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Razorcake #87

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No Idea Records

Record Reviews

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Idol Minds: LP
Baus, pronounced “Boss,” out of Oakland offers up their first LP. It’s really hard to conform Baus’s sound to any one genre; they are a unique hybrid of noise, no-wave, post-punk, and funk. It’s got a quirky funk groove that really gets the hips moving without being clichéd in the least. A foundation of bass bounces in and out of step with funk-influenced drums is layered atop of odd and anxious post-punk guitar. The melodies of bass and guitar wander different paths, cross, join, rip apart, and bounce along. Mike’s shrill and uneasy vocals add to their unconventional charm, punctuated by some pretty rad shrieks from Sierra. It’s not too often that you find a band that sounds this unique. They’re an oddity. Cool, limited edition screen printed jackets and grape swirl vinyl. Don’t hesitate to pick this up.  –Camylle Reynolds (Self-released, baus.bandcamp.com)

Police Brutality: LP
Mind Cure Records is not only an amazing Pittsburgh record store, but it’s also a record label dedicated to preserving its town’s music, both past and present. Those of us who were into punk and hardcore in the late ‘80s remember how underground things were in those awkward years between the hardcore era and the ‘90s resurgence. This demo is absolutely fantastic, with influences from every subgenre that existed up to that point in time. Classic ‘80s hardcore, NYHC, oi, crossover thrash, and other styles, along with distinctive vocals, lend a lot of flair to Battered Citizens. Included are a download card with the full demo along with two live sets, and a very cool foldout poster with fascinating liner notes and images. Members of Battered Citizens went on to be in other notable bands including Killer Oof Sheep, Submachine, Timebomb, Caustic Christ, Truth & Rites, and Cultivator. That these songs stand the test of time makes it no surprise that the members of Battered Citizens remain active in the scene.  –Art Ettinger (Mind Cure)

Take a Ride: CD
I can’t figure out what to make of the fact that this album was recorded almost a decade before it was released. Honestly, even given the 2005 date, the music sounds about ten years out of date. At its best, it sounds like half-assed Ramonescore, and at its worst, it sounds like half-assed Rancid worship. But it’s not as if the band is incapable of writing a good melody. Certain songs definitely stand over others (see: “Little Demons,” “Werewolf,” “1000 Reasons”), and others make me want stick a pencil in my ear so I don’t have to hear anymore music ever, dear god please stop (see: “Candice,” “In This World”). I’m not even one to notice lyrics too often, but I really could have lived without hearing some of the rhymes on this record (“Candice, my candy apple swirl / Envy of all the boys and girls”). Plus, the music is so laughably ‘90s that I’m surprised that the last track isn’t a ska song. Overall, completely skippable. Grade: D+.  –Bryan Static (Self-released, no address listed)

You Suck!: CDEP
This band took the time to self release a three-song CD in 2014. That is so strange it is almost noteworthy. The same cannot be said about the disc, which sounds exactly like NOFX circa 1994. I was burnt out beyond belief on this sound nearly twenty years ago and it has not aged well at all. The band appears to be from Germany, so I suppose it might be more accurate to say they sound exactly like Wizo. My apologies.  –Mike Frame (Self-released, soundcloud.com/bad-advice-music)

Self-titled: 7”
A few seconds of feedback is what passes for the calm before the storm here and the tumult that follows is one that seethes and rages across six tracks on this vinyl debut from this Richmond, VA-based band. Musically, this is clearly influenced by the revered Motörhead / Discharge combination that has served many outfits well over the years and which Asylum employs to good effect, crafting bruising songs that are hammered home with precision musicianship. Apart from the occasional guitar lead sneaking in here and there, this is a band reliant on brute force to drive the music and message home.  –Rich Cocksedge (Vinyl Conflict, info@vinylconflict.com, vinylconflict.com)

The Kids Have No Taste: Cassette
Man, there are a lot of songs on this tape. At least they’re great. All Blood are strikingly similar to the band New Swears—from my hometown—in appearance, overall style, and sound. Party-psych. File under: Ty Segall, Black Lips, Thee Oh Sees, and every Nuggets compilation. It’s done extremely well. The production is perfect and the songs aren’t stinkers, even if one is almost identical to some early Kinks stuff. My streak of review great cassettes appears to continue.  –Steve Adamyk (Self-released, allblood.bandcamp.com)

