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· 3:The Backpatches of NYC (Collection 5)
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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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BLOODLET:
Embrace: 7”
Daaang! An unreleased Bloodlet track from the Shell 7” sessions. If you’re familiar with early Bloodlet, you know exactly what to expect. Heavy, strained, incredibly unique hardcore that hearkens transition-period Neurosis but with a very Victory Records heyday aggressiveness and production. Not unlike their other early 7” tracks, Embrace only hints at the brilliance that was to come on the band’s first LP and their masterpiece, Entheogen, but this is still first rate, essential heavy music.Killer.  –Dave Williams (A389)


BLACK SPARROW PRESS:
Fever Shakes: 7” EP
Outta San Pedro, the follow up to Half-Ass Romance takes it down a notch from drunk in the parking lot rowdiness to cowboy junky blues, bringing up sounds of Drunken Boat and 1-2-3-4 Go! Records. These four new tracks top the scales at eight and a half minutes total, putting their stamp of Fraggle Rock on sun-kissed California hide. The first half of the tracks fail to pull as much weight with a straightforward verse, chorus, verse format we’ve heard before, lead by whiskey-stripped vocals and gang choruses. “Bedroom Eyes” adds another layer, pulling up to a steady boot-stompin’ clip with distinct key changes and tricky guitar work. Pulling up the rear, “Babykiller_05” coasts into the palm treed horizon on lazy Sunday afternoon chords, preferring skateboard to automobile, simple to unnecessary.  –Kristen K. (45 RPM, 45rpmrecords.bigcartel.com / Recess, recessrecords.com / Something Dancey, facebook.com/SomethingDancey)


BLACK BLACK BLACK:
Self-titled: LP
This is a hard rock record for fans of Big Business, Melvins, Dragonforce, and Pentagram. There seems to be a bit of humor mixed in with Black Black Black’s mix of heavy rock’n’roll—at least I hope they’re joking at times. Some of the song titles, such as, “Pentagram On” and “Soar Like a Spider” should give you some insight as to what I’m talking about. There are a lot of chugga-chugga guitar riffs; most of the songs are very riff-driven. The recording sounds great, the instruments are tight, and the production is clean, “Get your pentagram on.”  –Ryan Nichols (Aqualamb, aqualamb.org)


BIRD SOUNDS:
New: 7”
This three-piece band from the Twin Cities offers a three-song vinyl debut that varies between upbeat garagy punkers and tremolo-ish, effects-layered rockers. The garagey parts sound like the Black Lips to me. On the B-side, things get weirder and more interesting. This is a pretty good listen; I just wish it were longer.  –Garrett Barnwell (Big Action, bigactionrecords.net)


BILLY JOE WINGHEAD:
Spanish Asshole Magnet: CD
Holy crap, what an awesome release! Eleven tracks of twisted, sleazy and greasy punk’n’roll from this longtime Oklahoma outfit that sounds like a tasty mix of Stooges and Nashville Pussy at times. I totally dug the creative usage of the theremin-y sounds too.  –Garrett Barnwell (Saustex, saustex.com)


BEAUTIFUL SUNDAYS:
Tangled Thoughts about You: LP
It was love at first sight. I can’t say no to the swarm of water-colored cats playfully intertwined on the record cover. I slip out the vinyl and, lo and behold, the B-side is adorned with even more playful kitties screen-printed in gold ink! It’s a shame that the vinyl belongs in a frame, not on your turntable. The music is clean and the production is crisp, especially the punchy drums, but the vocals are off-putting. They’re equals parts New Found Glory’s prepubescent squeals and the awful screaming techniques heralded by Epitaph’s catalog of “hardcore” embarrassments. Sometimes love is superficial.  –Sean Arenas (Crapoulet, cool@crapoulet.fr)


BATH PARTY:
Self-titled: LP
Baths are disgusting and partying is awesome. Bath Party has more of a salty beach party sound than a dirty bath sound. These guys remind me of some of the Burger Records bands—low-fi, garage rock. Most of the songs on this record start with a basic structure and then they go off into instrumental territory after a few minutes, for a few minutes. Sometimes I wasn’t sure if a new song started or the current song went into a new direction. The vocals sound like they’re coming out of a transistor radio while the guitars sound like background music from the original Batman show. There’s a very psychedelic ‘60s lo-fi thing going on here. But rather than record under poor conditions, these boys seemed to have fine tuned their sound to the mark just above lo-fi. Put on your shorty shorts, grab some sunscreen, put out your tongue, and trip balls.  –Ryan Nichols (Resurrection, resurrectionrecords666@yahoo.com)


