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· 1:#331 with Mike Faloon and Todd Taylor
· 2:One Punk’s Guide to Poetry
· 3:#332 with Kurt Morris
· 4:Top 5s from Issue #81
· 5:Marilyn Thunderhorse Interview


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Razorcake #82
Hurula, Vi ar manniskorna vara foraldrar varnade oss for LP
Razorcake #81
Razorcake Ouija Slip Mat
Nights and Days in a Dark Carnival by Craven Rock


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No Idea Records

Record Reviews

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ONES, THE:
Self-titled: CD
This was on and off for me. The opening track “Yeah, You Make It,” is so catchy in that ‘70s pop kind of way that gets me so easily. Other tracks seem to fall a bit flat and into boring territory. When it’s good, I want to hear more, when it’s not, I barely know it’s there. –Megan Pants (Wax Vaccine)


ONES, THE:
Shame Shame Shame b/w Tunin’ in Tokyo: 7”
I can’t tell if they’re trying out some originals before they go full-on into their six-hour rendition of Zappa’s “Plastic People” or if they’re just trying to get airtime on their local classic rock station. Either way, there’s just way too much of a flagrant “we’re a quirky rock’n’roll band, look at us!” feel to this thing. You know how the Murder City Devils almost had a convoluted Lynyrd Skynyrd southern rock approach on some of their later songs? Post In Name and Blood, I mean. Well, consider the Ones to be the Murder City Devils Ultra Lite. All the weirdness with none of the threat. I feel bad for the guitarist; he’s wearing a Poison Idea shirt and you can’t help but wonder if a band of this nature is particularly suited for a guy who would wear something like that. (Endnote: I just read a review of this record in MRR and it turns out a guy in this band actually was IN Poison Idea. Not sure what he’s doing in this band, but one does wonder. Helping out a sick friend live out his last dream of rock’n’roll stardom? Fulfilling his community service obligations? Regardless, knowing at least one band member’s pedigree still doesn’t manage to improve this record, even a little.) –Keith Rosson (Snakehead (no address))


ONES, THE:
Self-titled: CD + 7”
A reissue of the band’s “one” and only 7”, “Short Dress,” b/w “Tight Rope,” plus a full CD of other stuff ((take that, Razorcake formatting conventions!)) this 1978-80 Milwaukee band slots in nicely as the regional proto-punk equivalents to La Peste when they’re at their most sophisticated ((“Tightrope,” “All Screwed Up,”)), to the Dictators when they’re at their dumbest ((“Short Dress,”)) and Unnatural Axe all the other times ((“The Dog Said Yeah,” “Disco Sucks”)). I trace this Boston-heavy evolutionary pattern back either to the Boston Braves’ move to Milwaukee in 1965, or irrepressible global zeitgeist, take your pick. Either way, this is a Levi’s®-load of solid rock-punk from dudes who look like Metal Mike used to look in the ‘70s! Thanks to extensive liner notes, my only question is where does Jason Ross FIND this shit??! BEST SONG: “I’m Normal/No Turn on Red.” BEST SONG TITLE: “The Dog Said Yeah.” FANTASTIC AMAZING TRIVIA FACT: The single was originally released on Blue Ribbon Records, which appears to be the first time, to my knowledge, a punk band co-opted the Pabst™ logo for their own devious ends. –Rev. Norb (Rerun/Hyped To Death)


ONETHIRTYEIGHT:
The Sister: CD
Every now and then something makes it into the review pile that is so weird it defies categorization. The cover makes this look like the work of some third-rate black metal garage band, but sounds like a Godspeed You Black Emperor-penned soundtrack for one twisted fuckin’ movie. Titles like “Squid Boy” and “Sssix Foot Albino Penguins” are coupled to music that is more exercises in atmospherics than “songs,” all of which are delivered via assorted xylophones, acoustic guitars, keyboards, bass, drums and weird-ass vocals. All this, of course, adds up to a listen not only worth the effort, but I can safely predict will be one of the most original things you or I will hear all year. –Jimmy Alvarado (Tuesday’s Music)


