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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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Hollow Earth: LP
When Black Wine released their first LP it felt fresh and different, but still incredibly reminiscent of (for lack of a better word) early ‘90s college rock. But a couple years and a couple full-lengths later, all Black Wine remind me of is Black Wine. The multiple voices and songwriters have spawned a beautiful beast. Miranda can slow it all down without losing you, J can speed it up and keep it catchy, and Jeff nails it every time he gets the chance. A list of influences will only get you so far. Black Wine never turned back. Play this record for your friends are and see which ones are cool –Daryl Gussin (Don Giovanni)

Back on This Road: 7” EP
A quintet of poppy-wavy-garagey Swedes with an all-boy rhythm section, a pair of female vocalists/guitarists, and a girl synth player to keep the damn rhythm section in their place. The two-girl vocal interplay adds a certain tuneful semi-gloss to the front end, the synth adds a precious whiff of space-age darkness, and the rhythm section just shuts the fuck up and does what they’re told. “Back On This Road” is a pretty darn good song, and “Show Me” ain’t half bad, either. The B-side, “Deny,” veers into 6/8 time and sounds more like something from the butt-end of some 1980 pseudo “new wave” album like Sue Saad & The Next or someone, thus excites me proportionately less. Definitely a keeper, although I’m not nuts about the band’s moniker, which reminds me of Sevrin’s acid-burned foot at the end of the “The Way To Eden” episode of Star Trek. BEST SONG: “Back On This Road” BEST SONG TITLE: “Deny,” if you’re The Clash FANTASTIC AMAZING TRIVIA FACT: At sixty characters long, this is the longest digital download link with which i’ve ever been provided. –Rev. Norb (Hard-On)

Again and Again: LP
When a baby’s born, I can’t help but think about the parents. Are they ready? Do they know what they’re getting into? Is that kid sorta fucked or sorta blessed? Same goes with bands where you already know their genealogy before the needle hits the groove. April Froschheuser was/is in Vena Cava. John was in The Achievement: two so-honest-it-aches bands that I’ve spent weeks-worth of spins listening to over the years. Black Dots sounds like a wise democracy that’s figured out its infrastructure before putting up flashing signage. Three principle songwriters. Two principle singers—vacillating between Florida ex-pat Wade and John—topically ranging from teenage depression-cutting to “the journey vs. the top of the mountain” headspace of an isolated band playing in Denver. In the background, on the blacktop in the distance, I hear Rumbleseat, Tim Version, long drives to find sympathetic souls, and small, semi-hidden tattoos being way more meaningful than sleeves of brightly-colored ink. Like little black dots. Worth seeking out. –Todd Taylor (blackdotrock@gmail.com)

Complete Collection 1976-1980: 2 x LP
Like fellow Akronites Devo and the Rubber City Rebels, The Bizarros twisted and wrenched rock’n’roll’s standard conventions into all kinds of interesting, idiosyncratic directions. Operating during a time when the landscape of what was later called “punk” and “the new wave” was still very much open to new ideas and sounds, they melded together a potpourri of different influences both contemporary and from previous decades—traces of psychedelia, rock, the Voidoids, the Velvet Underground and, yes, even Devo can be found with a little scratching at the surface—to create a sound in step with the times, but still very much their own, and topped with a vocalist well aware that a snide sneer is often more effective than a shout. Collected here are assorted tracks from their sole album, singles, live recordings, and later demos for a never-to-be-recorded second album. Though some of this stuff was released on a major, Mercury, like so many bands that failed to safely fall within one of punk/new wave’s rapidly shrinking, ridiculously rigid pigeonholes, they quickly went the way of the dodo and have wallowed in the “who?” section of collector-geek limbo ever since. Hopefully, this collection will give ‘em a proper dusting off and place ‘em back on the shelf for those with the (in my opinion, proper) attitude that punk is about being different from the pack o’ punters to appreciate yet another group of, well, bizarros who weren’t afraid to dance to the beat of their own drum. –Jimmy Alvarado (Windian)

