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No Idea Records

Record Reviews

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Demo: Cassette
Do you ever hear a person’s voice and feel compelled to rip out that person’s throat and inspect it with one of those eyepieces jewelers use to spot flaws in diamonds? That’s what I want to do when I hear the singer of the Fuddyduddys. Until I can actually see with my own eyes that there’s not a tiny leech-like alien hidden in there somewhere making the high-pitched, ultra-grating vocals coming out of this tape, I refuse to believe it is the product of a human being. This tape must be an alien artifact. –MP Johnson (Dead Broke)

Self-titled: CD
In the first song alone, the singer shouts “Oh man!” about thirty times too many for me to possibly enjoy any of the wank rock nonsense that follows. –MP Johnson (myspace.com/chrongoblin)

Homeward Bound: CD
Caves call themselves a raw, melodic pop punk band. I can certainly hear that in their music. It’s got a real rough edge with slightly off-key female vocals that, on occasion, pair up with male vocals, often in utilizing the “woah-oh-oh” method of delivery. Some of the dozen songs on here are catchy and endearing but others just seem uninspired and, after a while, it all ran together. I found a video online of the singer, Lou, playing one of the songs from Homeward Bound on the acoustic guitar and it stood out to me as being far superior to the rock and roll version on the album. It gave off a sense of introspection and a personal nature that I didn’t really hear on Homeward Bound. Perhaps I’m just getting older and mellowing out (although I did listen to Pig Destroyer and Cannibal Corpse this morning, so maybe not) but I’d like to hear more of the solo stuff. –Kurt Morris (specialistsubjectrecords.co.uk)

MCMXCV Masterbation Sessions: 12”
…i was initially listening to this thing and shaking my head in boredom, the songs were moving at a dull, midtempo plod and, overall, it was reminding me of the Fuckin’ Flyin’ A-Heads “Swiss Cheese Back,” both in terms of overall disinterest and in terms of being a record i really wanted to like but didn’t. It wasn’t until someone counted off “one-two-three-four!” between songs that i realized i was playing the fucking thing at the wrong speed. But it seemed so real! Anyway, while this does, in fact, sound much improved at the correct velocity – speedy, poundy, echoey mid-90’s Illinois garage ((although i suppose the fact that this was recorded in their basement, not garage, might cast some aspersions on the validity of that whole label)) – but, to be honest, crazy Sgt. Pepper mutilation cover art notwithstanding, there aren’t a super-gigantic amount of reasons to recommend this to anyone other than a devout Justin Champlin/Nobunny completist or someone with an unquenchable thirst for lo-fi garage rage. I mean, it’s cool and all to listen to – the band is definitely rippin’ it up on occasion – but it mighta been cooler as a cassette you dubbed me than an actual fancy-pants album. There really aren’t any Okmonik-like bits of catchy, repurposed genius or anything like that, if that’s what you’re looking for. Then again, i’ve always wanted to know what it might have looked like if the Rip Offs spun around to face the camera when they were pissing on that cop car, so there is, indeed, that. BEST SONG: “Hey Hey Sugar” BEST SONG TITLE: “Pussycat Burglar” FANTASTIC AMAZING TRIVIA FACT: Group photos taken by Brad X, who owns a functioning Roy Clark cocktail pinball machine, and if Roy Clark didn’t keep the “cock” in “cocktail,” who did? –Rev. Norb (Certified P.R.)

The Things That You Do: 7”
Obscure Bay Area punk from 1980. This is a really well put together reissue of their first single (comes with an informative interview with Dumb Records founder, and members of the band). Fans of Mutants, Catholic Discipline, early Tuxedo Moon, even Devo, will really like this. It’s arty, dark, noisy, and catchy. Some might call it “new wave.” Whatever. This is pretty good. As I listened to this I couldn’t help wonder why I had never even heard of this band before. Going off the two songs I hear here, I’m pretty certain BOB could have held their own quite well with the best of ‘em. The title track details the yuck of relationships, and the flip, “Thomas Edison”—whoever thought a vibraphone could be used so effectively in a punk band? –Matt Average (Rerun, rerunrecords.blogspot.com)

The Colors of Chaos: LP
This debut out of Alabama combines shock rock, goth, and good ol’ fashioned punk. If you didn’t know they were into BDSM by lookin’ at ‘em, the name of the lead singer oughtta tip you off: Miss Stress Tamantha. Like The Genitorturers, BRBB bring elements of performance art to their shows where they’ve been known to flog members of the audience. Part 45 Grave, part Naked Raygun, their awesome guitar work and galloping drums left me bouncing and bobbing. However, there were times I really wanted the vocals to be as punched up as the rhythm section. Still worth a listen just for the high energy and quality tunes; plus, the colored vinyl is sick: half blood red and half baby blue. Definitely recommended for those who desire a little more punishment in their lives. –Kristen K (No Profit)

