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No Idea Records

Record Reviews

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Nobody’s Baby: CD
Miriam Linna is an original member of the long-lasting garage rock band The A-Bones as well as co-founder of the very storied Norton Records. Her roots to the early U.S. punk rock scene and continued dedication to ‘60s garage rock can be seen through both her band and her label. With these things in mind, it makes sense that the sound of this record—her very first solo album—would fit right in place with any expectations one might have for it. Part ‘60s Phil Spector girl group sound and part ‘60s garage psychedelia, the record feels like it could have come out in the ‘60s in both sound and aesthetic. It has just enough swagger to keep things interesting. It ultimately delivers the goods with twelve great songs that are very much worth repeated listens.  –Mark Twistworthy (Norton)

The Killing Gods: CD/LP/Cassette
It’s been four years since Misery Index’s last album, Heirs to Thievery. It was a blistering album that seemed to be the equivalent of getting hit by a semi truck on every song. It never let up with the blast beats and aggressive guitars. That lack of any sort of diversity made it a let down. The Killing Gods is different. There are still blast beats and shredding guitars but there are also guitar solos and some anthemic lines (“Cut the cord and start the fire!” on “The Weakener” being a great one). Misery Index has always been a combination of death, grind, crust, and hardcore, and all those genres can be heard on these twelve songs. Whereas the last album was full-on, the forty-four minutes of The Killing Gods has occasional moments that let the listener breathe, or at least as much as that is possible on an album this heavy. The overtly political message of the band continues, though, but in an intelligent manner. The first five tracks are a meditation on Faust as a symbol of society’s attempt at progress. It’s a literary approach, which shows the band’s intellect and creativity. One can only take so much of being beat over the head with blunt messages of “Government bad! Society sucks!” Then again, with two of the members working on graduate degrees, you’re going to get some more academic takes on the ills of the world. The rest of the album continues their exploration of such topics as apathy, the religious right, and drone warfare. The voice of Misery Index is important in the metal scene, as the music’s intensity and imagination matches that of the lyrics, and both work well together. It’s good to see the band back on track and progressing. Fans of death metal should definitely pick this one up.  –Kurt Morris (Season Of Mist)

Self-titled: CD
Where to begin with King Louie and the MissingMonuments? Firstly, the CD version of their self-titled album is essentially a complete discography of sorts, minus the first 7” on Douchemaster and the single on Slovenly. You get the new record, along with their first LP Painted White, plus their EP on Hozac. And, I have to say, I thought that the Hozac record was one of the best short-players I heard last year. “Another Girl”—which is also on the new LP—and “Love You Back to Life” are pure hits. I think I added over a thousand views to that YouTube video for “Another Girl.” (Go watch it. It rips.) To say King Louie’s paid his dues is an understatement, to say the least. From Kajun SS to Exploding Hearts, he trail blazed through over ten years of American punk rock. With that in mind, you can’t ignore the rock’n’roll swagger in his songwriting. While a lot of people don’t know who the Devil Dogs are, the rest of us never forget. The new batch of songs is exactly what you’d expect, and I mean that in the best possible way. Don’t change.  –Steve Adamyk (Dirtnap)

American Strike: EP
New band from NYC that sounds like an old band from Boston. Thuggy hardcore not unlike some of the stompier SSD or Negative FX. For newer bands, think maybe Rival Mob or U.K.’s Violent Reaction. It’s mostly hardcore but these dudes have definitely checked some oi faves out before penning these tunes. Anyone who knows me knows that I eat this shit up. Also comes with a sick newspaper lyric sheet. Boss tunes.  –Tim Brooks (Warthog Speak)

Saturnalia Regalia!: LP
Start with Alex Chiltonʼs lyrical sweetness, drop in the jangly innocence of Half Japanese, and throw in a dash of the Replacementsʼ understated talent. Wrap it all up in the magic known as “Canadian music” and you have the debut LP from Halifax psych-pop kings Monomyth. I have serious swoon-worthy feelings whenever I listen to this record, especially during “Candleholder”: “Youʼre the girl of my dreams / Thatʼs why I stay in bed.” Gahh, that shy romantic shit just killsme! Lusty feelings aside, Monomyth is one of few bands that can write a song where the chorus is “Fuck this life” and yet everything still sounds like a little slice of posi dream pop pie. Highly recommended.  –Alanna Why (Mint)

