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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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JUMP THE BLINDS:
Kill Kill Bangkok: CS
Some jittery ragers that might appeal to ‘90s underground freaks. When they go for more formal rock’n’roll structures, I lose interest. But every once in a while they hit on some Action Patrol/Jonathan Fire*Eater combo—nerd angst and slant rock and the right balance of love and contempt for the pop canon—and they seem larger than themselves. That I’m into. I hope they continue on the path of “93 Lumina,” or even better, “Pest” (from their Hooker Chemical record, included in its entirety on side B). I kind of hope they change their name, too, but that’s neither here nor there.  –Matt Werts (Drug Party, drugparty.storenvy.com)


ACID FAST:
Last Night on Earth: LP
Not immediately catching, but like the feeling you’re left with after your best friend goes home after a sleep over, you’ll flip it over and over, anticipating the needle drop as much as the next friendship overnighter. Open and warm, an LP to float through the window leading to the porch on a sun-beaten summer day. Not breezy tunes, but tight music made by and for tight friends. Harkens to early ‘90s Gainesville or Midwest basement shows. Unafraid to get weird, get dirty, or put their heart on the line. Take this album to your next grill and chill punk party.  –Matt Seward (Salinas, salinasrecords.com)


ACOUSMA:
2nd EP: 7"
Absolutely blistering hardcore from Nova Scotia. Hits me like a leaner, meaner Asshole Parade. All four tracks represented here sound as if someone snuck in the control room during recording and turned the knob labeled “brutal” up to ten. Also worthy of mention is the seriously wonderful art contained on the cover and included lyric poster. Top notch and highly recommended.  –Garrett Barnwell (High Fashion Industries)


ADVLTS:
Black Bile: 7" EP
This is grimy-sounding punk rock with echoes of late ‘70s punk. The songs include the requisite guitar feedback of that style—though I can still hear the drums and bass—and I enjoy that quite a lot. My one complaint is that there isn’t much variation in style—which, when I think about it, isn’t a true complaint because I like grimy-sounding punk rock. That being said, this EP comes with a digital download code, which is cool.  –Becky Rodriguez (Firestarter / Toxic Pop, toxicpoprecords@gmail.com, toxicpoprecords.com)


AH FUCK / RUSH AWESOME:
Split: CS
Ah Fuck: guitar and bass accompaniment to a dystopian future where technology has outsmarted itself. Agonized vocals echo in and sit down next to you to share in your frustration and to remind you that life is meaningless but beautiful. Rush Awesome: droplets of colorful sound bouncing off your brain before leading you into a labyrinth of perpetual ambient bliss. Expert use of tape looping reveals true artistic craftsmanship. Fucking brilliant through and through.  –Juan Espinosa (Gilgongo, gilgongorecords.com)


JAVIER ESCOVEDO:
Kicked out of Eden: CD
The latest solo effort by this Zero is a potent mix of raucous rock that reeks of late nights in Texas and New York bars, ‘60s pop, power pop, and the Dollsy punk he and his ol’ band cut their teeth on four (!) decades back. Grade-A soundtrack to drink way too much and dance way too long into the night. Never, ever dismiss the OGs out of hand, kids.  –Jimmy Alvarado (Saustex, saustex.com)


ALL BRIGHTS, THE:
...Are Wild for the Night: CD
“I just wanna girl with a coupla tits / and a sandwich in a hand basket.”Shakespeare? Lovecraft? Crass? No. It’s California’s All Bright’s. The music is tight, West Coast punk rock’n’roll, but the lyrics sound like the product of someone’s midlife crisis. This is essentially a concept album about life on the beach. It’s been done before and in much more interesting ways. Sorry to bust up the frat party, bros.  –Jon Mule (Red Scare Industries, redscare.net)


AMY O:
Arrow: CS
Amy O is the eponymous project of Brenda’s Friend collaborator and all-around adorable singer-songwriter Amy Oelsner. Featuring ten compositions that feel childlike without seeming naive, willowy without seeming insubstantial and familiar without seeming trite, Arrow tiptoes merrily along the border between top-secret diary entries and cheeky abstract poetry. Though the twee quality of Oelsner’s vocals may initially be a hard sell for some listeners, they never venture into the realm of affectation; her winning earnestness is likely to soften even the hardest of hearts. While the lead vocal is consistently strong, Oelsner’s voice paired with that of backing vocalist Madeline Robinson occasionally resembles slightly off-time double-tracking, especially when the two singers are echoing a single melody rather than harmonizing. However, when those distinct harmonies do emerge—such as on the sugary title track—they soar, improving even further with the addition of guitarist Chris Clements’ voice on the lazily wistful, twang-infused “Honeysuckle.” Overall, Arrow is another irresistible bittersweet treat from Amy O.  –Kelley O’Death (Let’s Pretend, letspretendrecs@gmail.com, letspretendrecords.com)


