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No Idea Records

Record Reviews

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Songs for Sensible People: CD
The Shapes are another criminally obscure band hailing from England who apparently left a lasting enough impression that someone cared about, as well as remembered, them so that this compendium of their recorded output could see the light of day, and the punk world is a much better place as a result. One of the architects of what later became “punk pathetique” (think Toy Dolls, Splodgenessabounds and the like), they married to some very silly subject matter (how silly? How do “Jennifer the Conifer,” which is a love song to a tree, or “{I Saw} Batman {in the Laundrette}” strike you?) to the punk template and came up with catchy songs that weren’t afraid to be just as flat-out funny as sound pissed off. Their “Wot’s For Lunch, Mum (Not Beans Again!)” is a bonafide classic and its inclusion here is more than enough reason to pick this up and provide it with a properly reverential spot in the ol’ collection. One more thing: the liner notes are a fuckin’ riot: “The pressure of drink, women, and rock‘n’roll debauchery totally failing to manifest in their lives began to affect the band badly….Dave began wearing a curly wig and false mustache, claiming that he was really Carlos Santana and that, therefore, he should get double helpings of ‘eggs, beans and chips’ when the band stopped off for a nosh…. Brian demanded that his knees be removed so that he could have the front of his legs paved. It was all getting too much….” –Jimmy Alvarado (Overground)

Rejected: 7”
Ack! I can hardly figure out what the name of this band is! The 7” is covered with words, and I’m too stupid to figure it out! Sadly, I had to resort to MySpace for the answer. For shame! Anyway, although I was intrigued to learn that they’re recording their next record at Sonic Iguana (recording studio of choice for many pop punk legends), I must say that this didn’t get past your basic Cheerios for me. However, it does include the lyric, “All the other girls were laughing at me/I’ll piss in their face.” –Maddy (High School Reject)

Adventure Boy: 2xCD
I really like this album. When I think of early ‘90s rock, I usually think of Nirvana and Pearl Jam, but whenever I see reruns of Beavis and Butthead, there are always videos of a bunch of also-ran college and alt rock bands. A lot of these bands definitely were quirky and unique sounding in a way that’s just a little bit different from bands today. The Steaming Beast managed to snag all the good bits about the jangly and poppier sides of the alt rock spectrum (like the Flaming Lips and Urge Overkill), and avoid the crappier aspects (i.e. the pseudo adult contemporary kibble that is the Counting Crowes and Goo Goo Dolls). From what I understand, The Steaming Beast is really more of a concept than an actual band, sorta like Steely Dan, but the record holds together really well and has great lyrics which easily could of fit on records from Scott’s most famous past band, All. This is really great chill music that keeps one’s attention. Also, Scott provides really great liner notes in the CD. There’s also a second CD included with this which is a pretty good label sampler of the Suburban Home roster. –Adrian (Suburban Home)

Make It Stop!: CD
This is real life. Outsider artists make some killer music. Ross has been a Memphis cult legend for decades now. Goner, purveyors of all good things Memphis, put out this comp of his “most” from ‘79 to ‘06, a solid collection and a great CD book/confession written by Ross himself. Ross contains the usual underground genius many garage-it-yourself guys do, in the ramshackle vein of Hasil Adkins but with an uncanny tight sound—maybe because all kinds of talent played with him; Alex Chilton, The Gibson Bros, Jon Spencer, Tav Falco, Jim Dickenson, Peter Buck, Monsieur Jeffrey Evans—and that’s just who is in the press release. You could cry thinking this music might have never been found, like the great songs The Cramps resurrected: true hobo poet moments over stomping music, as Ross just talks those lyrics out. Take the creeeeepy-cool “Wet Bar”: “Honey why did you go away? Why did you take our wet bar? …So I got a drinking problem, what’s new? Couldn’t we work it out? Couldn’t we have a drink or something?” Reality. –Speedway Randy (Goner)

