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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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Destroy the Country: LP
Destroy the Country is a legitimate reissue of a hard-to-find Gun Club live bootleg, originally released in 1984. The album’s recording quality is on the good side—not amazing, but likely clean enough for even the most casual Gun Club fan. Destroy the Country pulls tracks from an Italian Las Vegas Story tour show (November 26, 1983); it comes on green vinyl and Gun Club aficionado Gene Temesy provides some quality liner notes. The set list is understandably heavy on Las Vegas Story songs, although “Brother and Sister”—a standoutMiami track—and “Sex Beat” and “For the Love of Ivy” also appear. The Gun Club played a good set that night and this Las Vegas Story lineup (Jeffrey Lee Pierce, Kid Congo, Pat Bag, and Terry Graham) remains highly regarded by Gun Club fans for good reason. I go through waves with the Gun Club. I either regard them as one of the best groups of their era or simply the best group of their era. I’m currently leaning toward the latter and I’m not fighting it.  –Ryan Leach (Cleopatra, cleorecs.com)

Self-titled: LP
Billy Childish apparently spread his seed in Portland where the two young ragamuffins recycled dad’s empties to purchase drums, guitar, and an amp. Garage trash to annoy dogs and your significant other. It might even kill your lawn and will definitely stain your carpet. Grammatically incorrect Brit-articulation buried under a Gonerfest patron’s sex dream of distorted energy. What has two thumbs and woke up in a garbage can because of The Gutters? THIS GUY.  –Matt Seward (Gutt, thegutters.bigcartel.com)

“When Worlds Collide” b/w “Dismantled”: 7”
This release has thrown me slightly due to it possibly being the best recordings I’ve ever heard from H.D.Q. Bearing in mind that the band is not short of songs for these to be compared to that is quite some achievement. H.D.Q. has never really moved away from the U.S.-influenced melodic punk rock sound it had back in 1987 and continues down that route to this day. What makes this stand out is that everything comes together so well, something that I guess all musicians must hope for when entering a studio. This has two extremely well written songs that have the ability to soar majestically when in full flight, both benefiting from a production that gives them more life than that heard on last year’s album Lost in Translation. Of course with Dave Golledge’s raspy, impassioned vocals and Dickie Hammond’s guitar work—which has oft been copied—H.D.Q. already has an advantage over many bands in terms of its starting point. To me, “Dismantled” is the highlight of the pair with its slightly punchier quality and faster pace that expertly propels the song along from start to finish. Apparently the band is working on a new album due to see the light of day in 2015, so bring it on! –Rich Cocksedge (Boss Tuneage, bosstuneage.com)

Bridges, Matches & Gasoline: CD
Holy hell, where has this CD been for the past five years? Recorded in 2009, I am a little mystified where this nugget of melodic, post-hardcore goodness has been hiding for so long. Swallowed by the Razorcake HQ couch? I dunno, but this is some pretty potent stuff; reminds me at times of Small Brown Bike. Band features members of Sister Kissers if that means anything to you. Grab this, if you still can.  –Garrett Barnwell (Dead Broke)

Half Tux: LP
Straight-forward, no-frills hardcore punk out of Norway. The songs are a perfect mix of mid and fast tempos with interesting time changes to keep you attentive and along for the ride. The opener, “The House That Builds Itself,” is a cranker that sets the pace for the rest of the record. The speed is high and the riffs are catchier than hell. I really like the title track, with its catchy and simple riff—a build up in the middle that gives way to a more aggressive and speedier ending. The lumbering instrumental, “Drug Tunnel Collapse,” that follows, really stands out. This song, with its slow tempo, has a dark atmosphere that takes over the room, holding your attention until the end (plus that short bit of piano that comes in at the very end—perfect!), as it gives way to the ender “N.D.O.,” that opens with a cool bass-driven groove before cranking the speed up. Fast and catchy! What more could you want? Features members from Fairfuck. –Matt Average (Fysisk Format, fysiskformat.no)