ONETHIRTYEIGHT:
London Transmissions: CD
Spooky loops, mad scientists, surf riffs, spider babies, floating tea cups, disembodied organs, creaking doors, lost transmissions, and a whole lot of weird shit from this English band that’s really into making videos overloaded with creeped-out kitsch. –Jim Ruland –Jim Ruland (Self-released, onethirtyeight.co.uk)


ONEWORDSOLUTION:
Portrait of a Decrepit Nation: CD
Pitch perfect hardcore with all the knobs set just the right way, all the right notes hit, and the band playing with perfect precision. Makes me pine for the sloppy glory of bands like the Fuck Ups. –Jimmy Alvarado (www.dedicatedwreckers.com)


ONEWORDSOLUTION:
Impasse As A Failsafe: CD
By all rights I should love this band. They’re fast, tight and wear their politics on their sleeve. Truth is, though, they bug the shit out of me. The whys and wherefores are pretty simple: they’re too goddamned perfect. Every note is in the right place, every pitch is perfect, and not a fuck up can be found anywhere. If ProTooling the fuck out of a record effectively zaps it of all that makes it worthwhile, ProTooling the fuck out of a hardcore record is the kiss of death. These guys have clocked in another album that sounds wholly devoid of any of the passion, anger, frustration or excitement one should feel when playing it, let alone performing it. Ultimately, for all its bluster and flashy drum rolls and screaming guitars and color-by-numbers hardcore song templates, this is about as dangerous and threatening to the social order as Hello Kitty, or Seals and Crofts. –Jimmy Alvarado (www.fingerrecords.com)


ONEWORDSOLUTION:
Portrait of a Decrepit Nation: CD
Pitch perfect hardcore with all the knobs set just the right way, all the right notes hit, and the band playing with perfect precision. Makes me pine for the sloppy glory of bands like the Fuck Ups. –Jimmy Alvarado (www.dedicatedwreckers.com)


ONION FLAVORED RINGS:
Two Minutes' Enlightenment: LP
That first Onion Flavored Rings album didn’t leave my turntable for a long, long time. There was something about the way that fuzzy, sloppy pop tumbled out of speakers on top of some of the most self-loathing lyrics I’ve ever heard. So right away, Two Minutes’ Enlightenment has a tough act to follow, but they pull through pretty well. I think I still like the first one better, if only for the rougher production and sloppier, more enthusiastic playing. All the elements of their old stuff are still there, just polished up a bit more—not a bad thing, but it’s like getting Eternally Yours when you’re expecting (I’m) Stranded, you know? Still, they’re one of the best bands to come out of the East Bay in recent years (you can practically smell the El Farolito burritos while this record is playing) and this is a really good album. –Josh (No Idea)


ONION FLAVORED RINGS:
Perfect Evolution: 7”
Thanks you OFR for writing a conceptual 7” about the nothingness that is our life, and on top of that, orchestrating it with your own brand of jangly, melodic punk. And while I truly love the directness of older songs in regards to their topics, the vastness that they seem to be discussing in this 7” is much more lofty yet still applicable. It is hard for this band to do anything I don’t like. Its realist outlook on life and its authentic take on punk rock have always been great. –Daryl Gussin (Thrillhouse)


ONION FLAVORED RINGS:
Used to It: LP
I put this record on the turntable and proceeded to pogo around my too-small-to-accommodate-pogoing apartment and it was all fun and games until I crashed into my bike and woke up the neighbors. If you have a full range of motion in all four of your limbs, get this and you will most likely do the same except for the crashing part. –Not Josh –Guest Contributor (S.P.A.M.)


