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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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The Blackest Curse: CD
It’s been some time that I’ve been waiting for this album. What I consider the last proper Integrity album, the absolute masterpiece Seasons in the Size of Days, was released in 1997, and while Integrity 2000, To Die For, various 7”s and reissues (and scores of lesser bands paying homage) did well enough to partially fill the void left in their recurring absence, not until now have we been graced with a fully realized Integrity release. At this point, it’s far too early to determine where The Blackest Curse stands among Integrity’s previous LPs, but it’s very safe to say that I am far from disappointed. There is a particular vibe that culminated with Seasons that I felt was lacking in each release between it and this new one. A bleakness and desperation that was absolutely oozing from Seasons, Tomorrow, and Humanity (and to a somewhat lesser extent Systems), but brothers and sisters… that darkness is back. There is a completeness to The Blackest Curse, a continuation and a realization of a dark, twisted vision and heavy, evil sound that Dwid and company essentially brought to the genre with that first LP some twenty-two years ago. Whether a starting point for new listeners or, like myself, an indescribably welcome return to form, The Blackest Curse is on par with Integrity’s finest hours and has quite possibly set the bar unreachably high for “hardcore record of the year”… or decade… or millennium. Fucking incredible. –Dave Williams (Deathwish)

North of Nowhere…: LP
I’ve been a bit of a burnout lately listening to crust. At least the crust records I personally own. I do really like to go see it live, though. But when I get something new that is well done, it gets me re-interested again. This band hailing from Germany does all the right things in my book. Really strong production to support their Deviated Instinct meets Amebix with death metal undertones mania. Really riveting guitar riffs pierce through the mix, backed by sold bass and drum interplay. Vocals that aren’t too guttural finish their bleak painting of life. The band really toes the line between punk and metal. They have the musicianship and songwriting ability to cross over that line and play just metal, depending on the genre. Overall, the metal in me really enjoys what is being heard and the punk side is satisfied that it’s on the same team. The record nerd underbelly in me loves the gatefold and the super cool purple and black swirled vinyl! –Donofthedead (World Funeral)

Spoken Word: 7”EP
INJ/SYS, I guess, is shorthand for Injustice System. What I am certain of, however, is that this record is pretty damn good. Blazing early ‘80s style East Coast hardcore in the vein of Antidote, Abused (both bands get the cover treatment here), YDI, etc. Raw, bare bones, no frills. Just a loud and blistering guitar sound, thrashing drums, and some low end to keep it all together. The vocals are yelled and delivered with some snarl, desperation, and urgency. This is the sort of stuff I think about when I think of what a good hardcore band is supposed to sound like. Fast, distorted, and pissed off are a few of the qualities I look for, and these folks have ‘em in spades. Listen to the very last tracks, “A Colony Civilized,” with its fast and reckless approach, then capped off with the short “No Words.” Then go back and listen to the rest of the record. Can we expect more from these guys? Only three hundred were pressed, so jump on it! –Matt Average (No Reprieve, noreprieve.bigcartel.com)

Anthems of Truth: CD
On one hand, I can understand how Anthems of Truth could be considered relatively standard fare, maybe even a smidge generic. They bring to mind some of the bands on the recently defunct PunkCore label or maybe even the gruffer, earlier material in the Dropkick Murphys catalog: streetpunk with a smidge of ska thrown into the mix. Gravel-packed vocals and lots of gang backups. On first listen, it didn’t come across as terribly memorable. On the other hand, there are moments where Independent Progress really shines—and it’s buried there in repetition, in giving it another shot. The biggest detriment to the streetpunk genre has always been the dipshit thug/gang mentality, how it’s often lyrically tantamount to a bunch of fucking bullies running around with guitars. Thankfully, none of that is present here. Honestly, the lyrics here are top-notch; well-spoken and articulate stuff that’s terrific on its own and absolutely jaw-dropping for the genre. It’s that intelligence, coupled with the fact that these dudes sound like they’re having a blast playing these songs, that carries this thing forward. The wheel isn’t necessarily being reinvented here, but that’s not really necessary. This is more than a passing nod—at least to this listener—to bands like the Strike and the Beltones, and that’s good enough for me. Genuine stuff. –Keith Rosson (Independent Progress)