BAD PEOPLE:
Mean Talkin’: 7” EP
Fuck, are these vocals annoying. They yammer and yammer in a whiny way that gets under your skin. The music is okay modern day punk rock. Nothing, outside the shitty vocals, stands out.  –Matt Average (Feral Kid, feralkidrecords.com)


BAD COYOTES:
Time for Sex Positions: 7”
A quick and dirty serving of that raunchy, trashy kind of garage rock that’s played by dudes who all have nicknames. The band’s “retro” leanings come through in the heavily filtered guitar tones (not to mention the garish pink album art) while the vocalist yelps like a young Danzig introduced to psych rock before he had a chance to get into grave robbing and werewolf books. A fuzz-overloaded Wire cover rounds out the three originals. Not really my jam, but I could see a house party I wasn’t invited to blowing up to this. –Indiana Laub  –Guest Contributor (Resurrection, resurrectionrecords666@yahoo.com, getresurrected.com)


AXEMEN, THE:
Derry Legend: LP
Derry Legend was originally released by Flying Nun in 1989. Hard to find even in New Zealand, Luxury Products stepped up with a great reissue. The label went with a faithful reproduction of the original Derry Legend sleeve and threw in a nice, two-page newsprint insert with photos, reviews of the album from the Flying Nun release (incidentally, mostly scathing), handwritten notes from the period, and show flyers. No corners were cut; this was a costly reissue (more of a reason to pick it up). Derry Legend is slightly more focused than The Axemen’s vinyl debut Three Virgins—and that’s likely attributable to Dragan Stojanovic’s presence on Derry Legend (Dragan’s a great guitarist) and access to The Skeptics’ sixteen-track studio. Nevertheless, The Axemen still sound like The Axemen. Shambolic punk rock (“Disc to Disk”), rapping (“The Tragic Tale...”) and stabs at girl-group harmonizing (“Hey Alice!”) are all present on Derry Legend. Steve McCabe’s catchy “Wharf with No Name,” conceivably a New Zealand radio hit, is on Derry Legend (check YouTube for the accompanying music video—yeah, that’s Celia Mancini miming background vocals). Like The Swell Maps, you either get The Axemen or you don’t. They were championed by some (notably The Clean’s Hamish Kilgour and Siltbreeze’s Tom Lax) and maligned by others (NZ’s music press—granted, that’s not saying much. Just read their pitiful reviews on the album’s insert.). For the uninitiated, Derry Legend or Peter Wang Pud, are great starting points. Derry Legend is my favorite Axemen record and that’s saying something: I put out their last full-length album! Highly recommended.  –ryan (Luxury Products, luxuryproductsusa.com)


ARROYO DEATHMATCH:
All of Them Witches: CD
I was going to call this “anarcho-flamenco punk,” but I don’t think what Arroyo Deathmatch plays is technically flamenco. There’s a definite Spanish feel to it and there’s a lot of flute work and there are moments that made me think of The Spirit of the Beehive. But, really, this is just a standard, excruciating folk-punk record—ostensibly radical/populist/authentic, though in truth it’s contrived and ridiculous and completely at odds with what people actually listen to. You get one singer who sounds like Chuck Ragan and another who sounds like John Darnielle, basically a lumberjack and an accountant screaming at you about straight edge and voting over acoustic fast-core with prog time shifts. I groaned and rolled my eyes, even when the band did something sort of cool like make an album without the use of electricity (you wonder how they manufactured the CDs and the answer is naturally occurring forest disc-burners running on syrup and good vibes). Another bohemian punkhouse vanity project, light years away from Wallace Berman or any of the real cool outliers.  –Matt Werts (Self-released, arroyodeathmatch.bandcamp.com)