Discography: 3 x CD
Another short-lived band with a long-felt influence, Bitch Magnet formed in the late ‘80s and released two LPs and an EP before parting ways in 1990. Its members went on to form Seam, Squirrel Bait, and to play in an array of other bands. Temporary Residence Ltd., has collected the band’s entire recorded history into a triple gatefold, triple CD set remastered for this release. Included here are the band’s three official releases, plus a number of rare and previously unreleased alternate versions. Musically, Bitch Magnet sound to me like the lost blueprints to much of the ‘90s rock that took both the underground and the mainstream by storm in that decade. They have rawness and grit—calling to mind noise rock and grunge—while also having a melodic, emotive quality that surely helped shape what became ‘90s emo. The tracks from their Star Booty 12”EP and the handful of alternate versions collected together on disc three of this set were my favorite tracks, but I found this entire discography to be totally enjoyable even after numerous listens. Bitch Magnet probably influenced every band you like, so do yourself a favor and check them out. You won’t be disappointed. –Paul J. Comeau (Temporary Residence, annapaz@temporaryresidence.com)

: Split 7”
Two songs from each band here. Bangers: A three piece, featuring strong, somewhat gravelly vocals. The tunes are played at a comfortable, fairly easy pace. Good guitar work, backed up by a rhythm section that doesn’t slouch. In the liner notes, it says that these songs were recorded live. Unless there was no one there, I would say that it means the songs were recorded live in a studio, and not at a club. What-A-Nights: Four Japanese dudes playing upbeat punk songs. Nice guitar leads stand out on the B Side. The cover art features somewhat of a blob character coming after people. Good shit. –Nighthawk (Drunken Sailor / Snuffy Smiles, DrunkenSailorRecords.co.uk)

Self-titled: 7”
Dudes wearing leather jackets. Everybody changing their last name to the name of the band. (In this case just “Coyote.” I’m assuming for brevity’s sake. “Bad Coyote” would be a stupid-ass fake last name.) I’m guessin’ before I even throw this thing on the turntable, that this is gonna be a little bit Ramones-influenced. Really it’s more like blues-influenced oldies turned up to eleven and played kinda shitty. (Or, uh, “lo-fi.” Whichever.) Sometimes it sounds like a bad Misfits bootleg. Not all that great –Ryan Horky (Eli’s Mile High, elismilehigh.com)

Seasick: 2 x CD
This is a compilation of two full lengths and an assortment of demos from this late ‘80s British punk/post-punk band I had never heard of until now. The LPs presented here, 1987’s Cornucopia and 1988’s Cut It Off, present a band going full-on deathrock. It’s like a British Dance with Me-era T.S.O.L., cross pollinated with a bit of early Christian Death, a bit of d-beat, and Dave Vanian at his most melodramatic and gothic. Seriously, if I ever heard the opening track from Cornucopia, “Morgan Le Fey,” somewhere, I would assume it was from one of those middle period Damned albums. While taken in one sitting—especially with the bonus tracks included with this, the albums can be a bit on the long side—they are both incredibly solid albums. Both albums do break up the more straightforward, echoey, bass and drum-heavy goth punk tracks with songs such as the ethereal interlude of “Blind Fate” on the first album and the oddly folky opening track “Cut It Off (Pt. 1)” from the second album. There was even a flute somewhere on that second disc. Lyrically, this makes me think of the early Rudimentary Peni EPs with their shift between political concerns and more personal or esoteric concerns, such as love and death and puppy killers. The demos on the first disc are your standard rougher versions of the stuff on the LP. The BadBeach Trio—Sonic Sunset demo from the second disc is a bit different because it’s from 1995, a full seven years after the second LP, and consists of songs featuring a heavy female vocal presence. All in all, this is a very solid re-release of some excellent tunes I had never heard of before, and I’m sure anybody into all those punk/post/dark/goth wave DJ nights which apparently happen like ten times a night, at least here in L.A., will find this worth well tracking down. –Adrian Salas (Boss Tuneage, bosstuneage.com)

