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No Idea Records


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Ocean Beach Party: 7
This time, Neighborhood Brats are taking it to the beach with this two-song blast that is liable to give you a coronary. Its not a trip to the beach thats all happy and fun. No, this is filled with rain and clouds and blood and zombie sharks. A real beach party! This band can do no wrong. As with their previous releases, the songs, the energy, the tempoeverything is perfect. More, more, more! –Ty Stranglehold (Falsified)

Murder Mask: CD
Super fast and screamy thrash punk. Awesome! This CD has five songs in five minutes, and no lyrics sheet. When you put out a full length, send it this way! –Lauren Trout (P.I.G.))

Long Hot Summer: EP
Excellent follow up to their previous EP on Reel Time, I Want Dope I Want Pussy I Want All That Shit. In fact, this record surpasses that record, and it was no sloucher. They ratcheted up the energy here to something a bit more on edge and almost reckless. Punk that lives up to its name: dirty, raw, rough, and all with a sense of something fucked could very well happen. I mean, fuck, this band is made up of some historical figures: Susan B. Anthony, Frederick Douglas, and flugelhorn master Chuck Mangione. So you know something epic is just around the corner. An American band, if there ever was! The title track is a rager with a short little guitar noodle to add a little unease to the deal. Its the song Ratbone though that really connects. Short and urgent! Also, R.O.T. Blood, which has a sense of coming together at the recording studio with the weird ending, like, is that it? I guess so! I imagine their live shows in a room of cigarette smoke, leather jackets permeating years of poor hygiene, cheap beer, and a few participants who cant keep their shit together. The Narcs... there is no other. –Matt Average (Cowabunga, cowabungarecords.com)

Discography: 2 x CD
Often cited as an influence on both the post-hardcore and emo genres, Moss Icon had a brief life in the late 80s and early 90s. Main guitarist Tonie Joy went on to co-found Universal Order Of Armageddon and play briefly in Born Against. The band has popped up here and there sporadically over the years since, but remained obscure to all but the most dedicated fans of their music, thanks to their original recordings being all long out of print. Now thanks to Temporary Residence Ltd., Moss Icons complete discography is available once again in a two CD set jam packed with lyrics, live photos, and original album art. Beyond the beautiful packaging is the music itself, which thrashes back and forth between raging walls of sound and quiet, meandering parts. Vocalist Jonathan Vances alternating spoken word style of singing and enraged shouting carries his poetic, almost stream of consciousness lyrics throughout. Theres a very emotionally charged feeling on many of these recordingsa sort of melancholy mixed with barely repressed ragea feeling heightened by the rise and fall from loud to quiet parts. The intensity this creates makes for some damn catchy music. Ive had this in heavy rotation and dont see myself tiring of it anytime soon. Its a highly enjoyable and highly recommended reissue. –Paul J. Comeau (Temporary Residence, annapaz@temporaryresidence.com)

Poets Were My Heroes: CD
Morning Glory is the more melodic solo project of Ezra Kire, who is best known for Leftver Crack and Choking Victim. The band has been around in various forms for many years (including the live version I saw in 2008, which Im not sure ever actually recorded), but this album is an exciting departure, because it is the first one of their releases to finally congeal into a full cohesive sound. Many of their (incredibly hard to find) earlier albums are collections of scattered recordings made on the cheap, which range from decent (The Whole World Is Watching EP) to just above boom box levels of recording (Tha Suicide Singles and This Is No Time Ta Sleep). They all featured songs, though, that at their core, consisted of interesting and promising bits of sharp-barbed, melodic punksome of which was eventually adopted by Leftver Crackthat were just waiting for a proper fleshing out. This album finally lets the music sound full enough to breathe. This album could be subtitled Recovery Anthems. Lyrically, it is quite apparent that Ezra is a man who has many personal demons that he has struggled with through the years. Several of the songs here deal with addiction and rebuilding. What is refreshing about this subject matter is that the songs on here, such as Touch and my favorite Shelter from the Spoon, examine drug dependency in the sense of a struggle, not a glorification of self-destruction. Many other songs, like Poets Were My Heroes, Orphans Holiday, and the epic-ly scoped penultimate song Born to December are intense lyrical self examinations of the effects and realities of the present, as shaped by past life choices and situations. This can get rather weighty, but rather than caving into nihilism, there is a distinct undercurrent of optimism; given the chance and inner determination for one to rise abovewhether its addiction and personal circumstance, politics in the larger scope of global politics, or failures in society. One should not neglect to mention the richness of the albums production. There are many subtle touches that bring out extra layers to the street punk heart (in the best sense) of many of the songs, such as the string section and piano which carry the melody of Born to December, or the way that Touch is essentially an organ-led dirge featuring what sounds like a choral ensemble. Even the one song Im not big on here, March of the Asylum, features an interesting use of a horn section. This album is an interesting document that is well worth spending a little extra time with, as it offers up an examination of struggle and survival that chooses to venture down a more complex path. –Adrian Salas (Fat)

