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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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SOOPHIE NUN SQUAD:
Pasizzle Slizzle tha Drizzle: CD
I came up with a loose sliding scale for the Soophie Nun Squad. If the song has drums and electric guitars, they’re as good as anyone out there. Earnest, fun, energetic basement punk that reminds me of bands like This Bike Is a Pipebomb and the Grabass Charlestons. As for the other songs, well, I’m sure that it was a lot of fun to record a bunch of hip-hop songs and cheerleader chants, but I’m grinding my teeth the whole time. It’s probably fun to watch live, but there’s only a handful of songs that make the cut for me. Sorry. –Josh (Plan-It-X)


SMUT PEDDLERS:
Coming Out: CD
Five LPs from a SouthBay or OC punk band? It’s almost unheard of. As a matter of fact, I can think of a handful. I’m sure there’s more. The Circle Jerks’ VI LP (not so good), Pennywise’s Straight Ahead (proficient), and TSOL’s Disapear (I’m not counting the Joe Wood ones, and, strangely, their latest, Divided We Stand is better than Disappear), FYP’s Toys That Kill (excellent, excellent stuff), and the Minutemen’s 3-Way Tie (For Last) (not their best, but far from slouching and I’ve got a soft spot for D. Boon). OC and the SouthBay breed a special, more resilient fuckup. Bands just usually can’t stay together and tend to crack from member’s jail visits, egos, addictions, old-fashioned wig-outs, or any cocktail of the four. For a band to keep it together when the lead singer’s fixated on skate parks and rattles on about pharmaceuticals better than your average neighborhood Sav-on white coat, the wheels should have flown off this dysfunctional wagon long ago. No so. For all the yahoo, numbnutty attention OC gets, it’s still nice to hear that neither dank and rank rock’n’roll nor the first wave of English punk have been abandoned for designer t-shirts and empty caskets of nostalgia with “1977” spray painted on their lids. The Smut Peddlers keep blapping along with a wacky-assed lead singer with a heart of gold and a short attention span, gun-rattling guitar work, and a wrecking ball, rock solid rhythm section. Coming Out’s a good listen, neck and neck with their last full length, Ism. My only complaint? Since I have the Exit Plan 7” and their self-titled 10” that preceded this album, only half of the songs were new to me. –Todd Taylor (TKO)


SMALLTOWN:
The First Three Years: CD
I’ve reviewed this previously in bits and pieces from their four 7”s. This CD corrals all of their previous works and adds one new song, “The One.” This Swedish trio has the immaculate knack of polishing up the cues laid down, then abandoned, by Stiff Little Fingers and then reinspected by the likes of pre-Life Won’t Wait Rancid. What you get is ultra-catchy, smart and anthemic songs. To mark them as solely street punk would be too cheap of a branding, although I could understand if they get put under that umbrella. They’ve got tight yet fluid songwriting, the crisp attack and ultra bounce of early Jam, the blood-runs-freely, ringing energy of Cock Sparrer, and the teeth-clenching grit of a largely unknown band making great, rugged punk songs. There’s not a stinker in the dozen. This is a sleeper hit. –Todd Taylor (Deranged/Snuffy Smile)


SKEW WHIFF:
Taedium Vitae: CD
For some reason, I thought this would be a grindcore noise band. Far from the truth. First thing I thought of was crossover-period ‘80s UK punk mixed with Discharge, kind of like the English Dogs or Broken Bones. It also has that modern day crust sound where the music is metallic yet dark. Being from Belgium explains a lot because they have easy access to the music mentioned prior and Europe, in general, having a thriving crust scene. This is extremely intense and shows that the genre constantly reproduces a good amount of talented bands. –Donofthedead (Life is Abuse)


SK AND THE PUNK ASS BITCHES:
The True Saviors of Rock N Roll: CD
“Whoo yeah, who’s your daddy?!” These are lyrics, and I don’t think they’re trying to be ironic. If they truly are the saviors of rock’n’roll, then we are in for some trouble, folks. I’m investing in polka. –Megan Pants (We Got)