Rusty Years: LP
Three songs into this, something sounded off. Suddenly I realized that I just may have been listening to this at the wrong speed. D’oh! At 45 RPM, this record was highly intriguing and came across like a mash-up of the Lost Sounds and Xbxrx. At 33 RPM, which I’m assuming is the intended speed, this sounds more like Francis Harold And The Holograms style noise-punk and, sometimes, like an even more unconventional Birthday Party. The lo-fi recording and the silk screened album cover convince me that this is indeed a DIY product and not just some hipster douche’s self wank fest. It’s an interesting listen, for sure. I just wish it was meant to be played at 45. –Juan Espinosa (Rainy Road, Doom Town)

Self-titled: LP
Lyrically I’m totally onboard with this—barbs about the shittier aspects of the modern world, including enslavement via debt, the reinterpretation of the term “organic food,” the failure of capitalism, resisting the system, etc. Musically, however, I’ve just never been all that impressed with “hardcore” metal—as that term is used these days—and the genre really does zippo for me. Here’s hoping that the seeds buried in the lyrics take root in at least a couple o’ fans who do dig that sound, ‘cause, frankly, they sure as shit ain’t gonna hear about stuff like this in the mainstream media or on the current hit program on Telemundo or TV Azteca. –Jimmy Alvarado (Fat Sandwich)

Procession: 12” EP
I can’t be the only one who wishes that funeral songs were more catchy and less mopey. Arctic Flowers agrees. They play up early ‘80s goth to the hilt: quasi-Egyptian symbology? Check. (No ankh, but the “Eye of Horus” eyeball.) Ruins and/or druids and/or crop-circley imagery? Check. At least a couple of early Siouxie, Bauhaus, Super Heroines, and/or 45 Grave records in heavy rotation? Check. We’re in the midst of a slew of music revivals and jokes I haven’t used in decades are coming back to me: What’s worse than someone throwing up into your mouth? A dead person throwing up into your ears. Kidding aside—I listened to this type of stuff a lot growing up because that’s how the punk/goth detente was established in the mid- to late-‘80s when punk was sucking wind. The good news is that Arctic Flowers fall on the Christian Death/actual good punk band playing somber music side of the equation. They match the ooky-spooky with pumping blood and actual guitars and drums, not Casios keyboards overladen with effects. Nice. –Todd Taylor (Self-released, distro’d by Feral Ward)

Hail to the Chief: Split 7”
Two bands offer up their tribute to The Ramones. I will leave it a mystery as to which Ramone is on the cover, but I can tell you it is not Ritchie! Both bands do dead-on takes on their selections, but Flat Tires offer up just a little bit more grit in the kitchen. The third song is collaboration between the two bands on an Antiseen song. I endorse picking this up post haste. –Sean Koepenick (Rusty Knuckles)

What We Do Is Festive: LP
This is a difficult gig: a punk rock Christmas / comedy album. For example: I already hated the much-compromised modern Vandals, so when they released Oi! to the World, I actively started hating their fans. It is against these overwhelming odds that the Angry Snowmans’ What We Do Is Festive melts my black coal of a heart and replaces it with a blinking red Rudolf nose. They invert both punk’s cynicism and Christmas’s consumerism. Punk joy? Wide-eyed, child-like wonderment of a fun time of year? That’s what this record is. Instead of crooning Bing Crosby and Burl Ives, it’s belligerent Bing and sauced-up Burl ripping the wrapping off the Germs, Fear, Black Flag, Zero Boys, X, Misfits, Fear, (“(I Love) Christmas in the City”), and many more. It’s done in a lovingly manner, extremely punk-knowledgeably, often hysterically. Overthrowing the oppressive North Pole regime never sounded so good. Play it from the day after Thanksgiving until January 1, and we’ve got no beef. Outside of that, the reindeer gets punched. Awesome –Todd Taylor (Stiff Hombre)

