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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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Lightworker: LP
House Of Lightning is one of those bands that defy categorization. Certainly heavy, with a ton of low end that makes the room vibrate. You can feel every bass note moving across a wooden floor. There’s a thick guitar sound with razor-sharp distortion, but these guys are far from typical of metal, or hard rock, or whatever. House Of Lightning consists of members from Cavity, Floor, and Dove, and those bands weren’t typical either. Maybe it’s the vocals? Usually, for modern heavy bands, you have a singer who screams and yells, or growls and grunts in low tones. Here, the vocalists actually sing! Think of Om, but not in the chanting or prayer-like way the vocals from Om are delivered. There are also aspects of this that remind me of late ‘80s DC bands like Kingface and late period Scream. Complex song structures that change tempo on a dime, sometimes soaring, sometimes an intense workout. It’s as though they’ve run free jazz through a doom metal filter. Like I said, this is a band not easily pinned down. At the end of the day, it’s the music that counts, and not the niche. Something to listen to, give yourself over to, and zone out.  –Matt Average (Fair Warning)

Vi Är Människorna Våra Föräldrar Varnade Oss För: LP
From the ruins of Masshysteri remains Robert Hurula, singer and guitarist for the lauded Swedish punk outfit. Masshysteri waded in the pop waters, while Hurula dives headfirst into the deep end of upbeat, keyboard-driven pop rock. Like label-mates Fucked Up, genres are conflated and the production is crisp. I’m also reminded of fellow Swedes Vånna Inget, whose latest record, Ingen Botten, is a similarly brooding tapestry of no wave hits. Hurula’s guitars swish and swoop like wayward specters, while the sparse rhythms on the hi-hat and snare conjure The Cure. His croon is transported right out of the ‘80s, however. The untranslated lyrics make for some garbled singalongs during the morning commute, although contagious choruses transcend all languages. The pulsing keys of “Sluta deppa mig” are hypnotic, while “Sveriges ungdom” instigates some boogieing by doubling the pace and ramping up the post-punk grandiosity. Closer “Det är ok om du glömmer mig” hardwires into my limbic system with scientific precision, leaving my brain fizzing from the emotional surge as the guitars shriek until the final crash. Hurula’s first LP is a rare pop rock classic with all of the vulnerability, passion, and urgency of a fierce punk band. Highly recommended.  –Sean Arenas (Deranged)

“EZ/PZ” b/w “Hey Jude Pts. 2 & 3”: 7”
A Rip Off records-style garage punk duo dipping their toes into waters previously cannon-balled by bubble gum rock-influenced acts such as Nobunny and Shannon And The Clams, though perhaps not as effectively. Despite the title of the songs on the second side, there appears to be very little, if any, Beatles influence or homage. That’s a good thing.  –Juan Espinosa (Windian)

“Giddy Boys” & “Success” b/w “Fate in a Pleasant Mood”: 7”
The record’s insert includes a pic of Gustave Courbet’s “A Burial at Ornans.” “Burial” is a huge (approx. 10’ x 22’) painting of a provincial French funeral in the mid-nineteenth century. Centered in the painting’s foreground is the burial plot, which suggests to its observers that the plot is theirs, given the plot’s size and placement. It is one of many moments of genius in Courbet’s impressive oeuvre; here, however, it is shrunken down, leaving only a glimpse of its brilliance. The painting is fitting with Institut’s attitude, as it is an unflattering and unforgiving representation, which has obvious preoccupation with the certainty of one’s own death. But like the insert, Insitut is serviceable, and the band doesn’t really do anything but pay homage to its forbearers’ (see, e.g., Wire and The Fall) moments of genius in a shrunken down manner. The two songs that fill out the front are fast, bouncy post-punk with a doomed-to-live mindset. The backside takes a little risk, hinting at an ability and desire to experiment, with the background chanting and a death rock dirge, but Institut plays it pretty straight for post-punk, while retaining the existential crisis touched upon on the front.  –Vincent Battilana (Katorga Works)