Hey Fuckers: CD
This band is an electric punk combo featuring Chris Clavin from Ghost Mice. I mostly mention this because I’m not a big fan of Ghost Mice, which tends to sound too “precious” for me, but I like this band pretty alright. It’s real raggedy pop punk like Crimpshrine, but with a high-pitched singer and endearingly thumpy drums. Most of the stuff on here has a pretty distinct DIY punk message, with the exception of “Rabb-napping,” which is in that too-cutesy Ghost Mice vein. There are a couple of lines in this album that really make me go “Huh?” though. Specifically in “New Wave,” where in reference to what’s wrong with punks today, “It’s not worth the risk to steal things, the pizzas they eat come by delivery.” Getting a pizza delivered may be the most strident definition of what selling-out is. I mean, living by shoplifting is great if you’re doing it at Wal-Mart and only have some really low maintenance needs for yourself, but beyond that, I think that system of pseudo-off-the-grid living breaks down real quick like. It’s the kind of almost painfully myopic thinking that I think causes a lot of crusties and such to not really be taken all that seriously. Propagandhi and Fugazi talk a big game, but they also seem relatable and living in the real world. It’s not that these bands, and others like them (Fifteen and both Subhumans come to mind), are about compromising the shit out of everything, but they do recognize that everything is not always so cut and dry. I dunno if I can say the same for this band. It seems a lot of this line of severe “leeching off the system, but not in any way admitting to being a part of the system” thinking only really works for someone who lives in an anarchist wonderland where interconnectedness and consequences are non-existent outside of bike and vegetable co-ops. Then again, maybe I’m just being defensive and cynical, because indeed I have (gasp!) partaken in non-dumpstered pizza. I still approve of this album though. –Adrian (Plan-It-X)

Nobody’s Son: EP
One of those “wha?!” moments. Didn’t know these guys were playing music again. If I remember correctly, they did a split with Charles Bronson. Ice Nine originally existed in the 1990s and were a definite product of that time. The songs are super technical, loud and noisy, disjointed, and, ultimately, tuneless, which is the downfall of any band like this. Not one song on this record is memorable. Too much time is spent noodling with time changes, running up and down the fret board, and a vocalist who is looking for power and brutality in screaming and growling as loud as possible. A lot is going on and nothing is focused. A few listens gets tedious. –Matt Average (Prank)

This Hammer Destroys Ignorance: Mini-CD
Bad grindcore sounds like rocks in a blender and the Cookie Monster yelling at you like he just stubbed his toe. Good grindcore sounds like bones in a blender, pulverized to a dust that your not-smart friends would snort like a line of coke. I’m Diet—four mystery-shrouded longtime L.A. punks—is good grindcore. They clock in two Descendents covers, totaling seven seconds. Comes in an origami package designed by a rocket scientist. –Todd Taylor (Self-released)

Gay Singles: Cassette
What if ‘60s girl groups like the Crystals and the Ronnettes were cross dressers and had Johnny Ramone write all their songs? Aside from the timeframes being completely out of whack, you’d pretty much end up with Hunx And His Punx. Their sound isn’t anything incredibly original but the catchiness of the tunes is where the hook meets the mouth. Song themes are mostly about cute boys and heartbreak. Or cute boys and the hearts they break. This was originally released by True Panther Sounds on CD and LP and is great for the tape deck in your car but if you come across it, get the LP for the gratuitous nude picture of our boy Hunx in all his full-frontal glory. –Juan Espinosa (Burger)

