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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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A L’Attaque Du Rien: 7”

This complex French band sings in French and seems to be singing at least in part about subjects borrowed from horror flicks. It’s all too easy to compare intricate bands to Mission Of Burma, but this really does have a Mission Of Burma vibe, from the production and vocals on down. A class act overall, this 7” is limited to just three hundred copies but can be downloaded online directly from Frustros. Very much recommended for fans of the trickier sides of punk and hardcore.

–Art Ettinger (Self-released, frustros.pimienta.org)

Il Prezzo Da Pagare: 7”

Italy has produced scores of great bootboy bands, from the infamous Nabat (though their later catalog sort of fizzled out), to the obscuriosities like Grey Shadow (whose lone recording, two tracks on the amazing Goot from the Boot compilation, set a sort of strange tone for oi/death rock) to more modern bands like Razzapparte. FAVL have more in common with the latter, but lack the positive melodies, instead going for a more malicious vibe. They still have that second guitar to throw melodic riffs, but they’re simple and menacing. As generic as my comparison may sound, they literally sound like a cross between Condemned 84 and early Nabat. This record is definitely not for people who aren’t already fans of the genre, and the pressing of 250 represents their forced exclusivity. For anyone who actually knows what the hell I’ve been saying for the last paragraph, this is for you and you won’t be disappointed.

–Ian Wise (Stratum, stratumrecords.nl)

Mister Fantasy: 7”

It’s the guitar in “Mister Fantasy” with its somewhat spooky sound that pulls me in, but it’s the tough delivery that keeps me sticking around. The vocals are delivered with force, almost like jabs. The flipside is a tad slower and has a somber feel about it as it slowly builds in tempo, outlining a bleak view of a world that is not what it once was. Maybe this song is about today? “You’re not free to resign, that was a different time...” The ending is kind of weird, as the song suddenly changes tempo and goes off into something a bit more fast and hammering. This single is their best record yet.

–Matt Average (goner-records.com)

Demo: CD-R

I’m told that this band has members from Zero Zero. Being that this is a live demo, the recording is pretty rough. I usually tend to not bother with live recordings, but I must admit, the rough quality actually works here since it definitely captures the energy of a live set. Erro are a mix of grindcore and thrash. There are some heavy and abrasive elements, and then they hit some fast speeds that lean more towards hardcore punk instead of metal.

–Matt Average (Self-released, bandaerro@gmail.com)

Mechanics & Energetics of Stilt-Running: CD

Off-kilter, spazzy indie/emo (in the ‘90s sense) that seems to draw equally from the alt-art Archers Of Loaf, twinkly Kinsella, post-hardcore Dischord, and mid-period SST worlds. Not really my thing, but really well-done and more immediate and upbeat than a lot of the Midwest emo clones that are popping up these days. Nice job.

–Dave Williams (Self-released, endand.bandcamp.com)

Conspiracy: LP

I was hoping there would be another Blue Cross record. This one is somewhat along the lines of their I Am Death LP. The songs on this are a little quicker in pace, though. Yet they still retain that dark and minimal style. The sound is a little more fleshed out as well. I like the synth towards the end of “Don’t Submit,” and the layers of sound in the song. “Conduit” is one of my favorites on here. The song races at a nice and wound-up pace and the vocals are coolly delivered despite it all. “Your Violence” sounds like something you would hear in an early to mid-1980s horror film. Lyrical themes on here tend to revolve around the idea put forth by the title of this album, which makes for an even more interesting listen. I’m always pulled in by the sheets of guitar that dominate the songs. It has this cold and all-encompassing way about it. Also, Jess’s vocals are stronger and more to the front in the mix on here. One of the things that I really like is that Blue Cross is shedding their influences to a point where they are having their own sound. You can’t say they really sound like Siouxsie or Christian Death. Yes, those influences are in there, but it’s not blatant. They’re adding to the genre at this point. This comes on blue vinyl, in case you are wondering.