Self-titled: 7” EP
There’s no amount of snotty attitude pumped into the six short, mid-tempo tunes that grace this punk platter, and the opener, “Asshole,” was quite simple in its delivery, but the subsequent tunes seemed a bit more slyly erudite than would be obvious if one were not paying attention. Normally this stuff kinda goes in one ear and out the other, but I found myself going back to it, which I reckon means it weren’t bad at all.  –Jimmy Alvarado (Castaldi)

“Friday Night” b/w “Crosses”: 7”
The format and the psychedelic black and white fit the sound. No joke, this groovy daydream shrouded in reverb might a well have been recorded in the mid ‘60s. They were set to open for The Sonics and The Zombies this summer, if that tells you anything.  –Jackie Rusted (Windian)

Whoop Dee Doo: LP/CD
The Muffs will always remind me of Flipside fanzine. Throughout the years I bought it, Flipsidewas like a window to another world—sometimes exotic, other times sleazy—and it was that publication which brought The Muffs to my attention. From the first time I heard them I was a fan, as I fell for the way the guitars drove the songs along with more hooks than your local DIY hardware store as well as Kim Shattuck’s unique delivery of lyrics—both sweet and sour—frequently accompanied by her unforgettable snarl/growl. Now ten years on since the last long player, Whoop Dee Doo marks a return that brings all of those memories rushing back and it’s no surprise that the songs sound exactly like a fan would expect them to. It’s poppy and melodic but it’s not exactly pure pop punk, nor is it plain melodic punk—it’s just The Muffs and that means there is also a love of 1960s rock’n’roll thrown in for good measure. Yes, Shattuck’s voice is showing some slight wear and tear, but she still has the ability to send shivers up and down my spine with her vocal performance and I continue to love this band for all the enjoyment it gives me. –Rich Cocksedge (Burger / Cherry Red)

Dritte: 7” EP
Mülltüte, how I love thee... It’s your filthy guitar that sounds like it’s being played through a AM radio, and I mean that in the most complimentary way. It’s the first thing that drew me to you. Then you have that punchy and crazy drumming that’s fast and catchy. I like to think that the drummer is playing with such fury that the kit is coming apart and spreading out all over the floor. Oh, Mülltüte, let me tell you how much I love your vocals, too. They have that dry rasp, as though your vocal chords are blown out, and yet you have so much heart, you’re still digging deep and spitting them out with that little extra to give them more weight despite any probable health side effects. Not to mention the backing vocals on “Exzess,” and how they give your music a youthful glow. Plus that whistling at the end! Yes, indeed! I love how you go from song to song without much pause, too. Makes me feel like it’s live, and as close as we’ll ever get to really meeting due to the geographical distance between us. There’s the hectic energy of “1000 Sei Ten Hass” and then there’s the rock’n’roll base of “Reibung” that captures the spirit of classic punk. And I must mention the guitar tones that sound all strangled and crazy on “Keine Angst” really get to me. Absolutely love it. Not to mention the way everything comes together at the end of “Neue Kreise.” Such a great record. Mülltüte, you really know how to make my heart go pitter pat. You, more than many others, really know how to play hardcore punk. Take care of yourself, and let’s get together again soon.  –Matt Average (Heartfirst)

Alex I Am Nothing: LP
Museum Mouth’s music lies in that sweet spot between raw indie rock and melodic punk. The recording’s nice and fuzzy, the bass accents wistful, the songs swelling and subsiding…but I can’t get past the singer’s Conor Oberst-y bleat of a voice, or the super self-absorbed, self-pitying lyrics that make up what is being sold as a “concept album about becoming obsessed with someone you can not have.”  –Chris Terry (Self Aware)