SILENT DRIVE:
Love Is Worth It: CD
If I had heard this album four or five years ago, I might have enjoyed it because it would have been something more groundbreaking than it is now. As it is, at this time, these songs are all too typical – vaguely hardcore music which usually verges on metallic emo, youthful vocals which switch to screaming. There’s really nothing on this tremendously generic record that hasn’t been done – better – elsewhere. –Puckett (Equal Vision)


SICK FITS:
Mirror Creeps: 7”
More mid-tempo punk from these guys, very vaguely reminiscent of the Flesh Eaters without the poetic flair, although the proceedings here are not as interesting as their CD EP from a year or so ago. –Jimmy Alvarado (Big Neck)


SHIVS, THE:
Blind Drunk: CD
Pissed off gallop-core from a band I know nothing about. Song topics range from getting drunk to railing against Bush, religion, losing canes and, most poignantly, a psychiatrist whose writing of a prescription resulted in a person’s death. While they might not exactly break new ground, they do thrash things up pretty hard, which alone makes this worth repeated listenings. –Jimmy Alvarado (No address)


SEXY:
Por Vida: LP
I was a bit conflicted on this. My friend Rawl said it was great. My friend Josh said that one of them had to be physically removed from his house after spray painting their bathroom. I gave it a listen. It’s really fucking good. Spastic in the vein of Fleshies and The Bananas. My advice: Definitely pick up the album, but pat ‘em down before letting them in your pisser. –Megan Pants (Onion Flavored)


SEX, THE:
Statutory Rock: CD
This doesn’t do it for me. Just kind of unremarkable rock. –Megan Pants (Oh The Humanity)


SEWER TROUT:
From the Forgotten Memories of Punks Failed Hopes and Dreams Loom...: CD
1988 did pretty much suck as far as punk rock went – everybody kind of fucked off and was either into REM-like collegiate blandness or Guns’n’Roses-like bandana rock, and what passed for punk rock at that point was dreary, monotonous and self-important (not to mention being kind of a fuckhead magnet at that point as well). Thus, one of the leading problems facing the scientific community was “How can we make punk that doesn’t suck?” It was kind of an ongoing project that took several years to get right (and, in all fairness, it did also take several years to get it wrong as well). Sewer Trout – what with their dippy humor and harmonies and occasional sprigs of melody and Ian Woodcock-esque bass runs – were obviously something that, were i to have popped in a demo of theirs or something while delivering pizzas in my ‘74 AMC™ Matador, i would have doubtless concluded were on “my” side. That said, i can’t imagine too many more occasions left in my life when i’ll need to hear “President of the Anarchist Club” or “Vagina Envy” to really set the mood, let alone every recorded version thereof. Hey, are cassettes cool again yet? BEST SONG: “Garbage In, Garbage Out” BEST SONG TITLE: “TSOL Esidarap” FANTASTIC AMAZING TRIVIA FACT: Coors™ still sucks. –Rev. Norb (Sactoe Punk Archive)


SCRAWL, LE:
Eager to Please: CD
Every now and then you get a CD that just walks up, grabs you by the shirt and proceeds to slap you silly. This bizarre little ditty is one such record. This is like one big schizophrenic nightmare, a cookie monster vocalist backed by a hardcore band that every now and then feels the urge to fuck off into left field and delve into a little ska, metal, surf or lounge music for a few seconds, then goes back to thrashing things up. Somehow (don’t look at me, ‘cause I haven’t a clue why) it works. Not quite sure I can say I dig it, but it is one mind-spinningly interesting listen, that’s for sure. –Jimmy Alvarado (Life Is Abuse)


SCATTERBOX:
Infection III: CD
A couple of these guys are in Moral Crux. Moral Crux is a fucking great band, not only one of the forerunners of Screeching Weasel-ish pop punk but also capable of writing political lyrics that aren’t finger-pointy or blatantly obvious. Buy any Moral Crux record that you happen across. I’d recommend I Was a Teenage Teenager, but regardless of which one you get, you’ll be doing a lot better than this mid-’90s Fat Wreck Chords rehash. –Josh (Blackhouse)


