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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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MOTHER SPEED:
Demo: CD-R
Does every hardcore thrash band worship Infest or is just me? Not that it means these guys are bad musicians or anything. In fact, their drummer is amazing. The music just doesn’t do much for me. The best part about this CD is that they have a song called “Altered Beast,” which is about a video game that dominated my childhood. Just for that, D-. –Bryan Static (Self-released)


MOME RATHS, THE:
Vaporized My Brain: CD
So I put this on, and I’m immediately stuck with the task of trying to figure out why a band with enough good sense to go by an obscure word culled from a poem in a Lewis Carroll work would be responsible for such a lackluster quasi-punk record with some pretty lame lyrics. I listen to it again and scrutinize the lyric sheet, looking for some kind of clue. Then I see it, staring out from the “thank you” section: “Daniel thanks: My Lord & Savior Jesus Christ for His gift of grace and allowing me to have fun with the talent He has given me.” Ah, okay: Jesus-philes. Now I get the Carroll reference. True to form, right below Daniel’s name-checking His Hol(e)y-Handedness, Tracy gives her propers to the same, but also interestingly starts off with the following: “Tracy thanks: My wonderful husband, thank you for all your support in everything, for your love & encouragement & for all the talent God has given you” (italics mine). Wha-? Was there no talent left for Jesus to bestow on her after heaping a double helping on her hubby? Is he lending her a little via some sorta talent transubstantiation so that she can play bass? Naturally, with all this talk of “talent,” I started to wonder where all this talent was manifesting itself, ’cause it sure ain’t in evidence here. Maybe he built a sturdy platypus-shaped house out of pretzels, or developed a way to extract turnip atoms to cure that little hole in John Travolta’s chin. Maybe it can be found in the name of the band itself, ’cause now that I know the Late JC is all up in the mix I find myself thinking back to Maddy’s Mormon article a few issues back and I’m wondering if it ain’t a thinly disguised “Mormon Wraths” reference that wasn’t readily apparent before. Yeah, maybe that’s it. Maybe they’re really a buncha Mormons operatives egged on to exact a little revenge on the decent folk of Razorcake because they don’t like their silliness being outed in such a fine, well read periodical. A POX ON YOUR CHEERIOS, MADDY TIGHT PANTS, FOR BRINGING THIS ACCURSED SCOURGE OF LOUSY JESUS-LED PUNK UPON THE HOUSE OF ’CAKE (followed quickly by a heartfelt secret okey-doke hand sign for being such a damned [pun intended] funny writer)!!! Uh, excuse me as I beeline to my room to put on my Brigham Young Underoos, making sure to bury this disc in the basura as I dash past, demand from my wife her own immense talent via the aforementioned talent transubstantiation so that I have a heaping helping of genius to call my own and discover the cure for brain freezes. Let’s hope these little efforts will allay any further attacks headed this way from the backwaters of Utah. –Jimmy Alvarado (themomeraths@hotmail.com)


MELVINS:
Nude with Boots: CD
“Wake up! C’mon!” The Melvins’ latest is one of the best. Along with the characteristic strangeness, humorous/profound nonsense, and plodding, fuzzed-out heaviness that define Melvins’ sound, there are a few tracks here that have definite mass-appeal potential. In simpler terms, this album fucking jams, Melvins’ sound very Melviny, and the rest of the rock-loving world just might get it. A few numbers on this eleven-song release revive and redefine the vivacious energy and sound of hard, classic ‘70s rock, while the others meander faithfully through the erratically-creative, vast, and often creepy mindspace of guitarist/vocalist Buzz Osborne. Track one, “The Kicking Machine” sounds as if Led Zeppelin tried to sound like Melvins, (not the other way around.) That rockin’ tune has uber-infectious and punctuating Jimmy Page-like guitar riffs, John Bonham-like drum beats and fills…all with BIG, important-sounding delivery. It’s BIG because the band continues on with Big Business members Jared Warren on bass and Coady Willis drumming alongside (almost) founding member Dale Crover. Some of the material is dark and cacophonous such as the Alice Cooper-ish “The Savage Hippy” and downright nightmarish like “It Tastes Better than the Truth” and “Dies Airea.” But it’s the straight-on, rock-hard ‘70s influenced tunes like “Billy Fish” and “Suicide in Progress” that will keep most listeners hitting the replay button. Sehr gut! –Marcus Solomon (Ipecac)


