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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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Oire: 7”EP
Modern Finnish hardcore. By that, I mean they know their punk roots and they’ve updated to the black ice, ice-pick, hard-scraping, atmospheric, moody/melodic hardcore ushered in by From Ashes Rise (Alkaen Tuhka Nousta) and His Hero Is Gone, yet has a distinctly European feel, along the lines of El Banda. Paranoid neutrality. Mistrust. I think that language and history are sometimes important in understanding music, so here goes. The land area that now makes up Finland was settled immediately after the Ice Age, but it wasn’t until 120 years ago, in 1892, that Finland adopted its own national language. Before 1892, Fins mostly spoke Swedish. (Russia was trying to woo Finland away from Sweden and figured if the Fins had their own national identity, they’d be easier isolate and conquer.) That backfired. During the Second World War, Finland fought twice against the Soviet Union, and lost both times. Finland remained an independent democracy but was forced to stay neutral through the Cold War, until 1991. Finnish has always sounded and looked impenetrable to me as a language. The band’s name is “Blind Spot.” The 7”‘s title is “Symptom.” Scandinavia doesn’t get much sun in the winter. And it makes sense now that Sokea Piste’s punk band legacy is Lama (“depression”), Riistetyt (“exploited”), Rattus (I’m assuming a play on “rats”), and the out-of-place-name-wise Terveet Kädet (“healthy hands”). A cold blast of ice-filled air from the north. Sounds like snow plows scraping near-empty parking lots sheeted with ice. Recommended. –Todd Taylor (Peterwalkee, peterwalkeerocords.com)

Self-titled: CD
Dunno much about these guys, but from what I was able to glean, this was/is a Vancouver band, not the L.A. band Sludge, who ruled the roost and issued a number of releases on Sympathy For The Record Industry in the late ‘80s/early ‘90s. The tunes here start off a bit on the punk-circa-1987 side. Around mid-way they begin to devolve to a sound more apt for their given moniker. The sound quality is a few steps above demo, but on the whole they do/did what they do/did well. –Jimmy Alvarado (Pankratium)

One Man Race: CD
I clearly remember liking the forty-five they released a good while back, and the formula here’s the same as it was there—simple, pounding rock/punk stompers with guttural, primal vocals. Somehow, though, this just ain’t registering like it should. Could totally be my mood, so I’ll take full blame, but I wholly expected this to blow me outta my seat and it just ain’t. –Jimmy Alvarado (Mystery School, mysteryschoolrecords.com)

Self-titled: Cassette
Disgustingly heavy power violence from Chicago. The bulk of these songs hover around thirty seconds to a minute, and it finishes off with a three-minute death march that, thankfully, doesn’t follow the sludge formula you see far too often to close out power violence releases. The vocals are a distorted take on Lack Of Interest and the drums provide a calculated backbone to the chaos. The recording is above average and the guitar tone is sick. If this band had put out a split with Eunuch, I wouldn’t have to buy another power violence record for a year. By the time you read this review, the tape will be available as a 7”. –Ian Wise (Kills You)

Sic World: CD
A compendium of recordings here from a New Hampshire band active 1985-90. Collected here are their first demo, the Everything Ends in Rot EP, the heretofore unreleased Sic World LP, and assorted compilation and live tracks. Their sound places them squarely within the trends of the years of their existence—primarily hardcore punk with enough assorted hues of metal to make the song lengths longer, the structures a bit more complex, and the guitars beefier. They even manage to keep the wanking to a bare minimum. The result is a dark sound that varies between mid-tempo to up-tempo and a singer that sounds like he’s well versed in Bathory’s back catalogue. –Jimmy Alvarado (Welfare)

