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· 1:Punk Parenthood for the Sleep Deprived XII
· 2: Tear A Cognita #07: Minneapolis, Minnesota
· 3:A Tribute to John Stabb
· 4:Featured Book Reviews from Issue #91
· 5:#404 with John Di Marco


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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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NEGATIVE PRESS:
Long Haul: LP
Chemically dependant and deep-rooted-issues dirge punk from Seattle, WA. Given the makeup of the band, which includes members of fellow local stalwarts such as Gag and Criminal Code, you’d think this record was a hands-down winner. Sadly, all I’m hearing is a less pleasurable stab at Pissed Jeans style despondence or the schizophrenic brilliance that is Slices’ Cruisin’ album. This record is like Little Caesars pizza: it’s okay but that’s kind of the problem. –Juan Espinosa (Inimical)


DECAY AFTER DEATH:
System Fucking Bastards: EP

Decay After Death play a mix of hardcore and metal that brings to mind bands like Bad Influence, Amebix, COC, Nausea, and the like. Songs are somewhat complex with different time changes throughout each song. There’s some soloing here and there, a delay effect on the vocals to make their sound a little more expansive, and the metal side gives these songs a darker and bleaker tone. It works well by backing up like-minded lyrics of a broken system, a bankrupt society, and the drudgery of daily existence. Not the best record of this style, but at least they’re attempting to say something beyond “the scene sucks, dude.”

–Matt Average (Cowabunga, cowabungarecords.com)


DEATH HYMN NUMBER 9:
3rd Degree Moon Burns: LP

This remarkably catchy garage rock album blew me away. Much faster than most bands of the genre and with a slight Dwarves influence, Death Hymn Number 9 is the most powerful garage punk band in ages. This is a record that will stand the test of time and will be spinning on turntables for years and years. It’s a major credit to Alternative Tentacles that they’ve found ways to continue to be a relevant record label after so many decades. I’m ecstatic to know that the folks who put out my all-time favorite record, the self-titled Crucifucks LP, are still releasing amazing albums. If they continue putting out bands like Death Hymn Number 9, there will never ever be a death hymn for Alternative Tentacles.

–Art Ettinger (Alternative Tentacles)


MUHAMMADALI:
Future Songs: Cassette
Wait, this is the same band that did a split with Unfun? Huh. To their credit, I cannot for the life of me pin this band’s sound down with any precision. It’s like a crazed melting pot of, I don’t know, Matthew Sweet, Sundials, and some Goner band all mixed and smooshed together. Part “alternative” rock, part sludgy post-rock, part garage punk. It’s interesting, I suppose. But maybe it’s the minimal packaging or the odd, noodling synthesizer scattered throughout. Maybe it’s the irritating soundbites or just the feeling I got that the songs are really trying to go like hell to go somewhere but never quite manage to arrive at their destination. Whatever it is, I couldn’t really get into Future Songs. The album just fell flat for me. One of those deals where I feel like, hell, all the pieces are there—I’ve practically got an obligation to like the album. But I just didn’t. Sorry, fellows. –keith (Dirt Cult)


DEATH BY STEAMSHIP:
Facetious: 7”

I got Death By Steamship’s first album, S.S Endurance, to review a while back and I played it quite a bit. I really dug how the lyrics, sung in a spirited, almost spoken shout, dealt with the working class existence in the way it really is. The songs, alternating from angry screeds about the information age and jobs to a joyful celebrating of life’s simpler pleasures—like calling in sick with your lover or just kicking it with friends—have a droll, two-tears-in-a-bucket poetry. The music is engaging and shrewd post-hardcore. It wasn’t until I went out and saw them that I realized that they’re probably one of the most authentic bands in Seattle. They played their hearts out to a mostly empty room. Wearing ball caps and jeans, they could have been punks, but just as easily your co-worker. Their sound is unique and challenging, perhaps alienating Seattle’s patched drunk punks, mook metal heads, and far too sincere and proletarian for the scenester, Boeing/Microsoft babies to take notice. The singer gave me this 7” that night after I introduced myself. It has the same feel—appreciation of small things like smoking cigarettes and reading Vonnegut on the porch. Righteous rage is spit towards butt-hurt, aggressive alpha males and negative jerkoffs who throw their weight around. Like their last release, it’s relevant, compassionate, and bold music that’s uncompromisingly inventive.

