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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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GEOFF WESTEN:
I’m Not Crazy: CD
When I first pressed play, I immediately heard a modern day The Cure or Depeche Mode. Nothing about the low budget packaging screamed new wave, so it was a pleasant surprise. I quickly scanned through the first few seconds of each track and everything was great: a voice reminiscent of Mark Mothersbaugh and dance-worthy beats. Things got iffy once the album played in full. While it was off to a good start, the lack of variety within each song coupled with the unnecessary length of them steers I’m Not Crazy into a snooze fest. Cuts like “Work Work” are everything I’ve ever wanted in synth pop—”I work 6-5, my mind is not alive”—sang over layers and layers of keyboards. But the ultra-cheesy ballad “Love Has Let You Down” easily crosses into the trying-too-hard-to-be-Tears-for-Fears territory. I’m calling it a wash. There is one thing of which I’m certain: if it was 1985 and John Cusack’s latest movie needed a soundtrack, this would be a strong contender.  –Nicole Madden (Disturbing Music, disturbingmusic.com)


GET IT TOGETHER:
Rebuild, Recover: 7”
This is the second release from the Scottish quartet and it pretty much carries on in the same vein as the debut 7”. There’s a punchy quality throughout with guitars blazing a melodic trail and drums whip-cracking away whilst monotone vocals bring a tough edge to the tracks. My first impression was that it sounded a bit like H2O due to the energetic and tuneful approach, and on further reflection, it’s a view that I firmly stick with. It’s a very good follow up and one that should bring the band some well-deserved plaudits.  –Rich Cocksedge (Make That A Take, makethatatakerecords@gmail.com, makethatatakerecords.com)


GIFT SHOP GIRLS:
Aloha, Paradise: 7” EP
As we all know, the best format for a hardcore record is an eight-or-ten-song ((nine is right out)) 7”; and, thirty years ago, this is what that would have been ((although nobody was really making eight-song 7” hardcore records any more thirty years ago, because everyone wanted to make albums and be metal, but whatever)). However, I recently saw an ad for some purported “hardcore” label, which boldly trumpeted “THIS IS HARDCORE” over a group of photos of their releases, followed by “THIS IS BULLSHIT” above photos of the records we used to call “hardcore” thirty or thirty-five years ago, when we were inventing the genre ((you’re fucking welcome)) but apparently screwing it all up for everybody. With this new HC/BS revelation in place, I guess this record isn’t really an eight-song hardcore 7” in the eyes of whomever currently controls that word, it’s an eight-song “bullshit” 7”. WELL PARDON US ALL TO FUCKING PIECES, WON’T YOU? It sounds decent enough to me; seems like a logical successor to the We Can’t Help It If We’re from Floridacrowd. Carry on. BEST SONG: Songs are bullshit! BEST SONG TITLE: Song titles are bullshit! FANTASTIC AMAZING TRIVIA FACT: Fantastic amazing trivia facts are also bullshit, but it should be noted that the word “straight” in the song title “Straight and Narrow” is missing an “a” on the back cover.  –norb (Passion On Plastic, passiononplastic.com)


GRAND ROSES:
Built on Schemes: CD
Here’s something you don’t come across every day: indie rock from Sweden. They have a sound that packs a punky wallop but refrains from failing to that genre’s staid conventions, dramatic without going too over the top, and melodic without resorting to pop clichés. They manage here to evoke the best of the genre’s 1980s glory days without sounding like a tribute band encased in amber. Impressive.  –jimmy (Noisolution, noisolution.de)


GRANNIES, THE:
Ballsier: CD
Wigs, strippy leggings, moon boots? Man, these dudes make positively hideous-looking ladies. Once I forget the wild attire sported by the band and get the CD going, I hear bass-heavy rock’n’roll with some bluesy riffage and/or noodling. An obvious nod to Motörhead called “Corner of Fuck and You.” There’s a Slaughter And The Dogs cover and a Beastie Boys cover. Then for no reason there is a remix of the Motörhead-sounding number by Ben Addison. He’s some acid jazz musician who makes the sound—like that bit with the cheesy instrumental song with the equally cheesy graphics at the beginning of a movie that tells you to shut your cell phone off—not unenjoyable though. And, finally, one more remix by some dude named Matt Flores, who probably loves the Flaming Lips. He remixes a tune by the name “GlitterShitter,” that he turns into some weird ambient-trans-house-electro thing. All in all, I was left scratching my head, but it’s clear, Ballsier is a solid homage to sex, drugs, and a dude’s junk. If you have a tiny mulleted rocker dude inside of you who would trade his left nut to high five his own dick just once... The Grannies are for you, and him. –Jackie Rusted (Saustex, saustex.com)