ROACH MOTEL:
Worstest Hits: CD
Ah, at long last we can all breathe a sigh of relief. The RoachMotel CD is here, war with Iraq will soon end, and everyone man, woman, and child will be given a lollipop! For those out-of-the-loop (O.O.T.L.), this is George Tabb’s (really) old band. Songs like “My Dog’s into Anarchy” and “Brooke Shields Must Die.” This won’t blow you away or anything, but it’s just, I don’t know… is it punk to call songs like “Mom Likes Drugs” endearing? If this were a cereal, it’d be Honey Nut Cheerios. Cool! –Maddy (Destroy)


RIVERBOAT GAMBLERS, THE:
Something to Crow About: CD
Okay, this album was unleashed last year, but I gots to say something that needs to be said. Not in quite some time have I had my ass go into spastic, rock’n’roll-induced fits upon seeing a band for the first time like it did when I saw The Riverboat Gamblers this past May while Yvonne and I were out visiting my sister Julie (NYC’s resident kick-ass party rocker, and she drink’n’drives a pretty mean Schwinn Stingray alongside her main cohort, Tim, too). While out there for Joey Ramone’s Annual Birthday Bash, The Riverboat Gamblers happened to be playing that Friday a coupla days later. And under the strong recommendation of our own Retodd, we made our way out to The Knitting Factory to see what was one of the best sets I’ve seen in some time. To say you need to grab their records or see them is a severe understatement. Not to peg their sound, but it’s in the same ballpark of experiencing the beautiful, awesome power of The Who, The Candy Snatchers, and the MC5 simultaneously in a new and fucking brilliant way. To simply put it, I’m gonna quote Phast Phreddie Patterson for this CD review the same way he was quoted for his review of the Ramones’ self-titled debut back in ‘76: “Anyone who doesn’t like this record is an asshole.” Perfectly put, Mr. Patterson. –Designated Dale (Gearhead)


RIOTGUN/ BULLET TREATMENT:
Split: CD
Tribute release from these two So Cal punk bands. Riotgun do Motorhead and Bullet Treatment do the Ramones. Woohoo. –Donofthedead (Basement)


RHYTHM OF BLACK LINES:
Human Hand Animal Band: CD
Gloomy art rock that, while normally I’d find quite interesting, for some reason just ain’t doin’ it for me. Maybe it’s all the Prozac I’ve been ingesting lately. –Jimmy Alvarado (GSL)


RESISTANCE 77:
Long Time Dead: CD
Eleven tracks of solid, melodic skin-punk here, as can be expected from this long running band. The songs are top notch, although I find myself taking exception to the politics behind some of the songs, namely “Terrorist.” While I can get behind the sentiment expressed in the lyrics, I would point out that there are many sides and viewpoints to every story and one person’s terrorist is another’s “defender of the free world.” –Jimmy Alvarado (Captain Oi)