–Craven Rock (Whoa! Boat, whoaboatrecords.com)


MOON BANDITS:
Action Changes Thinking: 12” LP
Somewhere, out in the corporate music underworld, some poor bastard is going through piles of glossy photos and demos of the next big folk band slash teeny bopper poster boy. This, I am sad to report, is the state of Americana, or folk music, as it is represented in the popular media. Then, when you have given up on it altogether, the spirit of angry but gentle leftist folk comes back with an album like Action Changes Thinking by Moon Bandits. I loved this record. The Los Angeles-based duo has created a collection of songs about longing after nature, living in the city, corporate misconduct, and personal responsibility. This album is, in the most wonderful way, apocalyptic. The end is here. A new beginning is upon us. When I listen, I think of the great quote from philosophical anarchist Leo Tolstoy: “In the name of God, stop a moment, cease your work, look around you.” Beyond the great songs and lyrics, this album is beautifully packaged with original art, colored vinyl, and a zine that shares the song lyrics and personal reflections upon them by the band—Astrid and Tommy—and their friends.  –John Mule (Self-Released)


DATA CONTROL:
Self-titled: Cassette

Ten songs of cringing, flailing punk ala Career Suicide, Regulations, or even, dare I say, Christ On Parade, but also colder, more chilled somehow. More removed but still with that resoundings sense of paranoia. It’s good stuff, actually. I mean, come on, with songs titles like “We Are the Rats” and “Get Up and Die,” I was already halfway sold before I listened to the thing. Mine came on a repurposed ninety-minute book-on-tape in a language I don’t understand, possibly Swedish, leaving me about eighty minutes to marvel at just how little I actually know.

–keith (Signaler Från Ovan)


D.O.A.:
Welcome to Chinatown: D.O.A. Live: CD

So this is the end. A legendary band steers the ship out for one more ride into the sunset. Joey “Shithead” Keithley and his band of merry men offer up this blazing live disc to say goodbye. Recorded over three different nights at The Rickshaw Theatre in Vancouver, the sound is fantastic: twenty-eight barnburners covering the band’s entire history. I hope Joey knows how much of an impact his music has had on the punk world. “This Machine Kills Fascists” and D.O.A did more than their fair share. Thank you.

–koepenick (Sudden Death, info@suddendeath.com)


MOLE PEOPLE:
Red Reflector: 7”EP
You can tell this magazine is run by a bunch of squares ‘cos every time they get any drug music, they send it to me. Sure I love drugs, and I love some drug music, but don’t send every record made by a bunch of longhaired twerps who have just discovered LSD. Impossible, weird, fuzzed-out, shape-shifting noise from Cleveland. I dunno—some of the weirder Hozac, navel gazing Pavement maybe? It’s psychedelic in an indie rock way, all shimmer and fuzz. You know if you dig this. Get high. Grow your hair… fuck it. I think this shit’s got no soul. I still love drugs. –Tim Brooks (Tolmie Terrapin, tolmieterrapinpress.blogspot.com)


CRIMINAL TANGO:
W Granicach Rozsadku: 12”

I don’t know what I expected from this album, but I was wonderfully and pleasantly surprised from the moment it came on. From their description, Criminal Tango is “punk n’ roll, rockabilly, swing and [the] style of an old Warsaw busker.” The result is music you can drink and dance and sing along to, granted you speak Polish. While there are plenty of other bands like Criminal Tango trying to break out of punk’s often rigid hard lines, this one is an original.

–Guest Contributor (No Pasaran, nopasaran.pl, nopasaran@nopasaran.pl)