Hell Is for Hippies: CD + DVD
Sometimes these “discography” discs are quite interesting, because they offer the opportunity to see a group of fledgling musicians, in this case four punkers hailing from somewhere in 1980s NY, find their sound. The band’s name has “the original” prefixed right above it, ostensibly to prevent confusion between these cats, who existed 1983-85 or so, and the band that put out a buncha vinyl on Sympathy For The Record Industry years later. The forty-one tracks here come from three different demos, one from each of their years of existence. The first, Created in Your Image, is a straight-up garage recording, with thrashy tempos and howled vocals spit out via a raw-as-fuck recording, resulting in a sound that sits somewhere between early Adrenaline OD and Connecticut legends Seizure. The second demo, Bark Twice for Freedom, reins in the chaos a bit—though the tempos are still largely zippy, the tunes show a wee bit more sophistication—and the recording sounds like a more traditional four-track affair. By the third, the heretofore unreleased Hell is for Hippies, however, the band has tempered their hardcore with a sound that might be comparable (if one was really stretching) to, say, the Minutemen, albeit with a helluva lot less funk and a helluva lot more Beefheart. Though each era is not without its charms, for my money this last bit of mania is the real gem here, where the band took those early influences and forged a sound that was all their own. Hippies was a demo for an album that, apparently, was never recorded, which is a damned shame ‘cause it would’ve easily been considered a classic of punk’s freakier fringe, based on what’s here. The DVD is footage of the band thrashing up a thirty-plus minute set in their garage, with sound that’s raw but discernable. –Jimmy Alvarado (Welfare)

Split: 7”EP
Rumspringer: You know what I like? When you read along, it’s all, “Shit, man. Life’s a black hole. All my socks have holes. All my relationships have holes.” But when you listen to the tone, pacing, and you just mimic the words, it sounds so, “Hell yeah, man! Every day’s an endless series of high fives! I communicate clearly, efficiently, and in a way that’s no one’s ever uncomfortable with what I’m sayin’! Huge slices of awesome pie for everyone!” That’s what I like. That dichotomy of light and dark, of shadows and sunlight. One long, epic song from the boys of Coolidge, AZ. Shang-A-Lang: Can I shed that one tear now, a little prematurely? Is it a bit too much if I say Shang-A-Lang breaking up is like someone littering my sacred ground? Should I say that, or should we solicit the “Smithsonian of Punk” to enshrine Chris’s 4-channel recorder? There’s one more 7” on the horizon and then the van’s officially launched over the side of the cliff. If duct tape was a sound… sigh… broken bottles, low expectation/high yield punk never sounded better. –Todd Taylor (Dirt Cult)

Dissipation: 7"
Fuck yeah! Resist Control plays furious fastcore that immediately reminded me of Scholastic Deth as well as contemporaries like Low Threat Profile and Coke Bust. Eleven songs (at 45 RPM!) of unrelenting blast beats (goddamn, this drummer kills!) and politically-charged lyrics. What more do you need? –Chris Mason (Shock To The System/Feral Kid)

: 7"
There is a small hand of punk bands that are unmistakably down that, I’m sure, would have a very wide appeal among people who “used to like punk” or “outgrew punk,” as well as, “Oooh, what’s this punk stuff about?” people. I’m not talking about the Rancid/Green Day axis of mainstream appeal. I’m talking the potential Fugazi levels of sustainability—large level, international underground level. Because the Red Dons are instantly catchy, smart-as-all-hell, musically interesting, and so big and realized in sound, that I’m hard-pressed to think of a band with a largesse of morals that equals the excitement of the music they’re currently making. For those who like: punk and/or punk and celebrating under that huge fuckin’ umbrella. Untouchable and worth hunting down? Absolutely. –Todd Taylor (Taken By Surprise)

Screams from the Gutter/After Your Brain: CD
Weird time, the ‘80s. Dunno if the same rings true for the average American punker of today, but back then it seemed that a good chunk of the mohwawked masses were tuned in to what their brethren in other states and countries were doing. I know that many of us in East Los were Weird time, the ‘80s. Dunno if the same rings true for the average just as aware of bands like Mob 47, Indigesti, Solución Mortal, Gism, as we were Minor Threat, Big Boys, Hüsker Dü, and so on. Italy’s Raw Power was one of the heavyweights on the ‘80s international punk scene, thanks in no small part to their mind-blowing track “Fuck Authority” on MRR’s seminal Welcome to 1984 compilation, and their Screams from the Gutter LP originally (and still on—Westworld is effectively the same label) released by Toxic Shock in 1985. The latter came just as the whole metalcore/speed metal thang was just starting to really get some wind in its sails, and the metal-tinged guitars over crazed hardcore lent credence to their chosen moniker and earned ‘em much love from both sides of the punk/metal chasm. The production of their 1986 follow up, After Your Brain, zaps a wee bit of the sonic boom out of the guitar sound, but the strong songwriting is still very much accounted for. Conspicuously absent are the tracks from the You are the Victim seven-incher that was released between albums, but don’t let that dissuade ye. If you’re on a budget but really wanna get acquainted with these cats, I’d say your best bet is to procure this CD and the Burning the Factory CD, which consists of a smokin’ earlier demo and a live set, and you’re pretty much in the deep end of the pool. Classic stuff in every great sense of the term. –Jimmy Alvarado (Westworld)