Live on KXLU: CD
Most times, I immediately bristle at the words “instrumental rock,” ‘cause it’s usually a red flag for “I spent decades honing my craft and I’m gonna prove my musical prowess by using this geetar to jerk off in your ear for, oh, twenty-two minutes before doing it again on the second song, and so on.” Thankfully, Black Widows ain’t that kinda band. While there ain’t a word uttered in a tune presented here, they keep things concise, with the wankin’ low and the rockin’ up full. Hints of surf, garage, and other styles pop up here and there, naturally, but the sound remains consistently loud and well planned, and they manage to present enough diversity in the writing to prevent the seventeen tracks here from sounding like one big, boring blur. In all, this is one of those rare instances where the lack of yakkin’ really adds rather than subtracts. –Jimmy Alvarado (Vital Gesture)

David Comes to Life: 2 x LP
This album blew my mind the first time I heard it, and it gets better with each further listen. In many respects, this is Fucked Up’s magnum opus, a rock opera for our generation, the same way The Who’s Tommy was to our parents (or grandparents). Set in the fictional town of Byrdesdale Spa, U.K., the album traces the story of David Eliade and his relationship with a girl he meets named Veronica. The story is a classic archetype of love, loss, and recovery, set to some of the best music that Fucked Up has written. Every song on the album is brimming with catchy and dynamic riffs, capturing the feeling of the various parts of the story which they relate. Through it all, the fierce growls of singer Damian “Pink Eyes” Abraham, with backing vocals from Madeline Follin, Jennifer Castle, and Ben “Young Governor” Cook, carry the story from its beginning to its lyrical conclusion. If you were into Chemistry of Common Life, or any of the band’s Zodiac series of releases, you will be certain to love David Comes to Life, as it is everything those releases were, in a bigger and better way. Those who have never checked out Fucked Up should start here before exploring their earlier catalogue, as this album represents the band at their absolute best. Highly recommended. –Paul J. Comeau (Matador)

Arabia Mountain: LP
I had a moral dilemma when I bought this album—CD or LP? The LP comes with a bonus 7” but I own the rest of The Black Lips’ albums on CD and my OCD likes to have albums by bands on the same format. LP won out because of the extra 7”, but my decision bothers me every day! Some pre-release speculation I read hypothesized that this album would suffer from The Black Lips using a “real” producer, but it doesn’t sound “clean” or “overproduced.” The vocals are less muddy, on most tracks the drums are more prominent, and there’s extra instrumentation (saxophone, saw, I think I hear piano on some songs but there’s none credited), but, overall, it still sounds like The Black Lips. I notice a progression over the course of The Black Lips’ releases: the band seems to focus more on songwriting and less on chaos and noise, and the quality of the songs and hooks consistently improves. After seeing them live recently, a friend pointed out to me that the drummer is key to keeping the band’s performance together—not that he puts the kibosh on the rest of the guys’ shenanigans, but he reins the songs in and keeps them as songs. Most of the tunes on Arabia Mountain run the typical Black Lips gamut of bad kids having fun at all costs (“Don’t You Mess Up My Baby”) to the twenty-something existential desire to enjoy life while you can (“Time,” “New Direction”). “Dumpster Dive” sounds like a Rolling Stones piss-take on a country song with its exaggerated drawl. And I’ll be goddamned if “Bone Marrow” doesn’t sound like Screeching Weasel. I’m going to go out on a limb and say that no Black Lips review has ever compared these two bands. The chorus is total Weasel-style and if you replace the saw with Weasel’s pop punk melodic solo, you could fool almost anyone. –Sal Lucci (Vice)

David Comes to Life: 2 x LP
Fucked Up is one of those bands that people violently disagree about. For every person going, “They’ve gone soft compared to their first stuff” there is someone out there having their life changed by the music. Their fan base is that polarized. There is no doubt that there has been a direction taken in their songwriting that keeps building with every release, which leads us to this behemoth. A double LP “rock opera” or “concept album” or whatever you want to call it. The bottom line is that it is a ballsy, daunting undertaking that, like the band’s fan base, is going to go extremely to one side or the other. Well, I’m no expert in the world of concept records (other than to know that it is usually the realm of the like of Rush. Or Yes. Or Pink Floyd.) but I can tell you that Fucked Up grabbed my attention from the very beginning of the first record and threw me into it head first! The music is both energetic and beautiful. The hooks and grooves latch on and carry you away. Then there is Pink Eyes. His growl lies over top in a way that may seem uncomfortable upon the first listen, but it quickly makes sense. It belongs there. He is the storyteller and the characters. The songs convey the emotions involved in each act of the play. Upon following along with the lyric/story sheet (a necessity for a punk like me), my mind was blown. It was one of those magic moments that only happen when you hear one of your all-time favorite albums for the very first time! The hairs stood up on the back of my neck, my cheeks tingled, and I’ll be damned if I almost didn’t shed a tear or two. The band has created something that moves out of the average artsy punk or hardcore band and into something that I don’t really know how to describe. Now with all that I have said, you know that the very next review above or below this one could be saying the exact opposite. That is the nature of Fucked Up. If you already have an opinion of the band, then you already know what you will think of this. For me David Comes to Life will sit proudly next to my other favorite concept record Führers of the New Wave. –Ty Stranglehold (Matador)