–Matt Average (Chaos Rurale, chaosrurale.com)

Veins of Oil: CD

This is a solo project from the former singer of Raw Nerves and guitarist/singer of Squalora and is kind of acoustic, kind of ambient, and mostly not my thing at all. The lyrics are great on “Veins of Oil.” They’re very political and topical about how oil is the reason for so many of our troubles and wars. Regretfully, the vocals are buried in the mix and have effects loaded on top of them. I can barely make them out. Thanks for the printed lyrics in the CD cover. This is the kind of pretentious claptrap—like experimental noise and ideas that sound great in the studio, but fail to work well outside of your group of friends—that people seem to put out and fans of the artist love, but outsiders seem to miss the point of. You get four songs, but two of them are the songs played backwards—like the album is being played backwards to hear if there are subliminal messages mixed in. Sadly, subliminal messages might have helped… no thanks.

–Rick Ecker (Poisoned Candy, poisonedcandy.weebly.com)

Self-titled: 7”

Bits Of Shit is a band that knows exactly what it wants to be. These Aussies stand proud in their denim, and not in a tongue-in-cheek, Turbonegro way. No bullshit, straight-forward riffery, pounding drums, and threatening, propulsive bass. New heralds of the post-apocalypse? If you’ve seen B.O.S live, you know what I mean. I bought this record a few months ago but it got lost in the mix. I bought like a dozen 7”s at once and a few unfortunately got buried. I slept on the Cut Sleeves LP last year, even after seeing them live. I’m remembering that my local record store had the LP in stock at one time, so I think I’ll take a time-out to go buy it and listen to it, if it’s still available. Okay, now I’m back with the album, and after one listen, I’m better for it. Back to the 7”! Everyone needs to own a record with a song called “Meat Thump.” Even after a half-dozen listens, I can hardly understand the words but I’m going to say it’s about jacking off. These two songs are as fully realized as the album. A good fit on the Total Punk label. B.O.S would probably go well on a bill with The Wretched Ones.

–Sal Lucci (Total Punk)

“Amer” b/w “Contrepied, Contretemps”: 7”

Baton Rouge have a real Jehu/Hot Snakes vibe—same kind of Froberg shouts and steady rhythms and great guitar tones—but also sound rooted in the ‘00s screamy underground. I wasn’t surprised to see they were on the same label as Off Minor and Daniel Striped Tiger. The songs are dynamic and chimey and propulsive and dark and all the things you would want, or expect. But there’s also something restrained about them. Both songs sound like they’re building to something and then end unceremoniously; they fizzle out or they come to a halt. It’s not a blue balls feeling exactly, but something’s being held back. Feels like they’re playing by the rules. If they free themselves up, who knows what could happen.

–Matt Werts (Bakery Outlet, bakeryoutletrecords.com / PurePainSugar, purepainsugar.com)

Split: 7”

Two northwest post-hardcore bands share this split. Balsa, a Seattle band, offers three songs packed tight with steady drum fills and pulsing bass that keep things rolling. The vocals are strange, screechy male vox, that are a bit off-putting at first listen. Flip to side B, all girl band Sei Hexe, self-described as “cat metal,” offers two songs which can best be described as post-hardcore/tribal crust. A mix of goth, metal, and post-punk. It’s dark, aggressive, tribal, and gets under your skin. This is really not my thing, but I have a feeling they probably kill this shit live.

–Camylle Reynolds (String Break, stringbreak.com)

Why Are All the Kids Are Crying?: CD

Not to be confused with the Jay Reatard/Eric Oblivion supergroup of the same name, these boys are from Denton, Texas. Which, we all know (you do know, don’t you?) has birthed some incredible talent. This Bad Times emulates a bit more Wipers or Sebadoh than the Marked Men, but it isn’t far removed from our Denton heroes, either. The songs are upbeat, but a little darker than the garage stuff the city is known for. Vocals that are pronounced and monotone, rather that blasting catchy “nah-nah-nah’s,” if you get where I’m going with that. Still, there’s a power pop edge sneaking in there. I’m sure they own Boys and Plimsouls LPs. Ten consistent jams, with the opening track “Mormon Recovery Program” being the strongest. The production is incredibly slick. To the point where you can hear every note played and drum hit perfectly. The songs are great, but I’d be interested to hear what Mark Ryan, Orville from Bad Sports, or one of the Wax Museums (recorded in “Billy’s Room”) could make their record sound like.

