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No Idea Records

Record Reviews

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All We Love We Leave Behind: CD/LP
At this point in their career, Converge’s songs, as well as their albums, are all starting to run together for me. The early albums (Petitioning the Empty Sky, When Forever Comes Crashing) will always be distinct, primarily because of the rough nature of the sound. Something happened, though, when the band got to 2001’s Jane Doe that catapulted them to a whole new level. Since then, thanks in part to guitarist Kurt Ballou’s consistently sharp production work, the band has maintained a professional but aggressive sound. While the albums since Jane Doe have all been masterful, there has been little to register any difference in sound between You Fail Me (2004), No Heroes (2006), and Axe to Fall (2009). They’re all brutal, intense, and have Jacob Bannon’s shrieking, wounded bird vocals. They’re all competently played and continually showcase Converge’s power and dominance as kings of the metalcore scene. While each album since Jane Doe has had its one or two slower songs, I wish there was a little more experimentation on some of the songs on All We Love We Leave Behind—something to really make them stand out. All We Love We Leave Behind has fourteen songs clocking in at thirty-nine minutes. They are still intense and the “slower” song on the album, “Coral Blue,” might be the best “mellower” tune Converge has ever done, with a bluesy riff thrown in on the chorus. The rest of the material is blistering, pissed off, and runs together. Don’t get me wrong—I’ll still be banging my head and freaking out to this when I’m alone in my bedroom, but I’d just love for there to be some more distinction in the sound with this album. –Kurt Morris (Epitaph / Deathwish)

All We Love We Leave Behind: CD
When your band’s discography includes genre- and era-defining albums like Petitioning the Empty Sky, When Forever Comes Crashing, and Jane Doe, I’d imagine that approaching the writing of a new album is a gut-wrenching experience. Lesser bands try to recapture the lightning in the bottle of their earlier glory, churning out record after record of derivative clones of their first successes but never quite recapturing the magic of the original. Converge though, are not a lesser band, and the trails they musically blaze on every album seem to take the band to even more towering heights of greatness. While countless others have tried to imitate them over the years, Converge have a chameleon-like way of reinventing themselves on each new album, each time bringing something that is both fresh, but distinctly their own. All We Love We Leave Behind is no exception. The blistering metallic hardcore fury that we’ve all come to expect from Converge is all over this album. Guitarist Kurt Ballou and bassist Nate Newton each demonstrate their virtuosity, with some of the most technical playing of anything in the Converge catalog. Having one of the best drummers in hardcore, Ben Koller, holding down the rhythms, and the end result is spastic, aggressive, and also really damn catchy. There are some great riffs on this record, sure to please hardcore and more metal aficionados alike. Vocalist Jacob Bannon has always been one of my favorite lyricists, and on tracks like “Aimless Arrow,” “Sadness Comes Home,” the title track, and the closer “Predatory Glow,” he’s written some of my favorite Converge lyrics. Bannon is known for having one of the most distinct, guttural, and abrasive voices in hardcore, with a howl more terrifying than the scariest banshee screams. On All We Love We Leave Behind he also demonstrates a very dynamic range, with spoken word and sung-spoken parts as in the opening track “Aimless Arrow.” This dynamism only serves to make his voice that much more impactful. After dozens upon dozens of spins, I can’t even begin to choose a favorite track on this album. 2012 has been one of the best years of music in recent memory, and All We Love We Leave Behind is quickly clawing its way to the top of my list of albums of the year. It is not only Converge’s finest record since Jane Doe, but is arguably the pinnacle of their career to date—a musical triumph not to be missed. –Paul J. Comeau (Epitaph, info@convergecult.com)

Some Sick Joke: 7” EP
Some heavy duty Boston hardcore here that’s out to pummel the listener into compliance. Of the three tunes here, only one goes the thrashy route, with the other two opting for intensity and sheer brute force instead of dazzling tempo trickery or metallic masturbation. Stuff like this can go either way, and these guys are firmly planted on the “whoa!” side of the road this time out. –Jimmy Alvarado (Side Two)