MINDSET:
Now, More Than Ever: CD
Straight edge hardcore in the East Coast vein. This CD collects an LP and two 7”s from this Baltimore, Maryland band. I’m sure those more familiar with the straight edge hardcore movement could pinpoint this sound a little better, but I hear elements of Gorilla Biscuits, 7 Seconds, and Dag Nasty, though the final product on the 2012 Leave No Doubt LP portion of this disc is much closer to the heavier, more metallic sounds of Sick Of It All and Cro-Mags. Right up my alley. Over the course of its ten songs and eighteen minutes, Mindset burns through well-written, well-executed and well-recorded hardcore, with intelligent and clearly heartfelt lyrics. Hardcore can sometimes lose me when it’s screamed to such a degree that you need a lyric sheet to figure out what they’re so goddamn angry about. Not the case here. Plenty of aggression and vitriol in the vocals, all with clear enunciation; what a concept! The next ten tracks come from 7”s released in 2008 and 2009. Same vein, but sounding a little more like the latest wave of hardcore that I’m more familiar with like Government Warning and Wasted Time. Whether you’re straight edge or not, this is some good fucking hardcore. I’ll be searching out the Leave No Doubt vinyl release for sure. –Chad Williams (Refuse, refuserecords.prv.pl, refuserecords@gmail.com)


CRIATURAS:
Espiritu de Libertad: 12” EP

I will admit, I was not instantly blown away by this band. Seems a lot of folks are. But with more listens I found myself starting to “get it,” and develop the opinion that Criaturas are pretty damn good. Musically, Criaturas crank out semi-speedy hardcore punk (emphasis on the punk here!) that recognizes the roots in the sense that they keep it raw and to the point. No polish and no frills. The songs are catchy. The mid-tempo bits help give the songs some weight and hold your attention. The drummer can bang, and I do like the basic approach in “Libertad O Muerte,” since it’s catchy, somewhat heavy, and gets inside your brain quickly. The vocals can be hard to take sometimes. When she’s just shouting and shouting, the words tend to run together and there’s not much distinction. Granted, songs like “Espirito de Libertad” are raging, but when you have songs in the similar vein right after the other, it starts to blend. When she switches back and forth between shouting and singing, like in “Lobos en La Noche,” “Asko,”(which has lightening fast vocal delivery) and “Opresion,” then the songs have more character. There’s also the song “Invierno Nuclear,” which is a bit different from the rest of the songs on the album. Though still driving, it’s not as harsh in its approach. The vocals are a combination of sung and spoken, while the music pulls back a smidge. It’s a pretty good decision, as it switches things up and accentuates the power they can generate with their songs. Something I’m really into is how these guys have a driving melodic sound, and at the same time there are some elements of bands like Discharge popping up here and there. I’m on board!

–Matt Average (Residue, residue-records.com)


CRAZY ARM:
The Southern Wild: CD/LP

Crazy Arm has previously flirted with a folk- and roots-based sound within its more standard anger-fuelled punk rock delivery, so it was no surprise to hear that the band was going to release an album which would eschew that more direct approach in favor of an acoustic-led dynamic. The result is a joy to listen to with a more relaxed musical feel throughout, yet which lyrically retains the anti-war and “no god, no master” type sentiment that have permeated Darren Johns’s song writing for the band in the past but there is also a more personal edge within the songs as well. With a variety of tracks being served up, this never gets stale and it will take quite a stunning release to stop this being in my top five albums of 2013.

–Rich Cocksedge (Xtra Mile, xtramilerecrodings.com)


MIND SPIDERS:
Inhumanistic: LP
My puny earthling mind cannot begin to comprehend the sounds hitting my ear holes. It’s like waves of science that were created specifically for my enjoyment. With each repeat listen I find myself falling deeper and deeper into the lair of the Mind Spiders. Leader Mark Ryan is an alien scientist, calmly asking questions, making observations, and doing research on the human condition. Every question is asked for a reason, every emotion is clinically analyzed. Every story detailed. Musically, the band continues to build upon last year’s Meltdown, taking some of the best aspects of some of my favorite bands such as Devo, Pixies, and (of course) Marked Men and distilling them into something that is, simply put, unearthly. This is easily in line for album of the year in my book. –ty (Dirtnap)


COUGS, THE:
Self-titled: 7”

The Cougs play grainy, down-picked indie garage pop. Vocalist, Andrew Virga, reminds me of Andrew Savage’s less nasally efforts in Teenage Cool Kids—that’s a good thing. Virga is capable of vocalizing a lot of interesting melodies, but the songs nod off into tedium around the minute mark. There isn’t much to musically sink your teeth in here, as it’s just average slacker pop. The album design by Marsupial is eye-catching and abstract.