You and Your Sister: 7” EP
Another winning slab o’ wax from these kids. The title track is a nice bit of punk power pop brilliance. “Lightspeed Romance” is a bit more Buzzcocks in tone and “The One You Really Want” succinctly channels the best bits the early incarnation of the Jam drudged up. The hooks fly fast ‘n’ hard throughout, and you’ll find yourself humming some of ‘em later on if you’re not careful.  –Jimmy Alvarado (Piñata)

Shamebirds: LP
I want to get this one right because I really liked this record. But it’s tough: I’ve listened to Shamebirds many times now and have struggled with that particular brain-tickle where something seems really familiar but you can’t quite put your finger on it. Know what I mean? So what’s the dealwith this band? I mean, it’s undoubtedly a great album, but what’s the reference point I’ve been looking for? How to Make Enemies-era Screeching Weasel? Joey Vindictive fronting a garage band that loved treble and veered a bit away from distortion? Then, after about the bajillionth listen, it came to me. Hear me out. This is what Sloppy Seconds would sound like if they were a three-piece that hasn’t based their entire identity around quasi-offensive juvenilia. Sure, it’s kind of a weird reference, but the melody’s there, the dude’s voice is practically a dead ringer, the songwriting chops are evident. Does that make sense? Sloppy Seconds if they sang about more interesting things? I hope so, because holy shit, you guys, Shamebirds works to great effect. Smart, catchy, buoyant, fun, and unceasingly snotty. Even if the reference doesn’t work for you, how about this: Check it out. I bet you’ll like it. –Keith Rosson (Dirt Cult)

Monster Surf: 7” EP
Eschewing vocals altogether this time ‘round, Night Birds drops four wall-scarring, wave-shredding surf punk tunes into your earhole with the same mix of tension and precision that’s made all their previous releases stuff to marvel at. Given the righteous “California” punk feel to their output, it’s still mind-boggling that they hail from New Jersey. East, west, plain fact is they’re one of the best out there right about now, so if you haven’t gotten acquainted with ‘em yet, I seriously recommend you do so ASAP.  –Jimmy Alvarado (Wallride)

Yo No Soy Como Tú: 7” EP
I tend to like just about everything these guys have done. Jasmine from Neo-Cons is now on vocals, but that may be old news to some of you. Despite the change in lineup, there really are no traces of hardcore punk here. This is no wave-damaged stuff that is in a tug of war with free jazz and Teenage Jesus And The Jerks (and I hear a little Noh Mercy in “In the Great West”). Erratic (or are they?) rhythms, guitars pulling and pushing, a sax that skronks and sometimes sounds mournful (like in the song “Your Lies”), and vocals that are hyper urgent as though the fate of the world lies in her hands. This record is a little restrained compared to the other outings, but they still are capable of pushing out into the further reaches and coming back with something interesting and attention grabbing. The previously mentioned “In the Great West” sounds a little like Noh Mercy crossed with Bow Wow Wow, run through the NYC 1980-something art scene blender, and spiced with the now. “One Size Fits All” recalls the manic energy of their previous outings and live show (which has to be seen!). –Matt Average (Gilgongo)

Epyx Shredder: LP
No bullshit punk rock from the Midwest. ‘Nuff said, except for: this is a great goddamn record that should be spun daily by any self-respecting daily record spinner. I can really relate to a band that sings about problems with the original Nintendo system. To wit: I had a childhood friend who I would often play Nintendo with. It was giving us lots of grief one day, erasing saved games, not recognizing passwords, whatever. My friend threw it out the window. That’s why that shit isn’t around anymore! Also, I have a No Bails beer koozie that is seeing plenty of use this summer.  –Sal Lucci (Pelican Pow Wow)

“Don’t Be Gramps” b/w “Kick Out the Hamms”: 7”
Pretty cool rock’n’roll. Reminds me of The Reigning Sound. Despite the goofy song titles, these aren’t goofy songs. Good playing, good melodies, good songs. This is stickered as “Record Store Day – Limited Edition,” with my copy being #4 out of 100, which is a shame. Though I like the concept of RSD in principle, it seems that most RSD releases are either overpriced reissues or under-pressed gems. This record falls into the latter category. We record store regulars don’t need your colored vinyl, limited edition bullshit, but we do need your quality rock’n’roll records available to everyone. I got lucky with this 7”. I concur, kick out the Hamm’s, and gimme an Anchor!  –Chad Williams (Glory Hole)