What We Do Is Festive: LP
I’m not really nuts about Christmas music in general, and I’m REALLY not nuts about Christmassed-up punk, or any Christmas-based rock ‘n’ roll for that matter. You can’t really punk out Christmas, and you can’t really Christmas-out punk—they just don’t go particularly well together ((although getting punk records for Christmas is certainly all reet)), and don’t really need to BE together, if’n you ask me. I’d just as soon listen to those songs from the Rankin-Bass Christmas specials of my youth than listen to punk songs re-done in an X-mas motif, really—but, that said, a lot of these songs really are pretty clever ((Black Flag’s “Jealous Again” as “Joyeux Again,” “Operation” by the Circle Jerks as “Decoration,” and “Wasted Life” by Stiff Little Fingers as the inarguably epic “Wasted Elf”)), so if you’re into this sort of thing, you can buy with confidence and not bother fucking with a gift receipt. First Toymaker to the King represent! BEST SONG: “Wasted Elf,” maybe “Decoration.” BEST SONG TITLE: “What We Do Is Festive” FANTASTIC AMAZING TRIVIA FACT: Although the front cover is a Yuletide take-off on the Germs album cover, the insert provides a similarly brilliant spoof of “Back From Samoa.” –Rev. Norb (Stiff Hombre)

Self-titled: Cassette
The packaging here consists of a piece of paper folded around the tape and held in place with the ring from a six-pack. Pretty good. That same sense of scrappiness and using what you have is reflected in the music: nicely stomping New Orleans boom-bap punk with yowled vocals and little guitar leads here and there. It’s a little scuzzy, a little frantic, and a little hard to pin down. Reminds me of all those earnest and resilient Canadian bands putting out tapes via the Sharpie Fumes Collective. The kind of band that may never go beyond playing house shows—and may wind up being one of the raddest bands you ever see at a house show. Anyway, they’ve got cassettes and CD-Rs available, or you can grab this via Bandcamp, which might not be a bad idea at all. –Keith Rosson (Adults)

Don’t Ask for Permission: LP
Killer UK82 style punk from Mexico that is a heavy take on classic Partisans or GBH. A good point of reference would be A Global Threat’s first LP or On the Front Line by the Casualties, but even more full-on and in your face. They can actually play their instruments and the recording on this slab of wax is huge. The packaging is a little weird and there is the totally obligatory band shot on the back where the members are literally wearing their influences on their sleeves, but after flipping this thing over to the second side and realizing this record was going to shred the whole way through, the hardcore snob in me melted away and I remembered days of my youth sitting around listening to Killer Blanks and trying to piss off my parents for no good reason. If there’s still a market for that stuff, these guys should be at the top of the pile. Why aren’t they on tour with the Casualties and Anti-Flag making… thousands? –Ian Wise (Voltage, info@voltageshop.com)

“The Rotten Ones” b/w “We’re Not in It to Lose”: 7”
LoveCanal formed in 1982 in Huntington Beach and naked on the cover of Flipside number seven. Mystic comp appearances up the ying yang. Olympic auditorium shows. Invited to the Goldenvoice thirty-year party. It’s a Dog’s Life So Blow It out Your Ass was released on National Trust (home to Fang, MIA). Pretty unimpeachable pedigree. Just wish I liked the songs on this debut 7” better. One pretty hurried Big Boys cover and very standard, fair, but almost faceless original. Great packaging and artwork. Sorry, Rick. Fan of the band; this just left me a little flat. –Todd Taylor (Hostage)

Pissing Blood: 7”EP
As far as I can tell, the title of the 7” comes from accidentally breaking a glass, a sliver got into the dog’s food, and the dog’s now pissing blood. Huh. I thought it would be about liver cirrhosis from drinking too much. For me, Shit Creek’s at their best when they caress the kitten of their inner Beltones and Blitz. (“More beard in the monitors, please. Less ear and nose hair. Thanks. Hand claps.”) When it gets a little bit too much—and this is coming from a person who thinks Frankie Stubbs’ voice is honey—is that Brandon’s (or is it Ben’s? They’re similar-sounding) voice sometimes sounds more tattered than the flag flapping above the Alamo when Mexico did some reclamation in 1836. Favorite song: “Webpage,” which rails against a forty-one-year-old gutter punk with a cell phone and a laptop.  “Freedom’s just the word you use for being lazy,” indeed. –Todd Taylor (Drunken Sailor)