Oddities: Unreleased Tracks, Demos, and Rarities: CD
I really hope the title of this record truly reflects the content, since I have not heard any other work by Mr. Mohr. Thus, bear in mind that the only context I have for this review is this record, and I have no clue what would constitute his “normal.” Many of these seventeen songs seem inspired by ‘80s synth pop, but there are a few interesting punk rave-ups in the mix. Overall, though, this didn’t work for me. Songs like this need, in my opinion, greater production value (gasp!) to get my attention, and this comes off, for the most part, as a dude tinkling around on a keyboard with some buddies backing him up, recording it all on a four-track. Some of these songs could be quite exceptional if they weren’t so horribly rough around the edges.  –The Lord Kveldulfr (Hydrozoan)

No, Life Isn’t: Cassette
No, Life Isn’t vacillates between ‘80s feminist performance art screamed through a megaphone—”Thursday Morning Abortion”—and a self-serious Atom And His Package with a Casiotone preset beat—”Choke.” Guitar-only tracks like “Little Bully” highlight the limitations of being a one-woman band, but fuller songs like “Cold” get closer to dynamic garage punk. Menacing, gain-drenched “Gardener” stands out as a surreal mash-up of T.S.O.L. minor chords, Freshman Women’s Studies politics, and Moon Unit Zappa’s vocals on “Valley Girl.” Coming in at under fifteen minutes, No, Life Isn’t closes with “Anthem,” an upbeat survivalist hymn that confirms my suspicion that, with some likeminded collaborators, Jamie And The Debt’s knack for punk affectation will one day blossom into a powerful musical statement.  –Kelley O’Death (Self-released)

This Machine: CD
The acoustic punk rock retirement plan seems a comfortable fit for Houston pickers Jason Bancroft And The Wealthy Beggars. Compared readily to Woody Guthrie and Billy Bragg, Bancroft’s vocals will remind most punks more of post-Rumbleseat, pre-Springsteen Chuck Ragan. The subject matter on their debutThis Machine fulfills every quota for this kind of record, celebrating blue-collar pride and introspective storytelling, but the band’s influences and themes often seem too on the nose, especially on “Move On Woody, Move On” and their gruff cover of “I’ll Fly Away.” The Wealthy Beggars are undeniably talented, and the purity of their mission will endear them to many, but those reeling from genre oversaturation may be left wondering what sets them apart from the pack.  –Kelley O’Death (Vinal Edge, retail@vinaledge.com, vinaledge.com / Cactus Music, cactusmusictx.com)

Singles Collection: LP
Singles collections can be tricky things. Side 1 can be all A sides and the reverse all Bs. Or they can be A/B chronology…either way, the potential of fifty percent let-down continuously hovers. Jetty Boys and Urban Pirate smartly stack this collection LP with their sides of six split releases, harvesting the sound of a band consistently trying to out-do their compatriots’ side (plus three unreleased tracks). Cobbled together in this fashion, Jetty Boys have released an incredibly strong and impressively cohesive full length. Singles Going Steady for nuevo pop punk fiends. Check those “12 Steps” and “Not Even Close” leads for Buzzcocks reference.  –Matt Seward (Urban Pirate)

Some Witch: 7”
From my original hometown of Houston, the A-side of this single combines choppy indie rock with a modern Warped Tour-esque screamo dual vocal approach. You likely know the type—in this case, softly sung vocals about angels and shit with angry, shouty vocals layered over the top. Flip it over and you have a call and response style punk anthem about why Tuesday is the worst day of the week, complete with a singalong chorus that made me think of “If the Kids Are United.” Then, out of nowhere, this song takes a left turn into a weird, dreamy, psychedelic outro chant about everybody wanting to talk about Tuesdays. Overall, this is pretty much all over the place and hard to put a finger on despite some decent moments here and there.  –Mark Twistworthy (Artificial Head)