Self-titled: LP

This album is comprised of an enjoyable load of ‘60s-inspired, three-chord punk riffs. Heavily distorted bass and vocals, tambourines, and naturally distorted guitars are in play for danceable, Back from the Grave phrasing with a hint of Reatards influence. They meld the “about to fall apart” feel with solid playing moving in and out of full-on, driving beats and jumpier fare. Well done. You should get this album and slip it in with your party records and then wait for someone to say: “Who is this?” Then you can say: “Oh, you never heard of Combomatix?” Then the other person will be like: “Oh, yeah. I think I’ve heard of them.” And so on. What I’m getting at here is that it’s pretty rockin’ for fans of lo-fi-fare, or whatever term we’re getting attitude about using now.

–Billups Allen (Frantic City; franticcity.free.fr)

Oddities: 2 x LP
One of those times where I came upon some gold in the review box here at the Razorcake bunker. I’m thumbing through, picking out stuff to review, and I see this gem. Thought for a couple minutes Alan Funt might come out and tell me I was on Candid Camera or something. Grabbed this, and soon as I came home, put it on the stereo and was blown away. Originally released on cassette in 1982, and now on vinyl in 2012 via 540 Records. This stuff is B-sides and other odds and ends recorded between 1980 and ‘82. The sound quality is not that rough when you think about where it came from and what it is. Stuff like “Thumbs Off” and “Getting Older” is classic. “Mudchucker Blues” pre-dates bands Pussy Galore and Jon Spencer Blues Explosion and comes out of left field in comparison to the more poppy flavored songs here. Some of the material towards the end is more fragmented and sounds like they were working out some ideas. However, it’s all worth spending many afternoons with. Packaged in a gatefold cover, with flyer art on the inside. A must-have for purveyors of fine music. –Matt Average (540, timmy@chaosintejas.com, chaosintejas.com/540/index)

Punks on Parole: CD
So this Danish band has been around for the last twelve years or so. My question is: why aren’t they better known? There is some great punk rock going on here. Being influenced by the best in American and British punk and hardcore, but still managing to keep it sounding fresh is no easy task, but these guys are on it. Raw and catchy is special here and they’re serving it up. Now I’m on a mission to track down their other releases. Great stuff! –Ty Stranglehold (Black & Blue, blackandbluerecords.com)

Land of the Free: 7”
Decades down the line and CH3 are still kicking out a couple o’ new singalongs for yet another generation of kids who appreciate a band with more on their mind than getting fucked (up). This time ‘round, they address the narrow-mindedness of some in the “Land of the Free” and, on “Make It Home,” surviving domestic violence. Both handily make their point without being preachy and do it with a sound that has matured without sacrificing power and their signature style. Also comes with a download card that tacks on five more tracks to the deal, including another duet with Maria Montoya, who the older fans will remember from her last stint with the band on “You Make Me Feel Cheap.” As with most Hostage releases, there are a limited number of these bad boys out there, so start scramblin’. –Jimmy Alvarado (Hostage)

Audiorape: CD
This is some really weird outsider stuff with bad lyrics sung-spoken off-key over generic guitar riffs. He sings about being depressed and how TV and junk food are bad for you and how you shouldn’t download illegally. It’s really, really bad, maybe some of the most hardcore of outsider music fans could get some pleasure from it, but even that’s a reach. Stay away. –Craven (Frey Nation)

Voyager: LP
Long-running Virginia band The Catalyst infuse the full-throttle grooves of stoner metal with metalcore’s element of surprise. They avoid each genre’s pitfalls—monotony, technically impressive but unfocused songs—and come out with an album that blasts forward like a comet. Suggested for fans of High On Fire and Coalesce. I will now name the dances that I did while playing this record, to give you an idea of the bearded space voyage that I went on in front of my stereo: The Funky Dracula, The Chopper Revver, The Bass Machine Gun, The Wiping Condensation off the Window of a Space Vessel. Might I also add that “Voyager” is a treat to look at. There is a molten fire hawk on the cover, a burning planet inside the gatefold, and the record itself is an orange and yellow vinyl supernova. Oh yeah, and they named a song after the high school I graduated from. –CT Terry (Forcefield)