MEISCE:
Shipwrecked in a Bottle: CD
This is perfectly all right Irish-influenced folk punk that basically sounds like Rum Sodomy and the Lash. I just get the feeling that the genre of Irish-influenced punk bands is pretty over-saturated and drowning in cliché at this point. It feels like the formula for writing these records is to make eighty percent of the songs about drinking, and then a song about working to death or about being heartbroken by a fair lass (and the need to drink because of it). I, for one, really have to question what a band of punk rockers from Seattle would know about the working in an Irish coal mine (see the song “Ghost of the Coal Mine”). It seems that there’s so many other types of folk and traditional music in the world that could be turned into great punk rock that are never touched, that it’s just boring to have another band of Americans sing about how great Ireland and being Irish is. For instance, when was the last time that anyone heard a good norteño or klezmer punk band? I think bands like Gogol Bordello, World/Inferno, and Kultur Shock have the right idea, which is that you should combine traditional and punk influences to make something new and exciting, and not just ape convention and keep rewriting the Pogues’ song book. I guess it’s unfair of me to dump this complaining into Meisce’s review, as the album is fun and all, but at the same time, come on guys, could you really have got more stereotypical than writing a song about the drunkest man in 1819 Ireland? –Adrian (Fistolo)


MEASURE [SA]:
Means to an End: 7”EP
“Musical relationships” are tough. I consider members of The Measure [SA] my friends. And that’s purely from being a fan of their music in the DIY world, where we talk to each other and share stuff over the years. But I’m also a listener/critic who’ll tell someone I like who hands me a piece of music they made to review, “Dude, all I can give is my honest opinion. I may not like it.” And said opinion has strained and ended some friendships. It can be a horrible place to be in. It can also make one realize, “I have talented friends and it’s great to hear them challenge themselves.” And so it is with The Measure [SA]. I do believe I’m reviewing their seventh release, and they’ve still got my ear. The crib notes are that they’re a female-voice-lead punk band: melodic, romantic, and thoughtful. The surprise is in the song, “Oslo,” where they take a part of Martin Luther King Jr.’s Nobel Prize acceptance speech and make it a rollicking song all their own. Excellent. –Todd Taylor (Salinas)


MEAN STREETS:
That Day: 7”
This record just might be the perfect package. First of all, I love seven inch singles. My favorite format. CHECK! Musically, Mean Streets come off sounding like something in the vein of The Beltones which is more than fine by me. The vocals are a little thinner though, but it took me all of a verse in the first song to get used to it. Both tunes are catchy and made me want to move. CHECK! This single is absolutely beautiful to look at. The cover art is all done in black, white and various shades of blue. There is none of the usual “tough guy street rock” trappings that a lot of bands in this genre fall into. Best of all, the slab of vinyl itself just might be the coolest wax I’ve ever seen. A marble of black and deep blue with white spattered throughout. CHECK! I think I’ll have to keep an ear out for more from these guys. –Ty Stranglehold (Longshot)


MAX LEVINE ENSEMBLE, THE:
OK Smarty Pants: CD
Yay! Poppy punk (as opposed to actual pop punk! Ah, the semantics!) with political lyrics! From DC, but it doesn’t sound like Fugazi! Decent stuff! If it were a cereal, it’d be Apple Jacks! There’s the serious gesture (“Yes, we will work some fruit into this sugary meal, if only by adding it to the name of this cereal!”) and the poppy sensibilities! Yum! –Maddy (Plan-it-X)


