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No Idea Records

Record Reviews

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G-MEN:
Up the Dose: CD
I had high hopes for this one when I saw that one of the members was wearing a Sinisters t-shirt. Unfortunately, the tunes are just the type of sub Zeke/bar hardcore that I have been burned out on for years. They do a good enough job at it, but this is just flat-out a style that I do not like. You've seen this band a hundred times at a bar opening for someone you came to see. If you can't get enough of the pissed-off guys playing hard rock at hardcore tempos, then check this out. Otherwise, probably not a lot for you here. –Guest Contributor (October 32)


G-WHIZ:
The Pop Punk Singles Collection 1989-2002: CD
A stripped down Big Drill Car. –Donofthedead (Boss Tuneage)


G-WHIZ:
The Pop Punk Singles Collection 1989-2002: CD
A stripped down Big Drill Car. –Donofthedead (Boss Tuneage)


G.B.H.:
Punk Junkies: CD
A re-release from these grievous limey bastards that has been out-of-print since 1996, Punk Junkies finally sees the light in the States a decade later. While it’s no City Baby or City Baby’s Revenge, it still packs enough crunch and punch to appeal to both crusty punks and headbangers. –greg (SOS)


G.D. LUXXE:
Between Zero & Eternity: CD
You are in your twenties now, slowly but surely pushing thirty. You grew up on punk, embraced the spirit of DIY, moshed when it was still called slam dancing. You developed a goth fetish, bought Sisters of Mercy albums, started dressing in black. You graduated high school, started hanging out at clubs, started listening to techno, started dreaming about Berlin. You got older and started to wonder what was next. You dabbled in seemingly every subculture when you were young and, now that you are an adult, can you find a place where the influences collide? Enter Between Zero and Eternity, the latest album from GD Luxxe (aka Gerhard Potuznik). Here, the dark, sparse electronics of the nuclear winter in your mind go head-to-head with a rock rhythm as frenzied as that pit where you once took a Doc Marten to the eye as the vocals exude the sort of intense heat that prompt bouts of teenage longing. Were you still sixteen, you would be sweating Kabuki make-up right about now. In your room, listening to this album, trying to decide whether or not, at your age, it is still appropriate to jump on the bed in time to the beat, you realize that G.D. Luxxe is the sound of the future. It is music without the now-requisite new wave nostalgia, without the more forward-retro-minded acid house nostalgia. It is the sound that may just carry you and your friends into the next phase of life. –Liz O. (Ersatz Audio)


G.G. ALLIN:
Carnival of Excess: CD
This is about the corniest shit I’ve ever heard. G.G. Allin doing a stripped-down country album is as expected as Celine Dion tearing her microphone from its cord and snaking the live wire through her asshole into her bowels. I’m not sure what to think. Some of these songs actually sound pleasant. Well, the music, at least. The lyrics are true to G.G. form as he addresses being an outlaw, heroin abuse, guns, bottles of liquor, and fighting. But, “Carmelita” and “Guns, Bitches, Brawls, and Bottles” both lope along sweetly dripping with slide guitar. In fact, all the songs would fit nicely on a roots country radio station if the lyrics weren’t so profane. I’m not sure many corporate jocks would spin a tune with the line “For on that night I met a force that nothing will compare/I was born the Son of Evil and I fucked the devil there” on their weekly radio shows. I don’t know how many more times I’ll listen to this CD, but, astonishingly, I don’t completely hate it. –Josh Benke (Ponk, www.ponkmedia.com)


G.G. ALLIN AND THE CAROLINA SHITKICKERS:
Self-titled: 7”
Navigating GG Allin’s discography can be perilous. People will tell you that it’s not worth the effort. On the other hand, there are people who believe the man did no wrong. The reality is somewhere in the middle. These three tunes he recorded with the Carolina Shitkickers—Antiseen’s Jeff Clayton and some other rednecks—are an essential stop for anyone interested in hearing what GG could do. Recorded not long before his overdose exit, these songs represent his outlaw country side. On the A side, you get GG the scumfuc storyteller. “Layin’ up with Linda” is a murder ballad that is disturbing in its absolute coldness. After getting bored and deciding to kill the woman he was shacking up with, the narrator’s only regret is that they had some fun together—doing drugs and fucking—and they wouldn’t be able to anymore. The B side is the best, closing out with GG’s cover of David Allan Coe’s “Long Haired Redneck,” renamed and rewritten as “Outlaw Scumfuc.” GG’s version cranks up the antagonistic attitude of the original. The only thing keeping it from sounding flat-out belligerent are the little details here and there that are almost endearing, like how, between talking about fighting and drinking whiskey by the gallon, he adds, “I live on peanut butter sandwiches, I don’t care.” Details like that—reminders that GG was a human and not a circus freak—are hard to come by in his music. That’s why this record is essential. –MP Johnson (Zodiac Killer)