Midnight: 7”
I’m going to go out on a limb here and say that this is the best record Raw Nerve has put out. I say that with a few weeks of listening to it pretty consistently, so that “newness” has worn off. They take complete advantage of the 7” format here, cramming eight songs on this little piece of wax, including a re-recording of their last single, “Nervous Habits.” The music is heavier than their previous records, and the tempos vary more, adding a whole new layer of intensity to their already chaotic sound. The lyrics on this record feel a lot more organic and fluid; the repetition of lines in the spoken word parts on each side sort of tie the whole record together as a whole conceptualized unit. I feel like if the band had tried to pull off another LP at this point in their development, it would have come across as overly ambitious and watery, but it’s nice to see that they channeled the energy and ideas that would have gone into a full length into a much less intimidating format. –Ian Wise (Youth Attack)

Self-titled: EP
This is one of those records that is so great and engaging that it puts you right in the moment. Members of Burning Sensation, Rank/Xerox, and Total Control get together and create excellent post punk that draws influences from the greats. “I Wonder” is poppy, though a bit dark and moody, mixing New Order with the Church. It’s the sort of song perfect for rainy afternoons. “Keep Waiting” is fuzzed out and dark, similar to Loveless My Bloody Valentine. I like the minimalism of “Glass Coffin” and how it sounds like nothing else on the record, yet it fits. As the song progresses, they add more sound. It gets noisier and more disjointed as it goes. “Darkness” has a definite Joy Division Unknown Pleasures vibe: sparse guitars with a cold tone, driven by the bass and drums. Hearing this song made my day. It’s great; how it builds and reveals itself over the course of a few minutes. The vocals are somewhere between a whisper and a murmur. I know I’m making comparisons to some great bands out there, but the influences are influences, and this record is great. The more I listen to this, the more I’m of the opinion this is one of the best of the year. –Matt Average (SmartGuy, info@smartguyrecords.com, smartguyrecords.com)

Self-titled: LP
Excellent post punk from this outfit, who are definitely one of the current bands I’m stoked about. The songs have a minimal quality about them, allowing everything to have its own strong identity. They sometimes blur together when the music builds with tempos and jangly, clanging guitars. I like that the drums figure up front in the mix with the bass just below. Things move at a mainly mid-tempo pace, though they do kick up the speed on songs like “Discipline.” One song that stands out in particular is “You Might Follow.” It starts off with some odd sounds from a synthesizer; from there musically it goes into Pornography-era Cure. A bit more texture and darkness than the rest of the songs on an already dark and textured album. As I listen to this album, I’m struck by how truly great it is, and the fact this band is happening now. For fans of Airfix Kits, Section 25, and the sort. Actually, for fans of good music. –Matt Average (Make A Mess, makeamessrecords.com)

Live the Dream: CD
Honestly, I really don’t care for “folk punk” all that much. Most of it comes across as either too discordant (some acoustic jerkwad crooning nasally) or—the opposite end of the spectrum—cutesy (some acoustic jerkwad crooning nasally about, say, dumpster diving), there’s a few bands that avoid all the pitfalls and just rule. The Taxpayers are one, The Wild’s another. They—and, as I just found out, Ramshackle Glory—are doing stuff that’s couched in folk sensibilities, is also smartly political without sloganeering, and still rock out pretty goddamn hard. Combining instrumentation as varied as banjo, piano, saw and violin, as well as the usual armament, Live the Dream’s got a great thing going on here. When done poorly, folk punk is some wincingly bad stuff. When it’s done well, the songs are as moving as any more “standard” punk anthem. This is a good record. –Keith Rosson (DIY Bandits)

