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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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HAWAIIAN ISLANDS, THE:
Live Fast Get Tropical: CD
The Hawaiian Islands are the type of band that if, for one gleaming moment, the rest of the world could realize how good they are, like with the Hives—they could easily have a radio hit, but then the masses will tire because a genuine rock’n’roll sound with whiffs and hints of society’s underbelly is a novelty for the masses and not the type of music that keeps tripping their collective triggers for the long haul. In the end, the public thinks that the quality of bands like this is to be based on the sum total of one song that happens to get some exposure. That might be bad for the long-term financial security of bands like the Hawaiian Islands, but it’s good for the rest of us because the secret remains ours and the band doesn’t start to suck because they’ve become rich, banal fuckers. And if they ever do begin to suck, it would be for much more understandable reasons. My point: this is a really good record and the Hawaiian Islands have a sound that the masses might find fun for a month or two, but we should not hold that against the band, since every once in a while the masses do, in fact, get it right. And finally, real review elements: this record was a breath of fresh air for me. It’s the sonic equivalent of chewing on a minty bit of gum after drinking a gallon of coffee, thanks to its crisp ‘n’ clean rock sound like that of the Strokes, only good on a thoroughly consistent basis, and with much more primal urgency in the vocals. Would go in the CD changer with: Okay Paddy, the Figgs, the Reddmen, and Menzingers. –The Lord Kveldulfr (Poison City)


HARRINGTON SAINTS:
Dead Broke in the USA: LP
This record comes in a full color, embossed cover. It has full color labels on its white vinyl, which has a black dust sleeve. Accompanying all this is a LP-sized glossy insert and a bit of shrinkwrap to insure that it all stays in place. Given these things along with the title, I would assume that cognitive dissonance is easily assuaged in the HS camp. Anyhow, these guys make that poppy street punk oi stuff that probably wouldn’t have come out before Rancid’s Wolves. The sound is tolerable while the lyrics are the usual weak crap that is all too safe for this type of music, never straying far from working, drinking, and rioting. I don’t get it, and I don’t think that there is much there to get. –Vincent Battilana (Longshot / Contra)


GRIM FANDANGO:
Birthmark Blues: CD
Grim Fandango’s sound is a bit hard to pin down, and, to their credit, their music really defies easy categorization. For the most part, it has (in my mind) heaping helpings of late ‘80s Minneapolis sound that’s been filtered through the funnel of ‘90s harder-edged emo bands. But then there are these nice noodly bits on the guitar that sound like the Minutemen playing new wave classics. And through it all, the record has the herky-jerky movement of a manual clutch car being driven by a novice, but in a good way—the songs lurch back and forth pleasingly and then smooth out and pick up speed once the clutch gets popped on the chorus. This would be a great record to pop into the disc changer on random with the Pixies and the good Replacements records. –The Lord Kveldulfr (Poison City)


GRANNY FROST / BRICK MOVER:
Split: 7"
The record equivalent of a zine written in one night because, you know, it might be fun. Sure, it might be fun, but there’s probably no reason to share it with anyone outside of your immediate punk house or indie dwelling structure. Granny Frost is basically one guy reading/singing in a way that’s supposed to be humorous, but isn’t. Brick Mower plays some combination of experimental rock and indie something-or-other. Blah. –Maddy (Viking On Campus)


GRAINS, THE:
Demo 2010: CD-R
Dense with confusion, I am. The Grains sound like a band that’s either channeling the ‘60s Brit Invasion or a ‘70s American rock (ala the Strokes or something equally bad) and then the intro to “Beercans and Chicken Bones” reminds me of the Measure (SA)’s song, “Sleep.” So I just don’t fuckin know, man, you got me. I mean, there’s even a bit of a Stiv Bators-esque snarl in the vocal department every once in a while. Mid-tempo rock songs, heavy on the organ, and a mostly faithful cover of “White Man in Hammersmith Palais.” Authentic in the sense that I have no idea where this band is from geographically or scene-wise and they sound consistent to themselves throughout, and confusing because this demo could have come out last month or twenty years ago. In that regard, it’s pretty interesting. –Keith Rosson (NO ADDRESS)


GIRLS, THE:
“Remote View” b/w “Lord Auch”: 7"
Two more tracks of damaged new wave for all you fuck ups to get fucked up to. In the past, I’ve put this band’s Dirtnap full-length on simply to annoy people, and sometimes the people I’m trying to annoy end up being pretty stoked on it. It’s a catchy chaos. The Pacific Northwest does an amazing job of crippling people’s psyche, often resulting in wonderfully deranged music. Here is one more example. –Daryl Gussin (Hozac)