Home Recording’s 1993-99: LP
I confess: I am not, nor have ever been, a Dead Milkmen fan. I mention this because Joe Jack Talcum is the guitarist and a vocalist in the revered satirist punk outfit from Philadelphia. Being unfamiliar with the Milkmen’s albums has allowed me to be objective when listening to this collection. Ultimately, I was pleasantly surprised. The songs are lo-fi, which accents Talcum’s breathy voice: Imagine shutting your eyes while behind the wheel of your car, the windows cracked open so that a hiss of air blows pass your ears. Daniel Johnston and Kimya Dawson are obvious comparisons; however, Talcum’s songs are less disjointed and agonized, rather more assured and sardonic. Talcum practically hums over foreboding organ notes on one of the LP’s most haunting moments, “Go.” The songs meander into each other like a daydream until the instrumental, “Sweet and Sour,” and “Be My Property” interrupt the slow tempos with electric guitar and hard-hitting drums. B Side opener and highlight “Another Time” is a contemplative folk song in the vein of Elliott Smith and the musicians of label K Records, while “Forever Expanding Dream” is as meditative as the title suggests. Home Recording’s is bedtime listening that will infiltrate your dreams with its understated melodies and blanket you with its warmth.  –Sean Arenas (HHBTM)

Dead Mall Blues: LP
I always let the artwork on the covers of albums allow me to assume what I think the music will sound like. The eighties look of this record lead me astray in a good way. Dead Mall Blues is all harmonica, banjo, and acoustic guitars. If you’re looking for some background music for your bottle of whiskey or your campfire, this is it. I can’t help but think how well these songs would compliment a show like Breaking Bad, Sons of Anarchy, or something with a southern back drop. If you’re a fan of classic country, old blues, and Americana music, these boys satisfy your appetite. They cover songs like, “We Got to Meet Death One Day” by Blind Willie McTell and “Cluck Old Hen.”  –Ryan Nichols (12XU)

Music for Break-Ups: LP
Jack Grisham did some spring cleaning and found these songs on a cassette from the mid-nineties. Original members—including Jack, Ronnie King, and Billy Persons—are joined here by some new recruits. Matthew Rainwater (now in T.S.O.L., too) on drums, Rikk Agnew on guitar, Steve Soto on backing vocals, and production handled by Paul Roessler. If those names don’t cause your ears to perk up, then you need to see a specialist pronto. “Lipstick on the Radio” and “That Girl” are highlights, but all these songs are fantastic. It’s not T.S.O.L. Part Deux, so don’t expect that. But if you like melodic punk with some keyboard flourishes, this won’t disappoint. Even The Dude will tell you the same thing.  –Sean Koepenick (Self-released, jack@jackgrisham.com)

K., THE:
My Flesh Reveals Millions of Souls: CD
Noisy, wiry, and ready to split up into a million pieces. Looping bass lines, manic drums fills and vocals that go from a whisper to a howl at the drop of a hat. Guitars that could cause puncture wounds. “Dawn Riser” and “Maneater” are my favorites on this record. It’s heavy, sure, but there are dynamics here too. This trio from Brussels channels McLusky, Big Black, and Drive Like Jehu into a potent cocktail. Take a swig.  –Sean Koepenick (Juane Orange)

Self-titled: 7” EP
Anthemic punk here, with the band sounding like they’re aiming for the fences throughout. It’s an interesting mix at times of thuddy Dirtnap-styled stuff, early Channel 3, and maybe Vanilla Muffins, yet not really sounding overtly like any of them. Four tunes chock full o’ hooks and singalong bits.  –Jimmy Alvarado (Krayola)

Modern Woes & Basement Shows: CD
Do you like holes in your ceiling? Do you like concussions? These are the things you are going to have to deal with when you listen to this CD, because you’re going to be pogoing so hard that you’re certain to put holes in your ceiling with your skull. This CD rescues songs by a Minnesota band that delivered fast-paced, high-energy pop punk for a little while in the mid-’90s. These tunes are a lot of fun and definitely worth rescuing, despite the time that I’m going to have to spend sweeping up plaster and bandaging my head.  –MP Johnson (Self-released)

Guerillas in the Midst: Cassette
Brooklyn’s Kung Fu Crimewave seems to not want to follow any trends. Abnormal, strange, ethereal pop songs are nothing new, but there’s an interesting vibe to these tracks, with severe anger bubbling right under the surface. There are a lot of extra instruments here, including keyboards and horns, plus the female backing vocals are mixed high. Also, the cassette is on the pro end of tapes, came shrink-wrapped, and includes a download card. There are probably eight big fans of Kung Fu Crimewave, but I’d like to shake their presumably existent hands.  –Art Ettinger (Baldy Longhair)