Split: CD
Bio Crisis is a really great band from Tijuana. They rule. Somewhat in the vein of Bumbklaatt, but definitely leaning more towards From Ashes Rise. This is my favorite type of local band: constantly promoting their scene and setting up shows. Their four songs on this split are really good; I just wish there had been a lyric sheet. Also, I feel the vocals sound much better live, less like growls and more like screams. Slaktattack hail from Sweden and really round out this split very well. Split CDs are so different than split 7”s, in that you don’t have to flip it, yet, luckily, this band sounds different enough to immediately be noticed as no longer being Bio Crisis. The same can’t be said for all split CDs. Slaktattack, while having shorter songs, definitely manage to keep the tempo up. A bit more straightforward, just as great. This is highly recommended, as both these bands are really good. –Rene Navarro (Self-released)

No Patience: CD-R
This has “Dillinger Four influence” seeping out of its pores, with a similar sound, smart-aleck song titles like “I’d Do Anything for Love (But I Won’t Do That) (But I Did That),” and lyrics a wee bit more serious in tone. A tad derivative, yes, but they ain’t bad at it. –Jimmy Alvarado (Big Trouble, facebook.com/bigtroubleforlife)

Griller: 7”
One of the guys from Green Day playing music with a band that isn’t Green Day but sounds a bit like Green Day without the vocalist from Green Day. Features Mike Dirnt from Green Day. –Vincent Battilana (Dr. Strange, rarepunk.com)

Badlands: 7”
Woof, whatta pile’a mediocrity I’ve got here this go round! Nothing I have to review is really gettin’ me all that riled. Usually, I can at least muster some venom for some piece of junk release. Guess not this time. The Beaten Hearts play garagey punk rock that’s okay. If you’re into this style, you might dig it. If you just dip your toe in when something strikes your fancy, you won’t care. I don’t really care. Everything’s played well and there seems to be energy in the tracks, but the only thing that stands out is the Saints cover. –Ryan Horky (Maladroit)

Fuerteventura: 12”EP
Listened to this record. Didn’t like it. Googled the band, hoping to form a constructive perspective on their music. Found the site for the “comedy rock” group Band Of Beards. Thought, “Wait, was that supposed to be funny?” Turned out it was a different band. This Band Of Beards plays gruff punk with vague lyrics, painfully off-key vocals, and a couple of ska parts. Yeah, you read that right: ska parts. Eight songs. Good guitar work, aside from the up-strumming. Lovely cover art by Nate Powell. –CT Terry (Band Of Beards)

Broken Defective: 7” EP
Gotta love a thrashy anarcho-hardcore band with a grunty vocalist who occasionally tries to accentuate the dark melodic undertow running through the songs by actually trying to sing in that same grunty voice. Yes, that was a compliment and yes, it’s better than the description sounds, and the fact that the lyrics are informed without being preachy only makes it that much better. –Jimmy Alvarado (Inimical)

Fuerteventura: CD
Band Of Beards have a terribly gimmicky name (they all have beards), but hidden behind the silly gimmick, is a band of great substance. Band Of Beards have a lot going on musically, with a bit of punk’n’roll, ska, surf rock, and other influences wrapped up in their sound. The band does the fast and loud punk thing well, but they also slow down at points, and get a little wild with guitar wankery at others. Mix in some tongue-in-cheek song titles and some thoughtful and heartfelt-sounding lyrics, and you have a formula for a band that is great musically, but doesn’t take themselves all too seriously (in a good way). A few songs that showcase everything this band has to offer are the tracks “Richard Loves New Jersey,” “One Point Twenty-One Gigawatts!,” and “Buddy Was an Elf.” “Richard Loves New Jersey” opens with a bit of a slow jam before picking up the pace, and “One Point Twenty-one Gigawatts!” opens similarly before rocketing up to breakneck speed in the first verse. This song has some of the best lyrics of all the songs on this album, and the title is a sweet reference to the Back to the Future movie series. “Buddy Was an Elf” is another song of note that I really enjoyed, which has the most overtly ska-influenced sound of all the material on the album. In all, I’d say this band is an example of a band doing everything on their own terms, and succeeding admirably. Highly recommended. –Paul J. Comeau (Band Of Beards, bandofbeards@gmail.com)