GHOST:
Opus Eponymous: LP
While I feel like every few months or so there’s a punk or hardcore record that really blows me away, it’s a much less common occurrence that a metal record hits me in a way that my favorites do. Luckily, the last couple of years have offered up some truly great metal records (Christian Mistress, Deathspell Omega, the Nachzehrer demo, the new Crowbar), and now my absolute favorite metal record of the last many years is seeing a North American vinyl release: Ghost’s Opus Eponymous. This is not your average Satanic metal record. While the lyrics certainly maintain an entirely antichristian focus (in an old-school devil-worshipping sacrificial altar kinda way), musically, Ghost have more in common with Blue Oyster Cult and Boston than they do with their satanic contemporaries (with a hearty helping of Mercyful Fate, of course). That’s not to say that Opus Eponymous isn’t jammed full of heavy riffing and distinctly metal grooves, but it’s their melodic, almost radio-ready delivery that sets Ghost way apart from the metal pack. Anyone I’ve played this for, from die-hard metal folks to pop punks, has been totally stoked on it. It’s a perfect execution of novel approach, great talent, and theatre—and its replayability is unbelievable. I’ll be through my third or fourth repetition before I think maybe it’s time to switch it up… which I might… maybe. The only flaw I can find is the record’s brevity, but that’s easily remedied with the repeat function. Just… fuck. Wow. –Dave Williams (Rise Above)


GET RAD:
What the Fuck Happened to Common Sense?: 12"EP
What’s in a band’s name? Sometimes nothing. Other times it can be very misleading. Just like the Killers don’t really kill and the White Stripes make me see red. At first glance, Get Rad looks like the name of a band full of dudes with flipped up bills on their baseball caps and sleeveless JFA T-shirts (eek!) And while they certainly have more in common with skate punk than sucky music, it also goes to show that a moderately bad band name can go a long way when the tunes are up to par. In fact, the more I listen to this, the more I start to realize that not too many bands can pull off awesomeness in the tricky world of melodic hardcore. Kid Dynamite were always a wee bit too melodic for my tastes and Propagandhi progressively got too preachy to stomach. Get Rad fucking nailed it. –Juan Espinosa (Underground Communiqué)


GESTAPO KHAZI:
“Escalators” b/w “The Atomic Kind”: 7"
With bands as obviously well realized as Long Beach’s Gestapo Khazi, I have to resist going into my record collector geek/reviewer cubby hole and rubbing obscure references all over myself like Scrooge McDuck in a money vault. But I think a brief trip down Southern California’s back alleyways that feed into the Big Punk Boulevard won’t harm anything. Gestapo Khazi’s accomplishment stems from a secure understanding of several tributaries of past, but being able to channel them into a sinister, anxious, cold vibe. I hear both death rock (Super Heroines and 45 Grave) and rockabilly (Blasters); I undeniably hear the warbling, haunted wraith of not only the Gun Club’s Jeffery Lee Pierce, but also of Rob Ritter and Terry Graham (so, by way punk’s family shrub, I hear a bit of The Bags—where those two guys came from, too). Gestapo Khazi is all those things, and more, played like none of that other stuff had to exist to come to this particular musical conclusion. And that makes it pretty damn great on its own two feet, even if you’ve never listened to any other band mentioned in this review. –Todd Taylor (Eradicator)


GENTLEMAN JESSE AND HIS MEN:
You Got the Wrong Man” b/w “Stubborn Ghost”: 7"
I’m always taken a bit by surprise when I re-remember that Paul Weller was barely scraping twenty by the time The Jam released All Mod Cons. And since I was five or six when those Jam records started coming out and was too busy falling out of trees, I got the discography order all jumbled up. Being thirteen or fourteen at the time when I started listening closely to The Jam, I wanted shit as fast and jumpy as possible and All Mod Cons got played last, behind In the City and This Is the Modern World. Count it as the perspective of age, or being here when the timeline’s in real time, but I really dig it when Gentleman Jesse And His Men play a couple of slow burners, like on this 7”. I’m in no way saying that these gentlemen musicians are “onionskin on a lightbox”-ing Bruce Foxton and Co., it’s just that I find myself appreciating their sense of fire and harmony, the bubbling and support of the bass, the vignette-like style of the lyrics, and forlorn-but-fuck-’em attitude. Thumbs up. –Todd Taylor (Hozac)


GENTLEMAN JESSE AND HIS MEN:
“You Got the Wrong Man” b/w “Stubborn Ghost”: 7"
Two-song power pop 45 from Jesse Smith and company. There isn’t much more to say, and I mean that in a good way. I dig it more than their Douchemaster 7” from last fall. –Guest Contributor (Hozac)


