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No Idea Records


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Below are some recently posted reviews.

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Self-titled: 7
Syracuses White Guilt offer up four tracks of mangled hardcore punk. Boundaries are met without hesitation. The vocals indecipherably affected. The noise rages on. The amps may as well be in the process of utter annihilation. It simmers down and picks right back up. The destruction seems endless and encompassing. Fans of Ecoli, Iron Lung Records, and feeling trampled: take note. This record nails it. –Daryl Gussin (Feeble Minds / Video Disease)

Superczar and the Vulture: CD
Cover looks like an outtake of something out of Asias catalog, and the music pretty much follows suitpainful dreams of grand arena rock fame mixed with a yen for a reggae backbeat on full display. The kids in Journey will be plenty jealous. –Jimmy Alvarado (Pentimento, pentimentomusic.com)

Two Things at Once: LP
Hey Peabody, set the wayback machine to 2005 for a bit, then well move up to 2010 for more audio brutality. This album collects two EPs from Weekend Nachos. This shit is heavier than hell, akin to playing your Infest records at a slow speed, or better yet, Neanderthal at a slower speed. Dense, forceful, and moves with a deliberate, slow gait. The first side consists of their Torture EP, originally released in 2005. This is some slow, grinding (not grindcore) stuff that works at wearing you down to a fleshy puddle. Its as though they studied Noothgrush and Man Is The Bastard while simultaneously listening to the aforementioned Infest and Neanderthal. Theres some mid tempo, but, for the most part, its sludge. They really slow it down on the Bleed EP from 2010 (which makes up the second side of this LP). Songs trudge in iron boots across muddy fields as smoke rises from burning bodies type stuff. They pick up the pace here and there, but its more to create a tension and break the spell of the slow. Here are two reasons why the Weekend Nachos have a rep among the fans of powerviolence. –Matt Average (Cowabunga, cowabungarecords.com)

Self-titled: 7
This is a summertime recordwhich is weird since the band is from Canada. Regardless, I would like nothing more than to blast this while drinking cheap beers in someones backyard. If there is a Slip N Slide involved, even better! Weekend Dads play great four chord punk rock that reminds me of King Friday and Vagina Sore Jr. Easily one of the best 7s Ive heard this year! –Chris Mason (Its Alive)

Konfrontacje: CD
Wow, lotta Polish stuff findin its way into the Razorcake bins these days. These cats are aiming for a catchy, sorta streetpunkish sound, with things never getting too fast and lots of chanty bits. Nothing here too crucial when alls said and done, but I can definitely see a crowd full of kids going nuts to em. –Jimmy Alvarado (No Pasaran, nopasaran.pl)

Self-titled: 7
This band writes songs that are meant to be screamed along with by four dozen of your closest and/or drunkest friends at a Fest near you! Lyrics that are caught somewhere between nostalgia, depression, and nostalgia for depression, like, On an old bridge/On a rainy night/Pick myself up/Its gonna end right. Also, a classic Fest-esque line, The time is for drinking when you know that theres nothing worth fighting for! Nothing new here, but who cares? Solid stuff! –Maddy (Its Alive)

Kingdom of Heaven: 7"
The three songs on this 7 are reissues from two separate releases dating back to 1992. Integrity werent the hype machine they are now, but they were a band that took chances and pushed the limits of what could be considered hardcore at the time (and eventually reshaped the definition for a lot of people). Its easy to see the influence they had on hundreds of bands that followed, but what I like most is that if you listen to these songs out of context of the bands later significance, they are still just really great songs. The down tuned, out of step guitar riffs are sick and evil, and the vocals are unique even though theyve been copied a million times over. Its cool to have these three songs on this format rather than buried in the deep cuts on some retrospective CD. –Ian Wise (A389)

Defy!: LP
Glad to see Profane Existence repress this. Dont know how I missed this when it originally came out, as Warcollapse were/are a band I was pretty into and would always get their stuff when I saw it. They play some blazing crust that stands head and shoulders over most. While they do have all the characteristics of crust core, they inject a lot more power and energy into their soundenough to appeal to people who are more into hardcore punk, such as me. The songs move quickly, there are a lot of time changes to keep it all interesting, the playing is dynamic, you get some solos over the wall of distortion, and the drummer can bang away like his life depends on it. Listen closely and youll find that their songs are pretty damn catchy. If any band is going to get tagged epic crust then Warcollapse are deserving of the distinction. Just check out the title track! The build up and then they launch into the main body of the song. Fuggin gold! The lyrics to this song are great! They follow it up with songs like Expendable and Fog that musically continue along the same lines. Doing so really hooks you in and sets the mood. They do blow it all apart with blazers like Nightstick Raids, and Secticide, which is a good thing. A good album needs to have peaks and valleys and carry you through from start to finish. This record is paced well and keeps ahold of your attention throughout. A worthy addition to your sonic library. –Matt Average (Profane Existence, profaneexistence.com)