American Crow: CD
Hanging from the Halloween garage musical tree of Screaming Jay Hawkins, The Cramps, the early Misfits, the Blowtops—not to mention George’s old band, The Necessary Evils, is the powerhouse Haunted George. With a mule’s saddle of full-length albums and 7’s behind him as a one-man band, I expected a fun record but, frankly, I also expected more of the same. I do love the pedal echoes of the Born Bad vibe, garage rock stomp that somehow makes perfect sense with horror movie memorabilia and pulpy westerns. Just that this is a deep rut that bands can fall in after one good record and end up going in circles. But I was wrong, pardner. Surprisingly fresh, this album kicks ass, real Deadwood shit. While this is firmly in George’s usual ramblin’ style, it feels advanced from earlier records, lots of good, ominous speed and pluckyness mixing in with the thundering herd. I got excited by each song. The way a gunfighter keeps shooting those cans off the fence, getting tighter. Necessary Evil Jimmy Hole now plays with George, which may add to the change in style while taking away the lovability of the loner one-man band. Alas, I do believe the line that George is living and recording out in the Mohave. –Speedway Randy (In The Red)

Sucker: CD
“Songs mostly written while courting an adventurous woman. France, Spain, Madagascar, New York, Memphis, Netherlands. The courtship was a success.” As an ‘80s punk rock kid, I pretty much disdained folk, emo, whiny CTV country, emo-folk, and new country. That was until I first heard Hank Williams and Leonard Cohen. They made me realize you can be a singer-songwriter and not be a complete douchebag in boots. The usual labels of country and folk didn’t really apply. Americana is the closest word that makes sense. They didn’t write and sing in order to get chicks, they wrote songs to try to understand people, themselves included. They never put on a fake look to fit into what was popular. Sometimes it’s poetic, other times pissed off. Sometimes it’s just funny. Harlan T. Bobo embodies the same vibe. He could be singing in Memphis, or at a New York bar, in a Paris café, or on a street corner in Nogales, and always sound at home, pure and from the heart. –Speedway Randy (Goner)

Tala Svart: LP
Finally available on vinyl, this record is an ice princess amongst snow mutants. Siri has such a powerful, pleasant voice while Anders, Johan, Lars, and Andy crank out the Scandi-rock. Imagine El Banda, The Assassinators, or La Fraction filtered through some Swedish sensibility and served up with some non-intrusive keyboard. Beautiful, both in sound and concept. For the last couple years the CD has been in regular rotation around Razorcake HQ, and I can’t see it falling out anytime soon. –Daryl Gussin (Adagio 830)

Awesome Garys E.P.: 7”
Twin Cities slop hardcore featuring members of the Fuck Yeahs, Chooglin’, and Sweet J.A.P. When it comes to song titling, these guys are fucking top notch with songs like “Heavy Metal Unicorn,” “Sex Jacket,” “Dog with Ham,” “Boner,” and “Sausage Horse.” As far as writing punk rock that I want to listen to repeatedly while lounging at home, not so much. This largely stems from the fact that there are twenty-two songs on this ten minute long 7”, which leaves most it sounding like random thrash snippets. However, it does speak even more highly of their song titling excellence because they have to come up with a fuckton of titles. They “sell out” on a couple songs that are over thirty seconds and have some pop hooks like “Female Fonzie,” which I like a lot. The day I first listened to the record, I saw Hamburger Help Me at a bar in Minneapolis and, to be fair, I appreciated what they were going for much more in a live setting than this E.P. –Jake Shut (Fart)

“For the Sake of Love” b/w “The Girl”: 7”
This is more of that “new old” I like so much. I imagine I am about to become saturated with it, but I like the sound of The Half Rats. Good songwriting without irony. Both songs are a fusion of ‘50s pop sensibilities with low-distortion and power pop riffs dropped in. The recording is lo-fi, but done in a way that leaves room for craft instead of just “being lo-fi.” Good songs, executed well. –Billups Allen (Douchemaster)

Self-titled: 4-song CDEP
Is there a computer chip installed in my back—like those that keep track of pets—but for a total predisposition for catchy, underdog DIY punk? What the fuck? Gypsy’s a beautiful, unshowered, beat-up mess of a band. Vagabond Ryan Maddox, drummer of the Hidden Spots (also of Queerwulf and True Stereo) found himself in Las Cruces for a month. Instead of getting a honky bullshit job, he settled in with the natives, skated ditches, smoked a lot, and—I’m sure with little prompting—got Chris Mason (Shang-a-Lang) and Joe Ayoub (Marked Men) along for the ride to record at The Trainyard, an all-ages spot. Low-fi, linty, mismatched sock-y, disheveled life of questionable decisions DIY punk that totally hits the mark it was going for. This is the opposite of whatever’s being played over the in-house speakers at Guitar Center right this second. –Todd Taylor (Dirt Cult)

