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No Idea Records

Record Reviews

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Blasfemia: LP
Here’s a reissue of these Polish punks’ fifth LP, the original having emerged in 1992. Blasfemia contains no shortage of ripping solos and intricate basslines, rocking hardest when the band locks into these irresistible metal grooves. An atmospheric chorus effect cuts in and out, reminiscent of darker ‘90s hardcore in the vein of Inside Out. Robert Matera’s vocals are at once bitterly venomous and catchy as hell. Luckily for me, English translations accompany the Polish lyrics—I’ve read that some of their other translations have been lacking, but these are more or less on point. The lyrics are heavy with angst in the true sense of the word: the crushing anxiety of existence, a suffocating sickness that’s futile to resist. The sentiment is all the more powerful given Poland’s history of censorship and political repression. For me, the first truly cathartic moment of the album comes halfway through “Pierwszy Raz,” when Matera’s threatening vocals erupt into a seething, snarling rage. The rest of the album never lets up as it oscillates between haunting, metal-tinged hardcore and straightforward, melodic punk rock. If you’ve been sleeping on this classic for any part of the last twenty years, now is an excellent time to catch up.  –Indiana Laub (Pasazer, pasazer@pasazer.pl, pasazer.pl)

Letters Home: CD/LP
This five-piece Boston hardcore band continues the literary device around which they have built their entire band: the struggles of a family in the post-World War II years. It’s gritty and dark, with murder, guilt, and hopelessness. This is not a lyrically upbeat album. And yet it is all done in a mature manner. Many bands wouldn’t be able to utilize the device effectively, but Defeater does so in a way that makes me want to know more about these characters; I’d love to read short stories of these individuals. The shorter run time (ten songs in thirty-four minutes) makes each track seem urgent and important without being rushed. Defeater gets their point across and moves on to the next track all the way up until the closer, “Bled Out,” the longest on the album, that culminates with vocalist Derek Archambault yelling, “All I see is the bastard in me,” the same lyric that anchored the opening track, “Bastards.” Yet Letters Home isn’t a blistering album, as there is melody even if Archambault’s vocals are primarily screaming. Hell, when I heard the guitar at the beginning of “No Saviour” and “Bled Out,” I would’ve thought I was listening to something from Sonic Youth’s Murray Street. Joe Longobardi’s drumming is worth particular note, as it’s not only solid, but also at times complicated. He doesn’t just settle for fills in spots where other drummers might have done so. The point is that Defeater hasn’t gone soft, nor is their fierceness unbridled. Instead, they’ve found a way to put it all together just right.  –Kurt Morris (Bridge 9)

The Night: 7”
Geez, guys, I guess all the good band names are taken, huh? Anyway, a reasonable outing by a Finnish trio that sounds uncannily like they’re fronted by Bruce from the Detonators. Solid enough batch of songs that are almost over before they start. Brevity helps, sure, but it’s all still a little unmemorable, and I really don’t think we need any more tunes about zombies, do you? Sorry, guys, gotta pass on this one.  –Keith Rosson (Dead Moose)

Self-titled: CD
As on prior EPs, these Swedes mix equal parts ‘60s beat rock and ‘80s new wave with modern recording technology and serve up with a combustible, beguiling stew that’ll get a body groovin’ and singin’ like a fool in a foreign language. Makes a guy wish American radio wasn’t so language-phobic, snooty, and irrelevant, ‘cause songs like “Paniken Växer” should be dominating the airwaves.  –Jimmy Alvarado (Gaphals, gaphals.se)

This Mess Is Home: CD-R
They call this their debut album, but come on guys, just ‘cause you put a hand-cut sticker label on a CD-R don’t elevate it from demo to album, especially with that boom box recording. Sorry, facts are facts! That said, this is something I actually wish I could hear properly. As you might suspect, this is in Antiseen / Hammerlock / Dwarves territory and with songs like “The Fuckin’ Song,” “How to Stuff a Taco” and “Drink My Life Away,” you know it’s time to crack a “cold Coors in a can” and use your favorite Yankee liberal’s picture for double barrel target practice. (Jokes, people!) Attention any Kentuckian with gear: help get these fuckers a decent recording! Also maybe a bassist.  –Chad Williams (No Hope In Hell, reverbnation.com/label/nohopeinhellrecords)