Already Dead: LP
Some people like to keep the food on their plate separate. God forbid that any corn touch the greens! The mashed potatoes must never coat the meat! No Problem might put-off these picky purists as they haphazardly blend together influences from the culinary spectrum that is hardcore punk. Each song utilizes distinct ingredients—equal parts reverential and forward-thinking—keeping the LP fresh and engaging. After the appropriately gloomy intro, No Problem sprint into ‘80s style hardcore à la the Zero Boys. “Different Shades of Grey” slows down a bit for some surprisingly effective power pop, while “Help Wanted” screams circle pit street punk. It should come as no surprise that “We Got Secrets” sounds like The Germs. If the band wasn’t already throwback enough, their logo is a moshy stick figure dude nearly identical to D.R.I.’s. Sure, there are some less savory moments. For example, “The Controller” bursts into a “woah oh” chorus that would make Pennywise blush, but there’s a lot more right here than wrong. It’s an aural buffet of hardcore delicacies for adventurous types who aren’t afraid to mix up their meals.  –Sean Arenas (Deranged)

Midwestern Family Values: LP
You had me at the saxophone. I love me some saxophone, especially when it’s not over done, like on this record. Something about this, right off the bat, reminded me of when I first got into punk and would listen to all the eighties bands. A lot of those bands had a rawness to their vocals and overall recordings. Nones have that same authenticity. If Modern Lovers and Black Flag had sex with each other, it would sound like this. “Just when you think things couldn’t get worse, you come home to a Dear John letter on the front door and a pile of dog shit on the floor,” from the song “Browner Pastures.”  –Ryan Nichols (Hozac)

Cruel Routine: 7” EP
Yes, indeed! Nuclear Cult dish out some heavy and noisy hardcore that wastes no time getting down to business. The songs are urgent, catchy, and near chaotic. The vocals are dredged from the bottom of the gut, the guitars are thick and chunky sounding, the percussion’s like a wood chipper, though with enough weight to keep the songs from flying away. There’s a metallic edge that gives the music a darker and doomier feel without slowing down too much. I will say these guys are wise enough to switch up tempos here and there in order to not turn into one big blur. The mid-tempo sections give these songs more teeth, allowing themselves to gnaw deeper into your memory as a result. Plus, there are parts that are sonically crushing where the drums come to the front. You’re listening to these songs rage and then there’s this rapid fire thud from the percussion department that does your head in, before they kick it back into hyper speed, or switch into the next song. Not to mention the sinister bass that holds everything together. Well worth your time, to say the very least.  –Matt Average (Heartfirst)

Trust Fun Suicide: 7”EP
Female fronted, this four piece outta DC slaps together members of Lady Cop, Electrocutions, and SWALTB. Three new garage punk songs which cast shadows of The Runaways tear off into the title track, a jangly fuck you to all the trust fund babies and their inherited swag. Sal Go, the female vocalist, spits the title like a punch to their pretty, cocaine-eaten noses. “Ice Cream vs. Gasoline” is carried by a tight guitar hook like early Bass Drum Of Death. On the flip side, “Cut by a Hog” continues the catchy guitar leading into a clear, chirping solo and Sal’s sloppy Courtney Love voice. While all of this is well and good, they sound like an opening act—there to warm up the crowd, as the material isn’t especially engaging or memorable. But the fundamentals are there and with a little time and experimentation, they’ll be headlining a dive near you.  –Kristen K. (Big Neck)