Hot Wax: CD
First new record in quite some time for the ex-Hüsker Dü songwriter/drummer. It’s consistently a stripped-down affair, so don’t expect a blistering onslaught like his former trio. “You’re the Reflection of the Moon on the Water” features mysterious lyrics that help the song flow with precision. Grant is a storyteller, so that’s why out of nine songs there are three with names in the titles on this record. “School Buses Are for Children” features a wistful chorus: “school buses are for children/they need someone who wants them.” This song will end up really grabbing you by the end. “My Regrets” throttles the motor a bit, but by the time it is over, so is this record. There’s no “2541” here, but it’s still a captivating record that creates a somber mood which you’ll find hard to shake. –Sean Koepenick (MVD Audio)

Joy Ride: LP
Cool that Dr. Strange is doing vinyl reissues of this stuff. Originally released on Fountain Of Youth in 1984, this was/is GI’s second LP. From what I could glean about this reissue, this is the European version with extra songs. For some reason I never picked this up when it originally came out. I’ve always liked these guys, even when the sound started to shift on the later records, which was the stuff I found I listened to the most. However, I don’t think this LP is entirely solid. There’s some filler on here, like the cover of “These Boots Were Made for Walkin’,” and the live tracks. Not to mention the pacing, which seems disjointed. That said, this does have songs like “Understand,” “Notch in My Crotch,” and “Joy Ride” which are great songs where they were transitioning from thrashy and raw to something more tuneful. –Matt Average (Dr. Strange, drstrange.com)

Split: 7”
Razorcake has some unwritten codes (there’s no book), things we think are common sense and DIY-moral. One of them is that if we have a hand in releasing a record, we won’t review it in these pages or on our website. It’s like, no shit, we like the band’s music. Why else would we release it? Well, GEG is one of my favorite bands. They happen to live ten blocks away from Razorcake and fit perfectly into our mission of celebrating local DIY without ignoring national and international punk. We’ve had our hand in releasing four of GEG’s previous 7”s. I couldn’t be happier. I just couldn’t comment on the band before this record without feeling slimy. My grandfather was a huge fan of musicals. He was a tough ex-Navy man then a tough ex-bill collector. He loved musicals. Julie Andrews got top billing. So did Pirates of Penzance. GEG embody that sort of tough sweetness of my grandfather. They’re fully aware of the ugliness that resides in the world, but they chose to surround themselves by a ragtag, engaging beauty that comforts them. They do this without being dogmatic; with an undeniable cheer. Think Bananas, Allergic To Bullshit, and in honor of my grandfather, The Sound of Music. No People: From Tokyo, Japan would fit well in San Pedro, California, especially with Underground Railroad To Candyland. Slithery, stealthy DIY pop gems (lots of keyboards) that are handled expertly, in a no-fuss, non-flashy, let’s-party way. Great pairing. Great split. –Todd Taylor (Underground Government, undergroundgovernment.com / Recess Japan, recessjapan.com)

Babbling Voices: 7”EP
Bands can get like families. You’re brothers. You’re related. But you may hate your fuckin’ brothers. I know nothing of the interior dynamic that fueled Atlanta’s Carbonas or what lead to their breakup. All I know is that when the Carbonas called it quits, Gentleman Jesse released a fuckin’ great, neatly-dressed full-length and GG King—drummer then, guitarist now—has released a string of notable 7”s, this being one of them. Musically, it’s cool to retroactively hear how Jesse’s smart pop (think Peter Case not Peter Cetera) locked into GG’s dirty, angular minimalism (think Urinals not Ikea). This is some extremely solid, worn-denim stuff, reminiscent of early Reatards: arrested development, slightly paranoid, screechy and churny, and with an undeniable garden of nutritious hooks right under broken, sandpapery surface. –Todd Taylor (Local Cross)