–Steve Adamyk (Self-released)

Victims of a Bomb Raid: EP

This is Anti-Cimex’s third EP, and though not as blazing as their second EP, Raped Ass, it still packs a devastating blow. Sound wise, this sits in the middle of their first two records: mid tempo, still catchy, and a heavier sound via the Discharge influence seeping in. I like how they continue to solo in the songs—as started on the Raped Ass EP. It gives the sound a more urgent feel, believe it or not. The title track is a total burner—with the churning bass line—then that break where it’s just the bass rumbling. Then everything comes back in underscoring the sonic force they were becoming. Plus, you will be singing this song to yourself within minutes of the record being over. “Game of the Arseholes” is another killer on here. I like their attack on religion, straight, unrefined, and to the point. That dive bomb guitar intro is always great to hear. Also, I like the fact that Sweet influenced them to title a song “Set Me Free.” Absolutely essential listening.

–Matt Average (Nada Nada, nadanadadiscos.com, info@nadanadadiscos.com)

Anarkist Attack: EP

Psyched as hell to see this stuff getting reissued on vinyl. I have the CD that has the first three EPs that Distortion put out twenty years ago. Can’t afford, nor would I want to pay, the collector prices for the original. That money can be better spent on things like skateboards, food, more records, and books. So, thanks to Nada Nada and Spicoli for reissuing this, as well as Raped Ass, and Victims of a Bomb Raid for those of us with discerning taste. They have even kept the covers to the original format and design. Anarkist Attack was the first EP from Anti-Cimex, and while it is perhaps their rawest, it’s still pretty good, and even catchy. These four songs don’t bear the Discharge influence that would surface on the following records. This stuff is more just straight-up hardcore punk. Maybe it’s the looseness of the sound, or the drumming style, but I’m reminded of the early Italian hardcore style when I listen to this record. You get four short blasts that race at a decent pace, but never a dull blur, making sure the songs retain their individual character and stand out from the next. I like the hectic pace in the chorus to “Drömmusik,” where the singer Jonsson sounds like he’s slightly ahead of the rest of the band. Seriously, this is a great record, and essential to your collection. Jonsson would go on to sing for Wolfpack/Wolfbrigade, Charlie would go on to be in bands like Death Dealers, Psychotic Youth, and Driller Killer.

–Matt Average (Nada Nada, nadanadadiscos.com, info@nadanadadiscos.com)

In the Dead of the Night: 7”

Four tracks of Finnish anarcho punk that owes much of its sound to the likes of New Model Army, Zounds, and Crass. Songs are all generally around the mid-tempo mark, with male/female vocals which are the cause of the comparison to Crass (most notably on “Think for Yourself” which is the best track on the record), whilst the music tends to have a similar sound and structure to that of early New Model Army, especially in terms of the rhythm section with hints of Zounds heard in the guitar work. Nothing spectacular but enjoyable nonetheless.

–Rich Cocksedge (Stonehenge, cybergod@stonehengerecords.com, stonehengerecords.com / Profiteer, prfitr@gmail.com)

Joan of Something: 7” EP

Remember This Moment play acoustic folk punk and cover all the tropes of the genre—furious strumming, throaty, bellowing vocals, anthemic examinations of the mundane, and heart-on-sleeve philosophy. I mean I think those are the tropes, I could be wrong. I tend to avoid this kind of thing because it makes my whole body cringe. But I would call it basic punkhouse bohemia, more like Gainesville stuff than Billy Bragg. Everyone’s got a right to be in their twenties and read Rilke or Ishmael (or whatever) and feel profound things and I won’t begrudge them that. It’s also hard to be critical of this record because, according to the liner notes, it was made for the band’s circle of friends. Like each song is specifically written for a friend of theirs. It’s a memento for a small community, and judging it by any other standard seems like a waste of time. I’m not into it, but I don’t know that I need to be. The only thing I can’t be diplomatic about is the last song (“Existence Summary”), which has no lyrics, just a bunch of “whoa-oh’s.” Absolutely inexcusable.

