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No Idea Records

Record Reviews

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YOUTHQUAKE:
Honey Wagon: 7”
NYC’s gender-bending rockers bring lots of glam but not a whole lot of substance. Granted, two songs isn’t a whole lot to go off of. Solid recording if a bit overproduced for my taste.  –Jackie Rusted (Bored To Death, deathbyboredumb.com)


ZAGA ZAGA:
2 Songs Demo + 4 Songs EP = Zaga Zaga 7 Inch: 7”
Super weird hardcore. The vocals are angry and piled up on top of each other. Musically though, imagine strapping the Descendents down to a table and getting all mad scientist on them, extracting all the super complex parts and globbing them together, and just throwing away all the melodic and heartfelt bits. Pretty zany. I hate the name of this record.  –mp (Kuskus, kuskusrecords.bandcamp.com)


ZAKARY SLAX:
Teenage Mutant: CS
Oh, Canaduh… you’ve given us Rush, Gordon Lightfoot, Crusades, and Unfun. Now Montreal spews out Zakary Slax, who,—like the lesser known Musketeer— might actually be the fourth Reatard. This is garage trash careening widely across the entire spectrum: the bratty bedroom recording of Childish (“Get Yr Shit Together”), Nuggets’ stomp (“DoBe”), Rip Offs’ distortion (“Complainer”), and Segall/Thee Oh Sees psyche-swaggering solos (“Stalemate,” “Disenchanted”). At a time when “musicians” and corporations are invading the garage and selling it back to the kids, Mr. Slax may be making it dangerous enough to take it back.Or burn it all down. Smoke weed, peel paint, off your parents… Zak would.  –Matt Seward (zakaryslax@gmail.com)


ACHTUNGS, THE:
Welcome to Hell: LP
KBD-style garage punk in league with the mutant hybrid bands that do it so well such as the Spits, School Jerks, Ratas Del Vaticano, and the Sleaze. No lyrics, band information, or much artwork to behold other than a live shot of the boys in action so that means you’ll just have to take a hint from song titles like “I Don’t Care about You,” “I Wanna Be Mean,” and “You’re Not My Friend.” If you like it raw, snotty, and short then the Achtungs are your cup of warm piss. –Juan Espinosa (Going Underground)


ALEX CHILTON:
Ocean Club ‘77: CD
A live recording of Chilton playing the titular New York club during the titular year. The sound and performance are stripped way down—I can’t tell if this is a great sounding audience tape or a barebones board recording—with him and a couple of friends running through some covers, some Big Star tunes, and a “new” song or two. The performance is fairly laid back on the whole, with some moments of potential radiance, such as on “September Gurls,” peeking through. Dunno that what’s here would convert the casual listener into fan, but fans will no doubt find much here to bask in.  –jimmy (Norton)


ALIEN TV / THE JIM TABLOWSKI EXPERIENCE:
Split: LP
Plenty of junk in this punk trunk! Alien TV is four cats arguing with each other which direction to take the band—Briefs? Scared Of Chaka? Voidoids?—not realizing they’re all right and they’re all moving in the same direction. Snotty, fast SoCal punk surfing the gutters of New York. But from Dortmund, Germany. TJTE spits out ten songs, none reaching the two minute mark, with a sound—and I don’t use these comparisons lightly—between Sexy and Elmer. Add one of the oddest set of lyrics and song titles and we may just have some sort of German genius punk release.  –Matt Seward (Spastic Fantastic, spasticfantastic.de)


ALPARCHIE:
Space Punk Vol. 2: 7” EP
Dissonant, spastic thrash stuff. Lots of free jazz influence pumped in, with wild time changes and stops interspersed throughout the songs.  –jimmy (Zaxxon, zaxxon.ca)


APPALACHAIN TERROR UNIT:
We Don’t Need Them: LP
This is Appalachian Terror Unit’s second full-length record, though they’ve released a fair amount of 7”s including a split with Oi Polloi, long time players in the political punk game. If I was in high school, or just getting into punk at any age, this record is a great snapshot of the world we’re living in. “Casualties of a Rape Culture” hits on some real heavy subjects that are so fucking important to be talking about. For most of the song the vocals are spoken, covering terrible things that are said to women. The track reminds me of War On Women’s “YouTube Comments,” with lyrics like, “You were drinking so what did you expect? Maybe not to be treated like a fucking object.” The next track is “Officer Down,” which doesn’t actually advocate killing cops, just the healthy distrust of the men and women in uniform. A few weeks ago I was walking to work when three cop cars rolled up on me because I matched the description of a prowler in the neighborhood. They found out I carried a box knife and held my arms behind my back for several minutes before telling me what was going on. An SUV pulled up, confirmed I was not the prowler in question, and I was free to go. This track became an instant catharsis for my own personal experience. The cover art of the record is a gorgeous scene of a punk utopia with bonfires, dogs, books, music, and loving punk parents, right next to a bone yard littered with crosses, TVs, skyscrapers, and cash. On side B there is one track that is the entire length of side A’s six tracks. It’s the titular track that describes every shitty thing in the capitalist society that we live in, as well as the place we should strive to achieve.  –Kayla Greet (Profane Existence, profaneexistance.com / Ruin Nation, ruination.org / Skuld Releases, skuldreleases.de)


