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Razorcake #84
Tim Version, Ordinary Life LP + bonus 7"
Radon, 28 LP
Zisk #25
Razorcake #83

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No Idea Records

Record Reviews

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Leaving Atlanta: CD
Finally! The follow-up to Introducing! At least that was my feeling when I first got this. I wasn’t quite too sure what to expect when I put this on. I knew that I was definitely in for some good power pop, but I didn’t know how good. 2008’s Introducing was nothing less than excellent (admittedly, it took me a while to come around…). About the time I started listening to the first LP nonstop, I started reading about how a new one was coming. Then a 7” that would put most power poppers to shame came out on Douchemaster, yet it failed to leave any sort of lasting impression. With still no word of when what is now Leaving Atlanta was coming out (at least none that I could see), Hozac issued a GJ 7” that was every bit as good as the first record; it really got my hopes up for this album. So, you see, I was a bit uncertain what was gonna happen when I put this one on. I listened openly with a touch of apprehension. Sonically, this is a really lovely recording. No doubt. The instrumentation is all that I could hope for, and the vocals are on point. However, lyrically, it just hasn’t clicked with me just yet. While Introducing had a real sense of desperation, of simultaneously being both hopeful and hopeless, Leaving can come across as whiny at times. I truly believe that the apprehension I went into this album with made me look for something, but I’m still not certain whether what I found is actually there. That said, I think you should check this record out if you had a love of the first LP. It is still better than the gross majority of power pop I have heard lately, and probably better than whatever you’ve been hearing recently. –Vincent Battilana (Douchemaster)

Self-titled: 12” EP

As the name alludes to, this is poppy stuff. But, fortunately, it’s not some saccharine shit that insults your intelligence. More somewhere between early punk and power pop. They have a keyboard that gives them a new wave aspect, but I doubt they were rocking the skinny ties and pinstripe shirts. “Wait Forever” is maybe my favorite song on here. It has a simple chorus that burrows into your brain, but the delivery and the tone of the song are what will have you coming back. It’s the type of song you throw on the end of the summer mix tape or CD-R. The song, “Everybody Likes You (I Don’t)” delivers on the promise of the title.With a title like that, it better be punk. It’s the most direct song on here. The speed is turned up a smidge, it’s a little agitated in delivery, but they keep all their pop sensibilities intact. Recorded back in 2008, and finally seeing the light of day, members have moved on to other bands like the Zebrassiers. A mere three hundred of these exist. Whoa!

–Matt Average (P. Trash, ptrashrecords.com)

Self-titled: LP
Sometimes sad and mopey, sometimes possessed and bouncy, always unequivocally melodic. Frozen Teens create songs that feel like naturally intricate webs pulling influences from some of the roughest and toughest scrappers, as well as poppy pretty boys in matching outfits that their manager picked out for them. Midwestern, desperate power pop; land-locked and frozen in. The only viable escape is being as tuneful as possible. At which Frozen Teens have definitely succeeded, and in the process have written an album that would easily appeal to patrons of both Goner and Recess Records. –Daryl Gussin (Mauled By Tigers / Do You Hear We)

The Golden Age of Lasers: LP
Like an ancient television set collecting dust in the attic that suddenly clicks on, through the static comes a transmission from elsewhere. A ghoulish host brings a cavalcade of short stories. Horror, science fiction, and all manners of the macabre are covered. Musical tales of wolves, witches, and Tor Johnson that fall in place somewhere between The Mummies and Motörhead—or maybe the Damned and the MC5—or maybe all of them thrown in a Necronomicon-induced vortex. In reality, Forbidden Dimension hails from the frozen tundra of Calgary, Alberta. First reanimated in the late ‘80s, the band has been popping out of crypts from time to time over the last twenty-plus years to inject us with the best in Canadian creep rock. The Golden Age Of Lasers has the band on point, as usual. There is a little more ‘70s rock swagger thrown into the mix compared to earlier releases but it all seems to work. The album is solid as a whole, but my favorites here are “Tor Johnson Mask,” “Eine Kleine Frostmusik,” and the record’s closer, “Lillydale Orphanage.” Press this puppy in purple marbled wax and wrap it in the always amazing artwork of TomB (the alter ego of front man Jackson Phibes), and call it a classic! A must for lovers of Misfits and Hex Dispensers. –Ty Stranglehold (Saved By Vinyl, savedbyvinyl.com)