CAR 87:
Trapped: 7”
Brutal hardcore punk coming out of Vancouver. This kind of hatred and nihilism brings Poison Idea to mind and that is never a bad thing. These guys don’t exactly sound like Portland’s heaviest, but I get the same feeling when I listen to the record. If you have ever been to Vancouver’s DTES (downtown east side) then you know where these songs are coming from. It’s an amazing first release. I can’t wait to hear more. –Ty Stranglehold (Car 87, facebook.com/careightyseven)

Toytowne: 12” EP

Cairo Pythian is a one person recording (and occasionally performing) project from Olympia, WA. Its 12” EP Toytowne comes to listeners from the excellent Olympia-centric label Perennial Death. The label has a knack for putting out releases by somewhat obscure, but deeply talented artists. Cairo Pythian fits right at home in this company. A bit enigmatic, he describes his music as “adult contemporary,” and claims no affiliation with a local scene. Only occasionally performing, Cairo Pythian seldom even practices or writes outside the immediacy of the recording studio. What he crafts in that setting is dark, brooding, and hypnotic synth pop, calling to mind progenitors of the sound while at the same time crafting something fresh and unique. Side A of the starts with a few simple notes and builds up from there into a steady, but subdued beat which he sings over. The simplicity and repetitiveness of the beat gets it caught in the listener’s head, making them hang on every word of the vocals. There’s only a hint of silence as the first song fades before the driving beat of “Dark End,” kicks into life. The subdued beats of the track “Matthew Churchill,” follow. Side A concludes with “Colouring Book,” which has an echo-y, droning opening before mellowing into a series of synth riffs that build off one another. If a robot’s dreams were turned to music, I think they’d resemble the sound captured on this track. The opening track of Side B, “White Wicker,” is less synth-driven than the rest of the record. Featuring a spoken word intro, it is a guitar and drums track with a lot of reverb on the part of the guitars, and a pretty badass saxophone solo. Olympia is apparently all right if you like saxophones, and “White Wicker,” is a kicker of a song. The whole record seems to ebb and flow with intensity. “White Wicker,” gives way to the mellow “Puce Cross,” followed by the very danceable “Naked under Suede.” If there’s a track on this that I could imagine getting spun at the club, this is the track. Toytowne ends with “Laced,” another mellow track that winds the record down to its conclusion. The more I listened to this record, the more I kept wanting to listen to it, and it has occupied my turntable for a number of hours. While not something I’d normally be into, I found every track on this record infectious, and couldn’t get enough.

–Paul J. Comeau (Perennial)

Self-titled: 7”
Four sturdy, three-chord rockers with snotty vocals. The lyrics address hatred for those “Weirdos on the Street.” “Shut the Hell Up” and “Shut the Fuck Up” convey similar sentiments, but who’s counting? Catchy, snotty, negative and addictive. A band to look out for. –Billups Allen (Orgone Toilet; facebook.com/Orgone-Toilet)

My Hateable Face: LP
Underdog pop punk from Jersey with self-deprecating lyrics about cigarettes and loneliness. The songs are midtempo and pound, thanks to a strong rhythm section. Choice song titles include “Frozen Firecracker” and “Cheap Gasoline.” If you told me that I saw this band with Plow United and Garden Variety in that sweet part of the mid ‘90s when Green Day had already made everyone like pop punk, but Blink 182 hadn’t yet brought it to Party of Five, I’d totally believe you. –Guest Contributor (Don Giovanni)

Fuck You Forever: 7”EP
At their core, Brain Tumors are a band that mete out potent hardcore that eschews any metal trappings in favor of sloppy, full-bore thrash. The devil’s in the details, though, with sly hooks embedded into the tuneage, over-the-top performances, and obligatory slower sections that don’t come off as obligatory. Dunno where Deranged finds all these sick friggin’ bands, but this is another winner. –Jimmy Alvarado (Deranged)