ANGRIES:
Hollowed Out: CS
Contrary to their name, rumors suggest that the Corvallis quartet Angries are actually really fucking nice people. Their eleven-song debut spends twenty minutes conveying well-curated rage through melodic punk rock with the barreling energy of a freight train. Moving between catchy hooks, ‘80s hardcore, and ‘90s riot grrrl vibes, Hollowed Out has something for everyone. Get your catchy gang vocals fix in “Hollow Days” and furious pit vibes from “Tolerance.” the closing track, “Raped Culture,” is my favorite and one of the most interesting tracks on the cassette. It opens with dark, disjuncted bass chords before dropping into fast, straight-ahead punk rock, eventually echoing the repetitive trope of The Exploited’s “Sex and Violence” in a punk feminist critique on American rape culture. Silver glitter cassettes, bold cover art, and a clean DIY insert make this self release feel exciting to listen to and easy to follow. While I wish the mix was a bit more bass- and drums-heavy, it will definitely stay in rotation. I’m stoked to see what these folks have up their sleeve for 2016.  –Candace Hansen (Self-released, ang-ries.bandcamp.com)


ANGRY COUGARS:
Self-titled: LP
About twenty years ago, I remember reading the liner notes to some album in which the writer related the story of how, when his uncle heard the Sonics for the first time back in the ‘60s, he jumped up, bonked a bookshelf with his head, and emphatically exclaimed “HOT DAMN! THIS SOUNDS LIKE A BUNCHA (N-WORDS)!” The writer continued by detailing that he had a similar reaction upon his first listen to whatever band it was for which he had written said liner notes, but, being a well-behaved lad, his emphatic exclamation was remiss the racial slur —his point (on which I am offering no opinion whatsoever) being something akin to, “White dudes who play raw, wild rock’n’roll don’t sound like white dudes. They sound like black dudes.” I had somewhat of a parallel experience with the Angry Cougars, although my experience was wholly devoid of real or imagined racial overtones: I had no fucking idea until I got to the second-to-the-last song that this band’s singer wasn’t a guy, and the only thing that tipped me off was a gender reference. Now, not to open up a vast and hugely boring can of worms, but, in my antediluvian reptilian forebrain, I just jumped up, bonked my head on a bookshelf, and yelled “HOT DAMN! THIS SOUNDS LIKE A DUDE!” and there was much rejoicing. Betty Machete rips shit UP, man! The drums go POUND POUND POUND and the guitar goes GNAW GNAW GNAW, and brother, you’ll have a bookshelf-shaped dent in your head right quick if you know what’s best for you. BEST SONG: “Beat Your Ass.” BEST SONG TITLE: “Bullet?” FANTASTIC AMAZING TRIVIA FACT: The vinyl has each song title etched in the wax before each song! Fucking brilliant!  –Rev. Norb (Breakup)


ATLANTIC THRILLS:
Vices: CD
Totally well-done mélange of garage, surf, and a sprinkling of psychedelia. Picture, if you will, 1967-era Brian Wilson and Syd Barrett jamming with the members of the Cramps, the Raveonettes, and the Ventures. This was just what I needed to drive away the Southern California marine-layer blues (yes, such a thing exists).  –Garrett Barnwell (Almost Ready, almostreadyrecords.com)


AUF BEWÄHRUNG:
Nachtschatten: LP
I first heard of Auf Bewährung (No Probation) earlier this year when it was announced as support to Night Birds in Frankfurt, a show I am due to attend. Internet searches resulted in me finding a gritty anti-fascist punk rock band which sounded pretty good, especially its cover of “Bonzo Goes to Bitburg.” I then get hold of the band’s new album Nachtschatten(Nightshade), and discovered that Auf Bewährung had clearly taken a couple of steps forward towards a more mature sound without losing any of its edge. The evolution is one which I definitely approve of, as the songs have better structures and have more longevity than anything else I’d heard from the group. I can’t comment on the lyrics, as my German is non-existent, but it does seem that the group has kept the leftist ideals previously espoused when checking out its social media presence. My inability to understand the lyrics hasn’t detracted from my enjoyment of this record one iota and I’m now excited at the prospect of seeing the band where I’ll be singing along as best as I phonetically can. –Rich Cocksedge (Twisted Chords, twisted-chords.de, mailorder@twisted-chords.de)


AVENUE Z:
Azimut: CD
Never in my life did I ever think I would become a fan of weirdo synthesizer music, yet here we are. Avenue Z is a French band that is predominately synth and trashy guitar-driven. If you are thinking of some unholy spawn of The Spits and Mind Spiders, you would be definitely on the right track. I am quickly becoming obsessed with this album. It is sung in French, but the lyric sheet is translated into English and Japanese. I love how the mood can switch up so quickly from track to track, from fuzz guitar spazz out to effects-laden groove trips and back again. I can’t get enough of this.  –Ty Stranglehold (Slovenly, slovenly.com)