I Can Always Live: CD
Get rad is right! Full-on thrash hardcore that doesn’t let up. I could see them playing shows with Frontside Five. I swear that just listening to this flipped the brim up on my hat and made me run around in circles. They have a song about pizza too! My only complaint here is that I had a hell of a time trying to read the song titles, thanks to the stupid font on the back. Small potatoes compared to how great this disc is. –Ty Stranglehold (Hyperrealist)

Self-titled: LP
These guys sound like they’re well versed in a lotta different strains of noise—late period L.A./early suburban art-punk, post-punk, even Morricone-influenced surf rock. The result is music that can hold its own on a bill with, say, TSOL or 100 Flowers, yet is much more sophisticated than those who usually pooh-pooh punk think is possible. –Jimmy Alvarado (Dead Beat)

Death to Cops: EP
I was under the impression these guys were some shitty crust punk band. Was I ever wrong! Instead, this Canadian outfit are U.K.-inspired punk, similar to the No Future bands: driving and catchy at the same time. The tribal drum beat is effective in propelling the songs forward at a decent pace. The guitar sound is thick and somewhat clean, while the vocals have a raspy edge, while still being clear and effective. Lyrically, they’re mainly anti-cop, and all-over anti-system. The most interesting song is “Siege,” which starts the record off. Urgent and direct, with lyrics about how the state has gone after people and movements that it has seen as a threat, or presented to the populace as a threat. A few incidents mentioned are Waco, TX, Ruby Ridge, Rainbow Farm, and M.O.V.E. A solid record the whole way through. Glad I picked this up. –Matt Average (Loud Punk)

Cruxshadow: LP
Has this band matured? Their previous releases sounded more in the vein of early Disorder meets Chaos UK. The sound was primarily a raw buzzsaw affair. The current sound is reminiscent of UK82 bands like GBH, Exploited, and the Partisans. But not like a copy; sounding like they actually came from that time period. Only thing missing would have been the use of heavy reverb on the vocals. That was used quite frequently back then. The songs that are played with a more controlled mid-tempo groove come off more melodic and memorable. Instead of being attacked with a distorted din, the songs have an infectious tone to them that makes you want to put a pint in the air and maybe bring back the pogo. I’m really impressed with the growth of this band. Fifteen songs that got repeated listens and deserved the time spent on the turntable. –Donofthedead (Loud Punk)

Demo: CD-R
I so wanted this to suck. I was going to go all Spinal Tap on this demo and write a brilliant two word review. Under the title of the CD it was just going to read “Fucking sucks.” Sigh… seems things never work out for me, because this is really pretty good. It reminded me in parts of the Gibbons, except with way better guitar playing. The songs are all catchy and rock in all the right ways. Maybe I can salvage my two word review: Fucking awesome! Check these guys out. –Ryan Horky (Big Purple, bigpurplerecords.com)

Self-titled: EP
Tripped out and twisted up punk rock from another reality. Mix Mentally Ill with Chrome and early Sonic Youth and you’ll get Folded Shirt. Larry from the Darvocets fronts this group, so you know it’s not some typical garbage. Guitar strings are pulled in directions they were not meant to be, bass lines throb and pulse, and the drums sound a little hesitant, oddly enough. “Crazy Eyes” is the best track on here—with the backward running tracks—and the whole warped tone it gives, while “Go crazy eyes” is repeated over and over. When the acid turns bad and everyone else is having fun at your expense. Seems only Cleveland can produce bands as good as this. –Matt Average (Fashionable Idiots, tchardcorejouranl.com)

Split: 7"
This is an excellent split of two non-traditional North Carolina punk bands. The Asound has a classic rock and psychedelic influence that might be a bit off-putting at first, but their side is undeniably driving. Even catchier is the Flat Tires side, which is a smoking hot mix of punk and country. Country has been mixed with punk with varying degrees of success over the years, but Flat Tires strike just the right balance of twang and hardcore. Each band delivers two solid tracks of Southern barbecue-able fun. This 7” comes housed in a beautiful sleeve illustrated by ANTiSEEN’s Jeff Clayton, perhaps the best-known NC punk icon. Needless to say, this record comes highly recommended. –Art Ettinger (Zodiac Killer, zodiackillerrecords.com)

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