FRANKIE THE DAMAGE:
Payback Time: CD
Apparently someone bought some Cocknoose albums in Finland, because this sounds more like that legendary Confederacy of Scum band than any other band I’ve heard. It’s very tough, with anti-fashion lyrics about ass kicking. The growled vocals and fuzzy, heavy guitars are well produced, and the inflammatory verses are clearly intended to be tongue-in-cheek. Interesting that this sort of bar band exists in Europe because the influences are clearly very, very centered on a very specific, very bearded American style subset. There are even firearm images on the sleeve. The drums are tinny and the pace is fast. I’m eating it up. –Art Ettinger (Psychedelica)


FOREIGN OBJECTS:
“A Kind of Life” b/w “The Key”: 7"
Two straight-up killer punk tunes featuring a strong, powerful female vocalist ala the Alley Cats. “A Kind of Life” is the faster of the two: quirky change ups, riding bass, and shouted backing vocals. “The Key” is a mid-tempo head nodder that leaves you needing more. Good thing there’s an LP on the way. –Daryl Gussin (Dirt Cult)


FRUSTRATION:
Self-titled: 7"
The two songs on the A side of this record are good mid-tempo punk stompers with a metal influence ala Motörhead. The gruff vocals and distinct old school crossover sound bring the old Canadian Death Sentence to mind, a compliment in itself. The guitar solos come out of nowhere and tear through the production; this shit is hot! The band shows themselves up on the B-side, though. “Grey” and “Under the Grass” retain the aesthetic of the first two songs, but add in a dose of melody to the vocals that give the songs a little more depth and flavor more akin to the later Bruisers songs. Solid release all in all. –Ian Wise (inimical.com)


FREEBOOTERS, THE:
Ordinary Level Oi!: CD
Oi joke/parody bands are kind of an insult. After all, aren’t the real oi bands we love goofy enough? Yet Ireland’s Freebooters manage to create some hilarious songs here that are also up to par musically. Released by the anarcho peace punk/crust label Distro-y, Ordinary Level Oi! is for listeners who would never buy the real thing. Comedic high points include “Paddy Hitler” and “Stormfront in a Teacup,” the former of which includes the lyric “Come on buddy, won’t you shake my hand? / I’m not just a Nazi, I’m a Deicide fan.” There are hints of other subgenres, including ‘77 punk and ska, but the main style lampooned on this is U.K. oi. They’re no Hard Skin, but this is pretty fucking funny stuff regardless. –Art Ettinger (Distro-y)


FUCKED FOR LIFE:
Eat Shit or Die: CD
I’m not a prude by any stretch of the imagination, but I’ve never really been able to trust bands with the word fuck in their name. Cincinnati’s Fucked For Life have shown me the error of my ways—this is good rockin’ twenty-first century hardcore/thrash. The sound and the layout for the notes gives FFL a decided crusty-Profane-Existency feel. Lyrically, FFL are pretty typical for this genre, but the tunes kept me going and made me want to break shit. Good stuff. –The Lord Kveldulfr (myspace.com/fuckedforlifethrash)


GASOLINE GRENADE / THEMINDLESSSHOW:
Split: Cassette
This split cassette release between two Malaysian bands is a reminder of just how global punk is. Both bands play relatively mainline hardcore, but with a freshness/vitality that you rarely get out of U.S. suburban counterparts. The recordings are raw and listening to it on cassette feels like checking out a breakthrough demo tape back in the day. The lyrics are primarily in English, except for one of the songs, “Dilarang Melarang,” which is in Malay. Both bands play fast hardcore, with vocals ranging from screamed to melodic. There are some kids having a blast with these guys somewhere in Malaysia. And that’s a comforting thought. –Art Ettinger (Pure Minds, puremindsrecords.blogspot.com / Pissart, pissartrecords.com)


FLYING OVER:
No One Here Gets out Alive!: CD
Nope, they’re not a Doors-influenced band, despite the album’s title. Instead, Flying Over sound like TV Killers (whom they cover with “Closer”), Stitches, and other bands from the ‘90s who were wearing their ‘77 punk and KBD style proudly on their sleeves. Mainly mid-tempo rockers that will make you bounce around the room and maybe kick something now and then. “No Come Back” and “Everybody Sucks” are the two standouts among a really good batch of songs. –Matt Average (Adrenaline Fix)


FLESH LIGHTS:
You’re a Stealer: 7"
Good, solid rock’n’roll that is deceptive in its simplicity, and I concur with the included description of the Flesh Lights as “muscle pop.” I first thought the record was two simple rock’n’roll ditties, but further spins reveal levels of complexities and inventiveness not often heard among these sorts of bands. The tunes rock and the wailing vocals work wonderfully as the singer draws out notes that smooth over the staccato rhythm, like a fine layer of silt over jagged bedrock. Kind of like the Rip-Offs, only talented. –The Lord Kveldulfr (Twistworthy)


