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No Idea Records

Record Reviews

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Below are some recently posted reviews.

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In Session from Maida Vale: 7”
A recent BBC session from a seasoned Manchester band. I might have pegged them for Californians, considering that these four tracks sound like they’re pulled straight from the hardcore side of ‘90s skate punk. The frontman spits out snotty political lyrics at lightning speed, about fifteen syllables per second, while the rollicking basslines recall the first couple of AFI albums. Simple and straightforward, but fun.  –Indiana Laub (5 Feet Under, kontakt@5feetunder.com, 5feetunder.com / Boss Tuneage, bosstuneage.com / Entes Anomicos, recontrapunk@hotmail.com, freewebs.com/entes / TNS, info@tnsrecords.co.uk, tnsrecords.co.uk)

Working Class Since 1832!: 10”
Very strange, goth-infused, slow, and brooding, this 10” is the sort of creative experiment that can give a conventional listener nightmares. Very well executed, from the recording on down, I don’t really understand what Resurrectionists are going for, but I’m not entirely against it. The cover artwork pays tribute to the early days of rock’n’roll, but the music is anything but danceable. Simultaneously interesting and frightening, Working Class Since 1832! is a hard nut to crack.  –Art Ettinger (Resurrection, getresurrected.com)

Never Trust the Living: CD
I thought horror punk had to include some rockabilly horseshit or a direct Misfits bite, but maybe all you have to do is have some spooky art and sing about being dead or whatever to pass, because with The Recently Deceased you mostly get clean metal licks while two singers trade off singing parts, sticking to those macabre themes. They try out all sorts of vocal styles, biting everyone from Danzig to Lux Interior to Dio and fail at all of them, sounding like a choked Bruce Springsteen, a vigorous karaoke singer, or, at their very worst, Homer Simpson (really!). The galloping power chords switch to gothic power ballads about being in love with the undead or some shit. All are well-played but don’t really succeed on any level. As someone who already thinks horror punk is shticky, cheesy, and trite, The Recently Deceased certainly didn’t sway my opinion, but they’re not completelywithout charm. I’m not reaching for something nice when I say this two-piece really seems to love what they’re doing, snotty critics be damned. Sure, I could say this about plenty of sucky bands I’ve reviewed here but I don’t. They really do stand out in that way, not enough to make me listen to it more than once, but there is that. They dedicate this album to their former band member and buddy who “(chose) a family and a life of saving lives over playing music” by joining the Baltimore City Firefighters. That’s kind of sweet.  –Craven Rock (1332, therecentlydeceased.com)

Self-titled: 2 x LP
If you’re looking for a Gun Club record, you may be disappointed by Ramblin’ Jeffrey Lee. As Cypress Grove, Jeffrey’s collaborator on Ramblin’ Jeffrey Lee, points out in the liner notes—Ramblin’ Jeffrey Lee enters into vanity record territory. Instead of his usual blues-punk hybrid, Jeffrey performs straight blues interpretations on Ramblin’ Jeffrey Lee, covering songs by Howlin’ Wolf, Skip James, Charley Patton, and Don Nix (“Goin’ Down”). Jeffrey was at his musical peak when this album was recorded (1992), and his desire to do a blues record was a reflection of his reverence for the genre that gave him a career. If you’re a seasoned Gun Club fan, this reissue is an absolute must; Jeffrey’s version of “Go Tell the Mountain” is worth the price of admission alone. Bang! did a great job with the packaging (double LP gatefold).  –Ryan Leach (Bang!, bang-records.net)