Perhaps You Deliver This Judgment with Greater Fear Than I Receive It: CD/LP
I’ve been curious to see how Crusades would follow up to their outstanding debut LP, The Sun Is Down and the Night Is Riding In. And their second album with an equally lengthy title, Perhaps You Deliver This Judgment with Greater Fear than I Receive It, is just as good, if not better, than the first. At ten songs (nine, if you don’t include the spoken word intro track), this thirty-three minute album is tight and punches hard. The band is still catchy as hell, which is really remarkable considering that the lyrical content centers around a sixteenth-century heretic, Giordano Bruno. Somehow they are able to take lines such as “Fear not the shaft; fear not the hunter’s aim: into the splendors of the living flame” and make them appealing. All of this just goes to show how well these four Canucks have been able to marry their metal and pop punk influences. The assault of three vocalists also impresses. The listener is never bored with one singer’s tone, as another one pops in on the next track (and sometimes even in the same song). They all complement one another well. The band certainly is making their metal influence felt on more than just some of the lyrics, though. There were times I heard Propagandhi (especially when the vocals and guitar were both exceptionally harsh), but Crusades stand unique in their lyrical content and preference to lean toward the melodic side of things as opposed to the thrash side. What I love about Crusades is that they are able to take my love for metal and channel it through my interest in pop punk (a guilty pleasure). While a normally carefree, often silly genre, Crusades make pop punk sound dark and slightly sinister. Perhaps You Deliver… is further proof of their unique place in the punk scene.  –Kurt Morris (No Idea)

Call of Death: LP
Misery can be inspirational. Poverty can breed meaningful art. Criminal Damage play top-tier existential street punk. Instead of working class bravado, questionable nationalism, and gang stompers, they create a bleak, high-contrast grey and black world. Call of Death is also an LP of disparity between its words and sounds. Textually, it’s Orwell future-present. Tough and godless. Cracked concrete, cracked teeth. Never-bright skies. Broken cities. Empty cupboards. Solitary drinking. Fucked fuckedness of which the bad fucking has no end. Lyrically, it’s in line with early ‘80s peace punk, thorned with spools of barbed wire cynicism, then wheat pasted over with the sticky hopelessness of modern existence. Musically, however, Criminal Damage burn brightly like a lighthouse, shining a path through ever-quickening darkness. Rough, melodic barking is buckled to knifey, slashing, guitar work. Snapping drums give this batch of songs a rigorous and crisp feeling. The enterprise is reminiscent of Blitz, Partisans, Templars, Cock Sparrer, and Hard Skin. Good company to have, in my book. Great record.  –Todd Taylor (Feral Ward)

Go the Hack: LP
Blunt instruments with outrageous torque moving cubic yards of dirt. There’s nothing pretty about the Cosmic Psychos, nothing complicated (fight, fuck, work, drink, lift weights, repeat) and that’s their charm. (One song’s just called “Pub.”) Go the Hack was their second full length, originally released in 1989 in Australia, and if there was ever a missing link between Lemmy Mötorhead’s no-bullshiting thud, mid-period Sabbath’s sonic rake of blood and tension, and proto-grunge, this’d be it. My memory’s that the Cosmic Psychos (formed in ‘82) and Beasts Of Bourbon predated what would happen in the Pacific Northwest in the early ‘90s, but since they weren’t ever as popular as their American counterparts (Nirvana, Mudhoney, L7, Soundgarden), that bit of grunge history gets glossed over in “official” reconstructions for sake of convenience and self-service, as should be expected. No matter. This is a welcome and timely reissue. Ross, Cosmic Psychos lead singer, continues to run his farm.  –Todd Taylor (Aarght, aarghtrecords.com / Goner, goner-records.com)

Self-titled: LP
Re-mastered version of this Australian band’s debut LP that originally came out in 1987. I’d never heard this band before, but after one listen I realized I’d obviously been listening to bands that have been influenced by them for years. It sounds like the missing like between The Saints and The Sultans. I also feel like there are exact riffs that Sex Vid would later play. Heavy, plodding punk that hits you like a punch to the gut, and then drinks all your beer. Solid, rockin’ tunes with sporadic, nasty guitar freak outs.  –Daryl Gussin (Goner / Aarght)