Fucking Despair: LP
I think of slowcore indie rock as drowning in its own self-seriousness, but Boston two-piece Fat History Month make it unique by injecting their songs with pitch black humor. I call them “Smartass Slint.” Their squalls of backwards-sounding guitar go on for ninety seconds or eleven minutes, and have titles like “You Can Pick Your Nose, You Can Pick Your Friends Nose, But You Cant Escape Your Horrible Family.” This band is the friend who you love for their biting jokes, and when they do something horrible to themselves you feel bad for laughing through their cries for help. –CT Terry (Sophomore Lounge, sophomoreloungerecords.com)

“Rock & Roll Savior” b/w “Wild at Heart”: 7”
Bands with Elvis, Hitler, or Christ incorporated into the name generally get an admittedly unfair strike from me. That sort of egregious name-dropping brings to mind the “Jesus Was a Cunt” shirt, which I feel reflects poorly on agnostics more than it serves to freak out the squares. Anyway, “Rock & Roll Savior”won me over right away. It’s a solid fifties rocker with a punky tempo and Hunx-esque vocals. Moves and grooves. Good one. Screw me. What’s in a name, anyway? –Billups Allen (1-2-3-4 Go!)

No Love Lost: Cassette
Last time I heard this band, I wouldn’t have compared them to the Denton crop of garage punk bands (I don’t know why, but the guy singer’s voice specifically reminds me a little bit of the dudes from Occult Detective Club). Either way, their quality has not dropped on this tape and The Elsinores are still producing a great brand of lo-fi pop songs. Sugar in the songwriting, dirt in the production: what a beautiful recipe. –Bryan Static (Karmic Swamp, karmicswamp.org)

Hate & Love: CD
These Austin, Texas dudes bring a refreshing cocktail of some ‘60s psych punk and Iggy-style rock to the table while managing to not sound like either. El Pathos is a punk rock supergroup of sorts, as the rhythm section is being held down by Buxf Parrot and Pat Doyle of the legendary Dicks and Offenders respectively. Pedigree aside, this disc kills it in a totally unexpected way. Every song has its own identity and vocalist David Duett has a strong enough presence to keep it all together. This disc hasn’t left my rotation since I got it. Totally worth seeking out. –Garrett Barnwell (Saustex Media, saustexmedia.com)

Brand New Day: EP
These fuckers crush all that get in their path; hardcore in the vein of Infest and Crossed Out, with a heavier-than-hell low end that just decimates. Distortion that tears holes into the air, a vocalist who has a deep, throaty, abrasive growl spitting out words that are near blind with rage like no other, and percussion that cracks skulls. The songs are dense and create a massive wall of sound that is imposing enough to clear a room of the timid. Great stuff! I thought their split with Lapse was pretty good, and they’re even better here. –Matt Average (A389)

Self-titled: 7”EP
Break out the pomade and creepers; this is old timey garage from Croatia served up with a side of surf and rockabilly. Perfectly pitched screams and howls the likes of Frank Black, punctuate this American ‘60s style rock’n’roll with influences by The Cramps and The Dead Boys. Right out the gate, “Wasted Boy” goes headlong into a frothy four-four rhythm and holds steady throughout the four new songs. If this doesn’t make you move, you ain’t got ears. Recommended. –Kristen K (Disco-Lite, discolite@gmail.com)