Self-titled: LP
This very agreeable Brooklyn bands debut album, finally available by vinyl, is refreshingly simple. A side project of one of the dudes form Ghetto Ways, theres clearly some highbrow plan at play here. That plan seems to entail playing catchy, straightforward pop with a tiny nod to Avail, plus some sing-a-long bits, while simultaneously sounding nothing like Ghetto Ways. At its best, it plays like a rougher version of The Arrivals. Its a good one for sure. –Art Ettinger (Hundemann, hundemannrecords.de)

Pop War: LP
Nicke Andersson, one of my favorite musicians to have ever graced the planet (Hellacopters, Entombed, The Solution, etc.) started ISE as a solo project after the Copters disbanded a few years back. Pop War is ISEs follow-up to an incredible debut LP, and its pretty safe to say that Nickes not messing with the formula too much. Aside from incorporating his touring band into the recording sessions (he handled almost all musical duties on the first LP), the sound is still very Nicke. ISE looks to many more pop-oriented influences than did The Hellacopters (theres a distinct Motown-meets-Merseybeat-meets-70s glam twist injected here), but its quite likely that fans of The Hellacopters latter era will quite easily sidle up to ISE. Thisll undoubtedly be one of the staples of my upcoming summer. –Dave Williams (Psychout)

To the Death 84: CD
I got a call from a homie of mine back in 1984, insisting that I pick up the debut album by some new group with an odd-ass name, Voivod. Now, both of us were not much into most metal (especially since we were in the midst of an era when the word was synonymous with bands like Quiet Riot, Ratt, and Def Leppard), but based on his ravings that it was the best thing hed heard since Void, I dutifully went out and picked up a copy of the album in question, War and Pain. Damn if he wasnt right about it being something special. Clearly part of the then-nascent speed metal crop of bands (contrary to what all the after-the-fact accounts will have you believe, there was no thrash/black/death/grind/blahblahblah sub-strata early on, it was all speed metal) that were still so new that they actually all sounded different from one another, Voivod sounded even then clearly uninterested in being anywhere near the vicinity of the rest of the pack. The vinyl mastering of the album was loud and bass heavy to the point of rattling houses at low volume, the tunes were fast, furious, LOOOOOOONG, and blessed with vocals that were as screechy as they were wholly unintelligible. Underneath all that glorious, fucked up noise, though, was a technically proficient band that were working complex song structures to the benefit of what would later turn out to be the opening salvo of a concept/mythos that would play out over multiple albums and decades and zigzag between speed metal, prog rock, and points in between. The CD under discussion here contains the bands second demo, recorded in a garage/practice space via a cassette player and two mics. Given the primitive conditions (compared to whats available in this era of ProTools-generated demos) under which it was recorded, the sound is fuggin choice and fully blastable for those who dont mind things a little rough around the edges. Most of the tunes that would later grace their first album are here, along with tracks that would later make it onto various later albums and compilations, as well as a few Venom and Mercyful Fate covers, to boot. It may seem a bit quaint to new ears after years of Slayer and grunting black metal bands, but if loud and outside the realm of same-ol same-ol metal suits you just fine, this is definitely worth the damage to your hearing. –Jimmy Alvarado (Alternative Tentacles)

Self-titled: CD-R
Metallic hardcore from some Oakland cats who were around in the 80s when that scene was feeling the effects of bands like Attitude Adjustment, Metallica, Exodus and so on. Not surprisingly, the three tunes here recall the much ballyhooed crossover period when hardcore bands were getting their muffled chords and geetar solos on. My personal taste/stomach for that style of hardcore is notoriously finicky, but, all told, they do it well, and they dont embarrass themselves by staying on the hardcore side of the fence and refraining from going overboard with Cookie Monster vocals and/or metal screams. –Jimmy Alvarado (Ill Content, Illcontent@comcast.net)