Peel Me like an Egg: LP/CD
I’ve got some great memories of The Hard Ons, primarily from the mid- to late-1980s when the band released some rip snorting records and blazed a frantic trail across the U.K. whenever it came up from Australia to tour. These memories are based around a manic sound that was refreshing and invigorating, the key traits of what I enjoyed so much about the band. In the intervening years the band has dropped off my radar somewhat so I was intrigued when a new album dropped through my letterbox—would it rekindle the feelings that I’d had a quarter of a century ago? The simple answer is, unfortunately, no. The reasons are varied but on the whole the songs do very little to move me, physically or mentally, and I’m left with a sense of wanting to get on with something else and find myself eager to reach the end of the album—never a good sign. It’s not a case of Peel Me Like an Egg lacking variation but even with the band mixing up the style of songs, especially in terms of pace, this just fails to engage me. I get that bands move on but this is a progression I’ll leave well alone. –Rich Cocksedge (Boss Tuneage, bosstuneage.com)

Peel Me like an Egg: CD
Thirty years and several albums on, the Hard-Ons continue their schizophrenic approach to songwriting—one minute you’re listening to a hook-laden pop punk tune, the next it’s full-bore thrash, the next some noise workout, and the next something that could’ve easily found a home on a Slayer album—that has been their trademark. It’s likely an acquired taste for some, I reckon, but I really can’t think of another band that can deliver releases wherein fans of the Ramones, Descendents, Sodom, and straight-up hardcore can find something to tickle their fancy. The formula remains unchanged, the songs remain rock-solid with lyrics vacillating between puerile and poignant, and I remain a fan. –Jimmy Alvarado (Boss Tuneage, bosstuneage.com)

Chore: CD
“Holes in the wall from where the telephone was thrown. Kids in their bedrooms learning how to cope. There’s beer in the fridge and blood in the sink.” Whoa, do you really think you’re ready for this? I sure as hell wasn’t. What you get from Chore is a whole bunch of seemingly interwoven songs about regret and damage, delivered with an intense amount of emotion. Sonically, it owes a lot to Rites Of Spring and post-hardcore bands of that sort. In theme, it brings to mind the survivor epics of Mountain Goats. What I love about Chore,though, is the author’s objectivity in telling these stories. For instance, the quote above is from the song “Split Shift”, it’s told in the voice of a parent, one who regrets the way they’ve completely fucked up in making a family. It continues like this, “I did my best with the options given to me. So I sit by their beds, watching them sleep, and I feel ashamed I brought them into this mess.” This kind of storytelling, as it weaves it’s way through Chore,switching characters and narrators seamlessly, is something I’m not as familiar with in punk. Sure, storytelling happens but I feel punk doesn’t dare think outside of the subjective box as much it could. Like Alan Vega said at the end of Suicide’s “Frankie Teardrop”, a song about a desperate, poverty-stricken man shooting his family and himself, “we’re all Frankie’s.” So let’s tell these stories. I don’t mean to get off on a tangent, I’m just glad HHSA! cando that and do it with such prestige. If I don’t stop now I’m just going to start spouting more lyrics at you, just do whatever you have to do to get this!  –Craven Rock (It’s Alive)

Chore: LP
I’ll say it: Chore surpasses everything this band has done previously, absolutely demolishes it, and that’s coming from a guy who likes them. Lyrically, they’re tilling some rough-shod ground regarding the daily, hands-on struggles around poverty, busted relationships, abuse, fear, and forgiveness. Each song is its own little short story, but done in such a way that it all seems concurrent, one song threaded to the next. (I’d kick around the idea of calling it a concept album, but that leaves the idea leaves a bad taste in my mouth.) Musically, it’s pushing the boundaries of pop punk in a way that’s confident and measured while still being catchy and muscular; each of the three instruments bend and flex in a way that deftly avoids the pitfalls of the genre and yet each song sounds anthemic as hell. It’s a smart, compassionate punk record, and songs like “LeSabre” and “Power Dynamics” still give me the chills months after I first heard them. It’s so easy, after hearing thousands of records and writing hundreds of reviews, to feel burnt out on this stuff, on music,so when a record comes along that’s just this wonderful blend of empathy and frustration and catchiness, I take notice and grab on. Chore’s definitely that record. They’ll be hard-pressed to top this one, and I’m betting it’ll wind up being my favorite album of the year. –Keith Rosson (It’s Alive)