–Matt Werts (Granola Bars / Lost Cat, lostcatrecords.org)

Battle Born: 7”

Las Vegas oi/street rock style stuff that is well recorded and actually really catchy. The title track is kind of a dud for me, but the second song picks it up a little bit. Everything is really in that mid-tempo range so it’s not like it’s in your face, but the songs are good and the lead breaks are catchy and good. It vaguely reminds me of stuff like Patriot or the early Adolf And The Piss Artists records. I guess the best point of reference would be Maddog Surrender, but that’s probably a little obscure. The B-side track “Enough of You” is the best of the three and has that nice Best Defense vibe to it. The band is American but the record came out on a label in the Netherlands’s, so I’m not sure how hard it would be to get over here.

–Ian Wise (Stratum, stratumrecords.nl)

Self-titled: LP

Although I respect the amount of time and thought put into this band and record, it’s just a so-so listen. I definitely agree with them that radical politics need to come back stronger in punk. It beats the dull and vapid lyrics and lack of a stance by many bands today which serve no other purpose than to generate product and be a rite of passage from youth into “adulthood.” But the music on this record lacks any sort of fire that could get the listener inspired. The performances are just there, and maybe there is some passion in the delivery; I just don’t hear it. Lawine remind me of what was happening in what was called “hardcore” in the 1990s. Not exactly a sonically awesome time. The songs have somewhat complex structures with various time changes, sound bites, and dry vocal delivery. If you long for the days of bands like Jara, Countdown To Putsch, and the like, then you might enjoy this. I’ll pass, as I never really connected with this kind of stuff on a music level. I like my punk with a bit more fire in its guts, and a truly defiant attitude.

–Matt Average (Contraszt!, diyordie.net)

Savage Audio Demon: Cassette

I am going into this blind. I’ve never even heard of this band, but this is a slick-looking cassette. What you get is a whole lot of ‘90s-style metal in the vein of bands like Sleep or maybe even Cavity. The vocals are really monotonous and have absolutely no substance but are honestly kind of growing on me the more I listen to this. But still, the songs tend to drag on for too long without really going anywhere. The second song has more of a punk vibe to it, but I get the feeling they are trying to please everybody. The third song “Scatter My Ashes over the Mississippi” is the best, with a less pretentious bar rock feel to it and more of a stoner vibe a la Lord Green or Buzzov*en. But to tell you the truth, nothing about this does anything for me. Even a little bit. Listening to this gives me the same feeling I get when I’m at the occasional show at a bar with a weird lineup, waiting for the band I want to see but the opening band plays for forty-five minutes. If there was any sort of focus to their sound I could see some redeeming qualities, but instead it’s just an endless cycle of unoriginal, uninspired riffs that are out to make everyone happy.

–Ian Wise (Self-released)

“American Custom” b/w “Apparently”: 7”

Sounds like a Nebraskan version of what the Professionals sounded like after they stopped writing the best singles ever and became merely ordinary—that is to say, not terrible, but not terribly interesting, either. There’s a really pronounced, RAWK drum sound on this record that I think certain factions of musical society hold as some manner of wonderful ideal to which all mankind should strive, but I find it sort of overly commercial and off-putting. I’m guessing people who liked bands like the Libertines or Electric Frankenstein will probably dig this band, but I really think that calling a twenty-to-thirty year moratorium on any band that has the word “hearts” in their name these days is the wisest choice for all parties concerned. The b-side features a song off of a 1996 Glen Matlock solo album of which I’ve never heard, and doesn’t sound wholly different from their original. BEST SONG: “Apparently” BEST SONG TITLE: Apparently, “Apparently.” FANTASTIC AMAZING TRIVIA FACT: There sure the hell are a lot of boobs on the covers of the records I’ve been assigned to review this month.

