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One Punks Guide to Pinball, by Kayla Greet
Razorcake #92
Spokenest, Gone, Gone, Gone LP
Pinned In Place, Ghostwritten By LP
Razorcake #91


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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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AMBASSADOR GUN:
Rich: 7”
A 2011 single from this metal band. Not sure why this is coming up in 2015. Maybe they had a bunch of extra records lying around and decided to send them to punk zines? This is some sort of grindcore/metalcore/groove metal mashup. Some blastbeats, some slow Pantera-style riffing, and a hardcore/death growl. I can handle this type of stuff done well, but this is bo-ring and probably why this limited pressing of five hundred is still available four years later. –Chad Williams (Minor Bird, minorbirdrecords.blogspot.com)


AMIGO THE DEVIL:
Volume I: 2 x LP
“I was born with the devil in me. I could not help the fact that I was a murderer, no more than the poet can help the inspiration to sing.” –H.H. Holmes. Singer-songwriter Amigo The Devil proves that, perhaps, there is some correlation between these two forms of inspiration. This is murder-folk: melancholic, darkly humorous, sometimes sociopathic country ballads about love and murder, and the darkly beautiful instances in which the two intermingle. He began by releasing separate EPs, but has now collected them together into one gorgeous double LP entitled Volume I. His first two releases—Manimalsand Diggers—occupy sides A and B, respectively, of the first record, while the second consists of his most recent release Decompositions on the A side, and four unreleased tracks—collected as Scraps—on the B side. The haunting cover art from the three EPs, courtesy of artist Justin Pape, is combined into one colorfully morbid spread inside the double album’s fold. Included are liner notes printed on newspaper, reporting the lyrics as though they were true stories of death and dismemberment. Appropriate, as many of them are true: Amigo The Devil draws upon real life serial killers, everyday horrors, and personal demons and writes odes to the universal human experiences that drive poets and killers alike. As he sings on Decomposition’s final track: “There’s only one kind of people in this world/ People who die.” –Kelley O’Death (Colony Collapse, no address listed)


AMPERE / RAEIN:
Split: 7”
Ampere is a DIY screamo outfit from Amherst, Mass. that has been at it for over a decade, releasing split after split. They’re ferocious and spastic, almost verging on powerviolence, and a little bit Palatka, a lot Orchid (sharing member Will Killingsworth), and sometimes resembling Loma Prieta. Ampere’s three songs sink in their teeth and never let go. The lyrics are preoccupied with abandoning (or resolving) the past, utilizing images of light and darkness: “The sun can blind as can the dark.” The songs are over in the blink of an eye but leave quite the impression. I also recommend listening to All Our Tomorrows End Today, released in 2004, with a title that is once again fixated on the past. Raein hail from Italy, and they pair nicely with Ampere’s aural assault. The guitar melodies are haunting, taking cues from post-rock, shoegaze, and screamo. Although the music is more “pleasant” than Ampere, the vocals are equally as shrill and agonized. Raein recently released the stellar free Perpetuum EP that further expands their moody, atmosphere-drenched sound. Definitely grab what you can from both of these respectable punk outfits. –Sean Arenas (No Idea, noidearecords.com)


ANTIQUE SCREAM:
Two Bad Dudes: CD
This disc doesn’t ring true to me. It all seems very affected, starting with the title. The singer is trying too hard to do the whole bluesy, doom metal thing. Half the songs are epics that come in two parts, with the first part mostly being wanky drum or guitar solos. Lots of evil sounds and evil lyrics about devil women and shit like that. It’s like a parody version of a stoner metal band created for an episode of Family Guy. –mp (Self Destructo, selfdestructorecords.bandcamp.com)