Black Denim Blitz: CD
You know that protest sign—commonly seen at protests of killer cops and outdated reproductive health policies—that says, “I can’t believe I still have to protest this shit!” You know where I’m going with this. The Hip Priests describe themselves as, “The inbred, oversexed, white trash bastard sons of Iggy (Pop), Johnny (Thunders), Lemmy (no last name needed) and Handsome Dick (Manitoba).” While those godfathers are all respectable influences, this album comes off as just boring parody and “boys will be boys” nonsense. For example, “my cocaine cock” and “my girl you’re a cunt” are two lyrics from this album, and I didn’t have to look hard to find them. Really? Punk can do better. Punk has done better. Time to move on. I can’t believe we still have to listen to this shit. Good luck doing pay-to-play for the ‘80s burnouts on the Sunset Strip, Hip Priests.  –John Mule (Self Destructo, selfdestructorecords.com)

Half Man, Half Cop: LP
I’d put this as a cross between The Barbaras and The Spits. Sound odd? It is a little. But it’s enjoyable. The vocals have that weird “drowning in the sink” sound while the pop sensibilities are a little more on the broken party bus. The cover sticker compares this record to The Screamers. I like it, but it lacks the fascism necessary to be compared to The Screamers. It’s a band with a keyboard, not a keyboard band. I’m not trying to be a dick, but the consumer needs to know. Fans of Hunxisms and San Francisco would be way into this. I like it. –Billups Allen (Slovenly)

Seclusion MMXIV: 12” EP
Holy, from Italy, play d-beat that is a rage-filled imitation of His Hero Is Gone and Hellshock. They’ve nailed the brooding aesthetic in spades with a ghostly cover photograph nearly lost in black. The music and lyrics are equally as typical. For example, the barfed vocals are blown out beyond coherency, the guitars are cut-and-paste hardcore riffage, and the lyrics are—to put it lightly—on the nose: “We’re the weeping middle-class herd. Ruled by the hypocrites, abused by the mediocre.” It’s not that I don’t enjoy Holy’s impeccably tight assault, agree with the sentiments, or appreciate the anguish, but if you must, call me jaded. I simply expect a bit more nuance in my hardcore nowadays. Dangers, from SoCal, are a prime example of how to tackle difficult lyrical subjects without having to cherry-pick the punk word bank. –Sean Arenas (Adagio830, adagio830.de / Vitriol, vitriolrecords.com)

Interrrobang: Cassette
Heavy on the drum’n’bass haze to match the weirdness of your mind. Build it and build it into a whole mess of muddy feels punk—not as in “Cops SUCK!” but more like “I’m FUCKED!” This would be good hella live.  –Alanna Why (Maximum Pelt, maxpeltrex@gmail.com, maximumpelt.blogspot.ca)

American Dream: 7” EP
Nice to see a repress of this band’s first EP, in this case included with the latest issue of the ever-awesome Artcore fanzine. Originally released by Dr. Dream Records in 1983, this is one of those obscure gems from a band that likewise gets lost in the shuffle with many of their Inland Empire peers when folks get to talking about L.A./Southern California punk. The sound is a bit quirkier than one might expect given its origins, a sorta cross between suburb-core and artier new wave, which puts a pleasant kink in their ‘core, and in the case of “No More,” a tune that should’ve gotten more radio play than it did. Tacked on for good measure is their track from the Barricaded Suspects comp and the A-side of their second seven-inch, and Welly has been gracious enough to include some pics and additional information in the packaging to give the release and the band some historical perspective. Nice to see this is available again. –Jimmy Alvarado (Artcore, artcorefanzine.co.uk)