ANTITHOUGHT:
Life’s Too Long: Cassette
Let’s talk about “fuck” for a sec. A quick preliminary scan of the lyric sheet revealed close to forty of ‘em in five songs (which turned out to be seven minutes long). I’m all for free expression, but I also believe in the law of diminishing marginal returns, which says something loses its impact with repetition. This is all in the way of saying I thought these cats had a tough row to hoe. Well, fuck me! Antithought’s gruff punk is perfectly suited for such fucking sentiment, what with their mixture of street punk and fucking Negative Approach: anthemic and pissed. That’s what I get for reading a lyric sheet first.  –Michael T. Fournier (Acid Kat)


ANTI YOU:
Blank Stares: LP
I’d say this is Anti You’s best material yet. Still as fast and thrashy as before, but it’s all tighter and more focused than the older stuff. There’s more punch in their sound. There are varying tempos in the songs, some quick guitar solos, and “whoa-oh” backing vocals to ensure that this whole record does not turn into one long blur. I like the transition between “Rat Trap” and “Too Young to Die,” where all the instruments, except the drum and bass, go away for a few seconds. Helps give this a live feel and keeps the urgency constant. What’s really cool about this is how catchy these songs are. They’re barreling down the whole time, and there are these choruses and beats that direct your attention away from the chaos. Check out songs like “Notions,” “Pull Through,” and “Final Scene.” They all have that manic energy and a way of working themselves into your consciousness. The kind of hardcore that will appeal to those who like their music fast, and to those who want to sing along.  –Matt Average (Six Weeks, sixweeksrecords.com)


AMPUTEES, THE:
Scream: 7” EP
The opener, “Beaner,” is a seriously nice bit of haunting rock/punk with an almost psych-pop undertow and nice drony duo vocals. The closer, “88,” is a catchy poppy punk driver of a tune. Sandwiched in between are two artier bits of oddball punk and a thrasher.  –jimmy (Money Fire)


AMBULARS, THE:
Dreamers Asleep at the Wheel: LP
This record took me back to the days when The Anniversary were still putting out records, only these guys don’t use keyboards on every song. The Ambulars have the whole power pop trio sound down. All the songs are well crafted, and, as a whole, the record flows together nicely. There are a lot of male/female vocals harmonies which add a nice dynamic to the songs. A lot of the themes of the songs seem to deal with growing up, feeling disconnected, and heartbreak. Recommended for fans of true emo, indie rock, and pop punk.  –Ryan Nichols (Salinas, salinasrecords@gmail.com)


ALL DOGS:
Self-titled: 7”
Punks from Columbus keep putting out the good stuff. All Dogs, a three-piece group hailing from thereabouts, will be counting this 7” as their second release following a split cassette with Slouch last summer. Here, four roaming and low-distortion tracks talk friendship and punk love calamity in the Midwest. The band is tight, restrained, and thoughtful, but it’s singer Maryin Jones’ melodic voice that steals the ears, floats above the rollicking steadiness of her bandmates, and makes with the considerate and nuanced and heartfelt shit that’s needed after a winter of bloodthirsty potholes and piles of angry, grey snow. For me, All Dogs are going to be the band to see the week after I lose my gloves for good and slice my jeans into shorts. Check out “Buddy” from this 7” and “Annoying” from their split, which rocks only slightly harder than the new stuff. Available on creamy mint vinyl, delicious!  –Jim Joyce (Salinas, Salinas.com)


666 ANIOLOW:
Czarcilok: LP
This is a full album of seventeen studio recorded covers of well-known songs by the Misfits. For some reason, Horror Hotel is listed in English but all the rest of the songs are given a Polish song title. Seventeen versions of Misfits songs with vocals and lyrics in Polish. There really is not anything else to say about this record.  –frame (Pasazer)


45 ADAPTERS:
Dress Well, Drink Heavily: 7”
Imagine Danko Jones meets oi. This is a nifty little record from this Brooklyn outfit who, on their web page, describe their music as “a truck full of Cock Sparrer records crashing into a truck full of Otis Redding records.” That about nails it. The 45 Adapters are sparse and tight, like a lithe and wiry boxer who can always beat down his bloated nemeses. Good stuff. White vinyl!  –The Lord Kveldulfr (Longshot / Contra)


#1S, THE:
Sharon: 7”
Sweet, sweet dripping power pop like chocolate syrup on a triple scoop banana split. What really makes this for me is the vocals. Each member has their different parts that they do; it really feels like a group effort. Dublin by way of Canada pop perfection. The pace slows down a little on the B-side, but only because after “Sharon Shouldn’t” you just want to curl up and figure out what just happened to you. This is how 7”s should be done. –Daryl Gussin (Sorry State / Alien Snatch)