Discography 03-13: Picture Disc: LP
I’m a rock’n’roll fan and, by default, an AC/DC fan. So whatever the contents of this record, the copycat/ripoff band name and logo are a real putoff. And that’s probably the point. Powerviolence like this has a very specific audience, one that probably thinks the real AC/DC sucks big balls. But even as a fan of D.R.I., C.O.C., S.O.D., and T.N.T., this collection of riff raff is still noise (pollution) to me. And while there’s no beating around the bush musically, I gotta give it up for the concept of using shit like Lebowski and Casino as lyric fodder, though the execution just doesn’t flick my switch. Regardless, since this is a singles collection, you already know if this is gonna fire your guns or not. Buyer beware though, side two is some seriously ruff stuff with badly recorded live songs and demos, though at twenty-three songs itself, side one contains more than enough decently recorded studio cuts to get fully kicked in the teeth. Man, if I could have been a fly on the wall for that band name discussion...  –Chad Williams (To Live A Lie, tolivealie.com, info@tolivealie.com)

That’s How It Go!Oh!Ohs!: CD
My choice of listening material when leaving work is highly influenced by the preceding nine hours or so—if it’s been a day in which I feel I have achieved something then I can hit ‘Random’ and will almost certainly be happy with the outcome. However, it’s more usually the case that, having dealt with petty office politics, dunderheads, and an IT system that works to its own “let’s fuck with the users” approach, I’m in need of a musical elixir to help me regain my sense of self. I have a playlist consisting of bands, artists, songs, and albums—all of which have the power to return me to my former self. 48 Thrills has just made that list with this, its second album and first release in four years. The equation is simple, featuring big guitars and anthemic songs with hooks aplenty, leading to a collection of refrains and choruses that nestle firmly into my consciousness with ease. It’s the kind of music that gives me that much needed reboot thus making the trip on a crowded bus infinitely more bearable. By the time I alight the vehicle, I find that I’m ready to bounce along for the half mile walk home and, as such, able to greet my wife and kids with a smile rather than a scowl. This is by far the best 48 Thrills release to date, much of which is down to the all-round upbeat quality it possesses. I must acknowledge my own stupidity in that the first two notes of the excellent “No Excuses for Regrets” always lead me to believe I’m in for a cover of Jane Wiedlin’s “Rush Hour”—even having heard it over two dozen times. –Rich Cocksedge (Self-released, 48thrills@gmail.com, 48thrills.bandcamp.com)

Full of Hate: LP
Lo-fi garage punk rock from this trio of trouble. Guitar distortion hangs over the songs like a dense, buzzing fog, with the belligerent vocals buried in there—though you can hear them—just not exactly clearly. There’s some attitude that huffs and puffs amongst the driving tempos, urgent beats, and dirty guitar growling. Just about every song on here is a keeper, but really, the ultimate standout of this record is the slow, late night burner “Feeling inside of Me.” Which alone is reason to snap this up. It comes on unexpectedly after a string of mid to moderately fast rockers. The bass gives this a morose feel, backed up by vocals that give the listener an idea of reflection and pangs of regret. Then the guitars have a psychedelic edge that really helps work this one into your brain. One of those songs you get up and put back on a couple more times before letting the rest of the record play through. Then again, once “I Don’t Want You” closes the record, the first thought, and rational response, is to flip this record over and listen to it again. –Matt Average (Going Underground, goingunderground.storenvy.com)

Self-titled: EP
It’s the cover art that drew me to this. It’s their logo that looks to be made up of torn bits of paper shaping the letters, running diagonally from the bottom left corner to the upper right. When you’re sifting through the review boxes here at the Razorcake bunker, you have to rely on the old ways of choosing records, which is artwork, song titles, record label, ex-band members, and gut instinct. Those modes are not failsafe, especially these days (we all know anything after 1985 is highly suspect). But one of those applied methods is at least guaranteed to work ninety-five percent of the time. I applied cover art, as described above, and song titles: “Bag for My Head,” “It Hurts,” and “Chopped in Half.” With that combo, I should be at least have some sort of expectation met. Though not snotty and slobbering, like I was expecting, Advlts kick out some catchy as hell punk rock that is pretty dern good, and has more going on, as revealed in subsequent listens. The songs are wound tight, with the bass bouncing off the drums, and the guitar jangling and scratching up next to them. The vocalist has a sort of dry sound, and you can hear the words come through nice and sort of clear. “It Hurts” brings to mind early Wire, with the bass nice and strong in the mix, while the guitar skranks rickety notes, and there’s a dual vocal interplay. “Bag for My Head” is the standout due to its strong opening, somewhat sassy vocal delivery, and the lines, “I hate your face! I need a bag for my head!” sandwiched between a driving and super catchy riff. If I was to keep some sort of “best of...” list, then this one would be in it for sure. –Matt Average (Southpaw, southpawdistro@yahoo.com, southpaw-records.com)

Destiny Calls: 7”EP
Straight streetpunk with a flash of pop. Aggroculture out of OrangeCounty has an amateurish sound, but it’s pretty decent. Clash and Social Distortion work fine as comparisons, I suppose. They aren’t reinventing the wheel here, not that I think they have any plans to. Just own it.  –Camylle Reynolds (Crowd Control Media, crowdcontrolmedia.net)