ONION FLAVORED RINGS:
Funny: 7"
Science me this: is there a process or a material that instantly converts light rays into dark voids? Maybe something that turns bubblegum into lumps of coal? Because if one was to listen to solely Onion Flavored Rings’ music and the lyrics were indistinguishable, one could make the argument that this 7” is one, big, fuzzy teddy bear that inhales cotton candy and poos glitter puff paint rainbows. Yet, this is not so. The lyrics are bleak, broken, and destructive. Relationships are holocausted left and right and the radiation continues to sicken even distant memories. Just change the color of a condiment and it fundamentally changes. Funny is the black tartar sauce of pop punk and it’s Onion Flavored Rings’ swan song. OFR are dead. Long live OFR. –Todd Taylor (Thrillhouse)


ONION FLAVORED RINGS:
Funny: 7”
Funny has instantly appealing sing-songy tunes anchored down with the weight of morose lyrics. These tunes’ ingenuity captures life’s dichotomy of happy and sad. On one hand, Onion Flavored Rings’ guitar riffs make me feel super happy and carefree, like I was fourteen years old again and listening to early Green Day for the first time. On the other, scratch just beneath the surface of their sugar high riffs and you’ll find things are a bit more serious and not quite as happy as they appear. Take the poignant song, “Gurgle + Coup” about the birth of a child: “For you the flower of youth is blossoming; ‘Scrap Heap of History’ for me.” It’s songwriter, Steve Funyon, musing of how the happiest moments in life are truly the ones that bring the most suffering and frustration. This plays out through the entire EP. In the track “Running Away,” the happiness of one lover’s freedom is the anguish of the other one’s loss as the chorus explains, “You’re running away, Now it’s your moment: Free from underneath the thumb of torment. And your success now, Is my catastrophe.” Musically, the band never seems to seep down into a minor key anywhere. All five tracks come across rocking out—really up beat—like an Egghead or Nerf Herder tune. I don’t’ think any other band possesses the ability to make life’s mishaps sound so happy the way the Onion Flavored Rings does. This is one 7” worth getting. –N.L. Dewart (Thrillhouse)


ONION FLAVORED RINGS:
Unraveling the Past: The First Two Records on One Tape!: cassette
At last! Another way to listen to one of the best bands in the past decade! Two albums on one cassette! My enthusiasm is not muted by the fact that one of these albums has already been released on cassette! No, this band is so amazing that the mere existence of anything Onion Flavored Rings is the cause for great rejoicing! If you haven’t heard this band, allow me to suggest that your present situation is not unlike that of a person who has not heard Dillinger Four or Radon or Screeching Weasel or, dare I say it, Hüsker Dü. You have not heard Steve Funyon sing about quantum physics (“Now we’re in a universe expanding/And it might expand until forever/Or it might collapse back into nothing/But what did the Big Bang bang on?”)! You have not heard the perfection that is Mr. Funyon’s vocals, Erick Lyle’s (formerly Iggy Scam) drumming and Paul Curran’s bass playing and back-up vocals. The general pop-driven nature of this band might lead a casual listener to overlook the dark lyrical content (for example, “I like you to think I hate everyone/But I just hate myself.”), but that’s what makes the Onion Flavored Rings more than just another SF punk band. You can listen to this when you’re happy and want to host an impromptu one-person dance party or you can listen to this when you’re so depressed that you don’t even want to eat Lucky Charms. It’s dark, it’s poppy, it’s introspective. It’s one of my top ten favorite bands of all time. Did I mention that I love this band? –Maddy (Dead Broke)


ONION FLAVORED RINGS / THE FUTURE VIRGINS:
Split: 7”
When I was a kid, I went through a stage where I’d wear a tie with a sweatshirt and sing the soundtrack to Godspell. I hope some kid out there is doing the same nowadays, but their clued-in parents have been following the anti-cult stylings of Onion Flavored Rings. For such Parasites-sounding poppiness that’s coming out of the speakers, there are some bleak, existential, what’s-the-point? we-all-become-dust lyrics that pervade their two songs. (“Like a raindrop/ All alone I’m falling.”) The Onion Flavored Rings have been a slow grow for me, but I’m warming up to them due to that dynamic. Gives ‘em a little depth. The Future Virgins: I hope that this doesn’t sound creepy, but if I’m sure that the world’s gonna end at a specific time, I’m going to crank the Future Virgins and shoot myself in the head in the middle of one of their songs. Might as well die happy, screaming along with the endorphins pumping: the perfect blend of ache and joyousness, of The Bananas and rat-tumored, bring-more-beer Chattanooga, of experience gained by royally fucking up in the long run for all the right reasons. The cover art has me scratching my head, though. –Todd Taylor (1234 Go!)