Make It Stop! The Most of: CD
While resorting to Hasil Adkins comparisons here would be like attempting to hit the ground by throwing rocks at it. What sets Mr. Johnson apart—aside from the fact that he’s not a one-man band—is that his lyrics most often sound off the cuff, delivered stream of consciousness over a backing band (or a number of backing bands, often including people like Alex Chilton and an occasional R.E.M.-er) that seems content to stand back, hit a groove, and let him fly. His lyrics are often personal, often downright hilarious, and rarely uninteresting, as this retrospective illustrates. My recommendation is to plop on “Rockabilly Monkey-Faced Girl” to set the proper mood at your next cotillion. –Jimmy Alvarado (Goner)

Cooler Than Your Boyfriend: CDEP
This band clearly has all the right power pop influences, but it just falls short. The vocals are pretty off, and the whole thing ends up being kinda frustrating. Josh Rutledge of Now Wave fame gave them an awesome review, but I just don’t get it. If this were a cereal, it’d be similar to the Apers: non-Marshmallow Alpha Bits. –Maddy (Self-released?)

: CD
Recorded in ’99, from what I’m reading, in their home studio with the aid of a drum machine—the band didn’t acquire an actual human drummer until 2002—is this self-titled release from Rocket City Riot. A band with a high energy rock sound similar to New Bomb Turks or Electric Frankenstein. Read the band’s website and they are still active, and, apparently, working on new stuff, which, this is what they said not me, “sounds more like Roy Orbison meets the Lemonheads.” Huh? –Dave Disorder (Zodiac Killer, myspace.com/zodiackillerrecords)

Anti-Everything (Even Yer Mum): CD
I love surprises. When I first looked at this disc, I was certain it was going to be a pile of crap. I figured that, despite a cool cover with some punk rock zombies on it, the lame title and lame band name and lame song titles were a definite indicator that the music was going to be lame. Then I put the disc in and hit play. What came out was not at all what I expected. I expected cheesy street punk. Instead, I got this goth dirge that was being mauled by a spastic female vocalist. I figured I was in for something really special. Then I was surprised again. The second song, “Punk Rock Lesbian,” switched gears in the wrong direction. I held on, hoping for more surprises. The cover of “Anarchy in the UK” wasn’t one. Then the next song was something heavier and meaner. Nice. It was followed by “Puritanical Regions,” which sort of grinds along slowly, stabbing and stabbing until it makes its point. Then we go right back into boring stuff. Man, this disc is a roller coaster ride. –MP Johnson (Self-released)

Live at Shepherds Bush Empire: CDEP
Five-song stopgap EP until this U.K. band’s second record comes out. One new song and four live tracks. Great sound on the live stuff. Here’s hoping the new record is out sooner rather than later. If you ever liked anything the Jam put out, they may be right up your alley. –Sean Koepenick (679)

Doublecross: CD
This is so fucking awesome! Yay! Amazing girl vocals, awesome bubblegum goodiness! Reminds me of Nikki And The Corvettes, poppier Bobbyteens, even maybe the best Go Go’s stuff! I love this CD! In a perfect world, “Traitor of the Heart” would be the hit single at the roller rink! Plus, how can you go wrong naming your band after the biggest Ramones fan in Rock ‘n’ RollHigh School? Plus, they introduced me to the amazing Little Girls by covering their song, “Bandana.” If this were a cereal, it’d be Corn Pops! If you don’t buy this, you are dumb! –Maddy (Dirtnap)

International Losers: Split CD
Rich White Males: Snotty, obnoxious pop punk, reminding me of FYP and the Trashies at points. I’m a little concerned about songs like “S.L.U.T.” and how sincere/vs. ironic they are, but I’d be willing to give it another chance to get a better idea. Cummies: Despite the not so hot name, I was expecting them to sound like the Mummies. Instead, I thought it sounded like typical Bad Religion/late ‘90s Epitaph/Fat style punk. –Joe Evans III (PunkNJunk)