BACHELOR PARADISE:
Feast/Fatal: CDEP
Twangy, slow, country-influenced indie rock. There was a song where I thought I heard Billy Corgan in the vocals, but, musically, this Sacramento two-piece reminded me of Silver Jews, especially their song “Walters.” The five songs are well done, just not something I’m super down with. If I’m going to listen to something like this, I’ll take Uncle Tupelo or Silver Jews.  –kurt (bachelorparadise.bandcamp.com)


BAD COP/BAD COP:
Not Sorry: LP
This band has been making a splash in the past year or two and it is not hard to understand the appeal. Who can really resist this brand of bouncy, take-charge California pop punk? The lyrics cover genre classics like heartache, self-doubt, old friendships, and hometown affection, to name a few. Frontwoman Stacey Dee’s snarky vocals, supported by plenty of squeaky clean harmonies, easily take the spotlight. The melodies are tight, energetic, and accessible to a fault. Probably too slick and polished for the purists, but, come on, don’t act like you can’t get down to some catchy bubblegum pop punk at the end of the day.  –Indiana Laub (Fat, mailbag@fatwreck.com, fatwreck.com)


BAD STROKE:
Dirty Hole: 7”
Man, I was so into this before I discovered it’s at 33 and not 45. Bummer. Amateurish, thrashy scuzz hardcore from Aarhus, Denmark. It’s not bad, but if I have to look at actual pictures of your balls and asshole in your artwork I better fucking love your music. You just can’t un-see that shit.  –Camylle Reynolds (Halshugga, halshuggarecords.tictail)


BANGERS:
Bird: LP
There is a palpable sense of despair as Roo Pescod laments, “I don’t feel like I’ll ever been clean again,” in the song of the same name, and it is a trait that prevails throughout Bangers’ latest release. Only the final track, “Partial Eclipse,” offers a glimpse of positivity—however the band offers a musical counterpoint to the depths plumbed lyrically, resulting in a lively and melodic album. Bird is the result of Bangers’ first time recording in a “proper” studio and the results are displayed with a more powerful quality than heard before. It is not like the band needed such a boost but it does add something extra to its arsenal.  –Rich Cocksedge (Specialist Subject, andrew@specialistsubjectrecords.co.uk, specialistsubjectrecords.co.uk)


BASEMENT BENDERS:
Self-titled: 7”
Basement Benders put out a seven-song cassette last year—fuzzy, singable, dirty—and by “dirty” I don’t mean nasty—I mean packed earth dirt and backyards, ancient outdoor furniture, sweaty coolers and what not. This current EP redoes four songs, two of which, “Pony Express” and “Train Song,” give an idea of Basement Benders’ range. Lyrically, “Pony Express” looks onto a familiar plane crash, pews, washed-out roads, the pony express, and, of course, radios, by which “you gotta be patient” while waiting for your requested Replacements song, which might never come, because how many stations even know who the Replace… Well, anyway, and the other track, “Train Song,” narrows the scope to one of the singer’s personas who is trying to balance a want for “cool clear water” to drink from as well as water to jump into “with a rock tied to [their] head.” So, right, kind of bleak shit. But somehow catchy as hell and uplifting, too. This four piece’s sound, which culls from their wide-ranging members’ histories—Cleveland Bound Death Sentence, Black Rainbow, Future Virgins, This Bike Is A Pipe Bomb, and the list goes on—is the ideal EP for your Mad Max picnic. Get your copy, pop a cold snack, and start choogling.  –Jim Joyce (Dead Broke, deadbrokerecords.com / Drunken Sailor, drunkensailorrecords.co.uk)