G.G. ELVIS AND THE T.C.P. BAND:
Back from the Dead: CD
Oxnard band of roughnecks give us an all covers record of Elvis Presley treats. I like that the “Fat Elvis” is the singer. Members of Bad Samaritans, NOFX, and Ill Repute. Keep in ear open for the ‘80s hardcore snippets chucked in for kicks. I don’t know how many more times I would listen to this, but it did bring a smile to my face a few times. –Sean Koepenick (Mental)


G.I.S.M.:
Sonicrime Therapy: CD
Many times, timing is everything, especially in regards to getting punk rock releases. Take this release, for instance. I heard from my brother that he saw on a message board from one of our friends (Friend 1) in Canada that another friend (Friend 2) of ours in Canada had some copies for sale of an official new release by G.I.S.M. I got in touch with Friend 2 and got him to hold a copy for me. I got in touch with another friend (Friend 3) who is friends with Canadian Friends number 1 and 2 to have him buy me the copy (since he owed me some money) and send it to me. It took a while, but Friend 2 gave the copy to friend 1 to take to Friend 3 when he went to pick copies of the new Razorcake that I had sent to Friend 3 to give to Friends 1 and 2. Confusing? That is how I got this copy. I got the first album, Detestation, by accident too. I ordered a few records from a small distro that had gotten some Stalin records that I had wanted and they ran out of what I ordered. Instead, they sent me a bunch of different Japanese punk records and I was truly surprised. I also had gotten the bootleg CD N’th Nightmare, but that was easy to get at the time. There is a second record out there whose title I’ve forgotten, but I know my brother has a copy. Back to this release. I love interesting packaging. This release came in a cool black, silver embossed box. Inside sat the jewel case with an insert that consisted of black gradient color samples that led to pictures of the band. The other side is a collage of images that I can’t quite pick out the theme at the moment. Quite a bit of imagery for the senses. Sort of minimalist on one side and extreme on the other. If you know Japanese punk, you know the song titles are often out there. The intro is titled "Dual Improvisations for Hypochondriac" (a weird lounge music tune) and the outtro is titled "Phenomenal Exile in Schizophrenic Patients" (eight minutes of wind noise, samples, and chanting). The other tracks are titled in code, like "KI-1" or "RUNS-3." That is their trademark sound – blazing metalcore punk that is spastic and epileptic in attack. The vocals are guttural. He could be mumbling for all I know. It’s hard to identify them because they are always trying not to be pigeonholed into someone else’s sound. They take elements from others and make it their own. They are just out there. I imagine it as getting a beer and milk enema while on three hits of LSD and mixing early Butthole Surfers and Napalm Death. Now get to work and try to find this. It’s worth it if you are not into the cookie cutter patch bands that everybody is wearing on their studded sweatshirts. If you don’t want to do the work, you can sample tracks by them on the reissue of the "P.E.A.C.E" comp or on the bootleg comps The Punx, Hardcore Unlawful Assembly, Outsider or Great Punk Hits that are available right now. I’m winded... Time to get another beer and some food. –Donofthedead (Beast Arts)


G.M.B.C.:
Complete Omnivore: CD
Jesus… I gotta remember to tell the review gods that I cannot bear discordant post hardcore. These Frenchies have been peddling the sounds of Converge, An Albatross, and Dillinger Escape Plan for a decade. Crazed, discordant hardcore that makes my bones shiver. I fucking hate this shit. If you dig the aforementioned bands, then this is a banger I’m sure. It’s only fifteen minutes long and it was like pulling teeth… Ughhhhh. –Tim Brooks (En Veux Tu En V’La)


GABLÉ / EXHAUSTION:
Split: 7” EP
Gablé: Folk, punk, and a drum machine meet up to cover an Exhaustion tune and a short original. Interesting, but nothing life changing. Exhaustion: They return the favor by offering up a grunty punk cover of a Gablé tune and a thrasher of their own. –Jimmy Alvarado (Destructure, destructure.org)