Straight Thinking Means Plain Speaking: CD
Super posi-political, cutesy banjo and violin folk from Los Angeles that rubs me the wrong way in every way, mostly because it makes me feel like a negative jerk if I cant get behind their one-dimensional and downright cheesy lyrics and delivery. If you like Ghost Mice youll definitely like this. –Craven (Self-released, moonbandits@gmail.com)

You Kill Me: 7EP
Junk food as soul food. Soul food as budget rock. A tiny squeak before some words. Think spinning-rubber Nikki And The Corvettes, but a roughed-up, knife-carrying Nikki who powerslides an Olds 442 through red lights. I know this sounds like an ingredients list, but fuck it: three unimpeachable women playing no-bullshit, not-good-for-you rocknroooool featuring Tina Lucchesi (Trashwomen, Tina And The Total Babes, Cyclops, Bobbyteens), Dulcinea Gonzalez (Loudmouths, MRR, VP of advertising at San Francisco Bay Guardian), and Renee Leal (LaTeenos). Rip it open. Chow down on salt and piss and vinegar. –Todd Taylor (Goner)

You Kill Me: 7EP
Power pop garage punk from some Budget Rock luminaries, bands that shoulda been household names (Trashwomen, Bobbyteens, Loudmouths, shit-tons more Im drawing a blank on.) Combine Nikki Corvette, Ramones, leather jackets, and hooks galore a teenage dream of badassery! Not unlike drummer Tina Lucchesis Top Ten outfit. Not your Goner Records typical packaging. Pretty sweet. –Sal Lucci (Goner)

Self-titled: LP
Is it possible to understand and not understand at the same time? Merx is like a canvas that stars off black instead of white. They play highly constructed, aurally articulated, meticulous post punk. Its dark, experimental, and filled with electronics. The vocalist is melodramatic, singing in a deep register, like Johnnie Jungleguts. My closest contemporary comparison would be as how Wounded Lion takes the Talking Heads and Star Wars references, Merx robes themselves in slow Joy Division and dcollages; strips away, lacerates. This isnt incidental music. Im just not sure if the hands-on-everything super-self- and music- aware style of this record isnt eclipsing my enjoyment of it. Im probably just not the intended audience. Features members of The Pope, Bipolar Bear, and ex-Spits. –Todd Taylor (Permanent)

Self-titled: LP
As an early 80s zinester, i got plenty of weird promo records that were this sort of angular, herky-jerky, Devo/Flying Lizards-damaged, post-new wave/pre-industrial post-punk art-school twitching and spasming, often fronted by a female vocalist of dubious vocal appeal. Nine times out of ten, i wound up selling them for pennies on the dollar at the local used record emporium, since they werent cool hardcore records, and were, to be honest, largely annoying. Once in a while thered be something cool ((no examples come immediately to mind, which might go a long way in conveying the depth of my disinterest in the genre)), but, by and large, i thought these records were a senseless waste of avant-vinyl. Fast-forward thirty years. Somehow, for reasons unclear, the Medical Tourists have not only mastered the fine art of sounding like angular, herky-jerky, Devo/Flying Lizards-damaged, post-new wave/pre-industrial post-punk art-school twitching and spasminghell, theyve got a song called Permanent Press, know what im saying?but theyve also managed to create an album of this kooky shit that is absolutely rock solid from stem to stern. I mean, there is NOT a bad song on it, and the actual craft of the production is impeccable. This is wholly without precedent! There were barely any good 45s that sounded like this back in the day, let alone a whole freaking album! This album will do the same thing for whatever the hell genre its in as the Epoxies first record did for its far more sultry and humanoid counterpart! Thank you, Medical Tourists, for opening the floodgates for years and years of annoying herky-jerky music to come!!! Hope you get that bargain liver youve been wanting. BEST SONG: YSIG BEST SONG TITLE: Elect Reject Object. FANTASTIC AMAZING TRIVIA FACT: The records intro is provided by Rerun honcho Jason Rosss dad, Ron. Ron used to be a DJ on WKAU-AM when i was a kid, therefore, it is possible ((though not verified)) that it was Ron Ross who played Do You Wanna Dance? by the Ramones on WKAU the day i heard punk rock for the first time. Hows THAT for cred? –Rev. Norb (Rerun / Import/Export)