AQUADOLLS:
Stoked on You: CD
Californians, you can no longer survive by your insistent love of surf rock. We, the citizens of the world, a good majority of which do not have readily accessible beaches for most of the year, are hereby calling you to just stop. This lackadaisical, dismissive indifference to the world at large, codified by the slacker rock that Burger Records has taken as their cultural duty to commit to physical media, will not fly. I’m being a bit of a dick here, I’ve just heard too many of these surf-rock-by-way-of-dream-pop albums and none of them stick at all. There are moments where this record breaks through the dreamy gaze and ferociously states its intentions, but those moments are few. Perhaps it is my inner old man speaking, but if you use “Sk8” in a song title and it doesn’t seem like an obvious joke, just don’t. I can’t handle that kind of stress in my life anymore. Grade: C+. –Bryan Static (Burger, burgerrecords.org)


ATLANTIC THRILLS:
Bed Bugs: 7” single
Retro rock similar to Shannon And The Clams. The A side is the original and most upbeat of the two. The playing is more than competent and the backing vocals give the song character. It’s really keen, as the young people are fond of saying these days. However, it’s the Archie’s cover of “Sugar Sugar” on the flipside that is the standout. It’s slowed way down, largely acoustic, and with more texture than the original. (I like the Archies, and it’s not some irony thing either.) The song goes from being the bubblegum hit that you have heard for years and years to being something new. The vocals are airy and the dual vocals chorus takes it to another level. This song is reason alone to pick this single up. It is that good. –Matt Average (Almost Ready, almostreadyrecords.com)


ATTENDANT:
Freaking Out: LP
This record is a one-sided, seven-song collection of musicians out of Philadelphia. There are seriously twelve different people who had something to do with this LP. In the liner notes they explain: “All the songs are collaborations but are for the most part written by Jon Rybicki” (of RadiatorHospital). It’s quintessentially college rock with beautiful lyrics that paint a full picture, complete with raw emotions. The closing track is one of the shortest songs lyrically, but has some of my favorite lines: “Our father was a boxer / he put people in boxes / and the boxes underneath a layer of soil / four feet deep / but we were in the basement.” It’s poetry in the same vein as J Church, though the vocal delivery is really lacking. I can read the feelings layered in these songs, but I can’t sense them in the milk-and-water singing style. The male vocals are a bit warbling—in the same style as Conor Oberst—and the female ones are light and airy. Track two “Saturday” rips into a wailing guitar, fast drums, and a distorted, rumbling bass that reminds me at moments of Smashing Pumpkins, with whispers of shoegaze and post-punk in the midst. While I like some of the music, it’s not gripping me in the way the lyrics do. Put as much passion in the singing as the words they’re delivering, and I think you’ve got a great band here.  –Kayla Greet (Salinas, salinasrecords.storeenvy.com)


AUSMUTEANTS:
“Mates Rates” b/w “Echo Beach”: 7”
The title track has a nice Devo-meets-Numan vibe to it—chipper, poppy synth rockin’. The flip, “EchoBeach,” has the guitar more prominent, with a bit more Buzzcocks thrown into the mix. Mighty fine single here.  –jimmy (HoZac, hozacrecords.com)


AUSMUTEANTS:
“Mates Rates” b/w “Echo Beach”: 7”
These Ausmuteants kids are sneakily prolific. It’s a band that I definitely want to own all their releases, but I feel something will slip by before too long. (Did I hear that two more 7”s will be out by the time this review sees print? Argh!) Ausmuteants are one of those bands that force me to buy two-song 7”s. “Mates Rates” is a catchy tune that I imagine to be about hooking your buddies up with cheap/free stuff from your employer. “EchoBeach” first struck me as a piss-take on the more cornball aspects of power pop; maybe a commercial about a hot vacation spot? In verifying, it’s a cover of Canadian new wave-esque-band Martha And The Muffins, with plenty of ‘80s sax. Well then! If all of today’s kids were like Ausmuteants, I might be more okay with today’s kids. –Sal Lucci (Hozac, hozacrecords.com)


