot to Head)

Self-Titled: 7"
Loud, heavy hardcore from Switzerland with personal, political, and scene-oriented lyrics. Not bad, not particularly memorable. –Jimmy Alvarado (Rinderherz)

Soul Mates...: CD
Sonny Vincent is pretty cool, but, truth be told, most of his records (including this one) are kinda blah—it sounds like what one imagines a Dee Dee Ramone solo CD would sound like were Dee Dee not a complete raving cartoon lunatic. Or, rephrasing that, it sounds like what one would imagine a Daniel Rey solo CD would sound like. Ack. Contains snippets of answering machine messages left by both Dee Dee and Joey Ramone; for what purpose i cannot say. Next. BEST SONG: “No Detour” BEST SONG TITLE: “Robot Radio” FANTASTIC AMAZING TRIVIA FACT: “Time Bomb” isn’t the Ramones song, “Bang Bang” isn’t the U.K. Squeeze song, and “Chopping Block” isn’t the Little Killers song (although i think that one’s spelled differently). Also, i went to a show once where Sonny Vincent, the Zodiac Killers, and the Clorox Girls played, and the best band of the night by a considerable margin was the opening act, the Guilty Pleasures—take that for whatever it’s worth. –Rev. Norb (Disturbed, www.cargo-records.de)

Tag, You’re It: 7"
Man, it’s bands like this that make you realize that the seven inch really probably is the ideal punk format, for now and evermore. This record is so great: throaty and melodic punk in the vein of Splurge, Crimpshrine, and Jon Cougar Concentration Camp. The songs are personal, emotional, pissed, and yet still welcoming. The band name sucks for sure, and it’s hard to decipher any of the screen-printing on the sleeve at all, but then you play the thing and realize that some bands, whether through luck or thoughtfulness or hard work or careful planning, have the ability to put out at least one of those seven inches that’ll be played on your turntable for years to come, and at least a song will wind up on mix tapes you make for a long time coming. Snuggle’s one of those bands, and Tag, You’re It is one of those records. –Keith Rosson (The Party's Over)

Requiem: CD
A new scene of bands are coming out again from the underground of Seattle that have no resemblance to the grunge movement of yesteryear. Skarp is one of these bands that are taking on the torch of dark, heavy, and fast music. Now having seen this band live a couple of times, I was ready to hear the recorded material. This full length is brutal as it comes. Self-proclaimed pioneers of “Blackout Grind,” grindcore is definitely what they play: strong elements of punk and crust; female vocals that are screamed with blistering venom and guttural to the point of low-end hearing damage. The drummer is incredible with his machine-like precision while he hits a rapid succession of beats at a breakneck pace. The guitars and bass are riff-ridden with a downtuned aura that creates the dark atmosphere. They hit you in the face with power chords that are strong, then take you for the whirlwind ride of your life, riffs and scales flying at your ears like a swarm of bees around your head. Just as good as seeing this band live is hearing their music recorded with good production. –Donofthedead (Alternative Tentacles)

Suspicious Icons: CD
Third release from this Minneapolis trio. Led by singer Nick Sakes (ex-Dazzling Killmen, Colossamite), this is raw, emotional rock that burns like a defective socket being gingerly rammed into your eardrum. The title track rocks thanks to Greg Schaal’s frenzied back beats. “Riposte in Pieces” sounds like a tune Roger Miller would dig thoroughly. Dave Erb’s guitar collides with Sakes’ playing to glorious effect on songs like “The Paper Blanket.” Fans of old SST bands like Saccharine Trust will worship Sicbay. The only complaint Bones may bring up is there’s no bass player—but hey, you can’t have it all! Recorded in a studio that used to be Blackberry Way. I bet Bob Stinson’s beer-soaked guitar strings are still in the corner. Nice. –Sean Koepenick (54 40 or Fight!)

Bite Your Tongue: CD
Looking at the cover and hearing the first song, all I can think is that I’m listening to what it would sound like if Poison were to play Rancid songs. With the partially naked girls on the cover making out, it comes off as these guys are more worried about getting laid than playing music and it shows. I pass. –Donofthedead (Radical)

Relieve Yourself: 7"
Hell yes, Bay Area HC strikes again! Great, fast, and catchy snotty hardcore on this five-song single. Between Deadfall, Funeral Shock, and this band, Northern California is the place to be right now for great current original style hardcore. The band name made me think this might be gutter punk, but I was pleasantly surprised to see that was not the case. This is a great, raging, and catchy hardcore single. First three hundred are on red/black swirl for the scum. Eat up! –Mike Frame (Tankcrimes)

Shape of a Bird in Transit: CD
When you take a name so similar to that of a quite well known band with a strong Nazi slant, you’re kind of asking for trouble. Then again, when you make pretty bland sissy music, I guess you’re asking for trouble too. Note: This was only based on the first song because even though it says there are ten tracks, my players only found one. –Megan Pants (www.thescrewdrivers.com)

Weasel Mania: CD
According to my pop punk expert source, “Some of the songs that they pick are pretty good, but other time it’s the worst—like on Emo, they only picked two songs, and they picked the two worst ones.” I honestly missed having a Screeching Weasel phase, and, in general, my pop punk exposure has been pretty limited until the past couple of years. I’m sure I’ve heard them before, but this was my first time actually putting them on of my own volition. For my money, I’d rather throw on Rivethead, who, some ten or fifteen years later, are doing much more inventive things with a similar sound, but I have taken someone up on their suggestion to make me a more representative comp. (Note: since this was written, Rivethead has broken up, causing me much sadness in the pop punk part of my heart.) –Megan Pants (Fat)

Learning to Crawl: CD
The East L.A./San Gabriel valley punk scene has long been one of varied sounds and bands both good and, um, not quite as good. Schleprock was one of the better ones—a band that took the hardcore they were raised on and used it to fuel a post-oi punk rock monster with loud guitars and catchy choruses. They were popular in the ‘hood long before the rest of the world caught on, so as surreal as it may have been to hear one of their tunes in a Budweiser commercial, it wasn’t surprising in the least to those of us who had seen ‘em come up. They were a good band, one that deserved the attention they received, and while they took it as far as they could before imploding, they always managed to keep one foot planted firmly in the home scene and did their best to help out their peers when they could (one particularly embarrassing memory involved, at the insistence of our singer, Pogo, hounding a patient Doug to discuss the logistics of the Black Jax touring with Schleprock when I knew full well the Black Jax weren’t in any condition to be touring anywhere). To that end, this collection of assorted demos, b-sides, and other rarities intended as a tribute to their guitarist Jeff Graham, who died a few years ago of an overdose, is also a fine retrospective of the band itself. Unlike many other comparable collections, the sound and performances on the tracks culled here are consistently top notch and showcase the band at their finest. True to form, it is also meant to serve as a benefit for Jeff’s wife Monica. Good guys, them Shleppers remain. Recommended listening. –Jimmy Alvarado (Fiend)

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