Van Wars: CD
Bluesy garage rock that strangely enough reminds me of early ALL (especially some of the longer ongoing guitar noodling) as well as the Minutemen (ditto with the guitars, plus the singer has a bit of a D. Boon gruffness to his voice). But, ultimately, its super bluesy garage rock, so I guess if youre still hurt about the Black Keys getting so huge, this will help calm your nerves. –Joe Evans III (Transistor 66)

Sing the Blues: 7
The title of this record is pretty spot-on in describing the slow and melancholy A-side. Its a powerful blues number that really lets the vocalist show off her pipes. But for me, the songs when you flip the record over are really way more my speed (no pun intended). Two fast, no-frills garage rock stompers can be found on the B-side and really steal the show here. With a sound in the same ballpark as The Detroit Cobras or The Sunday Sinners, this will please anyone who enjoys female-vocalled garage rock with balls. Good shit. –Mark Twistworthy (Transistor 66, transistor66.com)

Vintage Varukers (Rare and Unreleased 1980-1985): CD
One of the best of the U.K. 82 bands, The Varukers are living legends. This collection is full of true rarities, including the bands first demo, as well as a series of studio outtakes and live tracks. Before becoming one of the first and best d-beat bands, The Varukers already stood out from the pack with their fiercely paced anarcho hardcore punk. Their continued popularity stems both from their recorded greatness as well as the fact that theyre one of the U.K. bands that lots of us got to see in the 1990s. Theyre always amazing live. Vocalist Rat (Anthony Martin) also sang for Discharge when Discharge toured the U.S. during the current millennium. The booklet that comes with this stellar release includes informative liner notes by Rat himself, as well as a very fun Varukers interview. Naysayers assume that The Varukers are all about fashion, but thats really not the case. They do look cooler than you, though. –Art Ettinger (Antisociety, antisocietyrecords@yahoo.co.uk)

Sciana Wschodnia Vol. 1: CD
I put ellipses in the title there cause it included some letters I couldnt find available in the font Im a-workin with here. From what I can glean from the accompanying booklet, this is a comp spotlighting the diversity of talent to be found in Polands punk scene and features a total of twenty-six tracks courtesy of K.A.S.K, Agonya, Ortodox, One Way Back, Ceaseless Desolation, and many others. Cant say all of whats here is stuff Id listen to with any regularity, but the selection is indeed diverse and there are some gems to be found. –Jimmy Alvarado (Sciana Wschodnia Fanzine, scianawschodniazine.pl)

Sacramento Records Anthology 1999-2004: Cassette
Its interesting to me that, historically, since the late 80s, SacramentoCalifornia has always had a scene and loads of bands which all play a version of punk rock which, while it doesnt all sound alike, it all seems to be similar in general aesthetic and style. Thinking back to some of the releases on Very Small/Too Many Records that featured Sacramento bands, a lot of really unique stuff has come out of that city. This compilation features everyones favorite Sacramento band, The Bananas, along with many other bands Im familiar with (Horny Mormons, The Knockoffs, etc.) as well as many that I had never heard of before (Rock The Light, The Coz, etc.). Like most compilations, not every track is a winner, but I will say that the majority of this is really cool. This cassette only release is limited to 250 copies, so I would seek this out quick! –Mark Twistworthy (Pleasant Screams, pleasantscreams.com))

Fast Songs for a Violent World: CD-R
The lions share of the bands here hail from Marseille, France (though Auch, Grenoble Arles, and even Zangreb, Croatia are repped here) and the sound is almost uniformly rooted in hardcore. Inquisition, Hobo Erectus, Satan, Filthy Charity, Violent Grannies, Thirteen Fight, La Mort, The Butcher Project, (In)Conscience, Our Roots, and Maljutka thrash, grind, trudge and scream their way through twenty-one tracks of assorted noise. Its particularly nice to see that Satans finally gotten a group together after decades of untold bands singing about him. –Jimmy Alvarado (Neanderthal Productions, neanderthal-prod.org)

A Butchers Waltz: CD
A four-way split featuring Gay Witch Abortion, Power Take Off, Seawhores, and Skoal Kodiak. Each provide enough skronk, squawk, and general noisemongering to keep that migraine pounding just a wee bit longer, but do it in such different and individually intriguing ways, from song to song and band to band, to keep your attention throughout. –Jimmy Alvarado (Learning Curve, learningcurverecords.com)

Allvar: LP
Female-fronted Swedish punk akin to contemporaries Hannah Hirsch and Masshysteri. Fleeting, desperate vocals that are just so damn melodic and well sung you cant avoid being completely consumed by them. Its hard not to love this stuff. The only question Im left with is why on the insert they printed the lyrics for four songs multiple times, rather than printing the lyrics for all the songs. Possibly a commentary on American punks lapping up international punk with absolutely no concept of what theyre singing about? I like to think so. Big ups to 1-2-3-4 Go! for releasing this record stateside. –Daryl Gussin (P. Trash / 1-2-3-4 Go!)