Pagan Day: CD/LP
CPC Gangbangs were a Montreal institution. As a matter of fact, the same goes for any other Roy “Choyce” Vuccino’s projects. Namely, Red Mass; who began to appear as if they were slowing down, given the extreme pace of releases they unleashed over the last number of years. Yet—coincidentally, while Red Mass are back at it on tour with King Khan & The Shrines—it all makes sense now, with the launch of PYPY. To top it off, the work that went into this album really shows. Vocal duties are shared, almost equally, with ex-Dutchess Says members, which makes Pagan Day even more dynamic. It’d be easy to compare them to Thee Oh Sees or The Stooges, but the latter makes much more sense. The apple doesn’t fall far from the tree for Choyce. Point being, anyone familiar with his work won’t be shocked by the outcome. It’s extremely well recorded. Not far from Red Mass’s self-titled album on Semprini. Yet, these tracks still have enough calculated grit to make it far from clean. A fine line that’s hard to achieve, and they’ve nailed it. One of the best releases of the year, thus far.  –Steve Adamyk (Slovenly, slovenly.com)

Quick Guide to Heart Attacks: LP
Coliseum rock…the band, not an arena. Ripping guitar leads and dark, obtuse lyrics. Some screaming (good), some singing (eh….). The songs have enough hook to interest, but may fail to burrow into memory without repeated listening. The production sounds thin at times, which could have delivered the dynamics to make this a slam dunk, but may prevent those repeated listening. Solid effort and a band that I imagine would deliver live. I’d like to put the LP and live pieces of the puzzle together and call myself a fan.  –Matt Seward (Manhattan Chemical And Electronic, manhattanchemicalandelectronic.bigcartel.com)

Stick to Your Guns: LP
Tattoo flash-styled album art of a pirate ship. Gorgeous red/orange/black splattered vinyl. Gruff, thick-necked oi with a propensity for wanky guitar solos. Lamentations about the workaday world, backstabbers, and binge drinking. Contains the immortal song title “Glass Half Fucked,” which has to be one of the funniest things I’ve ever read in my life. This label has some truly fantastic, convincing bands on their roster (Stranglehold, The Ratchets, Smalltown, Bombshell Rocks, Downtown Struts to name just a few) but Plan Of Attack unfortunately has some work ahead of them to reach that stature—Stick to Your Guns is a competent enough aping of the streetpunk genre (and maybe that’s all they’re shooting for) but for this listener, they’re gonna need a little something-something to separate them from the bevy of other bands that are tilling this particular field.  –Keith Rosson (Pirates Press)

Self-titled: 7”
Tough-as-nails hardcore from Illinois. It’s muscular and pounding, but retains a tunefulness that pushes the gang vocals into oi territory. I’m hearing ‘80s NYHC like Life’s Blood, maybe a couple pre-Rollins Black Flag riffs, and the sound of cinderblocks turning to powder. That’s Ebro from Charles Bronson on the mic…and drums. I think this is their demo, missing a couple songs.  –Chris Terry (Deranged)

Maximum Perversion: 7”
A foray into the trusty sound of crusty hardcore that was all the rage (at least among my group of degenerates) in the early- to mid-’90s. If that’s your bag, you probably can’t miss with this. This is a solid record if only because it’s got a sound that I like, at least in spirit, even if I’ve heard it before. Green vinyl!  –The Lord Kveldulfr (Coffincut)

Not There: LP
Really good, sleeper of a record. There are a lot of adjectives at work here: scrappy, searching, yearning, nuanced. Heartfelt and careworn. The vocalist sounds eerily like Lauren from the Measure/Worriers and the woman from Siren Songs. The songs are melodic and punchy and just a little ragged at the seams. Recommended for fans of the aforementioned bands or labels like Salinas and Kiss Of Death. Actually, screw that: it’s just across-the-board recommended. Give it a shot. This one’s gotten a lot of plays recently, and don’t see that stopping any time soon.  –Keith Rosson (Lauren)

Devious Persecution and Wholesale Slaughter: CD
“I barely listen to grindcore at all anymore, but when I do I listen to P.L.F.” (Referencing that beer commercial.) But yeah, I think the majority of grind these days is pure crap. However, P.L.F. stand head and shoulders, miles ahead of the pack. They don’t come close to reinventing the wheel, but what they do is bring some much needed intensity to the genre that hearkens back to the glory days of this kind of music. Like when Earache was putting out records you would actually be excited about. Their music is sonic, with a huge wall of sound, and dual vocals, one low, and one sort of “vomity.” I prefer the low vocals, as it blends in better with the heaviness, while the vomity vocals are sort of like hearing some sand blasting at four in the morning. Then they do things like incorporate a Motörhead-style rhythm amongst all the pummeling riffs, such as in the title track, then there are the riffs that are relentless, such as “Port of Chicago Disaster.” There’s a reason why these guys have a following.  –Matt Average (Six Weeks, sixweeksrecords.com)