REIGNING SOUND:
Too Much Guitar!: CD
...a friend of mine and i were discussing this album, and i told him i had only listened to it once because it was a two-good-song piece of overrated horseshit with an ugly cover by a pointless band with a lame-ass name, or other carefully selected words of that nature. After further review, i am quite unsure what manner of Grumpy Pills i was popping that day (GO Grumpy Pill Popper! GO Grumpy Pill Popper!), because, on follow-up inspection, this record’s sounds sound pretty unfeigningly reigning indeed (maybe i still hold some manner of unfounded begrudgement against all things Oblivian, since 1. I got my ex-girlfriend an Oblivians album for Christmas once and what good did it do me?, and 2. Somebody broke into my band’s van while i was watching them once [and stole my postage stamps! What for? To write home to Mother and inform her of her son’s burgeoning career as a window-smashing postage stamp thief?]). After more thorough inspection, i have herein identified compounds bearing the atomic signatures of the Sonics’ “He’s Waiting,” that Pebbles-type tune about love not being worth a dime, the Motors’ “Dancing the Night Away,” first-album Beatles, Swingin’ Neckbreakers beating Hank Ballard compositions into bloody pulp with a reanimated George Harrison’s fifty-foot boner, mid-sixties Rolling Stones (yeah, and you know how every now and again some jerk-off music twit opines that some song or another “sounds like the kind of thing the Stones used to write... when they were good!” when it sounds nothing like anything the Stones ever did, except maybe in this guy’s [mostly imaginary] mental rock history? Well “Drowning,” for ONCE, actually DOES sound like something the Stones used to write [minus brief detours into Byrds-ism and peculiar Joe Meek Teen Death-ism]), Byrds-ism, peculiar Joe Meek Teen Death-ism, the Standells, Incredible Shrinking Dickies-era Dickies (!!!) (well, okay, with different vocals) (it’s the last song, “Medication.” Go ahead. Knowledgeably refute my assertion!), and, the nuclear glue that keeps this volatile compound from melting down into a hunk of lead upon contact with Earth’s atmosphere, the voice: Total Mark Lindsay!!! I mean, i dunno how many Paul Revere & The Raiders fans we got in the house tonight, but if “Your Love Is a Fine Thing” ain’t just a nine-volt-battery-lickin’ update of “Alias Pink Puzz”/”Hard ‘n’ Heavy (With Marshmallow)”-era Raiders A-sides, well, then... boy, i dunno what then. I never had to carry out on my threats my before. Also contains a minor smattering of the more Blues Explosiony stuff, but the rest of the material is so buff i can’t fault anyone for throwing an occasional bone to the squares. BEST SONG: Right now i’m pretty whipped on “Your Love Is a Fine Thing,” but i think by next week i should be back into “I’ll Cry.” BEST SONG TITLE: “We Repel Each Other” FANTASTIC AMAZING TRIVIA FACT: Annie had a baby, she can’t work no more. Wait, wrong band! –Rev. Norb (In The Red)


REALLY RED:
Teaching You the Fear: CD
Where do we begin with this record? Driven by the claustrophobia that came from living in Texas in 1981 and the paranoia of living under the threat of nuclear war, Really Red released the most haunting, ethereal music that hardcore has ever seen. I’d put them in league with the Big Boys and Naked Raygun for their ability to apply a British post-punk influence to their music in the same way that government contractors put nuclear warheads on rockets. Instead of tiptoeing around icy guitars like Wire, they barreled through their songs full-force, with the result being chilling and menacing instead of artsy and detached. Lyrically, they were, hands-down, one of the best, most caustic political bands ever. While other bands of that time period were either accusatory (like MDC) or concerned with pushing people’s buttons (like the Feederz), what Really Red brought to the table was sheer focused rage, and it’s as vital today as it was over twenty years ago. Essential. “For what you are, I could spit in your eye…” –Josh (Empty)


RAKING BOMBS:
Self-titled: CD
Arty noise that was about as exciting as a macramé contest. –Jimmy Alvarado (rakingbombs@hotmail.com)


RAG MEN:
self-titled: CD
Tough-guy hardcore. One guy’s named “Bulldog.” –Megan Pants (Eulogy)


Q AND NOT U:
X-Polynation: CD EP
These funky songs don’t fall that far from the tree of The Rapture, Hot Hot Heat, Radio 4, etc. – or the rest of Q And Not U’s work for that matter – but damn if they aren’t some of the most enjoyable post-punk I’ve heard in a while. –Puckett (Dischord)


PRACTICE:
More Practice: 7”
This seven inch starts off with a Chip Hanna-style marching drum beat. It’s almost enough to make you think you’re listening to an old US Bombs record. Then the guitars kick in and you’re in for something completely different. I hear touches of the second Clash album, of Dillinger Four basslines, of punk rock that’s poppy without being Ramones influenced pop punk, of so many influences, really, that it makes the songs very original. Like the first Practice seven inch on Snuffy Smile, More Practice has three amazing songs that make me want ten more. –Sean Carswell (Snuffy Smile)


PONYS, THE:
“Wicked City” b/w “Little Friends”: 7”
Simple, thick-guitared punk with a bit of Richard Hell in the vocals; could easily have come out of New York in the late ‘70s. It would have been a little too poppy to have hit the Killed by Death lists, but people would still be listening to it now. Solid. –Cuss Baxter (Big Neck)


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·Razorcake Podcast #51


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