ONIONS, THE:
“Alien Astronaut” b/w “Till the End of the Night": 7”
…I like head onion/onion head Brad X ((you might remember him from such movies as Last Sons of Krypton and The Smuts)). He’s kind of an abrasive fuck, but he lives his life solely for purposes of getting wasted and creating rock ‘n’ roll, and that is a noble state of being, as far as i can tell. “Alien Astronaut” sounds like Crime doing a post-first-two-albums UK Subs cover; “Till the End of the Night” is a smashy cock-rock number about how Brad likes to drink beer, smoke weed, and drink shots. Nice sleeve. I think I’ll wear it on Halloween and scare the neighbor kids. BEST SONG: “Alien Astronaut” BEST SONG TITLE: “Alien Astronaut” FANTASTIC AMAZING TRIVIA FACT: This record is on colored vinyl, but i would be hard-pressed to state what exactly color it is. –Rev. Norb (Certified PR)


ONIONS, THE:
Self-titled: CD
I like the Onions and all, but if you get this CD, you’d better REALLY like Onions, because it’s like eighteen songs and over fifty minutes long. Eight originals and ten covers ((Fun Things, 999, Hüsker Dü, Boys, La Peste, Flamin’ Groovies, Blue Cheer, etc.)), unless you count the Last Sons Of Krypton cover as a cover, then the ratio is 7:11, and there’s probably a song in there somewhere. This release kindly supplies the listener with live-ish sounding recordings of not only older, more direct punk stuff like “Left My Baby at the Laundromat” and “Unsustainable Lifestyle,” but their newer, more hairy material like “Alien Astronaut” and “Till the End of the Night” as well. It’s kinda handy that they put what one’d imagine is pretty much every song they know on one convenient aluminum wafer, but, fifty minutes into it, you might be ready to hold the Onions for a while. BEST SONG: This is kind of cheesy to say, but i think it might be “Left My Baby at the Laundromat.” I like “40 Below,” too. BEST SONG TITLE: “Oh Baby Yeah Baby” FANTASTIC AMAZING TRIVIA FACT: Contains the 45 versions of “Alien Astronaut” and “Till the End of the Night” as hidden bonus tracks. –Rev. Norb (Certified PR)


ONIONS, THE:
“Alien Astronaut” b/w “Till the End of the Night”: 7”
Solid 7”. As the name implies, “Alien Astronaut” has a science fiction feel to it. The track’s heavily-phased guitar and subject matter leads me to believe The Onions are big fans of the Necessary Evils. “Alien Astronaut” has a really fucking vicious vocal delivery—not quite Tomata du Plenty heavy (what is?) but not too far off either. B side is chockfull of Johnny Thunders riffs and is nearly as cool as the A side. Added bonus: cover art by Bob Scott (Mongrel Zine rules). Recommended. –Ryan Leach (Certified PR, certifiedprrecords.com)


ONIONS, THE:
Self-titled: LP
These guys have been around for a while, pounding out their take on the beer-swilling, KBD-inspired garage punk’n’roll. If that’s your thing, this fourteen-song LP will not disappoint. Of the songs on here, two feature vocals by fellow Wisconsinite Rev. Nørb of Boris The Sprinkler. This is totally solid, no-frills Midwestern punk rock, completely and totally DIY, and limited to three hundred copies. –Mark Twistworthy (Brad X, bradxtapesondemand.webs.com)


ONLY CRIME:
To the Nines: CD
This is a band featuring All/Descendents drummer Bill Stevenson providing the backbeat, which means that the proceedings are wound tighter than Tarantino on crank. The pop quotient isn't as overt here as in his other more famous bands, but these guys have more than their share of hooks, even if they're sneakier about how they unload them on an unsuspecting listener, and are capable of some pretty solid tunes in their own right. –Jimmy Alvarado (Fat)