–Sean Arenas (Bakery Outlet, rtdiem@yahoo.com, bakeryoutletrecords.com)


CORPSE, THE:
Fight against Rules: 12” LP

This rules. Hands down. Fight Against Rules is a collection of eleven songs of The Corpse’s work from ‘88-’89, remastered and re-released as a CD in 2010, and now in the form of an LP. Originally formed in 1985 in communist-ruled Poland, The Corpse has been described as “hard core/trash/ crossover,” listing Suicidal Tendencies, Napalm Death, Septic Death, Accused, and Lärm—among others—as influences. It’s really the best of both worlds between metal, thrash, and hardcore punk, relentlessly propelling, shredding, pounding the shit out of your eardrums. It just doesn’t let up! A bonus is a sixteen page booklet with a band bio, past reviews, an interview in English and Polish, and rad pictures of the crew to flip through, plus a print out of miscellaneous flyers from 1988-1994. Get it!

–Camylle Reynolds (Refuse, refuserecords.prv.pl)


MIGHTY FEVERS, THE:
Fuck’in Great R’n’R: 12" LP
This album stands up to its name: it is fucking great rock and roll. The songs come out of the speakers like electric shock therapy. They are loud, fast, and spirited. As I write this review, I realize that Dee Dee Ramone’s birthday was a couple days ago and this album serves as a fitting tribute. Every songs starts with that iconic “1-2-3-4” scream and bass player Junkie Fever’s sound is a driving inspiration to Dee Dee’s spirit. This album kicks ass! –John Mule (Deadbeat, dead-beat-records.com)


COKE BUST / VACCINE:
Split: 7”

The truth about this record is that you need it because it’s one of the last Vaccine records that will be released (if I’m not mistaken, they are releasing one last 7” and then calling it quits). Vaccine produced some of the tensest and straightforward powerviolence of the last several years and these five tracks are a great addition to their catalog. The recording is heavy and blown out with the heaviest slow parts that run straight into fucking insane speed. But it’s not all blinding blast beats. Check out the killer rhythm on “Futureless,” and the way the drums stress off-beats over power chords. The Coke Bust side is good powerviolence-y hardcore with well-written lyrics. The band certainly doesn’t cover any new ground, but I’ve never really thought of Coke Bust as a band that pushed too many envelopes. They shred and play palatable heavy hardcore, which is probably the reason behind their status in the DIY hardcore scene. The breakdowns are good, the fast parts are tight, and the recording is great for their style. It’s worth noting that the version of this that was sent to me through Razorcake is a European pressing that seems to be readily available in the U.S., but there is also a domestic pressing with different artwork that may be harder to track down here.

–Ian Wise (Refuse, refuserecords.prv.pl)


CHIXDIGGIT:
Double Diggits!: CD

Chixdiggit are a pop punk trio from Canada, the Great White North, the land of Neil Young and B.C. Bud. If you like the vein of chunky guitars and “I Don’t Wanna”/”I Just Wanna”/”Now I Wanna” songs that run from the Ramones to The Queers and beyond, then you will connect with this re-release of “2 Pop Punk Classics on 1 CD,” as the cover advertises. The albums in question here are 1998’s Born on the First of July and 2000’s From Scene to Shining Scene. There are also eight bonus tracks including “I’m Not Going to Suck Your Church Off,” which wasn’t as memorable as some of the classic tracks, but deserves an honorable mention for the title alone.

–Guest Contributor (Fat Wreck Chords, fatwreck.com, mailbag@fatwreck.com)


MEKA LEKA HI’S, THE:
Self-titled: LP
This Buena Park, CA trio rules, first because their name is a Pee-wee’s Playhouse reference, and second, because their music is really damn catchy. I was hoping for something sweet from this, based on the name of the band and the absurd cover art of flying teeth and a toothless kid holding a hammer. It didn’t disappoint—garage-y punk’n’roll with strong hooks and slightly nonsensical lyrics. There’s also a ‘50s surf guitar vibe on several tracks, particularly “The Stuff,” which was a mostly instrumental track that I really dug. Every riff on this LP was a potential earworm. It could have been an entirely instrumental album and I would not have been the least bit disappointed. The lyrics add a touch of entertainment value, like “Just for Me,” which is written from the perspective of a kid who doesn’t want to share his things. I thought the Meka Leka Hi’s were great from the start, but their absurd humor really pushes them over the top. –Paul J. Comeau (Meka Leka Hi’s, themekalekahis.bandcamp.com, jmagranniii@yahoo.com)