Silver Age: CD/LP
Bob Mould’s latest solo album arrives twenty years after the release of Copper Blue, the much-heralded album from his power pop band, Sugar. Interestingly enough, despite being a “solo” album, Silver Age is quite reminiscent of Mould’s former act. These ten songs clocking in at thirty-eight minutes are power pop rock (and do I still hear a little bit of the Hüsker Dü angst in there, too?). Drummer Jon Wurster of Superchunk and bassist Jason Narducy of Telekinesis form a great backing band with energy and strength to match Mould’s. There is a confidence in the sound and Mould’s voice that emanate positivity and strength. Sure, this isn’t as good as some of Sugar’s best material (and it’s entirely different than Hüsker Dü, although it does retain some of the sincerity and vigor), but it’s a solid album that Mould should be proud of. “The Descent” is one of the most infectious rock songs I’ve heard in a while and the other material makes for good driving music. There’s a lot of positive vibes on here and, despite being in his fifties, Silver Age shows that Bob Mould is still writing some great material. Aging Hüsker Dü fans, check this one out. –Kurt Morris (Merge)

I Am Death: LP
I’m definitely enjoying the resurgence of death rock these past couple years. Blue Cross definitely stand out. I was in Extreme Noise a couple months back, and they were playing this. My friend was losing his mind over it. “Gah!! Who is this? Are they an old band?” Nope. They’re new (a two piece, whose members been in/are in bands like Germ Attak, Iron Dogs, etc.). I showed him the LP and suggested he add it to his foot-high stack of seven inchers. Seriously, if you like the dark and cold stuff, you will love this record. Think early Siouxsie And The Banshees, but far darker. As though they mated with Christian Death, and this is their hell spawn. The guitar has that nice and dark sound, as well as those ice cold notes that have a way of bleeding all over the place, and creating this air of despair. Then there’s the bass that lurks under it all, guiding you further into the gloom. The rhythms are plodding at times, and rumbling others. The vocals have a slight echo going on, giving them an otherworldly quality. “Coming Back to Haunt You” and “The Man That You Fear” are nothing but despairing, whereas songs like “No Redeemer” and “Driving Spikes into Flesh” are more defiant. The song, “Despair, Don’t Care” is the most upbeat and has a riff and outro very similar to the Adolescents “Amoeba.” Perfect listening for the lonely hours. –Matt Average (Noxious Noize, noxiousnoize.blogspot.com)

Just Your Type: CD
According to their website, they’re self-described “prog-punkers.” While I ain’t hearin’ the “prog” part of the equation, I am definitely hearin’ the “punk”: simple, catchy, thuddy punk at that, with names like “The Day the Sun Explodes,” “Anti-Social Media,” and “Radiation Sickness.” As with many of their Northwestern peers, they take that SoCal beach punk template and just run riot with it—hooks aplenty, pummeling power chords, and some nice backup vocals to boot, with the results sounding reminiscent of both The Epoxies and something that could slip in on Dirtnap’s roster without anyone blinking an eye. –Jimmy Alvarado (The Bloodtypes, thebloodtypes.bandcamp.com)

Spanish Dictators: EP
For the uninitiated, the Messthetics label specializes in hyper rare DIY punk and power pop back from the dark ages. It makes the Killed By Death series of compilation LPs seem like fuckin Green Day in terms of obscurity. I have no idea how this dude finds all this shit, folks bashing away in their garage in Hay-On-Wye in ‘81, making cassettes even their own family never heard. Some of this stuff is really great… hidden gems. This??? Garbage… buncha dudes noodling in a garage somewhere. Not the least bit punk… no hooks. They pressed a 12” of this shit in a pressing of 465 in ‘81 and still had 125 in 2011. Unsurprising. Terrible. –Tim Brooks (Messthetics)

“Nineteen” b/w “Things Fall Apart”: 7”
Truly original hardcore punk! This band is all about execution. Tilting my head like a perplexed Jack Russell Terrier, I was hooked from the first time I saw their name on someone’s shirt. Bill Bondsmen? Awesome. On this record they crank out a double dose of dynamic, vicious, degenerated, mutated punk, and then leave you helpless, listening to a lock groove for about thirty seconds before you even grasp what just happened. Silk-screened cover, self-released by the band, highly suggested. –Daryl Gussin (Bill Bondsmen/4TG Procrastinations)