Two: CD/LP
Two is a complex follow-up to the band’s debut thirteen years ago. The lineup is still the same (Cap’n Jazz minus Davey von Bohlen) and the sound is similar to their self-titled album, but it doesn’t seem quite as accessible. Yes, it’s a little Cap’n Jazz and a little Joan Of Arc (considering the Kinsellas are involved, that’s understandable), but the lyrics seem more obscure than even that which is usual for Tim Kinsella (“I’ll never be some scientist hero action wizard” or “a waiter with bad breath / he dropped your chilled pickle in hot sand”). The guitar playing is creative and the bass keeps things tight and rhythmic. Mike Kinsella’s drumming could’ve stood to be more creative, though. Much of it seemed formulaic and didn’t match the creativity of Victor Villareal’s guitar or Tim’s lyrics. While, on the whole, the parts seem good, put together they just come out to be average. There’s nothing that amazed or enthralled, but one can’t deny that the band is creative and intelligent. It’s these types of albums that are the hardest to review and Twoproves no exception. This is an album that, while solid, is probably best left to hardcore devotees of the Kinsellas.  –Kurt Morris (Polyvinyl, polyvinylrecords.com)

Self-titled: Cassette
You’re out skating alone late at night. You’re lost in the tunes blaring out of your walkman. Suddenly you notice that the moon is closer than it should be. The wheels of your board are rolling through the night sky. You’re in space. It’s peaceful, but peace isn’t really what you’re looking for. You want to shred. You pop this tape in and turn it up. The weirdo thrashcore melts your ears as you carve through the stars. You sing along: “I just wanna thrash someplace in outer space!” It’s a good night.  –MP Johnson (Reality Is A Cult)

Obsession Collection: LP
Incarnated as the one-man recording project of Brandon Ferrell, Obsessor worships at the altar of thrash metal. It’s not new territory, but Obsessor succeeds at paying homage to all that have come before, while scorching their own brand onto the face of the genre. Ferrell demonstrates not only his technical chops with each instrument, but also a keen ear for song-writing. From the opening thunder of the track “Obsession,” to the end of the A-side, there’s nothing but one ripper after another. It’s clear that in addition to good song-writing, a good amount of thought was put into song order, bearing the vinyl format in mind. After the quiet of flipping the record and the hiss of the groove as the needle catches, the B-side opener “In Fear of the End” has a nice feedbacking fade-in before the furious riffing of the song itself takes over. Subtleties like these make for a better listening experience than merely jamming songs in an arbitrary order. Lyrically, Obsessor doesn’t stray far from the topical norm of the genre. Songs about living and dying by the sword, mental instability, the evils of political leaders, and the end of the world all feature on this record. While it’s not new ground, I found the lyrics pretty solid. There’s no overabundance of clichés or the kind of lines which cause head-shakes, or inward groans. Tankcrimes is a label known for their quality vinyl packaging, and this release is no exception. The artwork throughout is badass. Pick this up, and you too will be Obsessed!  –Paul J. Comeau (Tankcrimes, scotty@tankcrimes.com, obsessor666@gmail.com)

Self-titled: CD
Upon first glance at their cover art, Nox Boys seem heavily influenced by 311. However, their sound is more rock’n’roll with Spaghetti Western undertones. This is especially apparent on the track “Susie Lee” which I enjoyed because it conjured images of pompadours and sock hop romance. However, the rest of the album tends to blur together into one long and little-varied song. The slurred out lyrics don’t say much of anything. In fact, the last track, aptly titled “Save Me,” was so repetitive in their plea of “you gotta save me” it left me throwing my hands up in the air from frustration wanting to know “From what?”  –Ashley (Get Hip, gethip.com)