Self-titled: 2 x CD
Rhino 39 were one of many exceedingly good yet maddeningly underrated bands to come out of the L.A. scene. Like the Weirdos, X, the Germs and other contemporaries, they took their U.K./New York influences and just twisted ‘em all kindsa funny ways, resulting in tunes that were definitely “punk” (and, as they hailed from outside the Hollywood punkgeoisie, made for an excellent warning shot signaling that the beaches and the suburbs were about to invade) but very much their own style. The tunes are often frenzied—remember, these guys were responsible for L.A.’s other claim to being the birthplace of hardcore, the “Xerox/No Compromise” medley on the b-side of their sole Dangerhouse single—and razor tight, but the vocals rarely register above annoyance in the outrage department, and the tempo and chord changes give the tunes a herky-jerky feel that is too-often nonexistent with today’s crowd of spiky-coiffed progeny. In addition to all the tracks from the aforementioned Dangerhouse single, one will also find one of the two tracks from the When Men Were Men and Sheep Were Scared compilation, their track from the Hell Comes to Your House compilation, the tracks from their sole album, tracks from a 1980 demo and, if you plop the second disc in your computer, some live footage of the band playing at Long Beach City College in 1979. Those who like their punk slightly off the beaten path would do well to buy this in bulk quantities, ‘cause you’re gonna wear the discs out fast. –Jimmy Alvarado (Nickel And Dime)

Self-titled: CDEP
This band is made up of 3/5s of the current line-up of the Swingin’ Utters, (Johnny Bonnel and Greg McEntee being the two sitting out). The big difference between the aforementioned band and Re-Volts is that Spike Slawson takes the lead vocals on five of the six tracks featured here. The result is a damn good EP that sounds a lot like the Swingin’ Utters melodic punk but slightly more power popish due to Spike’s smoother (not in the shitty modern R and B sense of the word) and more varied vocals. There’s really not a weak track here and it’s worth a listen. –Adrian (Re-Voltage, http://www.myspace.com/sfrevolts)

Surreal Folk Blues Gospel Trash Vol. 1: CD
Reverend Beat Man delivers twelve swampy blues and Neanderthal folk cuts in his unmistakable, inimitable, buzzing-electric-carving-knife vocal style, and you can hear the charm, joy, and pain ooze out like chuck through a meat grinder. “I’m Happy” details the warm, fuzzy feeling of falling in love, having children, and growing old together, gracing the listener with the line “Growing up with you is so beautiful and gay…beautiful and gay” delivered in a soft growl. The effect is raucously hilarious. “Jesus Christ Twist” is a twisted Cramps rocker that urges one to “Take a hammer and some nails/Nail your partner to a cross.” Fucking brilliant. Slower tracks like “No Hope” offer laments about lost love, but don’t work quite as well as the other songs. “The
Beat Man Way
” is a fantastic story told over jazzy bass, drums, and piano. The liner notes indicate that these tunes were recorded between 2005 and 2007, and that the Reverend played guitar, banjo, drums, “strange bamboo thing,” and cello, a regular jack of all trades. “I don’t give a fuck! Just wanna go the Beat Man way.” Words to live by. –Josh Benke (Voodoo Rhythm)

Demo: Cassette
I’m not sure what it is that actually attracts me to this release. It’s on a tape, so it’s not easy for me to play; its lyrics are so tiny I have no idea what’s going; and it’s not anything entirely new, but it draws me in. The music is lo-fi punk rock that reminds me of the Avengers, but that’s probably a horrible comparison (screw it; it’s the best I could think of). Fetch the bone saw, this gets one and a half thumbs up. –Bryan Static (Self-released)