Phantom Breaker 1993-1996: LP
This picture disc apparently collects two EPs, a cassette compilation track, and a previously unreleased full-length. That’s twenty-one songs, y’all. I was leery to put this on—discography releases of bands I’m not already fanatical about can be draining—but this one pulls off something pretty cool. Phantom Breakerstarted out as the kind of music I care the least about (under-produced garage rock with drawling, repetitive vocals) but quickly started morphing into something a good deal more interesting… a few different things, actually. “Nostalgia for the Mud,” three tracks deep, is heavy, melodic, and arrestingly off-kilter. There are plenty of other winners to follow, including the ominous “False Sabretooth,” and “Angel’s Dread,” a split-personality jam that oscillates between sing-song alt-pop and raging hardcore. Inevitably, a synth starts making appearances as we draw closer to 1996. Lefty Lucy made the rounds in their time, sharing stages with Bikini Kill and Dead Milkmen, each of whom is a decent point of comparison at some point in the span of this discography. Every other song reminds me of a different band from that terrain between punk and grungy alt-rock: Squirrel Bait, Gauge, later Hüsker Dü, plus some incidental horns and a “Kids in America” cover for good measure. Worth a spin, even for a first-time listener.  –Indiana Laub (Mpls Ltd)

Unfinished Business: LP
First-ever album release for this obscure Australian hardcore/crossover act. Recorded in 1988 and apparently sold on cassette at the band’s shows around that time period, that cassette is unfortunately the only existing source, and we all know how well cassettes hold up over time. However, a quality transfer and remastering job results in a remarkably decent sound. Very reminiscent of a crossover but pre-metal D.R.I. Fast and tight, anti-religion, anti-government, anti-war and anti-melody! Great riffs, intelligent lyrics, the occasional thrashy guitar lead, and just enough variety to keep things interesting in this very confining style. My only complaint is that there’s nothing in the liner notes in the way of band history, and an internet search yielded very little, other than the fact that three of these songs were actually released in 1989 on a four-band Aussie comp called Thankyou Charles. Nonetheless, an excellent find and worth picking up.  –Chad Williams (Collision Course)

Unfinished Business: LP
Hard not to get behind this story. Dude from Collision Course Records comes upon a Lethal Overdose cassette some twenty-five years ago, loves it for easy reasons, and rather than let it disintegrate after a dozen moves or have it fall into the hands of some careless sibling who he’s maybe already losing to the radio, the guy re-releases these seventeen songs on vinyl. Unfinished Business is it, an unrelenting collection of Australian thrashy hardcore that hews more to melodic coherence over growling brutality. The rhythm and vocal pacing makes me think early Dischord or SST, as the opening track “Against the Grain” has the manifesto feel and pacing of an Australian take on the anthemic “Minor Threat,” but Lethal Overdose is wholly bizarre in its own way. “Don’t Vote for Judges” shifts from song into some sort of geometric noise machine where singers Dicko and Dave trade shouts of “no judges” until the lyrics give up and become sounds, and seconds later—zoom—more whirring hardcore goodness of “City Limits.” The easy first place for this season’s record time capsule contest—no itchiness, bumps, or lumps and it comes in milky-yellow vinyl with red and black splashes, a speckled beauty.  –Jim Joyce (Collision Course)

Greatest Hits: CD
As a kid, I was in love with shitty movies with punk aspirations—think Penelope Spheeris’ Dudesor Glory Daze starring Ben Affleck’s goatee—and the main selling point was their frenetic soundtracks featuring a smattering of bands you’d heard of and some you’d never hear from again. Sacramento’s two-man band Life Is Bonkers would have fallen into the latter category, but their Jello-Biafra-and-Adam-Goren-force-feeding-synth-to-Dave-Quackenbush styling would have felt right at home squealing non-diegetically while Henry Rollins pursued Charlie Sheen at top speeds. Their Greatest Hits is a cacophony of dance-y keyboard, irreverent lyrics, and fuzzy guitar that both caught me off guard and entranced me immediately. So weird and so wonderful.  –Kelley O’Death (Hydrozoan)