Self-titled: LP

This is a proper vinyl issue of a tape this New Zealand band released in 2009. When it was given to me, I was told it was “like a more extreme Dystopia,” and while they are missing key components of the comparison (the guitar tone, etc.), the feel of the music reminds me a lot of the first time I heard Dystopia. The bulk of the record is a lurching, lumbering mess; slow but moving ahead with an energy that makes it feel like it might just fall over on top of itself. The fast parts are interspersed at irregular intervals, and don’t do much to relieve the tension. Listening to this album actually hurts, it makes me feel claustrophobic. This is the soundtrack to waking up every day and having to work a job you hate because you have to survive, and wondering if the tradeoff is even worth it. This band broke up in 2010, so I feel like this record is probably flying below the radar in the U.S., but if sludge or powerviolence is your thing, this record is more than worth the effort of tracking down.

–Ian Wise (Diseased Audio, diseasedaudio.blogspot.com)

Melodic hardcore founded on taut gang vocals and crackling percussion barrels forth from this foursome out of Philly. Slated to play at Philly Punx Picnic, the city’s annual DIY festival, Dopestroke is quickly gaining attention for their celebrated drug use and “fuck the police” ‘tude. No fluorescent energy drinks for these guys, cocaine and hallucinogens are their bread and butter. “We Get High” is my fave of the five tracks as they wax poetic on chemical enhancements with tight lyrics and guitar strokes to match. A force to be reckoned with. Recommended. –Kristen K (Eaglebauer Enterprises, mpurchla@yahoo.com)

“Glass Chimes” b/w “Montrose”: 7”
First vinyl outing by some ex-Drunken Boat gentlemen playing poignant and heartwarming punk ala Mush, meeting the undeniable energy of a truly powerful live band. The A side is a duet with Erica “Yeaaahhh!” Freas of RVIVR, and the B side is an endearing tribute to Jamie Ewing packed with hat tips to specific highlights from the Bent Outta Shape catalog. This record doesn’t stand a chance against the dangers of frequent re-listening. –Daryl Gussin (Rumbletowne, rumbletowne.com)

Split: 7”
The Disconnects deal out three solid rock blasts of punk ‘n’ roll. Driving guitars and snotty vocals. Way fast and well done. Crazy And The Brains also have three solid punkers, including a cover of The Ramones’ “Oh Oh I Love Her So.” The only difference is Crazy And The Brains carry their melodies with a xylophone. “A xylophone?” you ask. Yes, a xylophone. And it endures well beyond the novelty. Really good instrumentation. Score one for originality. It just works. Great record all the way through. Worth whatever people are paying for seven inches these days. –Billups Allen (Baldy Longhair)

Club Sarcoma 18-30: LP
Another full length dose of trebly, snotty punk rock mayhem from these obnoxious louts with a singer who sounds like he’s taken third place in an Eric Cartman sound-alike contest. With song titles like “100 Hep C Trannies in the Public Pool,” “The Government Took My Virginity,” and “Teenage Menopause,” you can bet you’re not gonna get MDC/Crass-styled proselytizing about the sorry state of the planet, but then again, do you really want that from a band called Disco Lepers? –Jimmy Alvarado (Pure Punk, purepunk.it)

Fringe Class: CDEP
A few songs worth of thrashy, yell-y, borderline sloppy fast punk, kind of like really early I Farm. I’d be able to get into it if it weren’t for all the toilet language that I’m too embarrassed to repeat, or don’t understand. –Joe Evans III (Willoughby)