Demo: CD-R
Thrashy punk rock from Dayton, Ohio. Evil thrash growl vocal here! Pop punk singing part there! Blast beat here! If they played a really tight live show, I bet they’d rule. In fact, even this CD kinda rules, especially the more poppy stuff! It kinda confuses me because one second I’ll be thinking, “This fucking rules,” and the next second I’ll be thinking, “I don’t like growly vocals!” If this were a cereal, it’d be a mixture of Trix and Total. Worth checking out! –Maddy (Self-released)

Tower of White Tigers: CD
The Pyongyang Metro sound like an even more rocking version of their town’s better-known melodic punk heroes, Dillinger Four. The hard-edged vocals keep it from falling into simple pop punk categorization, with all of the songs rushing ahead at breakneck speed for melodic punk. Pyongyang Metro is made up of former or current members of esteemed bands like Off With Their Heads and Rivethead. The songs all have witty titles and highbrow lyrics, with “New Hindi Ringtones Now Available,” “Nobel Laureate,” and “Escape Helper” being good examples. It’s not quite great enough to make me long for a trip to the Midwest, but it comes damn close. –Art Ettinger (Arsenic)

: CD
Hardcore noise explosion with vocals that are more throat than cuts. Not really my thing. Has the look and sound of a Prank Records release. So I’m sure there’s some people who read this zine that are going to like this CD. Just not me. –Dave Disorder (Auxiliary)

Hell Is Invisible…Heaven Is Her/e: CD
What do you get when elderly post-punk effluvia mix with the mannequin throbbings of an arthouse rave party? I’ll tell you what you get: you get what you have here; industrial psychedelic hermaphro-core perfumed by the skid marks left in Andy Warhol’s Factory-era bloomers. And the she-man behind the curtain in this case is a Quentin Crisp-type coxcomb with a head dangerously full of sorcery and Geritol and funny spellings: none other than Genesis P-Orridge, of COUM Transmissions, Throbbing Gristle, and TOPY infamy. Now, while I respect and admire many of Genesis’ magickal subversions and outrages from the past, Hell Is Invisible… has the somewhat turgid wobble of artsy self indulgence to my ears. Sorcerers—of the old school stripe, anyway—are naturally prone to doing things in a manner devilishly florid and over-wrought, and should granted some leniency. But not at my expense. Hell may be invisible, but as this record proves, it’s not inaudible. Which is not to say that this whole CD sucks, by any means. There are bits and pieces here and there that evoke things like Syd Barrett and Public Image and that I like. And Mr./Ms. P-Orridge’s spiritual lineage—which includes such crooked luminaries as William Burroughs, Aleister Crowley, Brion Gysin, and Austin O. Spare—makes Hell Is Invisible… at the very least deserving of a good round of listenings, if not outright adoration. After all, how else are all the boll weevils of chaos that Genesis has planted here ever going to get to burrow into your brain and do The Great Work? But even with its dark charms, this CD is, for me, a pimpled fuck-belly full of noize and noodles. The sort of concoction that sits in your gut like a lawn bag full of rotting wigs and inspires notions of a good shit and then a nice nap. But note: Chaos Magick nerds, Boyd Rice enthusiasts, and high-minded Situationists may feel otherwise. –aphid (Cargo)

Lottery of Recognition: CD
Well, it is nice to see the influences on the press sheet be spot-on for a change. It mentions Drive Like Jehu, Failure, Barkmarket, and Jesus Lizard—and that is exactly what you get here. I would also add in some Avail and Fugazi influences in the vocal department. Being that they are from Portland, OR, I might also throw in a comparison to locals Thirty3, who put out a pretty damn good full length a few years back. Fans of ‘90s Dischord or Touch And Go can’t go wrong with this disc. Also highly recommended for the Hot Water Music/Leatherface/No Idea crowd; if you love those gruff vocals, this is for you. –Mike Frame (Exigent)