Self-titled and Down on the Farm: LP reissues
How can you not love a band that sings about the joys of eating sausage? The reason I’m not including Go the Hack here is because I already own the original, and it’s in good enough shape that I don’t need to replace it. Strictly budgetary reasons, you understand. Looking at the cover of the Go the Hack reissue, the only difference I notice is the color contrast seems sharper. Anyhoo, this is the kind of Aussie rock’n’roll I dig. Hard-driving, meat and potatoes type shit. And beer. On top of being able to finally own these early records, I got to see the Psychos at Gonerfest 10, as they toured in support of the Blokes You Can Trust documentary. Hadn’t seen them since 1998! The self-titled EP is not at all what I expected. The fuzz bass definitely drives the songs, as in many of their songs, but these tunes are more groove-oriented, some clocking in at six or seven minutes. Down on the Farm, however, cuts to the bone and gets me where I need to go! Thudding rock’n’roll punk. Working class music by actual members of the working class (singer/bassist Ross Knight still owns the farm). Goner truly scored with these records.  –Sal Lucci (Goner/Aarght!)

Black or White: 7” EP
Four bulldozing blasts of manic d-beat fury from these veteran Japanese punx. The metaphors for this kind of chaos are harder and harder to come up with but the music, thankfully, more than speaks for itself. Actually, the d-beat subgenre in hardcore as of late has been steadily impressive as is also evidenced by fellow ragers such as See You In Hell, Desperat, Kvoteringen, and Condition. Bitchin’ all around and worthy of those crumpled up, beer-soaked dollars in your camouflage cargo shorts, you filthy punker!  –Juan Espinosa (Insane Society, contrastattitude@yahoo.co.jp))

Confined: LP
Paint-by-numbers hardcore riffs and black-and-white collage politics can become pretty tiresome. The same sort of sounds and images have been recycled for over thirty years. Coke Bust, although treading familiar water, clearly obliterated the memo. They possess the doggedness of Econochrist and the vicious assault of hardcore trailblazers, like Deep Wound and Void, on the LP’s nine blitzing tunes (clocking-in under nine minutes). The songs maintain constant anger and pessimism throughout and never detour into cheeseball call-and-response territory. And it never feels like tough guy bullshit, even though Nicktape’s vocals make my throat itch. The longest song, “Red Line,” suggests more developed rage the next time around. Ultimately, it’s all supercharged stuff—albeit overly reverential—but, sometimes, familiar noises will suffice.  –Sean Arenas (Grave Mistake, gravemistakerecords.com)

Double Diggits!: CD
So this month, my education in pop punk continues with this reissue of the band’s sophomore release, Born on the First of July, and its follow up, From Scene to Shining Scene,with about another album’s worth of bonus tracks tacked on for good measure. I mentioned my continuing education above as I purposely kind of steered clear of the genre historically and have been happily brought up to speed by the wizard who assigns review material at Razorcake HQ. As remorseful as I have been about my past finds, I am perhaps even more remorseful that I never checked these guys out sooner. Had I done so, I would have found that these guys came up with some positively mean hooks and have a knack for writing some clever songs without coming off as overwrought. Thankfully, they leave the three-part harmonies at home too, which is refreshing. I was a bit overwhelmed at the sheer amount of material on this re-release. While it’s clear that this is a great value—two albums and the bonus material on one disc—it’s perhaps a matter of having too much of a good thing. I found that listening to the songs as individual albums was invariably more satisfying than listening to the full package.  –Garrett Barnwell (Fat Wreck)

CAR 10:
Self-titled: 7”
Car 10 is Japanese pop punk with this sort of dreamy feel to them. That is really the best I can explain it. That, and although they don’t really sound particularly like them, I was reminded of the Bananas. It all adds up to another great bands that I had never heard before. Another win for me –Ty Stranglehold (Snuffy Smiles)