–Rev. Norb (Drastic Plastic, drasticplasticrecords.com)

So Much Unhappiness So Little Time: CD

Fans of power pop can get behind the Breakup Society’s new release pretty easily. Lead songwriter Ed Masley writes tracks that could’ve been featured on a Left of the Dial Rhino Records compilation for their similarity to ‘80s and early ‘90s alternative rock (think Hoodoo Gurus) that they recall. Despite the crotchety album title, So Much Unhappiness So Little Time is upbeat. These are songs written by someone who’s likely an old hand at crafting hook-heavy pop rock, laden with glittery sustained chords alongside sweet and sour garage rock vocals, only maybe the nicer garage of a guy who remembers to cut his lawn. The result reminds me a bit of Superchunk or Spoon in a good way, though the shimmer and omnipresence of Masley’s voice kept me from falling into the songs completely. Not exactly my thing, but plenty to like for fans of power pop to check out.

–Jim Joyce (Get Hip, gethip.com)

Back to Basics: 7” EP

Raw and abrasive hardcore punk from Brazil. I really like the energetic, somewhat snotty vocals ala Kenji from Jellyroll Rockheads. I also dig the guitars when they get a little jagged and discordant with surf undertones, which I’m sure La Piovra fans will get behind. The silk screened cover, inside and out, is also punk as fuck. Along with Futuro, Brazil is coming back to life with really good bands as of late.

–Juan Espinosa (Hearts Bleed Blue, Läjä, zerozeromail@gmail.com)

Self-titled: LP

Sounds like hammers breaking faces, vans, and concrete. Sounds like lightning bolts coming from fingertips. Smells like ozone. Combine the cocky swagger of the Murder City Devils (at 45, not 33 1/3) and chain it to the slashy whack-a-do menace of DS-13 and the dark, bloody bark of Burial. Delivered by a rasp-strained, oxygen-deprived vocalist, they create a desperate thrum… and hook-saturated songs. Youth Avoiders thank Thin Lizzy and that’s not an idle thanks. 2013 hardcore France’s call-and-response to Fighting? I can’t be the only one thinking that, can I? “A little more Phil Lynot afro in the monitors.” Please tell me that someone in the band or the recording studio was thinking that really loud. Stellar.

–Todd Taylor (Deranged)

Split: 7”

Moral Void are such an underrated band. Seeing this band play to like seven people and completely shred like nothing matters is really humbling. This is their second release and it’s grittier than the last, but sounds more like their live sound than their solo 7”. They play this really good crusty metal/punk hybrid with really unique riffs. Very straightforward drumbeats make a good backbone to their sound. Young And In The Way aren’t so underrated and have gotten their fair share of hype in the last year or so, but I’d say they are “appropriately rated.” This side is a lot dirtier than their LPs (which doesn’t translate as well as the Moral Void side), but I kind of like the sound and fits in well with their black metal vibe. There are about fifteen different versions of this record, so you’ll be doing a lot of thinking about what color you want.

–Ian Wise (Headfirst, headfirstrecords.limitedrun.com)

Demo: CD-R

First impressions go a long way and in this case they had me right at the start. The band has a sound that reminds me of the melodic punk coming out of the D.C. area during its heyday in the 1980s. I did some online research on Wooden Planes and couldn’t find a listing for their hometown, but I did find a few fliers that had the band playing recent shows at clubs in the Chicago area so I’m assuming they are a Midwest-based outfit. Maybe that would explain why I’m hearing a Naked Raygun and Pegboy influence in their songs? I highly recommend checking out this release for a refreshing sound of days gone by.

–Brent Nimz (Self-released, woodenplanes666@gmail.com, woodenplanes.bandcamp.com)

“Jump in the Fire” b/w “Should I Leave?”: 7”

Erin Dorbin played in a couple bands I’d never heard before (Cave Weddings, The Spectras), and now I want to hear them. Winter Bear is her garage pop solo project, and her first single is raucous and sweet, direct and charming. She sounds almost like Juliana Hatfield doing bubblegum. I keep picturing a soft sweater under a leather jacket, or a tattoo of a milkshake. It’s that level. The only thing working against this record is that a lot of bands are doing something like this now—throwback garage girl group punk pop Ramones. But I don’t know that most bands do it like she does—trebly and natural, sugary with a good roomy drum sound. I want to see what she does next.

–Matt Werts (HoZac, hozacrecords.com)

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