GABRIEL HART:
The Nightlight: 7"EP
Gabe was the lead singer and guitarist for the dearly departed Starvations and now fronts Jail Weddings. This collection of songs is Gabe solo, mostly just him and his guitar. For bearings, think Gun Club, early Nick Cave, a heart engorged with wine and whiskey, of a best friend being sorrow, and veins that pump melancholic blood, both sweet and bitter. With affairs like this—stripped down and scraping bone—one of two things happen. Either a hard light shines on the musician’s limitations to stand alone and is little more than an exercise in egoism. Or, as is the case here, it’s a rare and powerful glimpse at the very core of how a song can be written and performed at its most elemental, to show that without a solid foundation, all further embellishments are merely frosting on hollow musical monuments. –Todd Taylor (Red Wine)


GABRIEL HART:
The Nightlight EP: 7”
Gabriel Hart of Los Angeles area bands the Starvations and Jail Weddings plays solo here (with minimalist drumming by bandmate Ian Harrower) on this 7”, with four haunting, howling acoustic songs (three originals, one Masonics cover). Spanish-tinged guitar and a little bit of echo in the vocals give the songs a slight, spooky feel. The strumming and crooning seems to recall long-gone voices of the American pop and rock and roll catalogue—people like Roy Orbison and Ricky Nelson come to mind—without this being a tacky and tasteless throwback or some other novelty of Americana. –Jeff Proctor –Guest Contributor (Red Wine)


GACY SOUNDTRACK:
: CD
As can be expected from the musical score of one of the more recent entries in the booming serial killer series of biopics, the music is, naturally, moody and creepy sounding (what were you expecting, circus music?!?). If film scores ain’t your bag, let me add that this would also make for some primo mood music for your next Halloween haunted house. Two thumbs up for this on that tip alone. –Jimmy Alvarado (Pascal)


GADJITS, THE:
Today Is My Day: CD
First rule is: The laws of Germany. Second rule is: Never trust a ska band. Third rule is: Never trust a band that has formed within the past two years to play punk rock and roll. Fourth rule is: Never trust a ska band who jumps onto the punk rock and roll bandwagon. That’s really all you havta know about the Gadjits. If you’re one of those trend jumpers, HERE’S YOUR TREND! Bluesy punk rock, complete with retro/emo-y package design. If this were a cereal, it’d be whatever Cap’n Crunch is dishing up this month. (There have been a ridiculous number of different kinds of Cap’n Crunch – and all of them suck.) Can I declare a moratorium on more bands forming that sound like this? If not, please kill me. –Maddy (Thick)


GAGFACTORS:
Self-titled: 7”
First off, the fabric record sleeve is really nifty. First time I’ve run into such a thing, frankly. The music is Marshall-heavy punk with more than a passing fascination with old power pop, right down to the A-side cover of The Records’ “Starry Eyes.” Limited to 100 copies, and I dunno if it’s part of the packaging, but this copy also came with a mini-CD with an additional nine tunes, which itself is apparently limited to 500 copies. –Jimmy Alvarado (www.thegagfactors.com)


GAGFACTORS, THE:
We Rock You Suck: 7”
Pretty good Italian pop punk on this record; reminds me a bit of the Crumbs side project, the Basicks, from a few years back. A little like their fellow Italians the Manges and Canada’s The Vapids, as well. Loved the liner notes where they say the reasons to love their band are “Jay Reatard is not in involved in the project” and “there isn’t any ex-Oblivian in the line-up,” amongst other gems. The liners are hilarious and the record is decent, as good as any other pop punkers around for the most part. –Mike Frame (Rockin Bones)


GAGGERS, THE:
Fix Me Up: 7" EP
It was bound to happen sooner or later—a modern London band influenced by the 1970s United States West Coast bands influenced by 1970s London bands. Singer sounds like the dude from Le Shok, while the rest of the band sounds like they’ve been on a Stitches bender. Is that a bad thing? Not by a long shot. –Jimmy Alvarado (nofrontteeth.net)


GAGGERS, THE:
Rip You Apart: LP
There’s quite a bit of rock’n’roll swagger hardwired into the tunes, but, at the core, what yer getting’ here is straight-ahead thud-punk with a singer trying to out-screech the dude fronting the Stitches. What they do they do well, and should provide hours of quality entertainment for the whole family. –Jimmy Alvarado (Dead Beat)


GAGGERS, THE:
Two Fingers down My Throat: 7”
Made up of three Londoners who have done time in Botox Rats, Disco Lepers, and more, these guys have got the snotty ‘77 punk thing down to a science. Their previous outings have gotten frequent plays around here. The title track and the b-side are both quick, punchy numbers that deliver the goods, but in spite of the fact that this 7” consists of only two short songs on a 45, the sound quality is still terribly muffled and dim. Still pretty effective, but the recording quality pulls some of the punch. –Keith Rosson (Batshit)