Deep Ends: 9-song LP
Some things in life are pretty much figured out. Be wary of shenanigans like, “We’ve re-invented the pizza! This one doesn’t have dough!” Or “You thought you knew burritos? Try a wrap!” So why do dopes who are searching for identity through musical purchases fall for, “The re-invention of music! Kittens playing piccolos! You’ll shit yourself!” Oh, I understand the power of novelty, but c’mon, we’re trying to have some meaningful interaction between “lifestyle purchases” here. Canadian Rifle aren’t reinventing nothing, but they’re perfecting the ingredients, the recipe, the fire times, the delivery, the presentation. Up front is Jake’s gruff delivery (triangulated somewhere between Hot Water Music’s Chuck Ragan and Dan Padilla’s J.Wang), backed by strong, melodic, and much-happier-sounding-than-the lyrics bass and drums. By no way am I saying Deep Ends sounds generic or called in. Far from it. It’s like listening to craftsmen far past their apprenticeships and well into their mastery. You’re in good hands. Bummed-as-hell, dead-deer-smashing-through-windshield hands. But good hands nonetheless. They even add another option to songs to sing at funerals beyond Hickey: “Going to Get Fucked up When You Die.” No goals. No dreams.  –Todd Taylor (Dirt Cult)

…With Love: 2 x 7”
How bad ass would it be if the Beach Boys had recorded a punk album? That is what Cafeteria Dance Fever’s new double 7” reminds me of. In a world of punk bands who take themselves way too seriously, CDF is just fun music. As a side note, the theme of the cover art, a blood-soaked vintage prom a la Carrie, is continued on in a brilliant video for Night Of The Lepus, which I found on YouTube.  –John Mule (Hovercraft)

Luctus: LP
Don’t know about you, but I periodically need music that pecks my brain clean. So clean I can barely think outside the music. So clean that it’s a black hole in there. Music that’s all claws and talons and beaks ripping. Separate the decay from the bone. Rupture corrupting thoughts. Lacerate. Birds of prey on mental carrion. Luctusis a gnarly album, but like a flock of crows interrupted mid-feast, there’s also a dark, glistening beauty to their action, their pure movements, their outspread wings in flight. It’s instinct—death is a part of life. In more musical terms, it’s melody-and-bulldozer-at-the-landfill hardcore, symphonic crust that stands shoulder to shoulder (both in time served as a band and recorded output) with Tragedy and From Ashes Rise. Bümbklåått is bi-located in San Diego and Tijuana and one of the most underrated-outside-of-their-hometown hardcore bands in the country. Put down that melting, dripping flavor-of-the-week popsicle and get in on a long-running dark feast.  –Todd Taylor (Prank)

Self-titled | Split: 7”
Angry, middle aged and stupid... like me! Near-perfect sonic assault, with the goal of dumbing down your senses, fuck you very much for asking. This is Shit-Fi, pure and simple. So much so that I can’t tell if the chorus of “Not Getting Stabbed” are “at the record store” or “at the liquor store.” Could be—should be—both. Who wants to get stabbed anywhere, let alone at your two favorite retail establishments? Total Punk scores yet another winner with the first of these two 7”s. Man, Total Punk is the place to be these days. Total scum-punk (if you don’t believe me, check the liner notes on the Holotrash record). I’m pretty sure Giorgio Murderer is Mr. Biloxi in disguise, playing a synthesizer. Probably why he needs his shit back.  –Sal Lucci (Total Punk / Holotrash, buckbiloxi@gmail.com)

Welcome to the Revolution: CD
I believe it is my duty as a record reviewer of integrity and honesty to give each record I get a fair shot. This one was a case of true grit and extreme endurance. This is a live-in-the studio recording from 2005 from this Seattle outfit. Musically, these guys have some chops. The vocals left me cold. Cookie monster vocals just don’t translate to my personal enjoyment. They also cover a Venom tunes that has already been covered by over five bands. And when you are competing with The Meatmen, why bother? If this was my lump of coal for the holidays I will take it on the chin.  –Sean Koepenick (1332)

