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Razorcake #93
One Punks Guide to Pinball, by Kayla Greet
Razorcake #92
Spokenest, Gone, Gone, Gone LP
Pinned In Place, Ghostwritten By LP


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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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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)


BLOODY KNIVES:
I Will Cut Your Heart out for This: CD
Tedious electro whine music. I’m not sure how they made this record without the synthesizers shorting out from all the tears. –MP Johnson (Saint Marie, saintmarierecords.com)


BOBGOBLIN:
Love Lost for Blood Lust: CD
The legacy of Devo is front and center on this one, in both Bobgoblin’s sartorial choices and the humans-converted-into-robots sound of the tunes. I loved both parts. Bobgoblin’s sound is like an unapologetically poppier (in a good way) version of Devo. Imagine the New Traditionalists-era Devo with the derisive, ironic mudslinging replaced by a more melancholic take on existence. The whole record is catchy and infectious while simultaneously grim. It was well worth my time.  –The Lord Kveldulfr (Motor Forces)


BORN DEPRIVED:
Party Hard Core Punk: CD
Figuring prominently in their logo on the cover is a pot leaf, which means this can go one of two ways: the first is that the weed could result in the band tapping into some deep pit of creativity, whereupon they push against staid boundaries and come up with truly fresh and new ideas that make it a joy to play that shit as loud as possible while screaming, “Yes, sweet minty jesus, yes! Artistes they is!” Sadly, the band under scrutiny went for option two: play loose, sloppy hardcore that sounds like most of their rehearsal time is spent trading bong rips and melting into the carpet. Funny for all the wrong reasons.  –Jimmy Alvarado (SBS, fuckyeahsbsrecords.com)


BRAT FARRAR:
Being with You Last Night: 7"
The latest offering from Brat Farrer—for those who are familiar—is more of the same quality synth punk that you’d expect. If you’re unfamiliar with Australia’s Sam Agostino (of Digger & The Pussycats fame), Brat Farrar is the moniker of his solo project (with full live band) that typically consists of him with a drum machine and tuneful, but rockin’, melodies. In the same league as Teledrome, but not quite as aggro as Black Bug. This new three-track platter doesn’t break the mold, but is strong and catchy, just like his previous records. While the A side is more upbeat, “Feel This Way” on the flip is my personal tops. Great tunes and nice guy in person, to boot. Track this down if this genre is up your alley.  –Steve Adamyk (Hound Gawd, houndgawd.com)


BROKEN BONES:
Vigilante: 7" EP
Four tracks of metal-tinged U.K. hardcore pretty much along the lines of what one has come to expect from ‘em. Tempos bounce around from mid-pace to thrashy ‘n’ angry, with the closer, “City Fodder,” the closest resemblance to their earliest output. Like sister band, Discharge, they keep close to their “sound” here, with results that will whet the appetites of their fans. Thumbs up.  –Jimmy Alvarado (Dr. Strange)


BUM OUT:
Pain Don’t Hurt: CS
I am a cranky old man who doesn’t like cassettes because my tape player is broken and can’t be bothered to get a new one. That said, I am sure fucking glad I made the effort to play this because this is what it’s all about. These are the kinds of songs that bounce around in my head on a regular basis. If I was at all able to play a guitar, I think I would write songs in the same vein as Bum Out. They’re quick and catchy with a lot of heart. Texas for the win again!  –Ty Stranglehold (Twistworthy)


CARNIVAL, THE:
Hengen Juhlaa: 7" EP
Some primo, smokin’ hardcore outta Finland that crushes flat anything that comes within hearing distance. The metallic influence in evidence is tempered. They keep things largely to the point and the tunes zipping right on by.  –Jimmy Alvarado (Paha Tukka Elämä Levyt, facebook.com/BadHairLifeRecords)


CAVE CURSE:
“Stoned & Dethroned” b/w “Out of Time”: 7"
This is a side project of a member of The Hussies with melodic, stabby synth riffs and a cold, robotic drum machine. Perhaps because it’s a side project and less developed, it owes a bit too much to Gary Numan and Stan Ridgeway. Seriously, if you told me this has all been an elaborate prank and I’ve actually been listening to Wall Of Voodoo, I might believe you. I’ve got plenty of Wall Of Voodoo, so I might spin this a few more times, but it’s not a keeper. I’d like to see where it goes, though.  –Craven Rock (Volar, volarrecords.com)