BEAUTY PILL:
Describes Things As They Are: 2 x LP
The big maximal electronic push and the prioritizing of ornamental sounds like power drills/fireflies/sandy beaches/general blorps and the use of a dog bowl make this album interesting (also the lyrics) and remind me of Juana Molina and Eno and jazz records I haven’t heard yet, and also I wish they were more of the rock band they used to be, and also how many bands take more than ten years between releases and come back as a living (emphasis on living) surround-sound experience and have roots in a corner of DC punk and cover Arto Lindsay? How many bands write a song about flirting that’s also about complicated racial history, that includes a section meant to reference Ornette Coleman? How many sing a song from the point of view of an aging, failed actor with children? This is more textural/layered than anything they’ve done before and is maybe more for the older crowd than the young, though the young crowd for this record are the shapers of tomorrow, obviously. That crowd will hopefully take BP’s cover of Lungfish’s “Ann the Word” and run with it. Or, fuck it, let’s hope BP themselves run with it. “Everybody with fingerprints make some noise” is my favorite sentence in years and I want to hear it chopped and screwed into infinity.  –Matt Werts (Butterscotch, butterscotchrecords.net)


BENNY THE JET RODRIGUEZ / MARTHA:
Split: EP
I have to admit that I’m a dofus. Before this review I had never heard a Benny The Jet Rodriguez song. There is just so much music out there that I can’t get to all of it and though they graced the cover of the last issue of Razorcake, sadly this beautiful group of musicians is no longer. At least they put out this last split to remember them by, and I sincerely hope they move on to other musical ventures. These tracks from BTJR are like sunshine-flavored bubble gum—so saccharine and warm. The first track is about being in love but not with you, and the second is about being in love with someone who doesn’t feel the same. Both sides of relationship woes are covered in the sweetest way. I’m kicking myself for sleeping on this band. Todd Congelliere plays keys in this band! How did I miss out? I’ve got a moment to rectify this situation because Martha is just as awesome, and hopefully not breaking up anytime soon. This incredible, robust, and driving bass breaks the silence of the flip side, and is met by a strong and full northern English accent. Fast guitar riffs join as a second vocalist chimes in and quick-fire lyrics pour out. Martha’s second song is a cover of the Swedish band Masshysteri. Looking forward to more from them while also seeking out the rest of BTJR’s catalog.  –Kayla Greet (Drunken Sailor, drunkensailorrecords.co.uk)


BETTY MACHETE & THE ANGRY COUGARS:
“Guts” b/w “Destroy You”: 7”
“I love you inside, I love you inside-out!” Betty Machete sings on “I Love Your Guts.” She is fucking angry. She’s got the perfect death rattle voice for these grimy, mean-spirited tunes. There are no frills on this record. No wanky guitar solos or self-important instrumental flourishes. This is no-nonsense, negative, knuckle-cracking punk rock’n’roll, and I’m way into it.  –mp (Dull-Fi)


BIG BUSINESS:
Battlefields Forever: LP
I would never consider myself a metal fan. My knowledge of the demonic art is next to nil, but Big Business tickle my fancy. Scott Martin’s guitar wails, drummer Coady Willis pummels, and singer/bassist Jared Warren conjures apocalyptic, battle-ravaged visions over his low-end gut-punch. Big Business are almost a parody of metal tropes (the cover is a colorful cut-and-paste menagerie of warrior lion men and the lyrics are pure fantasy), while steadfastly forging their unique brand of tongue-in-cheek, face-melting sludge metal epicness. Sonically, the power trio invokes Torche, early Baroness, and Melvins (since two members of Big Business are also members of Melvins’ current line up). If you’re like me and you’ve been searching for metal that isn’t self-serious or po-faced, then Battlefields Forever just might be your golden ticket into satan’s army. Also, I highly recommend searching for Big Business’ parody press release for their label Gold Metal Records, which features hilarious lines like “Members of the band are calling it their best album yet” and “Battlefields Forever was recorded Spring 2013 in the abandoned Beverly Hills mansion currently haunted by Jeff Goldblum.” Very funny stuff.  –Sean Arenas (Gold Metal, bigbigbusiness.com)


BIG CRUX:
We Got a Jam: CS
True story: I got into the Big Boys when I saw Félix Reyes of Los Angeles hardcore revivalists Lifes Halt wearing the “skate-anarchy” T-shirt. I needed to hear the band with the awesome shirt design and although I certainly wasn’t expecting the funk or the horn section, the fast skate punk songs reeled me in and eventually their entire catalog enamored me. After Lifes Halt broke up, I didn’t see much of Félix at shows anymore and it wasn’t until a few years later that I found out through a mutual acquaintance that he’d moved to Seattle. Even more years went by before Iron Lung records CEO Jensen Ward revealed to the world that he’d spotted Félix and he had some songs he’d been working on with a ragtag group of musicians in grunge city. The project was labeled “futuro,” Spanish for future, and now known as Big Crux. We Got a Jam compiles the band’s earliest material from their debut 7”, single-sided 12”EP, split 7” and a few compilation tracks. The Big Boys are certainly a jumping off point but you’ll want to dig a little deeper into the seven layer dip that is their sound. Yup, that’s some Plugz and Minutemen you’re tasting. Once you’re done savoring this appetizer you’re definitely ready for the Latin American flavors infused into the main course (or debut full length, if you will) that is their opus, the Ponchito LP. And yet, Big Crux we hardly knew ye: the band has recently called it quits. Some of us at Razorcake are fucking bummed. It’s like the time our favorite local lunch time Chinese food restaurant closed. It didn’t mean much to more than a handful of us. There was nothing we could do except lament and remember the deliciously good moments. B –Juan Espinosa (Not Normal / Bbigcrux.bandcamp.com)