Self-titled: 7”
Riffy, speedy Slovakian hardcore. Fans of 625 Thrashcore’s catalog will enjoy this one. Buzzsaw guitars and ripping drums with vocals shouted in English. The record begins on a serious note (“Disillusioned”), tackling the state of the band’s homeland: “It’s been more than twenty years since the socialism fell. New regime blessed the highest class while the poorest people live in hell.” That second part seems sadly familiar here in the so-called oldest democracy in the world… But most good music needs balance, and these guys do that with a humorous tip of the hat to us record collectors on “Wax”: “Touch the plastic, sniff the cover. Diagnosis: vinyl lover!” Ha! Excellent seven-song debut with fantastic packaging.  –Chad Williams (Analog Freaks, contact@analogfreaks.net, analogfreaks.net)

Capitânia: 10”
Capitânia is the new release from the long-running Brazilian streetpunk band Blind Pigs. Celebrating twenty years as a band in 2013, Blind Pigs embarked on a lengthy tour of Brazil and reissued their back catalog, as well as this new record. Catchy without being corny, and belting out their sing-song anthems in Portuguese, Blind Pigs are definitely on the happier, bouncy end of the street scene. Not unlike Klasse Kriminale, it’s taken Blind Pigs a lot longer than it should to gain international recognition. In South America, they’re achieving Rancid-like status, but “Joe Slow in the back row” types are just now hearing about them. I too was a blind pig, but now I see.  –Art Ettinger (Pirates Press)

Three: 7”
Another killer release from these Kentucky punk/hardcore stalwarts. Very much in the same vein of their previous two 7”s: think heavy Greg Sage/Speedo riffage coupled with Rob Pennington’s unmistakable vocals. A dark, hard-rocking vibe with a hardcore spirit and the bleak, urgent sincerity that permeates this whole Louisville scene. Just awesome, as always.  –Dave Williams (No Idea)

Self-titled: 12” EP
More influenced by early U.K. bands like Stiff Little Fingers and Sham 69 than by North American punk, Vancouver’s Bishops Green hits the scene with this super six-song EP. Greg Huff’s vocals have such a refined high end, that it almost sounds like a studio effect at first blush. I bet he has a blazing stage presence. Even though Bishops Green is a new band, Huff is well known in Canada for being in Alternate Action, Subway Thugs, and Lancasters. Definitely a band to watch for; Bishops Green knows what it’s doing and is anything but green.  –Art Ettinger (Pirates Press)

En Memoria al Dolor: CD
Heavy-as-fuck, down-tuned, and dark hardcore from Tijuana, Baja California with a very bleak outlook on and contempt for the STD that is human life. It’s hard not to musically compare Bio Crisis to Tragedy (especially with the acoustic interludes) though they do an excellent job of affixing certain elements of their own to this style—such as an awesome acid-throated vocal delivery and varying drum beats—that keep the music from becoming stale and ineffective, as has become customary for most bands who think they can hold a candle to the Portland crust lords. For fans of Profane Existence bands and anyone who dares not wear a leather jacket to a Drop Dead show.  –Juan Espinosa (Bloodpact / Mundo En Kaos / Detesta / Culture War DIY/ Replenish / Negligent / Akracza / Tomorrow Belongs To Us, biocrisistj@gmail.com)

Self-titled: LP
One of many DC punk acts lost in the wake of the Dischord Records juggernaut that continues to serve as the de facto face of that town’s scene, Beaver was a hardcore act that released a smokin’ EP before a member or two went on to massive fame in Government Issue. As these tales usually go, said EP quickly went outta print and remained criminally obscure until the whole punk rarities gold rush pulled it from oblivion and suddenly it started commanding the kind of prices most folks wouldn’t pay for a large screen T.V. In his inimitable wisdom, the good Doctor has seen what ails average punters like you and me who love the tunes but not the exorbitant prices and has reissued Beaver’s recorded output—the EP tracks, plus assorted demo tracks—as a limited edition LP on snazzy black vinyl (white, if yer lucky, punk). The lion’s share of what’s here is classic harDCore, with short tunes meted out with a taut delivery, all of which easily stack up against the better known names of that scene. Only five hundred out there, kiddies, so I suggest ye get moving pronto before you’re again having to sell yer washing machine to procure a copy.  –Jimmy Alvarado (Dr. Strange)

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