Normal Demo: Cassette
I read an ad describing these guys as “alt-infused pop punk,” a description that really sells the band short. That’s sort of like calling Creedence Americana-influenced rock. I wouldn’t even call Notches a pop punk band. There’s some pop and there’s some punk, but nothing of the genre that comes to mind when I hear those words together. Notches is more like ‘90s rock, but with all of its strengths and none of its weaknesses. I’m hearing so much here I love, from the Nirvana riff on the first song and Superchunk on the second to more subtle nods to Archers Of Loaf, Weezer, Rocket From The Crypt, and Dinosaur Jr. It’s full of bouncing bass lines and melody hidden under lots of guitar distortion. The songs are upbeat but simultaneously melancholy in a navel-gazing way. Closer listening reveals most of the songs are about rejection and confusion. His pain, however, is quite a joy to listen to. As this spring continues its wayward course, raining one hour and sunny the next, this is the perfect soundtrack. My guess, it stays in the tape deck through summer, too.  –Craven Rock (Hip Kids, hipkidrecords.storenvy.com)

Love…And Other Weapons of Mass Destruction : CD
Who would have thought that a resurgence of pop punk straight from the late 1980s and early 1990s would have its roots in Grimsby, a relatively small town on the east coast of England? This transports me back to a time when the Hard-Ons, Unwritten Law, and Big Drill Car (and much later All Systems Go!) were in their prime and I must also give the band credit for a corking version of Jane Wiedlin’s “Rush Hour.” It’s definitely music for those with, or those seeking, a sunny disposition. –Rich Cocksedge (Boss Tuneage, bosstuneage.com/Anarchy Entertainment, anarchyentertainment.co.uk)

Stoke Extinguisher: CDEP
What we have here is essentially an odds’n’sods CDEP from the most consistent band in the world. More or less, it’s an excuse to showcase the title track. Why not, right? The track “Stoke Extinguisher” is what you’d expect from the band at this point. Right on par. If anything, it has more of an OrangeCounty vibe to it than usual. Maybe even the Adolescents. Can’t complain about that. The remainder of the disc contains alternate versions of previously released tracks from singles within the last year or two. Which, if you’re an avid NOFX vinyl collector, you already have somewhere in your collection. These guys have proven that they never really intend on slowing down, or keeping up.  –Steve Adamyk (Fat Wreck Chords, fatwreck.com)

Duct Tape Your Mouth: 7” EP
Brittle guitars saturated in distortion, stomping rhythms, garagy feel to the tunes, and twisted, violent lyrics: “I am drunk, I shot a man, I’m okay.” Somehow it all comes together quite nicely. Three tunes to make ye squirm while bobbing your head in time.  –Jimmy Alvarado (Slovenly)

Self-titled: LP
Recorded and engineered by big-name ‘90s grunge muck-a-mucks Tad Doyle and Jack Endino, respectively, this quintet of Seattleites—thankfully—isn’t an updated version of Sub Pop Bong Rock, but more of a ramshackle version of upbeat, category-muddling, Pacific Northwest pop / rock / punk bands of that era like Flop and Bum (well, Bum were from Canada, so I guess that’d make it the Pacific Southwest then, wouldn’t it?), occasionally wandering into straight-up Mutant Pop Records territory. The singer’s uniquely goony pipes recall early helium-sniffers like Joey Vindictive, and the band doesn’t seem sure if they wanna write serious two-guitar boy-girl songs, or sing about fucking someone after the show, in the snow. All the same, not a bad record to play at that exact time of day when the sun starts going down and at the end of side two the little lights on your stereo receiver are pretty much the only illumination in the house and you gotta put the lights on and make a sandwich. Observations like these are why I get paid the big bucks here. BEST SONG: “All Alone.” BEST SONG TITLE: “Dancing Tonight.” FANTASTIC AMAZING TRIVIA FACT: There’s an album in one side of the gatefold sleeve and a download code in the other. I call that the “Rock’n’Roll Mastectomy.”  –Rev. Norb (Hovercraft, mythologicalhorses.bandcamp.com)