GAGGERS, THE:
Rip You Off: LP
This record looks exactly like it sounds; sometimes you can judge by the cover. The Gaggers are a U.K. band that sound like an exact cross of The Briefs and The Stitches. Parts are quite reminiscent of the Hatepinks and The Distraction as well, with a real snotty Le Shok kinda vocal style. Fans of early Dirtnap, Modern Action, Hostage Records, and Southern California style beach punk will absolutely want to track this down.  –Mike Frame (Wanda)


GAIN TO LOSE:
Gunlock Germ: 7”
It’s not hard to picture this band playing on a Friday night. Local stalwarts, dependable, always ready to play with their hearts out. The practicing pays off. Nothing seems particularly inspired, but everything seems fine. You’re thinking about how much better they’d be in a few more months or years. They throw out a song or two that surprises you a little, but your heart moves onward when the main band takes the stage. You leave the venue without remembering the name of the band. So it goes. –Bryan Static (Suburban White Trash, suburbanwhitetrashrecords.com)


GALACTIC CANNIBAL:
We’re Fucked: LP
One of those strange amalgams that succeed flawlessly: dense, riff-heavy, melodic, and mercilessly catchy punk fronted by a veritable sasquatch of a monster on vocals. In lesser hands it’s a combination that wouldn’t work, but this record just decimates. Vocalist Peter Woods (a Milwaukee noise artist, and brother of Direct Hit’s Nick Woods, who plays bass on this record) bellows some of the most bleak, brutal, and poisonous lyrics I’ve read in years, and there’s a certain joy in that catharsis, you know? Buoyed by the melodies and velocity of the songs, this is kind of what I wished Off With Their Heads had sounded like the first time I’d heard them. Anyway, We’re Fucked is a stunning, ferocious batch of songs that I’ve listened to dozens of times in the short amount I’ve had it, and I can’t recommend it enough. May actually be the record of the year for me. Variants of the word “fuck” are used no less than forty-six times on this album.  –Keith Rosson (Lost Cat)


GALLOWS:
Orchestra of Wolves: CD
It would be really easy to make this a three word review: fake ass Converge. The similarities are unbelievable: the artwork, the sound, even a Bannon lookalike on vox. Just take away the quality, make it Warped Tour acceptable, and serve to the young’uns. –Mike Frame (Epitaph)


GALLOWS:
Self-titled: CD
This self-titled record is Gallows’ first full-length effort with former Alexisonfire vocalist Wade MacNeil fronting the band. It’s a follow-up to their 2011 EP Death Is Birth, which introduced MacNeil to the fold following the departure of original vocalist Frank Carter over creative differences. The self-titled record marks a turning point for a new chapter in the story of Gallows. I understand wanting to close a past chapter on a band’s history to continue to move forward, but I don’t know if Gallows is a step forward for the band as much as a lateral move, a reinvention. The album opens with a spoken word intro before thundering to life with the first track “Victim Culture.” What’s immediately apparent in this first track is that there are new things going on with the band since their last full length, 2009s Grey Britain than just a new vocalist. The band’s songwriting has also taken a new turn, with a much more rock’n’roll vibe, and some of the catchiest riffs they’ve yet written. Judging this album on riffs and songwriting, I’d consider it a stellar achievement, and the best album in the band’s catalogue. Tracks like “Vapid Adolescent Blues,” highlight for me the pinnacle of both catchy guitar riffs, and songwriting structure, something many bands can’t pull off doing both of at the same time. It makes the squealing leads and epic crew vocals in the background at various points that much more intense and enjoyable. “Vapid Adolescent Blues,” is the kind of song you’d expect kids to go nuts for live, and it’s followed by the ripper “Austere,” which blazes flaming riffs into your ears from start to finish. As much as I loved this album musically, I was not enamored with their new vocalist. As angry and aggressive as he sounds on every track, MacNeil lacks the dynamism of former frontman Carter and the charismatic grit of his delivery. Even after multiple listens, raging along to the music, I could not get into his voice. While a weak vocal performance keeps this album from firing on all cylinders, holding it back from otherwise being one of my favorite albums of the year, it’s still worth a solid listen. Longtime fans are sure to feel divided on this record, as I was, but should give it a chance before dismissing it. –Paul J. Comeau (Bridge Nine)


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