Peek after a Poke: LP
Imagine, if you will, the Dickies skip past the whole punk thing and follow their buddies the Quick straight into the power pop trip. This release embodies that proposed alternate reality hypothesis so much that it’s a bit unnerving. You get airtight, no-frills pop tunes stuffed to the bursting point with devastatingly catchy hooks infused with the same Saturday-morning-cartoon-damaged sensibilities and Leonard’s heretofore inimitable warbling… only the band’s from Sweden, Leonard ain’t singing, and there isn’t a Dickie within several thousand miles. As an old L.A. punk kid, one can’t help but find the whole thing seriously appealing, and it comes wholly recommended, but damn if it ain’t a little creepy as well.  –Jimmy Alvarado (Alien Snatch, aliensnatch.com)

Demo: CD
This demo contains four songs with a ‘77 New York feel. The songs are solid with a thoughtful change in tempo and beat. The pop hits Dead Boys speeds with “Shelly, Shelly (Don’t Break My Heart)” [Have you noticed a drop in parentheses in pop music lately? With a consequent drop in the use of brackets in pop music writing.] This influence seems evident to me particularly in the guitars. There are some great Cheetah Chrome-esque guitar runs that really drive the songs. The demo is proclaimed to be free on the Internet, so it’s worth checking out for fans of the New York crowd. –Billups Allen (indonesianjunkpunk.com)

Boredom and Terror/Let’s Toil: 2 x LP
This double Intelligence album is a reissue of their 2004 Narnack/Omnibus debut. Upon its original release, Boredom and Terror/Let’s Toil was a joint LP/CD package—buy the vinyl album, get the CD one with it. Now you can get both on vinyl. Full disclosure: the Intelligence never did it for me. A live set I caught by them opening up for the Oblivians last year was totally underwhelming. A left-handed compliment at best, I only say that to underscore how surprised I was by this reissue. I had no expectations for it anditfucking slays. While not nearly as aggressive as The Screamers, fans of synth punk and Live at the Witch Trials-era Fall should own this double record. I missed the boat on this double album the first time around. If every Intelligence album sounded as compelling as this double LP—something I don’t recall them doing—I’d be one of their biggest fans. I can’t praise this record enough and it’s a strong contender for reissue of the year. Truly stunning.  –Ryan Leach (In The Red, intherecords.com)

Basement Demo: Cassette
This semi-crusty demo from Portland features seven excellent tracks in the vein of Dis Sucks or early emo hardcore like Heroin. The vocals are too low in the mix for my taste, but that’s likely more a byproduct of the lo-fi nature of the recording and less of an intentional act. Surprising tempo changes and polished musicianship separate this demo from most other bands’ early recordings. I look forward to hearing future releases from Inversion. Even their logo rules, and what band couldn’t use a slick logo?  –Art Ettinger (Self-released, inversionpunks.bandcamp.com)

Burn the Navigator: CD
Itchy-O is a really unique band. They’re a thirty piece group that is primarily drum corps including odaiko and chudaiko drums from Japan and roto toms, but which also incorporates synth, vocoder, theremin, samples, guitar, and bass. There are many other instruments as well. Not all thirty pieces play at the same time and there is a chart on the CD booklet that shows who plays on what tracks. Also included are weird samples such as chimpanzees, cows, and birds. If you’re a big fan of percussion (as I am) some of this can be really hypnotic and catchy. I went online to watch some video of how this works live. They dress up like a mariachi band and the members playing non-percussion instruments carry their amps on their backs. It is an impressive thing to watch them come out and take over a stage (as they did playing with David Byrne), but as is often the case, it’s hard to translate the uniqueness and excitement to a recorded performance. If you think this sounds like something you’d be into, then by all means check out this album, otherwise you’re probably just as well off catching these folks live (especially in the Denver area since they don’t seem to play too often outside their hometown. Hey, have you ever tried to coordinate thirty people’s schedules? Exactly.)  –Kurt Morris (Alternative Tentacles)