Fly with the Unkindness: LP
This eight track album features seven great songs and one that is nothing short of perfection. Across both sides of the record, Murmurs cranks out gritty, melodic punk rock that is infectious and well crafted. However, on “Thirty Five Summers,” there is just over three minutes of musical synergy that results in a track so sublime it’s almost impossible to do it justice with mere words. From the moment I heard the sweet opening salvo of the guitar I was left in a jibbering heap, with my condition only being compounded as the rest of the song fell into place, leaving me in a state of awe. If I said that the song was anything other than BLOODY AWESOME, I’d be selling it short—the guitars, the rhythm section, and the vocals blend together magnificently to highlight a stunning piece of song writing and execution. It’s not often I hear something as outstanding as “Thirty Five Summers,” hence my unfettered exuberance. –Rich Cocksedge (Dead Broke, deadbrokerec@gmail.com, deadbrokerecords.com / Drunken Sailor, drunkensailorrecs@gmail.com, drunkensailorrecords.co.uk)

“Jaws” b/w “Luxury”: 7”
Following up 2012’s Spaces Tangled, Multicult maintains their rep, boiling off the excess of dreary post-punk and dropping in fizzy chords. Firmly planted on a fat, meaty bass hook, “Jaws” opens up like a track in a chase scene—focused, earnest in its pursuit mimicking A Place To Bury Strangers steeped in hydrochloric acid or the wordless, nefarious hunter vs. prey beats of French electro bad boys, Gesaffelstein And The Hacker. Their take on this instrumental blueprint has the guitar at center stage punctuated by crashing cymbals and zombie mumble vocals that melt into the onslaught. In comparison, “Luxury” is almost funky. Like “Jaws,” a jangly baritone bass line serves as nucleus for the flip side, alternating from ‘70s guitar blitz like a Cream hook turned inside out, then back to the bass. These two jams make me hopeful for another full length. Recommended.  –Kristen K. (Reptilian, reptilianrecords.com)

La Vida Que Los Envidian: LP
Mostly mid-tempo punk from Guadalajara that recalls ‘80s Mexican bands like Rebel’d Punk and Sindrome Del Punk, minus maybe the overt references to other genres those bands occasionally dropped into their sound. Can’t say it’s crucial, but they do what they do well, and I’m betting their gigs are quite lively and participatory.  –Jimmy Alvarado (Discos MMM, discosmmm.com)

Paradisio: LP
Age doesn’t give you taste, but it does give some history and perspective and I dare a sixteen-year-old me to digest as much music as I have over the past thirty odd years. Modfag sound familiar, I lived this vibe, lived this sound. The early nineties was littered with bands influenced by the late seventies Radio Birdman, Saints, et al. who were in turn influenced by the Sonics, Elevators, or Stones. Modfag are a throwback bar band that could easily have found space on labels like Big Neck, Empty, or Estrus. Drunk dudes in stripy shirts and bowl cuts kicking out the fucking jams in some shithole bar in Houston. My kinda fellows. Best thing about these dudes is they have no Internet presence; they just get their shit done in Houston. Feeling it.  –Tim Brooks (Little T&A, littletandarecords.bigcartel.com)

Self-titled: CD
My roommate’s boyfriend came home while I was listening to this CD for review, and I got embarrassed. I wanted to scream that I was only listening to this hard-rockin’ power pop because I needed to write about it—and I did explain myself, but in a calm manner. Anyhow, I don’t have some insatiable desire for power pop such that I would even listen to power pop laden with hard rock guitar noodling with raspy vox on most songs. The cover isn’t helping much, either: The band members—two of whom look like southern dirt rockers, and the other two look like grown dweebs who met in high school guitar class—standing in front of a blown-up image of diamond-plated steel. Definitely not for me.  –Vincent Battilana (Dirtnap)

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