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Razorcake #84
Tim Version, Ordinary Life LP + bonus 7"
Radon, 28 LP
Zisk #25
Razorcake #83


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No Idea Records

Record Reviews

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DEM NASSTY HABITS:
Self-titled: 7”
If you’re hearing this music, you are one of three places: a fucked up junkie warehouse with a practice space, some shit hole where you can smell the urinal from your seat at the bar, or working next to this girl who I used to work with and her GG/Mentors tape has just finished and this is the next thing to come on. Super lo-fi, what I call “Three F’s” punk. The three F’s are of course “fucking,” “fighting,” and... um… “finding and then doing drugs.” Tolerable moments are the Fear and Supercharger covers. –Steveo (Die Slaughterhouse)


DEMANDS:
Piss on Your Wounds: Cassette
Some current DC hardcore—fast and earnest and angry. Every song an epithet— lashing out at falseness and weakness—in personal life and broader humanity alike. It owes a lot to classic hardcore with its slam pit-centric, speedy riffs and pounding drums. I’d like to see them change it up a bit and add a few more elements to their songs, but if you just want fast and angry, you’ll find a bunch of that here. –Craven (self-released, jamesdoubek@gmail.com)


DEMANDS:
Self Inductance: Cassette
Some nasty d-beat hardcore. Primal, gasping, deep-throat vocals, beefy metallic guitar, maniacal drums. Demands lists Agnostic Front and Deaththreat as influences, but it reminds me more of the fastcore of lore, think of an über bro’d-out Vitamin X. Feel like punching the world in the face but your existential self is just too sloth to give a fuck? This might be your soundtrack. –Camylle Reynolds (Self-released)


DEMENTED ARE GO:
Hellbilly Storm: CD
Hooray. Yippie. Huzzah. Yawn. This album from the debatable progenitors of psychobilly is one of the better psychobilly comeback endeavors; their musicianship has been honed and perfected but their voices sound just a tad tired. Demented Are Go is still doing the mutant zombie demon gore thing, but there are a few exciting treats that are just so good I’m almost in favor of this album. Although the lyrics are still about getting drunk, gore, skating and the bourgeois, some of the music is just so damn catchy. Now if there were just a little more. –Jessica Thiringer (Hepcat)


DEMENTED ARE GO:
In Sickness & In Health/Kicked out of Hell: CD/CD
Most known musically for their scratching vocals, deliberate and twangy guitar, and disciplined bass control, DAG are one of the founding members of British psychobilly. Mark Philips’ heavily partied, panty-creaming, baritone voice is one of the most imitated today. They pushed the envelope on gory and perverse lyrical content and perplexed audiences with their often gender-bending appearance. In Sickness & In Health is their first long-player, released in 1986 on ID Records. It includes favorites like “Pervy in the Park,” “(I Was Born A) Busted Hymen,” “Holy Hack Jack,” “Rubber Love,” and “Don’t Go in the Woods.” Kicked out of Hell is a reissue of their second full-length album, originally released in 1988, also on ID. Includes standards like “Satan’s Rejects,” “Cripple in the Woods,” and “Cast Iron Arm,” and some of my own favorites, “Shadow Crypt,” “Old Black Joe,” and “Vietnam.” Both albums are excellent reminders that psychobilly is a culmination of a decades of influences and musical talent beyond merely sick, sloppy, fast, and out of control.  –Jessica Thiringer (Anagram/Cherry Red)


DEMENTED ARE GO:
The Day the Earth Spat Blood: CD
This band sounds insane. The singer growls and cackles over drums that sound like they’re coming from some cobweb-covered tomb somewhere. The guitar is a bearded hydra breathing fire into every shadowy corner that the bass rumbles around in. Unnerving asylum laughter and multi-personality ramblings ebb and flow out of songs at random points. At times, it sounds like it’s standing behind you, just waiting for an opportunity to put its thick hands on your head and crush your skull, not even understanding how serious the crime it’s committing really is. The reissue of this psychobilly album from ‘89 comes with a bonus live set that was previously released in ‘90. –MP Johnson (Cherry Red)


DEMENTED ARE GO:
Live and Rockin’: CD
I remember Gator from the long-gone Bea Pickles playing these guys for me on the way to a scooter rally both our bands were playing and wondering how that singer managed to do that with his voice. Seriously, it sounds part Tuvan throat singing, part tracheotomy side effect, and it fits the band’s variation on the psychobilly template just fine. This is a reissue of a live album originally on Link Records, featuring the band tearing through songs with such charming titles as “Human Slug,” “Pervy in the Park,” “Sick Spasmoid” and “Anal Wonderland.” The performances are spirited, the tempo revved up, the sound great, and the band in very fine form. Can’t ask for much more than that, I reckon.  –Jimmy Alvarado (www.cherryred.co.uk)