Jeszcze Zywy Czlowiek: LP
I would venture to guess that the average contemporary punker under the age of, oh, thirty or so would have one pisser of a time fathoming just how fuckin’ hard it was to be openly active in the punk thing during the 1980s. Sure, some places it’s still a bit rough to walk around with “fuck” written on yer shirt, and no, this is not some “when I was a youngster” diatribe, so you can unbunch your undies now. Merely sayin’ sometimes it was fuckin’ hard and varying levels of dangerous back then to be a punk, even in freewheeling, “liberal” places like Los Angeles, New York and so on. Lotta fighting, violence, police harassment, assholes on the hunt for mohawked freaks, catcalls, and, on occasion, some serious beat downs were the order of the day, often for no more than having the temerity to have your hair cut a certain way, the shirt you were wearing, or even the color and cut of your Levis. Now, imagine if you will, not only dealing with all the usual bullshit, but to do so under the constant scrutiny and threat of reprisal from a totalitarian regime. Dezerter was a punk/hardcore band raising hell in fuggin’ 1980s Soviet-controlled Poland, an existence that no doubt required a level of dedication and huevos of steel that most punks dealing with shit in 1980s United States or England likely couldn’t have fathomed. Throughout that period, they were hassled for their name (they originally went under the name SS-20 after the Soviet missiles aimed at points West until the government decided no, that name wasn’t a good one for a band to have), hassled with authorities over “controversial” lyrics and had to keep modifying their name on gig flyers to keep one step ahead of the powers that be. Somehow, though, they still managed to become quite popular in Poland, released a few records (one of which, 1987’s Underground out of Poland, managed to be released in the United States by Maximumrocknroll and is considered one of Poland’s most crucial musical releases), and play to large festivals. The recording presented on this double LP, parts of which were originally released on a cassette of the same name and on Underground out of Poland, is of a live performance at the 1984 installment of the Jarocin Festival in front of some 20,000 people. True to form, their set courted controversy and, according to the liner notes, included some drama over the band’s concern for the safety of the crowd, something the event’s organizers apparently weren’t interested in concerning themselves with. The sound quality is mostly straight off the board, with occasional bits from a crowd recording to fill in the gaps, the performance is strong, and the historical significance of this recording is off the charts; a crucial document of a time when being a “punk” was a wee bit more of an act of civil defiance than it is now, where too many bands are more interested in units shifted, popularity polls, and figuring out which major label to ink a deal with than they are about being aware of what’s going on in their world and what can be done about it. For the record, Dezerter remains an active band, with releases spotting the past three decades, and I’m willing to bet you’ve better odds of getting hit by a meteor than they have of ever becoming Disney Radio’s latest punk-fop darlings and yes, that’s exactly how it should be. –Jimmy Alvarado (Pasazer)

Self-titled: 7” EP
Three blasts of short, speedy hardcore and a fourth track that sounds like some sorta thrash mini-opera, all with strangled, gurgly vocals. –Jimmy Alvarado (Hold Tight!)

Northern Aggression: 7”
Andy Howard, Desolate Void’s singer, was the first guy I ever saw wearing an Eyehategod shirt. I swear he came out of the womb with that sucker on. I couldn’t even get away with wearing White Zombie and Tool shirts to school without teachers freaking out on me. I doubt they ever said shit to Andy about his Eyehategod shirt. Maybe they were scared of him. If they heard this record, they would be. This is the sound of people who have had metal in their veins since birth, who have let it fester and rot inside until it pours out of their mouths and instruments like black bile, melting everything in its path. You are in its path. –MP Johnson (Crimes Against Humanity, cahrecords.com)

Split: EP
Glad to see there’s a new record from San Diego’s finest, Death Crisis. This one does not disappoint. May be their best yet. Three songs of straight-forward hardcore punk going fast to just a little less fast. Alberto’s vocals sound in fine form with their delivery of lyrics that are rooted in frustration and rejection. This isn’t some hipster pose; this is the real deal kind of stuff. The music’s tough and burly without being macho shit. It’s music fueled by anger and disgust by a group of guys who won’t get soft as they get older. Right on! The song “Comfort Shelter Lies” is one of the best songs about relationships I’ve ever heard. On the other side of this record are two tracks from the long-running Diatribe. I must confess, despite seeing their name in fanzines for a hundred years, I’ve never listened to them until now. Musically, they don’t stand out much, but the lyrics covering patriotism and those who should know better turning right wing are pretty good. But it’s the Death Crisis songs that I keep going back to. –Matt Average (To Old To Die, facebook.com/deathcrisis)