Self-titled: LP
Now that mainstream rock is dead, there’s a new rise of garage rock (that, truth be told, has been happening since the White Stripes’ released their 2001 album White Blood Cells) and I for one welcome our new fuzz-oriented overlords. Bikes is the sound of the Stooges, with the execution of Ty Segall and the energy of a Dirtnap band. I can’t help but look fondly on this new nostalgia we’ve collected in rock’n’roll. More than anything, a musical history should encourage re-exploration. The maps were drawn by artists in a long-ago time, but that doesn’t mean they’re accurate or even complete. Bikes, keep on keeping on. –Bryan Static (Bachelor, bachelorrecords.com)

Elegant Balloons: CD
I really liked this a whole bunch. Bedford Falls sounds like a British version of late-‘80s early-‘90s melodic punk-derived rock’n’roll the likes of later-era Hüsker Dü, Moving Targets, the Lemonheads after they were punk but before they went totally hippy-dippy, the Goo Goo Dolls after they were punk and before they made their sappy, watered-down fortune, and Hang Time-era Soul Asylum. (Sound of dead horse being flogged.) It’s been a long time since I’ve heard a new record that can pull off this sound without sounding derivative or tributary, and BedfordFalls accomplishes that difficult task. Me want more. –The Lord Kveldulfr (Boss Tuneage, bosstuneage.com)

Sleep Eradication: EP
One of those bands that gets better with each release. They sound like they’ve been locked up in the practice room for weeks, or on tour for a year constantly playing. The songs are tight and the delivery is “brutal,” as I hear the high schoolers say at the bus stop. Eight blasts of harsh thrash on one side of a 7”! Hardly any breathing space between songs—they just rip into one after the other—creating the feel of a live show. I love how the bass opens up the record on the down stroke! Totally helps in creating this idea of hell breaking loose. The vocals are delivered fast as hell, making me think the singer must look like a rabid dog with slobber all around his mouth, and spit flying everywhere. The drums are played like they were meant to be busted on every song, and, best of all, despite these songs being played like there’s no tomorrow, there are some catchy elements in here as well. Music for the misanthropic and sleep deprived. –Matt Average (To Live A Lie, tolivealie.com)

2006-2008: LP
The Barbaras originally released their song “Day at the Shrine” on a 7” with a cover of The Urinals’ “Black Hole.” It was a good choice. The Barbaras often channel the ethereal energy that made The Urinals special. The infectiously catchy choruses are a stew of upbeat ‘50s pop riffs augmented with tasteful touches of fuzz and echo. “Topsy Turvey Magic” has nicely executed falsetto vocals and jumpy beats that make for enjoyable shore gazing. If Brian Wilson produced a Urinals record, this might be the result. It’s a nice beach accessory. –Billups Allen (Goner)

Save the Rats: LP
Hands down, Save the Rats is the sleeper hit of this review batch. I really wasn’t expecting much, and while the Banditas sound is actually a bit hard to pin down, I do know that I really, really like what I’m hearing. A female three-piece with a sound that’s a wildly successful amalgam of ‘60s pop, garage, country, and even gospel… and it’s coherent. And awesome. Frequently sweet “he done me wrong” songs coupled with a stunning solemnity that really works in their favor—it’s that sense of solemnity, coupled with the simple fact that these people sing really beautifully, that makes this record so rad. “Harmony Glass” is a perfect example of Banditas’ magic: a haunting and spooky reverb-heavy number laden with gorgeous harmonies and a slowly simmering rhythm section culminating a flare-bright ending. While that specific formula doesn’t stay the same throughout the entire record, the effect does. This is a great, great album. –Keith Rosson (Hard To Kill)

Vegas Soul: CD
Um, this is really fucking bad. Point blank. Pennywise meets Clutch in some kind of unholy brogasm. I can’t unhear this shit. –Ty Stranglehold (Squid Hat)

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