Savages EP: 7”
Life Like, from St. Louis, Missouri, play vomit-inducing blown-out hardcore. The singer grunts and howls like an exhumed Darby Crash, which isn’t particularly groundbreaking. But the guitar tone is what saves this otherwise average 7”. The guitars blanket the pulsing drums in fuzz, almost like Cult Ritual. Yet, Life Like sounds like they cherry-picked the qualities of better bands, but forgot to sprinkle in something new, something original. With lyrics like “I’m a walking disease” and “I’m an animal” and “I’m caught in a system,” Life Like compels me to say, “I’m not impressed.”  –Sean Arenas (Deranged)

No Room for Hate: CD/LP
If you’re old enough, you might remember back in the early 2000s when Rise Against came out with their debut album, The Unraveling. It was solid melodic hardcore/punk with passion and catchy songs that also had some hard edges. Then something happened and they became boring rock’n’roll that seemed devoid of anything that compelled me to want to listen to them. Well, if you miss that early Rise Against, Lifeline Lost from Helsinki, Finland, might be for you. While a little more poppy than early Rise Against material, they can still be pretty fast at times and the vocals are more singing than screaming. In some ways it’s more reminiscent of Ten Foot Pole, except in the vocals area. The songs are all sung in English, and while I’m normally not a fan of non-native English speakers singing in English, it seems to suit the style the band is playing. No Room For Hate isn’t the best thing ever, but it’s promising, and makes me interested in hearing more.  –Kurt Morris (Self-released, facebook.com/lifelinelost)

Aw Maw: 7”
And the hits from Hozac just keep coming. This time you get heavy proto-punk circa 1973 from a band featuring Sonny Vincent before he went on to the Testors, who also did a version of the title track. Swagger and stomp are in abundance on the two tunes here, which are apparently the only known recordings of the band.  –Jimmy Alvarado (HoZac)

Self titled: 7”
This band harkens me back to every reason I got into local music in the first place. Part of that is because they wear their influences on their sleeves, part because they’re not afraid to try things differently than those influences, and absolutely because they’re completely aware of where they’re going. Listen Lady is a female-fronted four piece from Seattle that makes me want to make daisy chains in the park on the sunniest day of the year and then ride bikes while talking about love with close friends. Saccharine pop sensibilities bleed through like a broken heart and cymbals shatter the pieces and crash them about the room, while the bass and drums pump new life into melancholia. “Little Mouse” opens up with a riff that reminds me of the theme song to Kids in the Hall. Lyrically, it’s about feeling small and insignificant around someone you care about while they’re as large as a lion. My favorite lines from it are: “If my heart had a food chain you would be on top / And if I had my way I’d never be safe from you / But hiding in these walls is all I ever seem to do.” Guitarist L supplies backup vocals on that track with Siobhan, and the melodic tones they create are like candy. Not every track is pleasant though. “Hey Listen” is a fed up, angst-filled jam about getting creeped on by unrelenting dudes with shitty intentions. It ends with the lyrics, “Why do you think you can talk to me like that?” on repeat. If you’re into Lemuria, Braid, and The Pixies, make some room for this band in your collection.  –Kayla Greet (Cat Dead Details Later, catdeadrecs.com / Off The Books, offthebooksrecords.bandcamp.com)

Ghost: LP
I reviewed a single by these Frenchies for another rag a few years back and was immediately taken aback by how terrible their name is. I understand language barriers and shit, but using the book/cover strategy I would never buy this. That would be doing a huge disservice to one of the better records I’ve heard over the past few months. Spine-tingling, melodic punk in the vein of English bands like Southport, Blocko, or even earlier stuff like Visions Of Change and HDQ. If I were to pick a U.S. band, I’d say Reason To Believe, maybe? Octave guitar parts, amazing vocals, great recording and a really solid sound. Since getting this in the mail, it has been on constant repeat. I dunno how easy this French stuff is to get here, but I urge you at the very least to go to their bandcamp and have a listen. You won’t be disappointed.  –Tim Brooks (Chanmax)

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