DEMENTS, THEE:
No Job, Blowjob: 7”
These two guys sure did tap into something with the name of this record. Some people just seem to think it’s the funniest thing they’ve ever seen. Equals parts dementia and the realistic boundaries of “what is music,” they concoct a rather hearty stew with the ingredients being: acoustic ukulele / guitar, theremin, vibraphone (whatever that is), and their own voices. It’s a crunchy sound, made for people who like things a little on a strange and silly side. Contains ex-members of the Ultra Twist. –Daryl Gussin (Bubca)


DEMENTS, THEE / NUMBER 71 MONOBANDS:
Split: Cassette
Thee Dements have a nice thing going on—very much camped out in the lo-fi, spastic garage rock vein, light on the distortion and heavy on the sass. It’s mostly a little too goofy for me, but they’ve got some real moments of magic, like with the oddly convincing “Keep Droaning On” and “You Are a Fool”—where they channel a weird kind of 1960s Animals-like somberness. Surprising; it really shouldn’t work but it does. Number 71 Monobands, however, doesn’t fare nearly as well—this one-man band sounds like the sabertooth tiger from the Flintstones found a kickdrum and learned a few blues riffs, or the Almighty Do Me A Favor guy doing mescaline with the Tasmanian Devil until they both wake up the next day with weird, embarrassing tattoos. That may sound great, but trust me, it isn’t. –Keith Rosson (Bubca)


DEMENTS, THEE /NUMBER 71 MONOBANDA:
Split: Cassette
California band, Thee Dements sound like Brak from Space Ghost singing for a sloppy garage punk band doing a show in an empty oil barrel. Number 71 Monobanda is a one-man band from Italy that sounds like Grape Ape singing. I thought this was some weird outsider music, but through some quick googling, I found out that a lot of people like these bands. So I guess I just don't get it. –Craven (Self-released)


DEMERIT:
Bastards of the Nation: CD

 

While I thought it was cool getting to check out a hardcore punk band all the way from China, slick production work by Brian Hardgroove (Public Enemy), and nice packaging were not enough to save this album. Demerit is a band with an identity crisis. This album sounds like the band couldn’t figure out how they wanted to sound or what genre they wanted to play, so they wrote separate songs for each of the genres they like. This gives the album a disjointed feel, like a really bad compilation, not an album. There’s some ‘80s NYHC-style songs, some oi and street punk songs, and some straight-up ‘80s metal, with an acoustic jam closing the album. With such radically different sounds to each song—and none of them particularly memorable—this album flounders around as if in search of musical direction. If Demerit ever finds such a direction, they will be a force to be reckoned with, but this album is lost, and should stay that way.

–Paul J. Comeau (Tenzenmen)


DEMERITS, THE:
Shake It: 7”

Title track is a primal stomper long on attitude and short on pretense. Flip is along the same lines, with lyrics providing a snapshot of life in a band.

–Jimmy Alvarado (Mooster)


DEMINER:
Woes and So's: CD
Pretty generic power-pop without much power? or hooky-ness to make it pop, which doesn't leave you with much. –Megan Pants (Johann's Face)


DEMINER:
Woes and So’s: CD
Deminer incorporate an incredible amount of bits from the ever-changing, but consistently recognizable Chicago sound. They’ve got hummy bits that’d be at home with the Alkaline Trio, a small bead of Pegboy’s sweat streaming down their face, the sonic forearm force of the Arrivals. Even the sweeten, derelict pop of Lynyrd's Innards. With that said, as a whole, Deminer lacks sinew. So many parts are there, but they seem just a little disjointed and just don’t seem connected for maximum force, like they’re trying too many things at once, instead of stewing in their own musical juices for longer. Five fingers vs. a fist type thing. But, since, they seem Chicago-centric in sound, I’m putting my bids in for more Effigies and more Naked Raygun in the monitors. I won’t count them out in the future, but I wasn’t blown away by this CD.  –Todd Taylor (Johann’s Face)


DEMINER:
Woes and So’s: CD
Pretty generic power-pop without much power… or hooky-ness to make it pop, which doesn’t leave you with much. –Megan Pants (Johann’s Face)


DEMOLITION DOLL RODS:
There Is a Difference: CD
Joyful, primitive sounds soaked in whiskey and sleaze. The drumming is so simple you’d think Mo Tucker’s mongoloid brother was thumping out beats behind the kit. Plenty of guitar fuzz and soulful, Joplin-esque vocals make this sound like a greasier version of the Subsonics. There is a Difference is a celebration of the carnal, a lusty, punk blues explosion of sex and rock’n’roll. Recommended. –Josh Benke (Swami)


DEMOLITION DOLL RODS:
There Is a Difference: CD
Swamp-blues swagger that plods along at two miles an hour. I don’t know, like if the Muffs and/or the Detroit Cobras were collectively hit by semis, dragged along the freeway past a few exits, subsequently hurled into the ocean and hauled to the sea bottom by turtles? The point is: it’s slooow, damaged and, yeah, torturous. I’ve heard the name for years, and they’re on Swami, so there must be tons of kids who dig the slop-savant, I-could-walk-faster-than-this rock they’re peddling, but I’m not one of them. There are a few moments on here (“Lil’ Naked” resonates eerily like something from Horses-era Patti Smith), but the good just doesn’t come anywhere near outweighing the awful. –Keith Rosson (Swami)