Terror Amor: LP
The “chopped and screwed” vocals are largely unnecessary. Maybe a good gimmick for one song, but otherwise distracting and detracting from the songs. Outside of this, fans of Davila 666 will surely like this record. It’s got a similarly rowdy, Stooges-riffery, gang singalong vibe as Davila 666 albums, and even features fellow members on most of the songs. “2333” is my favorite. Sing it in English or Spanish and it’s just as catchy. Put it on your list of summer jams. –Sal Lucci (Nacional)

Split: EP
The minimalist packaging (unless an insert was lost in the mail) gives virtually no information about this record. Is this the birth of “mysterious guy” metal? A search on the web reveals this is a split on Halo Of Flies, who usually have some nice packaging. Anyhow, Amber are contemporary metal that has a bit of crust and hardcore swirling around, not to mention some emo-esque guitar parts. Throaty vocals devoid of much emotion blanket the song, but it doesn’t have my attention. Locktender are along the same lines, only with a touch more tension in their song. The throaty vocal thing here also blankets the song and buries some of the nuances in the music. On the whole, this record does nothing for me, as neither band does anything to distinguish themselves from others of the genre. –Matt Average (Halo Of Flies, halooffliesrecords.com)

Dreadful Night: Cassette
It’s that mid-tempo, brooding, pretty-to-frantic-back-to-pretty screamo stuff that kind of faded from the collective radar ten or so years ago. It’s a genre that I still like, at least when it’s done well—and yeah, it’s done well here. Think Amanda Woodward, Todos Caeran, or Book Of Caves. Made up of two guys; there are only five songs here, and, unfortunately, no lyrics included. I was hoping these were epic, world-weary tunes about humanity’s unchecked desire for its own ruination, or maybe a treatise on Mandeville’s 1714 essay An Enquiry into the Origin of Moral Virtue, or something lofty like that. I mean, hey, it’s screamo! You kinda gotta write about obtuse shit like that, right? But the singer thanks “all the girls who made him bummed out” in the liner notes so that he had something to write songs about. Meaning these are probably just break-up tunes. Still, nice tape.  –Keith Rosson (Lost State)

Amistad Y Rebelión: LP
Kinda expected some heavy Discharge aping based on the cover/logo art, but what ye get for your buck(s) here is mid-tempo punk anthems and double-time pop-thrash en Castellano from a Spanish band well versed in modern punk conventions. Don’t usually go for this kind of stuff, but there’s a bit of an edge buried inside there somewhere to balance things so that the pop doesn’t get to syrupy. Their lyrics are strong as well, eloquently blending the personal, the political, and the poetic into a seamless whole with none of the ingredients diluting the flavor of the others. –Jimmy Alvarado (Accidente, accidentepunk.blogspot.com.es)

“Telephone” b/w “Ain’t About Her”: 7”
Time to shout from the rooftops, Modern Action has a new slab of vinyl out! Amoebas put out one of my favorite records of 2011 with their self-titled 12” and I really couldn’t wait to hear what they’ve got going on. Right off the bat, these are a couple of amazing songs but there is something slightly different going on here. It sounds less trashy than their previous effort. A little more—I can’t say polished—but… just different. Different and great! Like much of what goes on over at Modern Action, if you dig The Bodies or The Briefs, you know you will like it. Keep ‘em coming guys!  –Ty Stranglehold (Modern Action)

Asleep: 7”
Emo in the “before it was a bad word” D.C.-sense. An incredibly accurate, charmingly sloppy, palpably passionate throwback to Rites Of Spring, Embrace, 3, and One Last Wish. Strained, speak-yell vocals, plenty of repetition in the lyrics, vintage tones, and a very fitting production job make this one a definite “highly recommended” for fans of the above trailblazers and current stuff ala End Of A Year/Self Defense Family. Great job, folks. –Dave Williams (Happy Ass)

Deadline Blues: 7”
Tremolo- and reverbed-out straight-up garage rock from these Dutch cats. Well-played, beautifully-recorded, simple songs that are likely real ass-shakers in a live setting. Not really my thing, but it’s certainly well done.  –Dave Williams (Slovenly)

2014 Demo: Cassette
I confess that there was a time when, in dire need of a condom, I used one that had been thrown from stage to audience. (Hey, it was the ‘90s! I was young!) I’m not sure if, even then, I would have ever use one I got from a cassette bearing Crass stencil, as found in this Anonymouse demo. Based on the signifiers alone, I was expecting pretty much what I got: angry and impassioned slogans over tinny oompa hardcore. Unlike a lot of anarcho stuff, there is some melody to be found here, especially in the vocals—both the lead and backing variety are obviously American guys trying to sound British, and the production values are way too good to pass as a relic of foregone times. Still, not too shabby for what it is. –Michael T. Fournier (anonymouse.bandcamp.com)