Growing Old Disgracefully: CD
Four-man punk band from Hollywood that brings it hard on this record. They all have nicknames too, which is cool. In the tradition of The Clash and Living Color, they also have their own theme song on this one—”Lazlo for Life.” I won’t even knock them for nicking a Chris Mars song title, “Horseshoes and Hand Grenades.” Strangely, there is another song here called “Ghettoblaster,” yet their model is not pictured in the liner notes. Nice work and I’m up for the next round, dudes! –Sean Koepenick (Self-released)

Self-titled: LP
Weird, wild stuff, as Paul Schaeffer might say. This is a posthumous collection of Mr. Russell’s output from 1983-1999. He was apparently quite an underground legend in Flint, MI, though I’m only vaguely aware of him. I’ve heard his name connected with Ben Hamper’s, as I suppose anyone from Flint worth their salt would be. I’m sure this wasn’t what he was goin’ for at all, but I definitely hear some Minutemen/Nomeansno weirdness in here. There’s even a little Nugent in the guitars, but you can’t avoid that being from Michigan. (We don’t even consider it a bad thing up here—that’s how far gone we are...) This is demented, vaguely scuzzed-out rock and roll trash from what sounds like a real wildman, most of it recorded in his bedroom with various bands. It’s totally worth checking out, and is a nice reminder that we haven’t even tapped the surface of all the weirdoes out there making music. –Ryan Horky (Aggravation Overdose)

Pokonac Samego Siebie: LP
I tend to be put off by straight-edge hardcore. Mainly because I’m a bitter middle-aged man who has moved beyond the realm of all that straight-edge focuses on. Don’t give a fuck if someone drinks, don’t give a fuck about how dedicated to the core they are, because I know they will be long gone in five years time, tops. Basically, my problems and concerns are a lot more complex than they were when I was in high school. But then there are a small number of bands under the sXe umbrella who are pretty good. Poison Planet from Chicago immediately come to mind, and then there’s Cymeon X from Poland. For the most part, they stick to the usual formula of what it means to be edge, their love of hardcore, and dealing with the betrayal of being human. Their Inside Out cover is not all that raging. But they do sing about animal rights (a bit oversimplified, but it’s a step in the right direction)—which is something that has fallen out of discussion in today’s hardcore scene—and the songs about inner turmoil are more interesting than usual. Style-wise, they, again, are pretty much tied to the formula, with a definite NYHC influence in the rhythm section. Again, nothing new or earth shattering, but they play with conviction. Their originals are dynamic and packed with energy, which are the reasons I keep coming back to this time and again. –Matt Average (Pasazer, pasazer.pl)

“Eye Can’t Take It” b/w “Goblins Part 1”: 7”
Three songs from a slammin’ three-chord punk duo. “Eye Can’t Take It” and “Eye Like It Cuz It’s Cool” are break-neck movers that don’t slow down to check for spelling. “Goblins Part 1” is an extended bit of chaotic noise. Good snotty vocals from both members. Nice bit of wax. Keeper. –Billups Allen (Bachelor)

Decomposition: CD
Either this album is really good, or I just live a pathetic existence since listening to this is one of my high points of the day. I listen to this just about every day lately. I like to think it’s because this album is really good. Great, in fact. It’s heavy and dark like Amebix, but then you have some of the death rock elements like Killing Joke in there as well. The songs have an equally strong melody and the ability to pummel. “Existence” is by far the standout track among a sterling set of songs. It’s the guitar that comes in between verses that sends it over. The dark mood coupled with the lyrics is perfect. They never really tip over into thrash. They keep it to a mainly mid-tempo pace, building and keeping the tension, releasing through crashing guitar riffs and thundering percussion. The vocals are gravelly, but intelligible, and the words are delivered with conviction. This will more than likely get lumped in with the anarcho/crust punk thing, but the truth is, while they have those traits, Cross Stitched Eyes are headed into more expansive realms. Seriously, one of the best albums of the year. –Matt Average (Alternative Tentacles, alternativetentacles.com)

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