I Saw U: 7
This is weird, lo-fi, and all over the place. The A-side sounds like if you were on the worst acid trip in the world and were forced to listen to Space Aged Love Song by A Flock Of Seagulls, and just as you are making a decision that its almost unlistenable, you realize that youre wrong and its actually brilliant. Flip this 7 over, and the first song on the B-side sounds like if you mixed Doc Dart with the banjo-playing boy from the movie Deliverance followed by a garage-stomping cover of Chuck Berrys Come On. The weirdness of it all really adds to the charm of the record and would lead me to recommend this to anyone into lo-fidelity, weird garage, anti-rock. –Mark Twistworthy (1-2-3-4 Go!, 1234gorecords.com)

Making Speech Free: CD
By my reckoning, there are tons of truly remarkable people breathing air within Americas borders, but how many of them could be classified as bona fide national treasures? Now I know any list would totally be subjective and would likely differ from person to person, but I have a few folks thatd likely make such a list. Lalo Guerrero and Harry Belafonte are two I can think of right off the top of my head, and a third would be Utah Phillips. Though hes best known for his infamous Moose Turd Pie story, made popular by the Dr. Demento radio show, Phillips was a bit more than the teller of off-color tales of vengeful Gandy dancers. While its true that he was a folk singer well versed in once-ubiquitous songs that most couldnt even pretend to know these days, he also was self-described anarchist, a Wobbly, a labor organizer, and former candidate for the U.S. senate, trainhopper, and a myriad of other thingsand yes, he was one helluva fine storyteller, the kind that could spin a tale about folks familiar and obscure and leave you feeling like youd known em your whole life. This release, recorded at a 1999 Free Speech Teach-In, is a fine example of what Phillips did so well. Interspersed between songs not learned from books or records, but from sitting in front of live people and saying, Sing that again, until I finally got it, as he explains in the albums liner notes, are tales of people who lived the essence of the First AmendmentEmma Goldman, Mother Jones, and Ammon Hennacy, to name a fewand of long-ago strikes, massacres, and moments when common men stood up and used their right to free speech to demand something more from those who were trying to give them less. Inspirational, smart, funny as hell, and always engaging, Making Speech Free serves as a fine example of why Utah Phillips was an American treasure: When he passed on in 2008, decades of stories, histories, songs, and life experience went with him and, though he left many fine recordings, nothing can replace the loss of the man. –Jimmy Alvarado (PM Press)

Self-titled: LP
Unnatural Helpers might just be my new favorite band. The songs on here are herky-jerky but not quirky, full of fuzzed-out guitar and are all super catchy. While they dont sound like them, the closest thing I can think of to compare them to would be The Intelligence, although these songs are way hookier with more riffs than you can shake a stick at. Sometimes, I hear a little Mark Arm in the inflection of the vocalist, but they dont sound anything like his band. The songs are all short, cut straight to the point, and are, ultimately, super addictive. I must hear more from them. Absolutely recommended. –Mark Twistworthy (1-2-3-4 Go!, 1234gorecords.com)

Split: LP
Warvictims: This one guy in the band has a mohawk and a mustache. Thats classy. Discharge-loving Swedes that throw out a sides worth of convincing d-beat. Nothing I get too excited about these days, but they do a passable job. Uncurbed: these guys are presumably also from Sweden, but there seems to be even less info floating around about them. Theyve apparently been around for a decade or more, releasing records on Sound Pollution and tons of other labels throughout the years. Similar to Warvictims, theyre playing a threateningly dark and moody offshoot of hardcore thats led by a frontman who sounds like a super-pissed German Shepherd. Fans of the genre rejoice. –Keith Rosson (Sacred Plague)

Bio-Machine: 7
Some dudes from Copenhagen are playing some synth-driven punk that, to coin a phrase, I would call hard new wave. Its raw and driving, taking the cold, futurist android style of Milemarker and making it aggressive and jarring. Dudes who play in this band, unfortunately, arent actually robots, but some of them used to play in bands like Cola Freaks, Spider Babies, and Idi Amins. –Craven (Jethro-Row)

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