GREAT ST. LOUIS, THE:
Forever Now: CD
This is a really gruff but really likable record from this band hailing from Bolton, U.K. I’m not sure exactly where that is, but I’m sure these dudes like to tip back a pint from time to time. I am digging “Endless Summer” and “Robbie Jones” on this one. I am willing to give them the benefit of the doubt that they didn’t know that a famous ‘80s band had the same album title. You should too.  –koepenick (JSNTGM, andy@jsntgm.com)


GRIDE / SIDETRACKED:
Split: 10” EP
Gride’s introductory tribal drum beats briefly evoked memories of awful, awful bands like Soulfly; memories I’d much rather forget. As misleading as those few seconds were, the rest of their side of the split flows along nicely in a Daughters meets Dillinger Escape Plan sort of way. Sidetracked: I’m just going to say what everyone else is thinking. Hey Sidetracked, Lack Of Interest called and they want their sound back! I jest, of course. The similarities are undeniable, however: stop-on-a-dime bursts of powerviolence and hardcore with the urgency of a straight razor to the veins vocal delivery. I’m sure Sidetracked can take my joke with a grain of salt the same way Lack Of Interest endured the endless Infest comparisons. Great stuff.  –Juan Espinosa (Insane Society, insanesociety.net / sidetrackedhc.blogspot.com / gride.core@tiscali.cz)


GURR:
Self-titled: Cassette
Gurr are an all-female band from Berlin, Germany. This tape kicks ass. Extra points awarded for the cover: the iconic image of Olympic figure skater turned leg-busting, shot-calling, cheater Tonya Harding, crying to the judges over her broken shoelace, her leg raised up above her waist, with “Gurr” written on a place that doesn’t often see the light of day.  –John Mule (Drug Party, drugparty.storenvy.com)


HARD LEFT:
We Are Hard Left: 12”LP
Hard Left’s debut LP has the same self-described “utopian oi” sound as previous EP releases, with their signature street punk/hard mod sound with the pop sensibilities of The Jam. Songs with sweet melodic hooks, like “Hard Left Rules Ok,” “Stay True,” and “Holiday” are standouts. It’s got the gruff Johnny Rotten style vocals that you’d expect with street punk, but the melodic, upbeat guitar sets the tone, with bass that runs, skips, and bounces along with’60s pop drumming. Hard Left has strong political proletarian theme—but its void of the darkness which usually comes along with a strong leftist message—and the lyrics are delivered with extreme optimism. It should be noted that members of Black Tambourine, Lunch Box, and Boyracer make up Hard Left, which may in itself pique some interest if you are familiar with those indie pop bands.  –Camylle Reynolds (Future Perfect)


HEXTALLS, THE:
Play with Heart: CD
If you don’t even crack a smile when reading the song titles on this record, then you may have no pulse. I jest, but they are really freakin’ awesome. The music is toe-tapping, too. I did not know that the ‘80s hit “We Belong” was not written by Pat Benatar. As Spock would have said—“fascinating.” Don’t eat cereal on the train while listening to this record. You will probably spit milk all over your seatmate. It’s that good.  –koepenick (Self-released, thehextalls@hotmail.com)


HIEROPHANTS:
“I Don’t Mind” b/w “The 16th”: 7”
What is it about the Southern Hemisphere? Why are Aussies and their neighbors so good at post-punk and jangly garage stuff? Is it because they never overdo it; the guitars and drums propulsive but never aggressive? Is it because they know organ is something you should add to every song? Should we all work towards eventually living in a place where it is summer in December? Hierophants are convincing, good-time party people on side A and convincing, gloomy realists on side B. I just read an interview with one of the band members and he said that mohawks, studs, and tardiness are the most unpunk things ever. Sold. –Matt Werts (Goner, goner-records.com)


HOLY SHIT:
Old Hat: 7”
As one of the fastest and best releases I’ve heard in a minute, this 7” gives me complete and utter faith in punk rock again and upholds the notion that Milwaukee bands rule everything around us. Guitars frequently switch from spurting into manic strokes and rotating into break down as vocals. The vocals are reminiscent of Dez Cadena and bark through to me between the manic feelings this record brings. Raw, rich with anger, and rich with feeling, I am once again left with wanting more: more songs, more records, more shows, more anger, more passion. I can’t stress enough how much this makes me feel, and how purely fun it is. I am truly in love with this record.  –Genevieve Armstrong (Vinyl Smash, vinylsmash.com / Cat Trash, cattrashrecords.com / Dirty Hippy Barn)