AWESOME AND THE ASS KICKERS:
Featuring Joey Image of the Misfits and Dave Scott of Adrenalin O.D.: 10”
An eight-song 10” by a Florida band in lucha libre masks with guest drumming by an ex-Misfit on one side, and guest drumming by an ex-member of AOD on the other, with two originals and two covers by the guest drummer’s old band on each side. What’s not to like? The covers of “Horror Business” and “Teenagers from Mars” on the Joey Image side are serviceable, and they have the good sense to cover my favorite AOD song “The Nice Song in the Key of D” on the flip, so everything’s pretty much Archie from that standpoint. The originals are what MRR used to define as “funnypunk” (back when they actually led off their record reviews with a glossary of terms, in the dim pre-history when there were limited enough terms for describing punk rock that that could even be a thing)—bicep-flexing anthems about contemporary scourges like Ricardo Montalbán and gonorrhea (“it sounds much better than it feels”). Hell, I’ll admit I even sang along to “DoucheyMan.” If you miss the ‘80s and/or lived through the ‘80s but are pissed that hardly anyone wore lucha libre masks on stage back then, your barge has just docked. BEST SONG: “Douchey Man.” BEST SONG TITLE: “The Nice Song in the Key of D,” that’s evergreen, dude. FANTASTIC AMAZING TRIVIA FACT: Dave Scott stayed at my house in 1987.  –norb (AAK)


AYE NAKO:
The Blackest Eye: 12” EP
Aye Nako’s Facebook page states that they’re “non-college rock.” I like that genre tag. (Although in the time it’s taken me to earn a BA, my nephew went from zygote to third-grader, so I’m neck-deep in college experience.) I like it because it separates Aye Nako from a tradition of privileged, white “indie” bands that ascend coffee shops and art galleries to a Coachella stage. Ultimately, this New York-based group is too candid and personal to be easily commodified. They’re more angular than feel-good pop punk, as the guitars are sharp and jangly like Speedy Ortiz. The musical density is matched only by the achingly earnest harmonizing vocals: “I’ve heard about your type / The interracial hype / I’m preoccupied / Casually hating my life.” The words are acerbic, but when infused with the pulsing rhythm section, Aye Nako is at once challenging and inviting. These six songs are sonically richer than most LPs, which lessens the sting of it being a 12” EP and makes The Blackest Eye a must-have. Also, definitely check out singer/guitarist Mars Dixon’s interview in Razorcakeas it sheds light on the trans punk community –Sean Arenas (Don Giovanni, dongiovannirecords.com)


BABYLON:
Meltdown: 7” EP
Lotta U.K. punk influence in evidence here, with Conflict, Discharge, and One Way System being the most obvious to cherry pick out of this Seattle band’s sound. They ain’t bad at it, and they have the sense to keep the crusty metal influences to a tolerable level. –jimmy (Babylon, streetsofbabylon.bandcamp.com)


Rock and Roll Ultra:
Rock and Roll Ultra: LP
The songs and the pictures and the liner notes tell a story about a band with a community surrounding them. In 2010, Backroad Burners began as an Italian scooter club, driving to rallies and events, and then a few of the members broke away to start this band. The songs come across as pub singalongs for dark beer drinkers and history buffs who wish they were old-timey pirates. This album comes across as music for insiders. Not being a part of their community, this music falls flat on my ears, although I can only imagine that getting a pint and playing some foosball with these Philadelphians would be a damn good time. –John Mule (Blind Pigeon, blindpigeonrecords.com)


BAD CREDENTIALS:
Self-titled: CDEP
This lot is from just up the road from where I grew up, so for old time’s sake I wanted to love this. The terrible drawing of two sexy policewomen and anarchy signs in their name didn’t bode well. It’s substandard rocking punk that sounds like the recent dross from UK82 bands who reformed and rocked out. Songs about girls and drinking. Ooooof. Nein Danke.  –Tim Brooks (Smegma, badcredentials.com)


BARRERACUDAS:
Can Do Easy: LP
Was exceedingly fond of their Nocturnal Missions full-length some time back and this ain’t doing anything to sully said fondness for the band itself. Power pop-influenced punk is the order of the day, with echoes of garage, glam, and straight rock chiming in here and there. A couple o’ tunes here invoke the glory days of “Big Time”-era Rudi just as much as the Ramones. Great, great, great. –jimmy (Oops Baby, oopsbabyrecords.com)