La Jungla: LP
Proud to be dumb hardcore. It has a good early mid-’80s sound, but so do a lot of records with better lyrical content. –Vincent Battilana (Sell Our Souls, selloursouls.com)

Live at the Pickle Barrel: LP
Anna Banana From Indiana! is a lady who plays an acoustic guitar and sings. Her lyrics range from Burger King to crack to being depressed and self-medicating. As the title suggests, this is a live recording. Not bad, but I have a feeling that I would be trying to have a conversation while she played had I been in the audience—you know, if I didn’t just leave. –Vincent Battilana (Tame That Poodle)

Run Amuck: CD
One thing is for sure. The Animalistics really, really like Dayglo Abortions. To the point that you might even be able to play this disc for a seasoned Dayglo fan (or a band member, perhaps?) and convince them that it is a lost recording from 1982 or so. In sound and content, these guys got it nailed. The good thing about it is that they emulate the band from the early days before the cheesy metal guitars and Dungeons & Dragons lyrics. The bad part is that it gets old a bit fast. I’d still go out of my way to see them play if they came to town, though. –Ty Stranglehold (theanimalistics@hotmail.com)

The Fried Demon Sessions: CD
When at their best, these guys sound like a good copy of How Can Hell Be Any Worse era Bad Religion, as if they studied that record for hours and learned every subtle nuance. Unfortunately, the inconsistency of the songs here takes the listener on a voyage through many different eras of “old school” punk, many of which come off much more non-descript and lack any cohesiveness. With that having been said, there are no real surprises here to discover. If you like generic ‘80s drunken punk rock, this is probably right up your alley. –Mark Twistworthy (75 Or Less, 75orless.blogspot.com)

Split: Cassette
Animal Eye play some art punk that has some hyper near-thrash elements, with a synth to put a coldness in the room. The singer sounds detached and like he’s singing from across the street. Green Screen Door have a similar sound to Animal Eye, only with more urgency. Which is what’s needed. If it’s punk, it has to have urgency. They lose steam at the end with “Reckless Recluse.” –Matt Average (Midas, midasrecordings.wordpress.com)

Paranoid Indigenous: LP
Heavier, more distorted versions of ‘00 hardcore guitar riffs woven into a more technical framework. The songs are trickier than typical ‘00 hardcore and the vocals are reminiscent of No Idea bands. I don’t have a large frame of reference for this sort of thing, but it is well played and well recorded. People into Florida would dig this. –Billups Allen (Self-released, myspace.com/alldinosaurs)

It Used to Rain: CD
Abolitionist has an interesting dynamic going on here. Starting out with thrumming the folk-punk intro of “Flaming Barricades,” It Used to Rain is essentially a concept album about a world with water shortages so severe that it’s caused a global collapse, rioting, etc. It’s ten songs of well-recorded and surprisingly headstrong, muscular punk, with nods—wittingly or not—to old ‘80s peacepunk bands like The Mob. They manage some interesting flourishes here and there—the oddly catchy, disco-like intro to “My AK” or the almost goth-like thread running through “The Bucket Brigade Kills” or the title track. My biggest complaint is that Abolitionist relies waaaay too heavily on A-B-A-B rhyme schemes, and the rhymes themselves come across as occasionally goofy or forced. And yet they usually manage to overshadow the potentially ruinous lyrics with solid song structures. This band’s been on a million comps lately, and while I don’t get the Jawbreaker comparisons I’ve been hearing—Abolitionist is way too literal, lyrically and otherwise—they are definitely on to something. Finishing touch is the awesome Horsebites artwork. –Keith Rosson (1859)

Split: LP
Filthy Charity crank out tried and true crust grind. Fast, near chaotic, dual vocals from hell, and drums that sound like they’re mincing everything down to mere particles. I like this, but find that a whole album side can be tedious when it’s the same thing song after song. Granted, it’s the nature of the genre. But more time changes would really help separate the songs from one another. Wardead, however, really pick things up with their side. They definitely have a Nausea influence with the dual male/female vocal style and metallic crust sound. A bit fast, but not a blur, and you can hear everything in the songs. The songs are near-blistering in their delivery. “Dealers in Death” is a rager that has a few tempo changes to make everything dynamic. “Hypocrite” is urgent as hell. Check out the bass line at the beginning. The energy is constant and the passion comes across in their playing. Would like to hear more, but it seems, at least according to their info on the back cover, they are no more. Hmmmm... –Matt Average (Undislessed, thrashattack@dbmail.com / Enthropy, maxenthropy@gmail.com)

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