Demonstration 2011: Cassette
Just about everything is wrong with this band. Poorly mixed recording with irritating vocals in the forefront over some boring hardcore riffs. Every song sounds exactly the same so it’s boring and irritating at the same time. –Craven (Self-released, whitepageswhitepageswhitepages@gmail.com)

“Safety in Numbers” b/w “Real Tough Chicks”: 7”
Punk/post-punk band outta Los Angeles. Solid stuff that should appeal to fans of The Bangs and Slant 6. Solid players (ex-Red Onions, This Moment In Black History), great female vocals. Recommended.– –Ryan Leach (Self-released, whitemurder@gmail.com)

Viscéres: 12” EP
Hardcore and sludge from one band on one side of a twelve inch piece of vinyl. The straight-up hardcore songs are pretty good. The title track, with its late period Black Flag influence, is really good, and the song “Cathédrales” really stands out. “Discipline” is a blinding rager, and the ender “Creward” starts off thrashy then melts into sludge, and it works here, accenting the anger and feeling of resignation. Could be a really good record, but is marred by the sludge of “Comme Les Vers.” –Matt Average (Echo Canyon, echocanyonrecords.com)

The Thing that Ate Larry Livermore: LP
A sort of throwback to when there were compilations for the hell of it, instead of just trying to sell more records. Specifically, to the old Bay Area/Lookout Records compilations, even more specifically The Thing that Ate Floyd. This time around it’s much more pop punk focused (not entirely, but predominantly), and focuses on a bigger picture, geographically speaking. I was actually already familiar with a good chunk of these bands already, (like Dear Landlord, The Copyrights, and The Hextalls) but there were a few surprises (like Lipstick Homicide). Either way, it’s all new material so it’s still enjoyable. As easy as it is to find new bands by screwing around on the internet, it’s nice to see effort put into a comp like this. –Joe Evans III (Adeline)

Putting the Rock Back into Rock Bottom: CD
Not sure why this got to Razorcake HQ now as it was recorded in 2008, but that aside this disc contains twelve tracks of standard-issue punk rock with some unfortunate ska chinka chinkas thrown in for good measure. Not entirely useless (no pun intended), there is some degree of cleverness in the songwriting which runs the gamut of shitty jobs, getting drunk, and getting harassed by the cops though not necessarily in that order. The vocals are at times reminiscent of Tesco Vee, of all people, which isn’t a bad thing. –Garrett Barnwell (1332)

Resolutions Demo: Cassette
Now we’re talkin’, this is excellent! Great songs with fairly sparse arrangements that have a real Scud Mountain Boys or Josh Ritter feel. I have seen the name of this band around but had yet to hear anything. Will have to get on it and check out some more Unwelcome Guests stuff. This could not come more highly recommended for fans of everything from Drag The River to Songs: Ohia. –Mike Frame (Vincis, unwelcomeguests.bandcamp.com/album/resolutions-demo)

Self-tiled: 7”
I get stumped more often than not. Not sure how to describe this. Thinking outside the box punk rock is what hits me. The use of synths adds a spacey, art damage, psych touch to the music. But the solid foundation of punk is there right in the forefront with the melodic and hard-driving guitars pushing the music along. The vocals are delivered with reckless abandon—screamed with a fury to make sure you are paying attention. At other times, it seems like the vocalist is taunting with his snotty delivery. The band sounds like they use a combination of real drums and a drum machine. It adds a robotic feel. The bass player seems to have a lot of freedom and plays some riffs with the use of extra notes that remind me a lot of Rudimentary Peni. Intriguing listen, I have to say. It took a lot of spins to even get me to this point. I like that it was sort of challenging and not your average cookie cutter band. Now, I need to sample their previous LP to see if it appeals to me as much as this EP. –Donofthedead (Schizophrenic)

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