A Document of Dissent: CD
Twenty-six-song collection pretty much spanning the band’s recorded output. So here, on one easy-to-digest disc, you can follow the band’s sonic trajectory from their early spirit o’ 77 sound to their current, modern post-hardcore one. Though never a big fan of the band’s music, I have always respected the stances they take on issues and causes they support. Nothing new here for longtime fans, but this disc would make a great introduction to the band for casual listeners.  –Garrett Barnwell (Fat, fatwreck.com)

We Are…The League…Uncut: CD
A new recording of this classic? Yep, it is true. It sounds good, but whether or not you need this next to the original is your call. Apparently, the original record was banned by the police because of the lyrics on “So What.” It’s unclear if the lyrics had to be cleaned up back then to get it back into circulation. But, according to the liner notes, this recording features the original lyrics. So if you are into doing A/B geek comparisons, feel free. I wonder if this will sell more than Fear’s re-recording. –Sean Koepenick (antinowhereleague.com)

Self-titled: LP
Do the math: LP=more of what you love. This is a full-length from a Richmond band whose singles have been full-on bankers for value if you’re into the ratchety end of the ‘60s punk revival bands. Solid rock’n’roll with overdriven guitars, snotty attitude, Bo Diddley beats, and choruses with excellent back ups. Too many bands nowadays seem to think this sort of thing is easy to do. Those Thee types only walking the walk will falter at some point. This band is the full package. Never has something so unoriginal sounded so fresh. –Billups Allen (Windian, windianrecords.com)

Crisis: 12”EP
Originally from the Dominican Republic, Chicago’s La Armada has been bringing the “Latino Hardcore Fury” to audiences for nearly ten years. Crisis is the follow-up to the band’s 2012 self-titled debut on label Fat Sandwich. That album was a milestone for La Armada as they transformed from the more straightforward hardcore punk sound of previous albums and drew in a wider array of influences spanning punk, hardcore, and metal. Crisis is a natural extension of that forward evolution. Combining such an array of influences can be difficult to pull off, but La Armada’s songwriting and their musicianship are more than up to the challenge. Few current bands can rival them in terms of technical skill, never mind having the chemistry these guys have after playing together for so long. Crisisincludes not only a number of ripping new songs, but also allows the band a moment to reflect on their roots. One track on side A of the record is them blasting through a medley of Bad Brains covers “Don’t Need It/Attitude/Shitfit,” as seamlessly as if they’d written the songs themselves. The record features creepy-looking apocalyptic cover art and comes with a lyric sheet that includes English translations of their lyrics, a fold out poster, and an “UnBaptismal certificate.” The certificate details crimes of the church and encourages listeners to renounce their Christian faith. It fits the anti-religious and radical political messages of the band.  –Paul J. Comeau (Fat Sandwich, armadahardcore@gmail.com)

Dog Hobbies USA: 12” EP
The Arndales are a thoroughly British post-punk group, featuring at least one member of the Country Teasers. I never got into the Country Teasers (everyone around me seemed to—hell, even JA released that The Rebel record), and that might have been my loss, as this EP is good. No doubt Arndales are familiar with Marc Riley, but there’s no nostalgia here. The production on this record is modern-sounding and the music is anything but by-the-numbers. You likely already know if this record is for you, as it surely has a limited audience (always a good thing) and I’m admittedly late to the party. –Ryan Leach (In The Red, intheredrecords.com)

Self-titled: CD
Attalla proudly wear their Black Sabbath influence on their collective sleeve. However, they have some work ahead of them if they want to be in the league with other stoney bands like Sabbath, Electric Wizard, or Weedeater. There’s a lethargy that hangs over these recordings that make listening to this a bit of slog. Maybe they smoked too much weed in the studio. But there this “just get it done and let’s go home” vibe to these songs. Things pick up with “Lust.” The bass could use a touch more distortion, but that just might be my preference. The tempo on this song is more up than the prior two, and there’s more going on in the overall structure to make it more of an interesting listen. The singer sounds a hell of a lot like Danzig, which I found more preferable than the “growly, shouty dude” style that seems to be in many of the contemporary stoner rock bands. The second half of “Thorn” is pretty good, recalling later period Ozzy-era Sabbath (these riffs sound familiar, as well as the change up). “Veil” may be the best of the bunch. It rocks more than the others, with the quick tempo, and the drums coming to the fore. More songs like this in the future, please! Plus the sinister guitar tone in the opening of “Doom” is nice, with its dark and dirty feel, as though evil lurks around the corner. Attalla aren’t terrible. They just have some more work to do on their sound. The elements are there. Lose the first couple songs from this disc and focus on creating more like what’s on the last half. –Matt Average (Attalla, attallabloodyattalla@gmail.com)

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