DEMOLITION DOLL RODS:
On: CD
Haven’t heard from these kids in a while, so this ‘un was a nice surprise this review cycle. They’re still serving up healthy doses (twelve of ‘em this time) of blues-inflected, post-Cramps sludge rock, and the world is a better place for their efforts. Included this time ‘round is a decidedly e-vile cover of “Big Rock Candy Mountain.” Recommended. –Jimmy Alvarado (Swami)


DEMON CITY WRECKERS:
Inner Demons: CD
I rolled my eyes. A psychobilly/punk band with a blank-city-noun name. What will they sing about? Aliens, zombies, necromancy, surfing on Mars, and maybe a murder or two after a trip to the asylum? Au contraire, this is good. Really good. Not perfect, but they will be—and soon. This Tucson foursome is creepy but not campy, disturbed but not mental, deeply pained and tightly wound. Their pressure-cooker steam is slowly relieved—a controlled explosion, a slow burn, cathartic. Vocally reminiscent the Murder City Devils, the Demon City Wreckers blow past the pretentiousness of the usual RAB/psycho outfits while still incorporating the expected elements—a steady rhythm section (the stand-up player actually knows more than one bass line), metallic guitar, and heady, emotive vocals, albeit a bit strained at times. But it works. Deep, throaty, rumbling, tight, and mesmerizing from numerals I to X. Catchy and rockin' on "Left for Dead," driving and pounding on "Inner Demons" and fantastically "Love You to Death"-esque (Meteors) on "Thirty-ninth and Norton," presumably the homicide song. ("The sun came up today, as I drove away, I think they just found out about me. Blood stains on dirty sheets, rolled up in my back seat.") Should they be graced with fortitude (and better production), they'll be around blasting your ears for years. My kind of rockin'. –Jessica Thiringer (Psychobilly US)


DEMON SEEDS, THE:
Have a Date with Death: CD
Three fresh-faced, mostly clean-shaven Bostonians (two of them from Crimson Ghost) and a cherub-cheeked twenty-something gal (Is she the Farfisa-ist or the model?) holding a giant plastic scythe, punch out thirteen (sigh) evenly toned, evenly spaced, evenly timed rehashed college-town surfabilly. Monotone and dreary, like Pleasantville before Reese Witherspoon. –Jessica Thiringer (Necro-Tone)


DEMONI:
Surfin with Demoni: 7”
Is it a compliment to say that something is competent? Hmmm. Maybe not. In that case, this record contains two songs worth of ultra-competent surf. Put it this way: If you close your eyes and listen, you might not be able to picture a bunch of demons surfing the ocean triumphantly with the full moon at their back (if you open your eyes and look at the cover, you’re cheating), but you might get a glimmer of an image of a not-too-rotten zombie paddling his board lackadaisically across Lake Michigan or something. And that’s kind of okay too, right? –MP Johnson (demonipsycho.com)


DEMONI:
Dawn of Demoni: CD
I wonder why so many rockabilly or psychobilly bands end up going the horror route? Don’t get me wrong, I like the genre for the most part, and I love horror... It just seems like it is truly done to death. Demoni do it just fine, but it has trouble holding my interest. –Ty Stranglehold (P.I.G.)


DEMONI:
Surf City of the Dead: CD
This horror surf is well played but not particularly horrific. I think if I were to listen to this strictly as surf music, I’d be more excited about it, but that’s not possible, because they really brand themselves as a horror surf band and set the expectation that the horror genre really feeds into what they do. However, aside from naming songs after horror movies, they really fall short on the scary side. For example, the first song is entitled “Session 9,” presumably after the dark, relatively subtle modern horror flick. The song is all rollicking and bright and I don’t see the connection at all. To be fair, I’m more of a horror fan than a surf fan, and I wouldn’t be surprised if those whose taste is tipped in the other direction loved this. –MP Johnson (1332)


DEMONICS:
Hot Rod Pussy: CD
This band is a bit of a guilty pleasure of mine that appeals to my puerile inner horror kid. With its obsession with fast cars, fast women, and monster movie ephemera, they manage to mine the same influences as the Queers and Sloppy Seconds and come up with something similar to both bands, but not so much to sound like another cheap rehash.  –Jimmy Alvarado (www.aliensnatch.com)


DEMONICS, THE:
Ritual on the Beach: CD
Punky rock’n’roll with a surf theme this time out. Their sound is a little too “clean” for my taste, but the tunes themselves weren’t too bad, especially the surf instrumental, the duet with Nikki Corvettte and the cover of “Aloha Oe.” –Jimmy Alvarado (Coldfront)


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