Woodfin Confidential: Split 12”
Princess Thunderstorm: Given better recording capabilities, they really cleaned out the sound from last year’s 7” and are bringing out the full-blown metal. The guitars completely outweigh everything else on the record, but at least it’s still got those great pissed-off vocals that range from sung to a vicious yell. And the lyrics are still totally weird and punk. Electric Damn: This band is just tripped-out rock. There are lots of instrumental parts that involve massive amounts of harmonizing guitar solos. Headbangin’, mindblowing, hesher shit that borders on cock rock, if you don’t consider them the same thing. This makes me need to go listen to the Siege LP. –Daryl Gussin (Family Night)

Take It Easy: CD
This CD has secret glue, and I don’t know what it is. First couple of listens, eh. Reminded me of The Staggers: a band that could easily switch from campfire to barroom without losing power, who (I’m totally guessing), respect the Misfits as much as Johnny Cash equally. But then I kept going back to the record. It tells stories. It has beats I tap along to. I saw them live a couple of times, and Dan, the lead singer, is a big dude who makes his acoustic guitar look like a ukulele and he sings his goddamn heart out. What more are we asking for in music? Nothing. Take It Easy is like a pair of work pants. At first, it seemed a little stiff and off-the-pile, yet gets smoothed out and more comfortable with more usage. Recommended. –Todd Taylor (ADD)

Take It Easy: CD
What is so damn attractive about misery? It seems like the only things that end up mattering to me, whether music or books (or, shit, even people some days) are all pretty miserable and self-deprecating. PBT and the F’n As are no exception. I can’t help but group them in with Off With Their Heads, not necessarily in sound (though Ryan OWTH shows up here too), but definitely in feel. The lyrics come off like they’re meant to be listened to in a dark room somewhere with only a bottle of whiskey as your company. But, the way it all comes together musically, sounds more like you should be throwing your arms around your friends in a packed and sweaty basement than anything the lyrics would have you believe. Maybe surrounding myself with all this misery will be the death of me some day, but I can’t think of a much better soundtrack to go to than Pretty Boy Thorson. –Megan Pants (ADD)

Live Aids Free Tibet: 7”
I put this record on all excited because of the Aztec-inspired artwork. I thought, “Ooh, neato, Aztecs!” The music started playing and my second thought was, “Ick, make it stop!” It’s fast, loud, obnoxious, with lack of any kind of organization or rhythm. The song “Aztec Pride” just pisses me off because it’s five minutes long! Five minutes of complete bullshit. Are you kidding me with this? I got totally bitchfucked with this one. Not my idea of good stuff. I’m throwing this crap into the TijuanaRiver where it belongs. –Corinne –Guest Contributor (Yosada)

Ghost Dance: CD

Let’s not forget the context. With this recent influx of bands that, when described, “folk” and “punk” come up in the same sentence, the Haints have been hard at work and play for years. It’s this seasoned, large-brush approach that illustrates how big a force the Haints have become musically and how broad-scoped Ghost Dance really is. It’s like walking into your favorite roadside restaurant during a long drive. Generous portions. Diverse, but down home menu. Expertly spiced, simple food. Well-worn linoleum, but sparkling clean. Wonderful, personal service, no forced grins or minimum amounts of flare enforced. Ghost Dance is, thankfully, long. Twenty songs gives them time to set the stage, fill your head, and take you to their home, which is as much a time as a place. It’s a collection of original pieces, a Riverboat Gamblers cover, and traditionals revisited. And then it struck me, something that’s been staring me in the face for some time. The Haints are to the South what the Pogues are to Ireland. Not only do they have a deep respect of what came before—and their musicianship is as impeccable as it is diverse (mandolin, washtub bass, banjos, and bodhran)—but they tap into that originating spirit so much, they can’t help themselves from reshuffling the deck and lighting small fires under themselves so they don’t get asphyxiated by the past. This record’s like watching a fire all night. Crackles and blazes giving away to smoldering and smoking, and the next morning, its memory is still being carried around in your clothes. Fantastic.

–Todd Taylor (K)

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