VARIOUS ARTISTS:
Oi! Made in Holland: CD
What can I say? Twenty-nine Dutch bands of the street punk persuasion belting it out on this disc. A lot of stuff that sounds the same (not to say that it’s bad), can get a little tough to listen to, but there are some gems here. Polish up your boots and take this one for a spin. –ty (Rebellion)


URINALS:
Negative Capability: 2 x LP
Goddamnit! I feel like I should have so much more to say about this record. I’ve only ever heard about The Urinals, only heard covers (specifically the Angry Angles version of “Black Hole”) and was really looking forward to this release. Finally hearing it inspires me to start a new band that takes things back to The Urinals’ basics. Ugh, this makes me sound so ignorant of musical history! I’m sure there are more qualified people to review this record. I’ll describe it as thud-punk. I am of two minds about including the entire output of any lost band on a super-release such as this. I can see why In The Red wanted to put every Urinals recording out there, but do we really need another version (and live, at that) of the 13th Floor Elevators’ “You’re Gonna Miss Me?” The answer is no. But “Ack Ack Ack Ack” more than makes up for it. –Sal Lucci (In The Red)


UNION HEARTS / THE CROISSANTS:
Split: 7”
The Union Hearts are exactly what you would expect from Brian Hanover, formerly of The Hanover Saints. These are street punk anthems to lace your boots up to. Good shit. The Croissants are of a different sound but the same attitude. They are darker and faster and more to the point, but still provide two great songs to prepare you and your droogs for some weekend hooliganism.  –John Mule (Asian Man, asianmanrecords.com, mikeparkmusic@gmail.com)


TELECOMMANDE:
En Ligne De Mire: Cassette
The artwork for En Ligne De Mire really threw me off. The front cover is an illustration of a shadowy figure emerging from a void, holding a bleeding remote control. The inside cover has a drawing (looks like it’s from a comic book) of someone holding an automatic weapon, cocking it with a “tlack” sound while someone watches from across the street, eating ice cream in broad daylight. This could have been a John Carpenter soundtrack or Hirax or who knows. Turns out it’s great raw garage punk from Lyon, France, with synth work that’s sometimes barely there, but without it, the songs wouldn’t be the same. Not far off from The Spits, but less fuzzy and a little more earnest. They like G.G. Allin, which is good. The songs are solid, and the band comes off wild and fun. If I was drunk in a basement watching these guys, I’d be like “FUCK YEAH” or the Gallic equivalent. –Matt Werts (Self-released, 6128frustration.blogspot.com)


TEENAGE MOODS:
Grow: LP
I liked their Mood Ring LP, and this, their latest, is a continuation of that sound, only sharpened and more solid. Teenage Moods have a noisy pop sound that takes the better elements of the early 1990s sound and brings it into the present. I can’t help but think that you could have heard these guys somewhere sandwiched between a few other bands on the early Kill Rock Stars and Yo-Yo compilations. Traces of punk mixed in with some early ‘60s pop, late ‘80s SST (Dinosaur Jr., Screaming Trees), to the grunge influence of the previously mentioned early ‘90s, and a singer who reminds me of Daniel Johnston at times. I think my favorite on here is “Teardrops,” which is a mid-tempo number with a catchy beat and some nice melody to offset the driving chorus. Pop doesn’t have to be a dirty word, and I guess it really isn’t with the readership of this publication, so what am I saying? –Matt Average (25 Diamonds, 25diamonds.com)


SWELLS:
Refraction/Incarnation: 12”
DIY metal with evil fiend vocals, cascading drums, fuzzed-out guitar leads, and parts that show the band’s conversance with turn-of-the-millennium artcore, from Union Of Uranus to Stop It!! –CT Terry (swells.bandcamp.com)


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·Featured Record Reviews From Issue #86
·BEHIND ENEMY LINES
·GAMMA RAYS/HIGH SCHOOL HELLCATS
·RED MASS
·LOVE MOON
·WRIGGLE
·VARIOUS ARTISTS
·Beautiful Blemish
·THOSE UNKNOWN






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