HOOT HOOTS, THE:
Colorpunch: Cassette
Better than the blinding wrap-around rainbow artwork would have you think. The Hoot Hoots play the kind of power pop that you can tell was intended for dancing from square one, and I feel like they don’t really hit their stride unless they’re playing off a crowd at… really anyone’s party, bat mitzvah, or birthday, or hip wedding reception; they’re that accessible. As far as the CD goes, I have to admit that the songs can start to drag after the fourth or fifth catchy hook; it all kind of blurs together until it just sounds like whatever band is opening for The Shins or Vampire Weekend. I’m not calling it bad, just calling it what it is.  –Indiana Laub (Self-released, thehoothoots@gmail.com, thehoothoots.com)


HOT DOLPHIN :
Negative Fun Singles Club: 7”
This is kind of an interesting sounding record. Very lo-fi and noisy, which seems to be covering up an almost U.K. street punk sound underneath. Basic songs that kinda remind me of Blitz, but there is so much muck and goo over the top that the record ends up sounding like something that might be on HoZac records or something. Those of you who are into weird punk, or shitgaze, or mysterious guy hardcore and the like would probably be into this a whole lot.  –frame (Negative Fun)


HOWARDIAN:
Land of the Low Tides: Cassette
Howardian is the solo project of Japanther’s other half, Ian Vanek, out of Olympia, WA. Super fuzzed-out guitar and a drum machine. It’s gritty and dirty garage rock. One of the lines in the first track is: “You can’t fuck with a child of reggae.” I really don’t know what that means but I’m not willing to find out. Sound clips are littered throughout the album to break up the tracks. The last track is a collage of looped sound clips over some lo-fi drumming that I’m really not into. “Chunking” on Side A has real pretty guitar work that reminds me of early Cure. However, that song and “Marble Meshes” right before it, are both instrumental. Whereas the first one feels like it drags on way too long, the closing track more than makes up for the monotony of “Marble Meshes.” The record is a great effort, full of experimental weirdness that bands like Japanther are aces at, but I’m personally not sold on it yet. Might take a few more listens before it grows on me. If you’re into bizzaro, synthy art rock, this is your jam. But while I was once really into Don’t Trust Anyone Over 30,that adage applies to me now, so I guess you’re on your own here.  –Kayla Greet (Bufu, bufurecords.com)


HUNG UPS, THE:
Love Sick: CD
This is solid offering of stripped-down, no-frills punk rock and it gets my stamp of approval for that. Musically, The Hung Ups remind me of a slower-tempo Teenage Bottlerocket sewn together with ‘90s EastBay stuff. Songs about punk rock and punk rock girls and sociopaths—can’t go wrong with that, usually. Good harmonies, too, but sometimes they get a bit lost in the mix. I guess I must really like this record, because I don’t have that much too say, which is a good thing in my world. The Hung Ups have been worth my time, to be sure.  –The Lord Kveldulfr (Pizza Girl)


HUNNY:
“(Leave Me Alone or) Suck It” b/w “Felix Tone”: 7”
Pretty bitchin’ couple of tracks from these L.A. locals. Any record that forces me to re-examine what speed I have my turntable set to is already good in my book. In addition to that, I was certain it was warped as well. Looking closely, the record itself was not warped, only the music on it. Extra points for swirly, poop-brown vinyl.  –Garrett Barnwell (Laptop Smashing Party, laptopsmashingparty.bigcartel.com)


INSTIGATORS:
Nobody Listens Anymore: LP
The English band Instigators came to my attention in a huge way when the crucial Cleanse the Bacteria compilation came out in 1985. It was like a new world of smack-you-upside-the-head brand of super catchy politico punk. Once I was finally able to get the LP a year or two later, I played it to death (no really, my copy is beat to hell from over play). This thirtieth-anniversary Ruin Nation re-release contains the original LP as well as the Blood Is on Your Hands EP. Closely connected to the Subhumans (both bands records were on Bluurg) with a somewhat similar sound, albeit less quirky and more straight-ahead powerful U.K. punk. Lyrically, these guys had an extremely heavy anti-vivisection angle, which dates the lyrics somewhat, but make it an excellent representation of what was going on in the anarcho punk scene thirty years ago. I hadn’t played this record in probably fifteen years and I’m stoked how well it holds the test of time.  –Mark Twistworthy (Ruin Nation, ruinnation.org)