BACKBITER:
Fvck the Bozos: CS
Gone is the pretense, gone is the pose. Now is the time for Backbiter; an unreckoned force of aggression and progression in a climate of contrived “experimentation” and calculated, genre-self-imprisoning. Like fellow Pacific Northwest bands G.L.O.S.S. and The Angries, the sound is based in straight-forward hardcore punk—but with knowledge, appreciation, and dabbling execution of the many sub-sub-genres hardcore has spawned over the decades—making the sound fresh, vital, and totally uncompromising.  –Daryl Gussin (Dirt Cult)


BACKSLIDER:
Motherfucker:: LP
Definitely interesting how they combine some serious rock swagger with down-tuned, punishing, bass-heavy mayhem and occasional blurs of metal and blitzkrieg powerviolence. Deep, nuanced recording and excellent musicianship by this trio that describes themselves as “total pain rock.” Unfortunately, the over-the-top, constipated-scary-monster vocals come dangerously close to souring the entire affair for this delicate listener.  –Keith Rosson (Six Weeks)


BAD FUTURE:
Self-titled: LP
It’s been about a year since I reviewed Bad Future’s debut album Golden Age. That album kicked my ass (and still does), as did the Nightchurch EP that followed. I lucked into a copy of this, their sophomore album, the last time I was down in Seattle. I say lucked into, not only because it is amazing, but because as of right now it has only been released in Europe. The album picks up right where Nightchurch left off. The songs are intricate, but not in a nerdy, math rock way. It’s just heavy, with lots going on. Not poppy, but very catchy. I find myself singing their songs to myself all the time. I’ve said it before, and I will say it again and again. Bad Future is one of the best bands in Seattle right now (and that is saying something, considering you can chuck a rock in the Emerald City and hit a rad bad) and it is mind blowing that this isn’t out in North America. If I had the dough, I’d be putting it out yesterday. My advice is to track a copy down as soon as you can and hope the shipping doesn’t rub you raw.  –Ty Stranglehold (Phobiact)


BAD INDIANS / MILK DICK:
Split: 7" EP
Bad Indians: Garage rock with a bit more jangle than grime in the guitars. Milk Dick: Vaselines-amateur level indie rock stuff with a bit of early Velvets peeking out in places, which might unintentionally sound kinda like a diss, but they are quite good at what they do.  –Jimmy Alvarado (Glad Fact, gladfact.com)


BAZOOKA:
Useless Generation: CD
You don’t hear a ton of modern Greek punk, but here’s one worthy of your ears. “Garage” has become a bit of a dirty word these days, and if you’re thinking the ‘90s and skinny ties, you’re all fucking wrong. I’m talking Timmy Vulgar garage, Clone Defects and Piranhas garage. Fucked-up, scary shit that sounds like people holed up with Los Saico’s records, guitars, and drugs. I’ve heard people throw around the psych label for this band, but I ain’t hearing it. Hard-as-fuck garage punk, as if one of those obscure ‘60s punk unknowns took mescaline and beat up your dad. Lyrics in Greek, translated in English. Feeling it.  –Tim Brooks (Slovenly)


BEACH PATROL:
Eudaimonia: CD
I wish I wrote reviews for Roctober, then my whole review could be “You-da-MAN-i-a!” or “Eudaimoniamania!” or even the wrestling-themed “EU! DAI-ROCKS! EU! DAI-ROCKS!” but I do not, so you’ll just have to bear with me. I don’t recall too many albums out of twenty-first century Green Bay I’ve enjoyed more than their debut, The Grass Is Always Greener Til You Get There (which, for me, came out about two or three cars ago, when these guys were either still in high school or perilously close to it), but their two follow-ups seemed to be meandering towards that sort of dull, capable, mature Americana that seemingly appeals to no one other than people who write for local music papers and members of other bands who play that sort of dull, capable, mature Americana. With Eudaimonia (it’s a Green Bay thing, you wouldn’t understand) (okay, actually it’s an Aristotle thing. You still wouldn’t understand), however, the band appears to have figured out what they want to sound like now that they’re (gak!) thirty, and, thankfully, it’s not some overly housebroken attempt at proficient mediocrity. Nay! This album is sort of like having Elvis Costello, John Cougar Mellencamp, Ray Davies, Greg Kihn, and Mike Gent imitating Mick Jagger all taking turns farting in your mouth, but the interiors of their desiccated husks are a geode-like prism of Pixy Stix filling, so you taste nothing but the hearty tang of ascorbic acid and natural sweeteners! Look! They have finally become a beautiful butterfly! ADORE THEM! ADORE THEM!BEST SONG: “Line ‘Em Up.” BEST SONG TITLE: I dunno, but isn’t it weird how “Flower in the Dark” comes right after “Standing in the Light?” FANTASTIC AMAZING TRIVIA FACT: Fuck do I hate Cooper Black. Good work.  –Rev. Norb (Barely Standing, barelystandingrecords.com)