MAE SHI, THE:
Hlllyh: CD
Wow. I knew this album was going to be a good one when the first track scared the shit out of my dog. As she retreated to the quiet of another room, I was glued to my seat in front of the speakers, waiting to see what was going to happen next. It is very seldom that I feel this way about a band with electronic elements, but The Mae Shi combine their electronic beats and sounds with fantastic organic elements like handclaps and layered vocals. The end result is fantastically energetic rock’n’roll that is both catchy and unpredictable. And I’m willing to bet they kick ass live. –Jennifer Whiteford (Team Shi, www.mae-shi.com)


LURKERS, THE:
Fried Brains: CD
I keep hearing a lotta talk about how this is a return to their roots and sounds just like Fulham Fallout. Sorry to burst a few bubbles, but it don’t, kids. That album is thirty-odd years old now and for them to go back and try to ape that Lurkers would be disingenuous and absolute folly. Swear to Mahfü, for such a supposed forward-looking lot, punkers sure spend a lotta time pining for the days “when punk was punk.” It’s 2008, not 1977, so get with the program, dammit. Okay, so we’ve established what this isn’t, so let’s now establish what it is: a mighty fine punk rock album circa 2008, and quite possibly on of the best contemporary albums in the Captain Oi stable. While there are abundant hints of the Lurkers of yore in evidence, they’ve also added some sophistication to their Ramonesy roots while retaining copious amounts of humor and much thud. It even sounds a little like TSOL’s more recent efforts in some places, which is no faint praise. While on the first song they may be inviting you to “Come and Reminisce,” they ain’t exactly dishing up helpings of stale shit cooked three decades back. –Jimmy Alvarado (Captain Oi)


LOSER LIFE:
My Hell: 12” EP
I recently got to see this band live and even though the singer had to sing without a mic for half the set, it was still abrasive in all the right ways. This band reminds me of an awkward, lonely kid who turns bully, but instead of bullying other defenseless, awkward kids, he turns his anger on those who deserve it. It’s frightening in that way. It’s also inspiring and motivating. Once you’ve processed that feeling, imagine it seeping out of your speakers in the form of hardcore that’s a strange but gratifying mix of Pegboy, Hüsker Dü, and Crucifix, and you’ll understand why people have been making a big deal about this band. –Daryl Gussin (Life’s A Rape)


LIVING WRECKS, THE:
Get Wrecked: CD EP
Five-song studio effort that lays the pipe for their full length, due this summer. I’m hearing Johnny Thunders, Dead Boys, and some Dammed in the equation. “Love You Dead” is a great song. There is also a Pagans’ cover here. I predict this band will only get better over time. They seem to be playing like madmen on the East Coast, so catch ‘em live tomorrow. –Sean Koepenick (Self-released)


LITTLE GIRLS:
The Clear Album: 7” EP
The Little Girls were a bit of surfy, poppy fluff that managed to score both a regional hit (“The Earthquake Song,” which can be found on the Rodney on the Roq Volume 2 compilation) and a video in then-new MTV’s rotation before being lost to time. This 45 is their second “album,” of which twenty clear copies (hence the title) were originally made, featuring three tunes in much the same innocuous pop mold as their previous endeavors. I’m actually old enough to remember “Not a Perfect World” being played on the radio (maybe Rodney was trying to help push it along or something) and they ain’t bad tunes, especially if you dig that safe teen pop sound of yore. –Jimmy Alvarado (Ramo)


LAUDANUM:
Self-titled: 7”
One of those records that sounds pretty good at either speed. I prefer this at 33 RPM, which makes it more doom-ish, and dark. However, I believe this was meant to be played at 45 RPM. Just as well... Metal with that certain heavinessBay Area bands can conjure. “Invoke” is a mid-tempo number with a swinging rhythm, despite the—well—doom tone that dominates the song. The atmospheric/ambient noise gives this an even more sinister tone. “Warlord” is a bit faster and thunderous. Great record all the way through. Comes on white vinyl, in case you were wondering. –Matt Average (Pyrate Punx)