CHEMICAL PEEL:
Bike Thief: 7”
There is something reassuring about Chemical Peel. Each song is unique as the three-piece juggles vocal duties, which ensures that the band is never mercilessly pinned to one sound. Every strum and cymbal crash oozes earnestness. “Born to Kill” lumbers with terse shouts and a riff reminiscent of Big Boys. The guitars are abstract and asymmetrical, at once shrill and inventive while evolving from sections of dissonance into melodic riffage. With a shift in vocalists, they suddenly sound like an anarcho band, à la DIRT or Hagar The Womb, thanks to Ony and Victoria’s gleeful voices. Chemical Peel is admirably carefree and confident with a fuck all attitude where punk means playing what you want and not thinking twice about it. –Sean Arenas (Ride The Snake, ridethesnakerecords.com)


BROWN BOTTLE FLU:
Felt Up: CD
Three-to-four chord co-ed garage from Indiana that sounds more or less like the Statics, were that band’s residual Ramones-isms replaced by a sort of candy blues bent. I like the faster stuff better than the miscellaneous attempts at down ‘n’ dirtyism, but on the whole it’s all kinda cool. Best of all, you can download it for free on the band’s bandcamp site, and it’s worth at least double that! BEST SONG: “Your Back” BEST SONG TITLE: “Boots on the Ground” FANTASTIC AMAZING TRIVIA FACT: This band comes right before Brownsville Station on my computer! –norb (Brown Bottle Flu, thebrownbottleflu.bandcamp.com)


MEGA GEM:
Colors of the West: CD
First off, this is not a punk album. This is straight Americana/folk/alt rock. There is no doubt that Modest Mouse has influenced Mega Gem through and through. There are hints of pop punk spattered here and there, but it is fleeting at most. I’m not really sure quite how to review such an album, since I do not know much about Americana nor do I like it very much. However, Colors of the West is not without some charm; it’s melodic, has diverse instruments: hand bells, ukuleles, various horn instruments, mandolins, banjos, cellos, heavy use of gang vocals, even a little girl singing on one track. Really, it goes on and on. It’s amateurish and a bit sludgy at times. I can imagine it’s an epic ordeal getting everyone on stage to perform live, or even to get the studio time and space needed to produce this album. Colors of the West is decidedly unpunk, but hey, if you like Americana or folk alt. with all the frills, this might be your jam. –Camylle Reynolds (Wild Baby, wildbabyrecords.com)


BROKEN BOTTLES:
Hospital: LP + CD
Fuck, man. How can I be this happy and this sad at the same time? Happy first: holy shit, what a fantastic, labor-of-love reissue. Crisp, beautiful half and half translucent blue/clear vinyl. Paint splattered dust cover. Thick-ass chip cardboard silk-screened gatefold sleeve. Full-length zine of flyers, interviews (two that I did, for Razorcake and Thrasher), and original artwork. Japanese tour bill. Poster. CD. I don’t think you could get anymore deluxe packaging. Broken Bottles deserves it. Think if Social Distortion didn’t divorce themselves from Mommy’s Little Monster and rebrand themselves Fonzie Americana For Retired Skinheads, but kept drinking in gutters and skating culverts. Sad part: Jes “The Mess” Rich died in 2010. He was in his early thirties. Jes was deeply troubled. His brother, Travis, visited him in the hospital. They made songs together on an acoustic guitar. It was therapy. Those songs eventually became Broken Bottles songs, some of the best OrangeCounty punk to come out in the 2000s—2010s, in league with Smogtown and The Stitches. Travis is solid gold. He was the logistical mastermind and kept Broken Bottles on the rails when Jes was alive. He’s keeping Jes’s memory alive now that he’s gone. I’m literally fighting back tears and smiling when this record’s spinning. Thanks, Travis. You’re a lifer. This is important. –todd (Bat Skates / TKO)


MAXIES, THE:
Greenland Is Melting: LP
Joke pop punk of the Ramones-derived variety centered around a “Greenland” theme. This appears to be a reissue with some additional tracks added on. If Darlington was ever part of yer playlist, this’ll do ye just right. –jimmy (It's Alive)


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·LOZEN
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