INSTIGATORS:
The Blood Is on Your Hands: LP
The Instigators appear to have had the unfortunate luck of being a punk band during the ‘80s in England when their peers inadvertently cast quite the shadow over them. Periodically, they’re on the same musical map as Subhumans, Flux of Pink Indians, Conflict, and other politically minded/aware punk bands. This record collects their The Blood Is on Your Hands 7”, as well as some compilation tracks and demo recordings, which appear to have the sharpest teeth in the lot. Sadly, the Instigators were never cut out to enjoy the same success and accolades as the above mentioned bands due to only moderately impressive songwriting. A fun listen, but nothing to trade your Crass records over.  –Juan Espinosa (Ruin Nation, ruinnation.org / Skuld Releases, skuldreleases.de)


INSULTS, THE:
Stiff Love: 7” EP
Is there room in your world for the second-best ode to fellatio of the Killed By Death era? Is there room in your mouth? VILE TEENAGE MOSQUITOES ON A CUM-FUELED RAMPAGE!!! I guess this is what people mean when they say “it is what it is.” It totally is! BEST SONG AND SONG TITLE: “Stiff Love.” FANTASTIC AMAZING TRIVIA FACT: LP of unreleased Insults coming! Alert Jackie Mason!  –norb (Last Laugh, lastlaughrecords.us)


JACKALS:
Violence Is…: EP
The market town of NorwichEngland has never been the hotbed of hardcore (Deviated Instinct excepted), but Jackals are trying to put that town on the map. Remorseless hardcore bringing to mind the glory years of U.K. hardcore (that’s the early ‘90s if you didn’t already know), when bands like Suffer, Urko, and Health Hazard ruled that mean little island. For the new kids on the block, think Integrity mixed with some of the new wave of British hardcore like the Flex or Arms Race. If that means nothing, then think in-your-face political hardcore with dual vocals that hit like a brick to the mouth. Boss.  –Tim Brooks (Hardware, hardware-records.com)


JAIL SEX:
Self-titled: CD-R
Pounding, no-frills hardcore akin to bands like Out Cold—virulence set to an ooom-PAH-ooom-PAH-ooom-PAH beat. They wisely keep things short, sweet, and simple—yet know when to change up and keep things from getting too repetitive—and put some muscle behind a singer who likely needed a mouthful of throat lozenges four seconds into the first tune. No overstaying their welcome here, you get six tunes in nine minutes and you’re left wanting more. That’s how it’s done, kids.  –jimmy (Jail Sex, facebook.com/jailsexatx)


JAMES REESE & THE PROGRESSIONS:
Let’s Go (It’s Summertime): 7”
Here’s an odd find—a rare funk record from 1969 turns up in the review pile at Razorcake HQ. At least, so it appears to be. There’s a chance I acquired this 45 previously and forgot about it; but otherwise, all signs point to someone sending a copy of this rarity in for review. It’s never been reissued or bootlegged. Not in this format, anyway. Quite fascinating. Well, I have to say, I’m not overwhelmingly educated in this genre… so commenting on the quality of the music is a little subjective for me. Although, I can confirm it’s an extremely pleasant listen. Solid, horn-driven, instrumental funk. Not to mention, from its original era to boot. Judging from the research I’ve done, sounds like it’s comparable to scale of a KBD punk record, if OG funk and jazz is your sort of thing.  –Steve Adamyk (Najma)


JASON BANCROFT AND THE WEALTHY BEGGARS:
The New American Folk: CDEP
After listening to The New American Folk, I have a strong urge to go train hopping and catch fish with my bare hands. It’s one of those folky punk albums that’s rife with social commentary and DIY ethic empowerment. What Bancroft’s voice lacks in range is made up with gruff sincerity. If you like Chuck Ragan at all, you’ll like this.  –Nicole Madden (Self-released)


JOHN WESLEY COLEMAN:
“I Feel Like a Sad Clown” b/w “I Found a Home”: 7” and”Radio” b/w “Aliens”: 7”
I don’t know how close these two records were released, but I got them at the same time, so they flow together in my mind, and probably always will. The moods of John Wesley Coleman are many, and on these records he seems to feel a bit out there. “I Feel like a Sad Clown” is probably closest to his fleshed-out, full-band Goner records, and excites me most because of the lines about “clown shoes.” Ten years or so ago, some friends and I used the phrase “clown shoes” to describe anything super silly or ridiculous. I thought one of us came up with the phrase, then I overheard a complete stranger use it, in a different state even! So, Mr. Coleman, whatchoo talkin’ bout? The Spacecase 7” (their second JWC release) is dayglo orange, and has a more solo, home-fi feel, although it is recorded with a full band. “Aliens” gives me Roky Erickson vibes. If you like JWC, you probably already own this. Or maybe you gave up because he’s über-prolific and you’re overwhelmed. Don’t miss out on this, I says.  –Sal Lucci (Spacecase, spacecaserecords.com / Windian)


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