LAST DEAL, THE:
Berdache: CD
The biography of this band says it’s for fans of Isis, Mogwai, Fugazi, Neurosis, the Clash and Husker Du. I don’t hear any of that whatsoever. Did they send me the right CD? All I’m hearing is The Appleseed Cast, All State Champion, and this band I reviewed a few issues ago called The Paper Champions. It’s not horrible but it’s average indie rock, not at all the “brooding, guitar-driven, technical-yet-tuneful brand of Metal-marinated Rock n’ roll” that their bio promises. –Kurt Morris (Roast)


KUNG-FU MONKEYS, THE:
Christmas for Breakfast: CD
What would you get if you combined Lucky Charms, Trix, Froot Loops, and Corn Pops? Can you even imagine the musical equivalent of this tantalizing combination of sugary goodness? Ladies and gentlemen, it is rare that I am called upon to say this, but: I WOULD STOP EATING LUCKY CHARMS FOR ONE MONTH IF FAILURE TO DO SO MEANT THAT I COULD NOT LISTEN TO THIS CD TEN TIMES PER DAY! Yes, I am that serious! The Kung-Fu Monkeys exist at the intersection of Ramones Blvd. and Herman’s Hermits Way! And close by, you’ll find the Beach Boys cul-de-sac! This CD compiles over forty songs from out-of-print seven-inches, comps, and more! It features at least THREE of the best pop punk songs of all time: “Let’s Go (to Pasadena to Meet Your Parents),” “Thermos,” and “I Miss the Ramones!” When I got this CD in the mail, I actually did a dance around my apartment! Yes, I am that dumb! And I’m in love with the Kung-Fu Monkeys! –Maddy (Whoa Oh)


KNIFE IN THE LEG:
Bloodlust: 7” EP
A heavy early ‘80s influence here, resulting in Poland’s answer to bands like the Regulations. Most of the songs keep things mid-pace, but they pack a mean wallop in them tunes and know how to milk a hook. Good stuff. –Jimmy Alvarado (www.trujacafala.com)


KILLING THE DREAM:
Fractures: CD
Fractures isn’t really my breed of hardcore (I prefer it much closer to the mid ‘80s mold—more Black Flag and less Bane), but I am willing to give anything a shot once. This kind of stuff is heavy without being too weighed down (except when the boring breakdowns kick in), and the desperately throaty vocals can work really well when a song’s tension gradually grows (such as in the title track or “Holding the Claws”). At other moments, it’s the same old dreck of recycled and overbearing aggression that I’ve seen many a bad local band slog through (See “Part II (Motel Art)” or “Everything but Everything”), turning the hardest tracks on the disc into the dullest ones. With the addition of some creativity on all fronts, the basic materials could be salvageable. –Reyan Ali (Deathwish, www.deathwishinc.com)


JUDGE DREAD:
Death Rattle: 7” EP
I was gonna totally ignore the name thing, but I just can’t. I did a quick Google of the words “judge dread” with no quotations or anything, just to see what came up. Three entries down, past two links to IMDB’s entries for the film Judge Dredd is one for Wikipedia’s entry for Judge Dread, the famous reggae singer. This search took me, oh, four seconds to execute. Now, seeing as it’s obvious from their having a Myspace page that someone at least remotely affiliated with them has internet access, it’s flabbergasting to think they couldn’t be bothered to do a search as simple as the one I just did to make sure there wasn’t already someone using that name for the past forty-odd years. I could see if it was some accidental co-opting of an obscure hardcore band’s name, but Judge Dread wasn’t exactly hitting the backyard and basement circuit in Duluth. That said, these guys place some decent, noisy thrash with reasonably intelligent lyrics. –Jimmy Alvarado ((xchildrenofthegravex@gmail.com)