Third Time to Harm | Live in San Francisco: LPs
I loved the first two OBN IIIs LPs and think the band is a force to be reckoned with live. OBN IIIs have the fuck you swagger of The Humpers and the in-your-face crowd shenanigans of New Bomb Turks. There are touches of Iggy Pop and Sonic Rendezvous Band in Mr. OBNs vocal delivery. Straight out the gate, this album sounds more raw and in the red (without the instruments bleeding or drowning each other out) than any previous release. The songs are darker, heavier, and more varied than previous releases. But ending side one with a seven minute-ish song (half of which is an instrumental intro), then starting side two with a six minute-ish song? Not necessary. A live album on Castle Face dropped shortly after this Third Time to Harm. Now, this is a great representation of the band. The cover looks more badass, despite having zero middle fingers on it. The sound is pretty good for a live recording (though vox are a little low in the mix), and there’s the crowd baiting and shit talking that raises the ante of an OBN IIIs show. But, hey, get them both and judge for yourself. Just don’t miss the live show next time it comes to your town. –Sal Lucci (Tic Tac Totally | Castle Face)

Louder Space: LP
Obnox launches right into it with some raw, muscly riffage, calling to mind both the Stooges and Hawkwind, but smoother and slicker, with purpose and no space warriors. The record makes a nice but brief experimental excursion before continuing extremely well along the path of the opener for much of the record. Obnox also takes fitting ventures into hip hop at various points, and laces wild guitars throughout the album. Far from as lo-fi as other output, but still raw and powerful. A damn fine record!  –Vincent Battilana (12XU)

Miniscule Lives: LP
Mix of Clashy punk singalongs, modern punk sensibilities, and maybe a little rock. Can’t say there was anything particularly bad about what they do, but nothing really stuck in the ol’ noggin enough to register as memorable. Can background music be “punk,” or vice-versa? This begs the question.Then they started fucking around with punky reggae arrangements and my interest barreled out the back door. –Jimmy Alvarado (Can I Say?)

Strange Powers (ARC Live Session): 7”
Pales Angels debut album Primal Play seemed to be influenced by two heavyweights of the early 1990s with a sound that regularly came across like Kurt Cobain’s vocals and guitar being enveloped in a haze of Dinosaur Jr’s all round fuzziness—and although it’s a decent enough record, it now gives me the impression of just being a pleasant precursor for this single on which the band finds a more distinctive and enjoyable sound. These four tracks were recorded live, as part of the Amsterdam Recording Company Session series, and contain enough energy to power a small town for six months. The whole project also seems like an exercise in cramming as much ebullience onto vinyl as is humanly/technically possible—notwithstanding the occasional moments of calm which have been snuck in for some respite. Pale Angels comes across with a livewire quality that makes me think of the brashness of Nü Sensae, the tunefulness of Shang-A-Lang, and M.O.T.O.’s lo-fi delivery. In addition I have to advise first time listeners that when “La Equinas” kicks in it, would be wise to strap themselves down to something secure as it’s a sixty two second stampede—the song races around with the abandon of a small child, with little or no regard for its own safety, such is the high-spirited exuberance that is set in motion.  –Rich Cocksedge (Specialist Subject)

Trauma: 7” EP
I thought their self-titled EP from a while back was pretty crushing. This was one is just as heavy, and maybe more devastating on a sonic level. Each song is a huge, rough, and raw chunk of sound that sounds like it’s being torn apart and slammed down onto the pavement. The guitars are drenched in feedback and distortion. They push noisy leads that sound like they were pulled from the outer reaches of the cosmos. Percussion hits hard and fast with chaotic abandon while the bass gives everything a nasty grit and solid-as-hell low end. Vocals are delivered in a rabid rapid-fire bursts, and yet every word comes across loud and clear. The first three songs come at you in quick and noisy bursts tied together with dread and distortion. I find I’m a fan of their songs on the second side (such as “Trauma” on their self-titled EP), which tend to be slightly longer workouts than the A side material. “Kein Frieden” is a heavy and noisy number that mainly stays on the mid-tempo side, with a brief foray into faster territory. It’s catchy as hell, with head banging rhythms that eventually give way to whirlwind fury before collecting itself once again and washing out into a gurgling foam of sick distortion as the drums punch holes into the wall. Fantastic!  –Matt Average (Heartfirst)

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