FISHERKING:
Forget It: CD
Okay, full disclosure time: I play in a band with the guitarist of Fisherking. I’ve known the guy who put this record out since dinosaurs roamed the earth. Shit, I’ve even been in a band with the drummer’s cousin. That’s how incestuous this gets. On the other hand, I’m not known as the world’s most positive reviewer. Ben (the aforementioned guitarist) actually shuddered a little when he heard that I had gotten this in my review package. So, seriously, I won’t steer you wrong. Forget It is a pretty damned solid first release from this young hardcore band. There are a lot of lazy-ass reviewers out there who have categorized this as an ‘80s hardcore throwback, but that’s not really accurate. Sure, they’ve been known to cover the Bad Brains or Minor Threat, but that doesn’t make them a retread band. They have elements of that sound but come across as more modern than that. They have elements of current day hardcore but have completely avoided the doucheyness so inherent in that scene/sound. There are little bits of more melodic punk in the mix as well, but not so much that it turns me off or overpowers the more aggressive stuff. The drums are spot-on and the guitar work even shows hints of originality. (Always an endangered species when it comes to hardcore.) If I had any complaints at all, it would be with the relatively monotone vocals. They aren’t bad, necessarily, but they aren’t very memorable. If these guys progress a little bit and nurture those dissonant guitar parts, I think they could show real promise. –Ryan Horky (Bermuda Mohawk)


FIRESTARTER:
“Saturday Night (Is the End of the World)” b/w “Rock’n’roll People”: 7"
Figuring the turnover rate in punk, pardon me if you know this tune: Firestarter’s some of the guys—Fifi and Sammy, I do believe—from Teengenerate. Teengenerate were a Japanese garage band who handed America its ass in the ‘90s. Firestarter are Teengenerate’s power pop / smoother (dare I say Bay City Rollers at times?), well-groomed doppelganger. For whatever awesome reason, they sing in English and for the untuned ear, it takes a bit to realize they’re not singing in Japanese. It adds to the charm. So, since this is 2011 and if you’re down with Gentleman Jesse, Rough Kids, and Marvelous Darlings, it’s probably a good idea to do some back-exploring to Firestarter. This 7” is great. I wonder if 2003’s Livin’ on the Heat LP will ever get released Stateside, vinyl-like. –Todd Taylor (Shit Sandwich / The Modernist)


FIGGS, THE:
Sucking in Stereo: LP
Originally released ten years ago, this is the first time on vinyl. On this album, they sound more influenced by Elvis Costello & The Attractions, Del Fuegos, the Beat Farmers, the Replacements, and bands of that nature, rather than the Beatles, as they do today. Listening to this reminds me of my teen years in Oklahoma. Bands like this received a lot of play on college radio stations, like the “Red Hot Radio” show that was broadcast from the OCU campus in 1984/’85. The overall mood is light and about hanging out and having fun. The music rocks without being bludgeoning or snotty. Some of the songs, like “Cheap Cassettes,” seem like filler. But then they have some really good songs like “The Wrong Chord,” “Set the Stage,” “The Daylight Strong,” and “Dance Lesson.” A little uneven, but still good. Comes with a live CD of a show they played in Kansas on 3.28.01 as well. –Matt Average (Peterwalkee, peterwalkeerecords.com)


FACE THE RAIL:
Fractures: 7"
Oh, hell yeah. These guys play great old school-sounding skate punk with a thrashy influence, but the mid-tempo pacing and warm, lo-fi analog recording make this slab of wax sound like an authentic ‘80s gem unearthed twenty-five years too late. The monotonous vocals and the start and stops in “Bleeding Eyes” take more than a couple cues from the legendary Koro with the poppier backbeat of the Wipers, and the darker “No Hope” is rooted firmly in early Southern California hardcore like TSOL. For all the comparisons you can put in place, though, the songs have an earnestness that keeps this record engaging. –Ian Wise (headcountrecords.com)


EXPLOSIVOS, LOS:
Sonidos Rocanrol: CD
Pumped up, heavy, fuzzed-out ‘60s garage rock. They deliver the tunes for the most part en español—no surprise considering they call Mexico City home—and with enough vim to keep the shimmies shimmying and the Beatle boots bopping. –Jimmy Alvarado (gethip.com)


FEVER FEVER:
Bloodless: CDEP
Well, here’s an interesting bit of noise. The title track is a catchy, almost dancey bit of modern artpunk, but from that point on, things get a bit more abrasive with odd tempos, guitars that are simultaneously angular and punky, and vocals delivered with a cadence that almost sounds like Eve Libertine trying to rap. Five tunes here, all of which are worth a spin, though I’m very intrigued as to whether a full-length from them would go off into even odder, even more interesting territory. –Jimmy Alvarado (cherryademusic.co.uk)


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