BASEMENT BENDERS:
Self-titled: 7”EP
DIY pop punk solid gold right here. With an all-star cast like this I’d expect nothing less. Members of Sexy, This Bike Is A Pipebomb, and Future Virgins just to name a few. You need this record. –Jackie Rusted (Drunken Sailor, drunkensailorrecords.co.uk / Dead Broke, deadbrokerekerds.com)


BCGS:
Angel Lust: CDEP
If you’ve ever asked yourself what Talking Heads might have sounded like had they formed in 2015 and not 1975, then BCGs are an attempt to answer that question. Channeling the musical sensibilities of Byrne, Weymouth et al., the BCGs are one of the finest examples of no-wave worship bands you’re liable to hear anywhere. Not only has the band crafted a series of tight, catchy tunes in the same vein as their idols, but vocalist Joel Zimmerman has even mastered a very good Byrne imitation. He manages a deeper and rawer sound at times than Byrne ever did, showing a bit more range than his hero managed. BCGs lyrics are cryptic and cover topics of sex, death, and self-destruction. Some notable lyrical references include the Jonestown massacre, the Hillside Stranglers, and direct name dropping of their own band. It’s a touch of ego of which David Byrne himself would certainly approve.  –Paul J. Comeau (Records Ad Nauseam, bcgmuzak@gmail.com)


BEGINNER’S MYND, THE:
“If You Found Out” b/w” When You Go”: 7”
The Beginner’s Mynd is a D.C. outfit that gives good retro. This single follows the band’s full-length cassette release with two solid janglers of the ‘60s persuasion. The songs are heavy with Byrds-inspired harmonies, sharp organs, and sun-on-the-blacktop guitar chords. The songs are thoughtful and well produced. Both are psych pop tempo and loaded with Beatles-isms. It’s a corker if you’re into seeing colors. –Billups Allen (13 O’Clock)


BESOIN DEAD:
Pair, Tu N’es Pas Impair: CDEP
The project of Parisian musician Pascal Benvenuti, Besoin Dead defies easy categorization. Utilizing drums and a guitar mounted atop his drums—and played with drumsticks—Benvenuti creates eerie minimalist soundscapes over which he occasionally sings/screams. For how minimal the tools, there’s a lot of depth and variety to the tracks on Pair, Tu N’es Pas Impair. For the most part, tracks flow smoothly from one to the next, but when there is an abrupt pause it almost feels necessary, like a gasp for air. The flow of the album gave this the feel of a movie score, and I could easily imagine this as the music of an art house picture. Everything about this CD screamed art school to me. I leave it to the individual listener to decide how much art can you take.  –Paul J. Comeau (Et Mon Cul C’est Du Tofu, pascal@moncul.org)


BIKES:
Und Gut: 7”
Very successful emulation of the Rolling Stones of yesteryear. Berlin, Germany’s Bikes bring the bluesy bar rock with this two-song set.  –Jackie Rusted (Alien Snatch!, aliensnatch.de)


BILLIE IDLES, THE:
Everything Was Cliche’, and Nothing Was Original: CS
According to the note on the cassette, this is sort of a side project of Tom Grrrl that people may or may not actually refer to as Tom Grrrl. I’m not entirely sure what to make of that, but that’s what’s going on. I’m not super familiar with the Tom Grrrl catalogue, but it seems like this stuff is pretty much on the same page as that, or at least an adjacent one. The songs are split between lo-fi pop and melodic, blown-out garage punk, with plenty of exploration of the territory between. The songs are buzzing with this neurotic energy that makes it feel like the whole thing is just barely staying afloat, like it might collapse into its own heavily referential anxiety at any moment. I don’t mean that as a slight to the songwriting or performance, which are both on point. The way Daniel incorporates and builds off of samples (including contributions from The Misfits, The Cure, and Buddy Holly) is actually pretty ingenious. I may have to revisit my almost absolute, anti-sample stance because of this thing. –Indiana Laub (Self-released, tomgrrrl.storenvy.com)