Gentleman’s Grip: 7”
This recording comes across as chaotic noise punk where echo-laden vocals are framed by overdriven guitars. “Gentleman’s Grip” has an infectious repetitive riff. The echo on the vocals causes the singer to hover a bit over the recordings. That sort of thing in generally a negative for me, but in this case it works as a growl-howl over chaos. I don’t know if this is what the band sounds like live, but the recording is interesting. The guitars are so overdriven that it creates a din as if Karp took a Butthole Surfers record to the studio as a reference. “Psychomania” has the same sort of dynamic though the song is more structured and metal-sounding. I might be over thinking the experimental nature of this recording. Whether it is intentional or not, it works. –Billups Allen (HoZac)

Resistance Is Our Right: Cassette
Reminds me of Mouth Sewn Shut for the fact that they vacillate between crusty hardcore and pretty convincing reggae. I know most people would positively despise a combination like that, but I personally think it’s a fun formula. (I think Citizen Fish is great, too.) Proletariat Punch attacks both genres with surety. Stridently political and nicely balanced. I dig. –Keith Rosson (Recluse)

21 Songs, Rarities, Live Songs and Unreleased Tracks: CD
I might have squealed like a little girl when I received this to review. I’m not ashamed to admit it, and think any self-respecting PBT & FA fan would have done the same thing. Great covers and excellent live recordings that demand you sing along in your best whisky-soaked, cigarette-stained growl. Pick this up if you already know and love the band. It’s great to have on shuffle. It’s like you win with whatever song is chosen! Extra love for the picture of Jesse Thorston in the booklet wearing an “I’m Still Straight Edge” shirt. –Samantha Beerhouse (ADD)

Bleed for Me: 7” single
Apparently, this was pressed up for their recent European tour. I was hoping for some new material from these guys. Instead, we’re given a couple Dead Kennedys covers. They chose doing these to illustrate how relevant the lyrics are some thirty years later, and while I tend to agree, I think it would have been better to write a song or two of their own that would inspire today’s generation to think and question, much in the same way the DKs did for some of us thirty years ago. Performance-wise, Poison Planet does a decent job. It’s strange hearing these songs a bit heavier, faster, and thrashier. I’d say this is for completists, really. Limited to 250 copies (and on green vinyl). –Matt Average (Third Party, thirdxparty.blogspot)

Shit in the Garden: LP
Pink Reason is not a shape changer. True, if you pick any two Pink Reason songs at random, chances are they are going to sound completely different. Well, completely different, except that they’ll both sound one-hundred percent like Pink Reason. Because Pink Reason is not a shape changer. Pink Reason is a hunger that consumes sounds and makes them its own, shapes them into songs unlike anything you’ll hear on any other record. Sparse acoustic guitar work collides head-on with walls of harsh electronic noise on “Sixteen Years.” Instruments that I can’t even name (Rusty fences being opened and shut? Amplified wind? Exploding computers?) are paired with sounds that have appeared on vinyl since vinyl first appeared, sounds that come and go with logic and no logic at all, and it’s all Pink Reason, and somehow it’s even more than that. These are songs that desperately need to be heard, but don’t care if they’re ever heard or not. –MP Johnson (Stiltbreeze)

Gotta Have Her: 7” single
Originally released in 1976 on Fred Records, this Syracuse outfit cranked out some righteous proto-punk that today would be lumped under the KBD umbrella. “Gotta Have Her” has a surf rock influence running throughout. I like how the singer opens the song with introducing the band to Syracuse listeners, then, as the song goes on, he talks between verses, pushing the song along and gives it more attitude. “Baby, Dontcha Tell Me” has a bit more snarl in the delivery. As it should, from the title. The words are almost growled at points and convey the frustration of being told what to do when you don’t want to hear it, ya know? Limited to five hundred. –Matt Average (Windian, windianrecords.com)