ONLY CRIME:
Virulence: CD
Here’s another recent punk rock super group, which features members of Good Riddance (who I was kinda into in high school), Bane (who I wasn’t really into much in high school), and Descendents (who I was way into in high school). As you can imagine, this sounds like a culmination of all the members’ previous bands mixed together, and I’ll say that it’s best moments are like if later era Black Flag got into a fight with later era ALL songs and completely beat the shit out of them (but did so in the best possible way), leaving you with something that keeps a great balance between catchy, frantic pop punk—that is still a bit pissed off and unsettling—yet keeps a decent groove, and, frankly, is just a bit fucked up (again; in the best possible way). I’m glad this got sent my way. –Joe Evans III (Fat)


ONLY CRIME:
Virulence: CD
This is the second release from this super group comprised of members of Good Riddance, Descendents, Bane, Converge, and others. Much improved from the first, but carries on the sound of a heavier Good Riddance, due to Russ Rankin on vocals. It’s a combination of melody with the punch of hardcore, meeting rock power. The guitar work is more adventurous with accents and more dissonant notes to add to the layers of the songs. The production is strong, making the songs come across solid and easy to listen to. I like it when you can hear every instrument in the mix. Consistent from start to finish. Listened to this more than a few times and I can say personally that it was an enjoyable listening experience. –Donofthedead (Fat)


ONLY CRIME:
To the Nines: CD
A new all-star hybrid has been created. Russ Rankin of Good Riddance fame searches for an outlet to express himself when an impending hiatus of his band is imminent. He first finds a taker in Aaron Dalbec of the band Bane. There is the first guitarist. Next, the brothers, Zach and Donivan, from Hagfish add another guitarist and bassist. So while a band is being created, Russ has a conversation with Bill Stevenson about his project. Biff, bam, boom! He is interested and now the project is complete with the addition of Bill on drums. I was apprehensive of this record at first. High expectations can taint the first listen. So I held back for awhile before listening. On first listen, this band sounds very similar to later period Good Riddance. I was expecting more of a metal, hardcore sound from the guitars. But, the thought here is more of a Black Flag meets Bl’ast! sound that Good Riddance was gravitating to. Heavy, without going into the trappings of playing metal. If you pay attention to drumming in recordings, the drumming is amazing. Bill is a banger, and at the same time, a technician. The rest of the band has the sound of a band playing together for many years even though they have been together for less than one. My thinking is now that Good Riddance is no more, this new band will carry on, leaving no regrets for the demise of its past music. –Donofthedead (Fat)


ONLY CRIME:
To the Nines: CD
A new all-star hybrid has been created. Russ Rankin of Good Riddance fame searches for an outlet to express himself when an impending hiatus of his band is imminent. He first finds a taker in Aaron Dalbec of the band Bane. There is the first guitarist. Next, the brothers, Zach and Donivan, from Hagfish add another guitarist and bassist. So while a band is being created, Russ has a conversation with Bill Stevenson about his project. Biff, bam, boom! He is interested and now the project is complete with the addition of Bill on drums. I was apprehensive of this record at first. High expectations can taint the first listen. So I held back for awhile before listening. On first listen, this band sounds very similar to later period Good Riddance. I was expecting more of a metal, hardcore sound from the guitars. But, the thought here is more of a Black Flag meets Bl’ast! sound that Good Riddance was gravitating to. Heavy, without going into the trappings of playing metal. If you pay attention to drumming in recordings, the drumming is amazing. Bill is a banger, and at the same time, a technician. The rest of the band has the sound of a band playing together for many years even though they have been together for less than one. My thinking is now that Good Riddance is no more, this new band will carry on, leaving no regrets for the demise of its past music. –Donofthedead (Fat)


ONLY CRIME:
To the Nines: CD
This is a band featuring All/Descendents drummer Bill Stevenson providing the backbeat, which means that the proceedings are wound tighter than Tarantino on crank. The pop quotient isn’t as overt here as in his other more famous bands, but these guys have more than their share of hooks, even if they’re sneakier about how they unload them on an unsuspecting listener, and are capable of some pretty solid tunes in their own right. –Jimmy Alvarado (Fat)


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