BEHAVIOR / MAXWELL GENDER:
Split: CS
I seem to remember Behavior opening up a show stacked with chaotic punk acts and being rather impressed with their unique brand of unhinged noise punk. Their contributions on this split resemble that particular night’s performance more so than their recently released debut album375 Images of Angels which is far more artful and conceptualized. No matter, Behavior are still a genius of a band and right up your dark alley whether you’re into Brainbombs and/or Raspberry Bulbs. Maxwell Gender serve up two tracks of a very compelling take on experimental anti-music with soundscapes looped and spliced with pulsating rhythms, dark and stormy field recordings, and an overall horror/suspense film creepiness. Fans of Vatican Shadow and John Carpenter soundtracks should know what to expect. Excellent pairing of equally captivating acts.  –Juan Espinosa (Squid, squidrecords.info)


BEHAVIOR:
375 Images of Angels: LP
Do you consider Shellac’s 1000 Hurts to be easy listening? Do you crave the dulcet tones of Pissed Jeans’ rabid howls? Do you find that hardcore and punk often conform to cookie-cutter tones and arrangements? If so, Behavior might be what you’re looking for. The jagged guitar erratically screeches over the skeletal rhythm section, while the vocalist spews stream of consciousness rants: “She sells them dry paint or the marble in Athens / Thought the image of the robin was a flash of fire / We thought the clue was a solution.” Uninhibited and raw, Behavior eschews mainstream musicality and crafts noisescapes that, like a hypnosis wheel, entrance you with their atmosphere and defiant illogic.  –Sean Arenas (Iron Lung, lifeironlungdeath.blogspot.com)


BESMIRCHERS, THE:
Hard on Love: 7"
Here are some gross perverts making gross pervert music. You’ve got a couple of choices with this record. You could get all caught up in a moral quandary, questioning your sense of right and wrong as you rock out to these super fast and super tight tunes about Hitler and rape and boners and Liberace. Or you could just smash a beer bottle against your head until you’re bloody and go with the flow. Either way, the Besmirchers probably don’t give a shit.  –MP Johnson (Slope)


BLESSED ISLES, THE:
Straining Hard against the Strength of Night: CD
Straining Hard against the Strength of Night is the long-awaited first proper label release from Brooklyn shoegaze dream pop duo The Blessed Isles. You can definitely hear a lot of dark new wave influence here: Cocteau Twins, The Cure, and at times even a little Sisters Of Mercy, but freshened up to appeal to twenty-first century pop sensibilities through creative synth and vocal interplay. Beautiful arrangements cradle soft and thoughtful vocals, an aesthetic mirrored in the textural album artwork featuring lush purples and whites over dark photos of the Icelandic coast. As some shoegaze tends to do, the writing feels a little serious at times, but after working on a debut release for over three years I can only imagine the intention and contemplation that went into each detail of the production. When I was eighteen I would have totally bumped this while over-applying eyeliner in preparation of a long night of drinking wine coolers in the parking lot of the twenty-one and over indie night held at a local sushi restaurant, in other words: ambitious, nascent, pure cool.  –Candace Hansen (Saint Marie, saintmarierecords.com)


BLOOD PRESSURE:
Need to Control: LP
Another corked of a release from these cats. Full-on thrash reminiscent of early Midwestern hardcore, especially Negative Approach, with additional heaps of virulence pumped in for good measure. The band thrashes shit up while the singer howls about subjects personal and political, within and without the scene—drone warfare, police brutality, isolation, scene parasites, and so on. The kind of release that makes you look at the run-out groove and think, “Fuck, damned shame they didn’t cram even more tunes on there.” Good, good stuff.  –Jimmy Alvarado (Beach Impediment)


BLOODTYPES, THE:
Pull the Plug: CD
Remember how rad The Epoxies were? Miss them? Well dry those tears, dear friend! Fret not. The Bloodtypes fill that Roxy Epoxy hole in your heart, and with pleasure. This is the third release (and second full length) from this synth-science pop band. There’s so much crazy controlled chaos going on. Songs like “Panic” are so fast they’re likely to induce the very same feeling within you. “Going Away” is done in a call-and-response style and has some of the best vocal blasts, in my opinion. “Modern Love” taps into that piercing, melodic sound of the ‘80s, (i.e. Siouxie And The Banshees, Adam And The Ants). The titular track covers the struggle between becoming a Luddite or embracing the tech age. Based on the title, I bet you can guess which path they chose. If you’re in the mood for dancey, keyboard-riddled, sci-fi pop punk, look no further.  –Kayla Greet (Bomb Pop, bombpoprecords.com)


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