Nobody’s Listening Anyway: 7”EP
“Bad life decisions” punk. No matter where music tastes take me, I need my monthly dosage of intravenous, fucked-tooth, pants-uncomfortably-tight, no-thinking, probably-bleeding-somewhere—maybe internally, Orange County degenerate punk to cleanse the palate and watch the bad tattoos spread across my skin like happy magic. If you’ve heard the Stitches mixed with the Crowd, you’ve heard the Pegs. If you like Hostage Records, you’ve heard the Pegs. And that’s not a bad thing and this is a good 7”. I mean, for fuck’s sake, when you go to a restaurant, go for the shit you’ll most likely like, right? Not some fucked-up fusion with capers and fennel and indie pop sticking out the side like a flaccid dong about to poke you in the eye. Don’t tell me I’m alone on this. –Todd Taylor (Rapid Pulse / No Front Teeth, nofrontteeth.net)

God Hates Parasite Diet: 7”
Silly pop punk on the Queers side of things! Hooray! Songs about girls, girls, and buying a rocket! Plus, for those who care about such things, they include a Daniel Johnston drawing on the back cover. Bonus points! This could’ve (and would’ve) been on Mutant Pop back in The Golden Age, but it wouldn’t have been as good as, say, the Proms, but it wouldn’t be as bad as, I don’t know, the Connie Dungs late-period emo-ish bullshit! Information note: the band is from Kentucky. One song features a girl singer, perhaps out of a desire to emulate the Joe Queer/Lisa Marr pairing. Marketing note: If I were this band, I would hope to appeal to the Teenage Bottlerocket enthusiast! One complaint: Most of these songs are too long. If this were a cereal, it’d be Apple Jacks. All of the essential ingredients are there, and it deserves to be in the cereal rotation, but it’s not at the Cinnamon Toast Crunch level. –Maddy (Pug Face, thePugFace@gmail.com)

Living Dummy: LP
Sleazy but friendly, poppy but rocky tunes that have finally crawled their way out off the most homogenous shadows of suburbia and gotten some long overdue recognition. While a couple tracks conjure visions of hipsters absent-mindedly bouncing their youth away, there are songs on here that puncture your soul with harpoon-esque procession and pull you onboard. Over the years, this band has seen many transformations, and I can proudly say I was there for them. And while they often left me scratching my head, there’s no denying they give the people what they want. Catchy, danceable pop music firmly rooted in the underground. Somewhat fucked up tunes, for somewhat fuck ups. I often wonder and worry that all my friends and all my favorite bands are just a phase, and one day I’ll wake up they’ll all be gone. And while in the past the remedy for such worries might have been something from the Pangea demo that was handed to me in a backyard in North Hollywood circa 2004, now I drop the needle on “Haunted,” a song that embraces the present and future with equal skepticism and knowledge that nothing is certain. But you are in total control of your life. This record isn’t for everyone. It’s not even really punk, but there is some great shit on here. –Daryl Gussin (Burger / olFactory)

Sadie: LP
I must say that I was stoked to see this in my box of review materials, as I found P.S. Eliot’s Living in Squalor 7” to be rather splendid. While Sadie is good, it is a departure from LiS. This LP is a good record, but I was looking forward to an LP’s worth of their angsty alternapunk that I heard on the Freedom School 7”. The LP’s tempo is comparatively slower. A few songs have power pop-sounding guitar slowed down to the pace of coffeehouse indie rock (I don’t mean that to be pejorative in this case). While nothing on here sounds like it is the victim of restraint, the overall feel of Sadie is subdued. This will be getting more spins on my turntable in the future, but not as much as the Squalor EP. –Vincent Battilana (Salinas)

Self-titled : 7”
The searing pop genius of your favorite Weezer album to be sad to meets the unchecked shreditude of your favorite Steve Vai record to get high to. Eight songs on a 45 RPM 7”. Anti-Christian imagery everywhere you look. This band has been churning out the hits for years; listed as The Peels on the Letters from the Landfill comp, released an undeniable classic on Riisk Records, this 7” is so punk that probably no one will like it. Hammers. –Daryl Gussin (Catholic Guilt, catholicguiltrecords@gmail.com)

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