BIGG BUTT:
Demo ‘15: CS
We’ve got Big Dick from Ontario (who’re amazing), Big Tits from Oakland (equally incredible) and now Bigg Butt. This power trio plays nasty punk rock’n’roll in the vein of Jesus Christ Superfly, that is if anyone remembers that band but me. It’s not over the top rawkeither, though. Dirty, yet still catchy. Solid debut and good package all around. –Steve Adamyk (biggbutt.bandcamp.com)


BIRD’S MILE HOME:
Here and Now: 7”
Bird’s Mile Home play country-fried, folk punk with fast tempos and clean guitars. It’s quite catchy, really, and not in a Nine Pound Hammer kind of way (not that I’d have a problem with that…). Not what I expected at all, to be honest; the artwork/layout could easily make you believe it’s a nineties-style hardcore/emo record. Thankfully, that’s not the case.  –Steve Adamyk (Minor Bird, minorbirdrecords.limitedrun.com)


BIRD’S MILE HOME:
Self-titled: LP
Warm, gritty, heartfelt, acoustic-driven songs that would complement a glass of Buffalo Trace nicely. Lucero came to mind while I was playing this record. There’s a bit of twang to the guitars that still have a punk edge, and the other half of the songs are a bit more folky and stark. The record has a nice flow from laid back porch jams like “Winona” to songs that sound like lost gems from the Flat Duo Jets like “White Cross Mile Markers.” The stand out for me was “Coffee Comes Cold.” Despite the title, it is a warm song. It’s stripped down to acoustic guitar, harmonica, and cello I believe. Heavily recommended to fans of Modest Mouse, Lucero, and Two Gallants.  –Ryan Nichols (Minor Bird, no address listed)


BITCH WITCH:
Self-titled: CD
If you dig crust punk, you will love this album. If you do not dig crust punk, you will not. I happen to not dig it. So, as much as I want to like all-girl punk rock bands with lyrics that contain slight feminist overtones, I just can’t get into these seven songs. The blatant Black Flag cover art rip off and oversaturation of satanic imagery are too contrived. I will leave you with this gem from the last track—”Sorry bitch, if I cut your head off / sorry guests, I’m gonna kill you all / sorry god, you’ll always be alone.”  –Nicole Madden (Los Discos Mas Peligrosos, no address listed)


BITCH’N’DUDES:
Self-titled: CD
Punk, American style: fast-paced, snotty, and with loads of attitude. Not surprising Bitch’N’Dudes are from Vegas. I’m inclined to compare them to later Dayglo Abortions or Common Enemy, but with the odd ska breakdown. There isn’t a shortage of bands playing this subgenre, but Bitch’N’Dudes do it well.  –Steve Adamyk (bitchndudes.bandcamp.com)


BLACK HOLE KIDS:
Easy Masks: LP
Black Hole Kids play with darkness. Shrieking growls akin to black metal are woven into a mellifluous hardcore tapestry. What sets BHK apart is the ease with which they weave what should be so ugly-sounding into art (lyrically, visually, and sonically). Recorded in a bombed-out old firehouse, Easy Maskscan be felt from inception to ingestion, like you’ve been living with it before you even knew it existed. If you like your clothes black and you might spend too much time in dark rooms trapped in introspection, Black Hole Kids are knocking at your door.  –Matt Seward (Social Cancer, socialcancer.net)


BLACK TIME:
Aerial Gobs of Love: LP
Note to self: turn the volume down before listening to something on headphones. I think I just accidentally blew out my midrange hearing spectrum. Anyway, lotta wild garage rockin’ here. Shit’s veryraw sound-wise and, at points, it gets downright psychedelic (check their “Aerial Dub” track). Nothing is really new or inventive here, but they do have a certain level of charm which pushes this a lot further along than others might get.  –jimmy (Förbjudna Lund, forbjudnaljud.bandcamp.com)


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