Self-titled: LP
This is totally unhinged. The drumming is like a power drill going straight into your skull, while the guitar sounds like roman candles unloading towers of sparks in celebration of your brand new DIY lobotomy. It’s fucking awesome. The vocalist’s (ex-Brown Sugar) rapid enunciation is almost as percussive as the drumming, adding to its magnetic pull. Sitting listening to this record begs the question: is it possible for a human to pogo this fast? The label is offering a free download of this record; down be a fool, check it out.  –Daryl Gussin (Katorga Works, katorgaworks.bigcartel.com)

Babysitter: Cassette
I can’t blame a band for allowing a label to release what basically amounts to a tape of its formless practice/”abandoned building jam” recordings—why not, right? And I can’t blame you for being curious and checking it out. But don’t blame me if, afterwards, you just want the time back. I know the feeling.  –Michael T. Fournier (Resurrection, getresurrected.com)

The Love That You Own: LP
Trash poet and Timmy Vulgar tag-team partner John Wesley Coleman is back with a new LP, The Love That You Own. It’s no secret that I’m a JWC fan. His debut record, Steal My Mind, still ranks as one of my favorite LPs of recent years, and his two Goner albums were both excellent. The Love That You Ownis more of the Wes you hopefully know and love: weird and stylistically varied (a little punk, a little country—all rock ‘n’ roll). Although firmly established, his newish band is solid. Geena Spigarelli can really hold down the low end and sax man Mark Tonucci gives Wes a chance to play Bryan Ferry on the album. While I’m not one to praise added instrumentation for the sake of inclusion, there’s some old analog synth on this record—y’know, the kind with patch cables that only universities and affluent West Germans could afford back in the early ‘70s—that really makes one of these tracks click (“Love Drinks”). (If I recall correctly, Wes told me that was producer Louie Lino on the synth.)The Love That You Own is slightly more hi-fi than most of JWC’s previous records, and that’s certainly not a bad thing. Overall, it’s an outstanding effort.  –Ryan Leach (Burger, burgerrecords.org)

Hammer Every Nail: 7”
This a record for people who don’t have enough John Reis in their life. Maybe you wished you still lived in the heyday of Rocket From The Crypt? Or maybe you forgot there was a Night Marchers record last year already? Well, the Jolts are here to deliver their comparable brand of punk and roll. Sometimes it sounds too much like Kiss for my liking, but overall it’s pretty okay. This 7” is pretty weak, all told, especially the title track, but I had to make sure and checked out their LP, which had more impressive songwriting than this release. Grade: C+.  –Bryan Static (Shake!, experienceshake.com)

Shift: LP
I was pretty excited for a full 12” of this band since I’d enjoyed their first few releases, but I just have to admit this lacks the slight urgency and tight timing which won me over in the first place. I won’t say this isn’t enjoyable—you can still groove along to it—but it’s just a slight bit too spacey for me to really want to keep it in rotation. If you don’t have their first two releases, track them down. I might like this more if those weren’t so damn good.  –Rene Navarro (Sister Cylinder)

Self-titled: 7”EP
Funny what celebrity will getcha. Here we have a decent but otherwise nondescript hardcore band from the ‘80s with members of Reagan Youth and Nausea among its ranks. The selling point here, though, is that their drummer was none other than Saturday Night Live/Portlandia celeb Fred Armisen. Sound is garage demo quality, dropouts and all. The songs aren’t bad and hint that the band might’ve turned into something a bit more head-turning in its own right had it survived a bit longer, but this is otherwise wholly unremarkable.  –Jimmy Alvarado (Cleopatra)

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