BLACK ARMY JACKET:
222: LP
Originally released on Chainsaw and Reservoir Records in 1999. I remember when these guys were around and how much I liked their demo. Black Army Jacket are a mix of hardcore punk, grindcore, and powerviolence. There are twenty-eight songs of speed and spastic fury, so some tend to blur and disappear, but then some stand out. Songs like “Empire of Tears” that slow things down to a mid-tempo lurk provide a little more texture to the sound. The manic “I Object,” recalls Septic Death in the vocal department and the riff is catchy as hell. If you are a fan of Capitalist Casualties, Brutal Truth, or Discordance Axis (who shared the drummer with Black Army Jacket), then you will want to check these guys out. Listen to how fast Dave Witte drums. It’s insane! This edition comes with a poster of the cover art, a patch, lyric sheet, and download card. Nicer than the original, if you can believe it. –Matt Average (Brainscan, blackarmyjacket.bandcamp.com)


BLACK BREATH:
Slaves to Death: CD/ 2 x LP
Seattle’s Black Breath is back with their third full-length. The band is still heavy and fierce but Slaves to Death seems to be their most metal release yet. It’s eight songs and forty-nine minutes of part Entombed, part Master of Puppets-era Metallica. The vocals are less screaming and more sick growling, which matches the music really well, yet the songs are still capable of hooks (“Seed of Cain” is a good example). The most impressive thing is the production quality. That’s not to say it’s been poor before, but everything sounds so crisp and spot-on. It’s all thanks to Converge’s Kurt Ballou, who nails it here. The sound on Slaves to Death is so different from previous Black Breath albums that’s it’s almost hard to compare their releases, but this is definitely a worthwhile album for those who miss old-school Metallica and Entombed in their glory days. –kurt (Southern Lord, southernlord.com)


BLACK SPARROW PRESS / PLURALS:
Split: 7”
San Pedro’s own BSP teams up with Lansing, Michigan’s Plurals on this four-song platter. BSP does the reflective/introspective thing with roaring vocals and drumming that somehow reminds me of Joy Division’s Stephen Morris. Plurals takes the louder, more energetic road with a drummer who is clearly beating the shit out of his drum kit with some hectic, buzzsaw guitars sprinkled on top—a winning formula in my book. Find this baby if you can. I think it is a pretty limited release.  –Garrett Barnwell (Minor Bird, minorbird.blogspot.com)


BLACK TOWER:
The Secret Tower: LP
Heavy metal from Ottawa, Canada! Some of the descriptions out there on the interwebs call this black metal/hardcore punk. Both inaccurate. So yeah, their band logo looks pretty black metal and I have a suspicion that at least a couple of the members come from a punk background, though I can’t find any proof. And there is something punk about these songs, but not on the surface; this is unabashed heavy fucking metal, of the 1983 variety. It’s like if you were to listen to the English Dogs’sWhere Legend Began, not knowing that they used to be a punk band. What you hear is completely metal, yet you can feel a punk rock energy. That, combined with the short and concise song structures, should be extremely appealing to you speed metal punx. Anyway, forget all that. This record rules because BlackTower wrote some great songs. Eight killer tunes mixing elements of NWOBHM and thrash, a touch of black metal iciness and grimly fantastical lyrics, all woven together into flowing, shredding street metal with hooks everywhere, in both riff and melody. If you’re reading Razorcake and like metal at all, this is for you. –Chad Williams (No Idea, noidearecords.com)


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·USURP SYNAPSE
·CRICKETS
·PROFANE EXISTENCE #64
·CAPTAIN CRUNCH
·SELF-AWARE
·TERMS OF PSYCHIC WARFARE #1
·RIVERDALES
·LITTLE LUNGS
·SELF-MADE MONSTERS


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