CHICOS DE NAZCA:
Fire Ride: LP
People love to the throw the “psych” around, but seldom is the music psychedelic. This shit is bona-fide psych. Kids whacked out of their noggins psych. I have no idea what the fuck is going on in the hills of SantiagoChile, but these kids are smoking it. Shimmering and hypnotic, it sounds like the bastard offspring of the 13thFloor Elevators, Loop, and Spacemen 3 but with some indie sensibilities of Ride and the Inspiral Carpets. This, my dear friends, is drug music. Pick your poison, but I would advise sending your brain to another dimension to soak this shit up. Me? I fucking love it. See you in outer space.  –Tim Brooks (Hozac)


CIRCLE K:
Self-titled: 7" EP
Simple-as-fuck hardcore with the kinda blown-out, ultra-shit-fi sound quality one expects from garage rock bands that’ve just discovered the Mummies.  –Jimmy Alvarado (Glad Fact, gladfact.com)


CLARABELLE AND THE CREEPS:
The Modern Underground Sound of Muscle Shoals Soul: LP
I fell in love with this record from the moment the needle hit the wax. Then I did some research on the band and found out that I loved them even more. It was like having a major crush on someone and then discovering that they’re both single and interested in you. This musical outfit is extremely eclectic—tambourine, saxophone, accordion—but one of the greatest instruments that certainly reaches its highest potential, is Clarabelle’s voice. After the first spin I was catching remnants of Shannon And The Clams with Hunx And His Punx as the backing band. Songs are cutesy, tongue-in-cheek, and sweet. They’re about being in love with vampires and ghouls, and whining about dumb boys. Then came the realization that Clarabelle is fourteen years old and that her dad (of the Pine Hill Haints) started this band up for her specifically. Their cover of Dion And The Belmonts’ “Teenager in Love” is so much more apt now. As are lyrics like, “I hate these guys / I want to be just like them / I just wanna dance,” and “Dumb boys / I don’t like them / I guess I’ll always be frustrated.” I usually hate it when a band is heralded for being comprised of people outside the narrow binary of punk rock (i.e. non-white, straight males), but in this case I feel it’s worth noting. This teen has some serious chops and one of those “old soul” voices with just a tinge of Cyndi Lauper. Musically, The Creeps are similar to the Ronnettes and Ritchie Valens for the modern world. Definitely a record that will stick with me for 2016.  –Kayla Greet (Arkam, arkamrecords.net)


CLOSET FARIES, THE:
No Idea LP: LP
This record was six years in the making. Sadly in that time, The Closet Fairies are no more. Originally, the plan was to release this on No Idea (hence the album name), and for whatever reason it got held up, but it thankfully got picked up as a joint release between Recess and Stupid Bag. The Closet Fairies have reigned in that lo-fi garage punk sound with blown-out, sloppy melodies. It harkens back to memories of basement shows with wild pits and cheap beer spraying from all angles. Most of the songs are around two minutes long, jam packed with snotty fury, which means twelve of the thirteen tracks all fit on the A side. My favorites are “Whale Tattoo” and “Wet Brain,” which features some kazoo solos. Side B is a whole bunch of whining! It’s a seemingly endless loop of “Wah, wah, wah, wah,” with some droney tunes behind it. And I really love the album art. It makes me think of the classic record covers from Pinhead Gunpowder and Crimpshrine. Come back Closet Fairies! This rules!  –Kayla Greet (Recess, recessrecords.com / Stupid Bag, stupidbagrecords.com)


CLOSET FIENDS:
Self-titled: 7"
So this is really, really terrible. But, at the same time, the singer is really trying to sound bad—both in the deliberately bad caterwaul singing way and the moral way, as in “look at how baaad I’m being.” So that’s not really much of a dig. You see, what you get here is spacebag folk, the exact same sort you’ll hear crusties play on corners of every major city every summer before it gets cold and they go back to New Orleans. Spacebag folk is a true folk tradition orally handed down from crusty to crusty, like the dogs they don’t want to take care of when they’re done spanging and leave town. So why did Fat Wreck sign this up and will there be more? Because there’s no shortage of conformist crusties hacking up lungs trying sound ugly while singing about drugs? Is Fat Mike the Alan Lomax of punk now? To be fair, Fiends do show some lyrical chops and she succeeds at what she’s trying to do. So I ain’t mad at ‘em. That’s a come up. I just wish I didn’t have to be the one to listen to it.  –Craven Rock (Fat Wreck)


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