JEAN MILLS SOCIETY TORCH:
Start Tomorrow: 7”
It’s no surprise that this band contains ex-members of The Spark. The songs are well-constructed, angry, blasts of floor-moving fastcore. These guys have been in so many bands and know how to do this so well that, at times, it feels like they’re just toying with the genre; pulling its strings like a marionette to orchestrate what ever they want to hear. But goddamn, even if at times it seems a little played-out, it totally rages. –Daryl Gussin (Firestarter)


INSTANT AGONY:
Exploitation: CD
These reformed U.K.82 punkers continue on with their campaign to prove that old bands giving it another go really doesn’t have to be a painful exercise. A new album with new tracks rife with raging riffage, righteous anger, and lyrics casting a critical eye on what’s going on in the world right now, not pining for punk twenty-six years gone. Some good, driving stuff here, and here’s hoping that they continue to make waves. –Jimmy Alvarado (www.myspace.com/beafraidrecords)


INSIDE RECESS / EXISTENTIAL DILEMMA:
Split: CD
It is difficult to listen to grind-like metal with a straight face when it tries too hard. There’s a subtle line between fierce and farce, and this pair unintentionally zigzag back and forth across it. Inside Recess juxtapose a spasm of high-pitched screams with gruesomely deep growls, as their music apparently attempts to recreate how a person might react should he or she stumble upon a sleeping black bear, with the following vocals mimicking the now-woken and irritated animal’s “grrrrruuuuuhh.” Sometimes, IR sounds pretty all right, but then at others the shtick resembles sound effects for the TV adaptation of Goosebumps that were cut for being too ridiculous for kids to actually be scared of. Existential Dilemma is mostly the same, but then they decide to go all soft for a couple of admittedly intriguing instrumental tracks. But have no fear, because the action picks back up quickly enough with a very metal track that I affectionately refer to as “Opening Theme to a Count Duckula Marathon.” What’s the point to this kind of metal when it makes you think about how silly it is instead of forcing you to thrash your neck? –Reyan Ali (Self-released)


INSECT WARFARE / FLAGITIOUS IDIOSYNCRASY IN THE DILAPIDATION:
Split: EP
Insect Warfare are one of the top grind bands in the U.S. today. However, I hear nothing on this record that makes them worthy of the hype. Run of the mill grind with standard high pitched shrieking followed by the low burping stuff. Despite the ridiculous name, Flagitious Idiosyncrasy In The Dilapidation are a bit better. Three blasts of super thrashing grind with the velocity of hurricane winds, and perhaps as sonically destructive. You’ll find this split packaged with Short Fast & Loud #19. –Matt Average (Six Weeks)


INNER TERRESTRIALS:
X: CD
Well on the downside, these guys are big on the ska punk trip. Their saving grace is that somehow they manage not to sound like total fuckin’ ninnies doing either. The lyrics indicate that circle-A ain’t merely a fashion trapping; their hardcore, while not blazing MDC-style ranting, is catchy and their use of ska to occasionally throw a wrench in the thrashing (occasionally mid-song) keeps ’em from sounding like so many nth-generation Operation Ivy Xerox bands. While the unfortunate cover of “Guns of Brixton” almost sinks ’em, the work they put in before that tune hits the speakers is more than worthy of attention. –Jimmy Alvarado (Rodent Popsicle)


INCOMMUNICADO:
Losing Daylight: CD
Wow, these guys actually manage to take a mid/late-‘80s DC influence and make it into something worthy of attention. They take many of emo’s building blocks and instead churn out twelve songs that are as angry and challenging as they are arty and catchy, and any lameness is either buried or burned off. It literally takes them seven songs to hit a lull in the onslaught, and even by the end of that tune, “Carlos de Inferno,” they’ve started punishing the acoustic guitar they dropped in. Not usually my bag of rocks, but this is something, indeed. –Jimmy Alvarado (A-F)


IN THE FACE OF WAR:
We Make Our Own Luck: CD
Sonically, these guys had a metal-ish edge, but the vocals got to be pretty tedious about halfway through. And no matter what their press sheet spews out, I doubt they are as good live as Gallows. Sorry dudes. –Sean Koepenick (Pee)


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