Smut: LP
Fourteen unrelenting tracks of assaultive noise rock with warm, fuzzy titles like Filth Fuck, Burn the House Down, and World ov Shit. If this dont clean yer clock, youre probably already deaf. –Jimmy Alvarado (XO Press, xotapes@gmail.com)

: Split 7
Masked Intruder: Four songs played in the key of tight, 4/4 pop punk. One of my favorite keys. One of these songs is also on their self-titled full length, available from Red Scare. The songs are about girls, and are very good. The Turkletons: These two songs are faster, but still in the pop punk key. A dude sings the first song, which is about the kissing disease (its a real thing). A girl sings the second song, which is about having a kidney stone. I listened to that one a couple extra times. Im a sucker for female vocalists. You cant lose on either side of this one. –Nighthawk (Hang Up / Rad Girlfriend / Lost Cat, hanguprecords.com)

Demo: Cassette
Man, I thought for sure this was going to be some crazy hardcore or powerviolence, what with the black and white drawing of a zombie-looking dude on the cover. Far from it; Low Culture serve up four songs of melodic punk which should appeal to fans of Future Virgins and Tenement. Im really digging the four-track soundwhich I think suits this band perfectlyas well as any other band that dares to consider themselves punk. A 7 is apparently already out, so this demo certainly got the job done in drawing attention. Let me tell you, your attention is well deserved here. –Juan Espinosa (Dead Broke, Dirt Cult)

Lost Lost: CD
Lost Lost is a collection of Lost Sounds demos and rough mixes of songs. The fidelity of the tracks is pretty rough at times. But in some instancessuch as Black Coats/White Fearthe out of tune vocals and coarseness of the four-track recordings enhance the songs. Black Coats/White Fear was recorded in 1999, when Jay was only eighteen or nineteen years old. The track has a stunning urgency to it. Jay sings with complete conviction over an acoustic guitar and sparse percussion. Whereas synth pioneers Kraftwerk celebrated European grandeur, Jay and Alicjas societal vision was, like the movie Metropolis, dark. Their lyricsoften focusing on an upcoming dystopia or the nervousness of contemporary society (check Throw Away and Glued to the Screen)was the inverse of Kraftwerks celebration of machine as liberating force for mankind. The Lost Sounds had two creative heavyweights in Jay and Alicja. Knowing the pathos of Jays lifeand the psycho geography of postindustrial AmericaLost Sounds was (and remains) the synth-based soundtrack for corporate bailouts and high unemployment rates. There are some odd tracks on here toolike a cover of 60s garage song I Cannot Lieand the inclusion of sound effects Jay and Alicja created but had never gotten around to using. Lost Lost is definitely worth having. Jay and Alicja worked well together and their music was always enhanced by synthesizers. Lost Lost is a nice ending to an incredible band. –Ryan Leach (Goner, goner-records.com)

Self-titled: 7 EP
Disclaimer: This is basically the new incarnation of The Shemps from New York City, who Ive gone on tour with/filled in with; not to mention that ringleader Bill Florio is a close friend. (One of the songs on here almost ended up being used in our other band.) That said, musically its the same vintage garage/soul with some punk edges to it, that doesnt take itself too seriously. (Figuratively speaking. Musically, theyre not fucking around.) The biggest change is in the new vocalist. While the voice of the Shemps was more of a hardcore-style yell, the new guy is a bit more snotty. Its a good direction to go in. So, basically, if youre into garage (and not just wearing the stupid vintage clothing), this is highly recommended. –Joe Evans III (Go Ape, fancymag.com/go-ape)

Crystal Anis: CD
The Good: This French duo mete out some tasty, 60s-tinged tuneage, sorta like the Nico-era Velvet Underground penning the soundtrack to some sorta slinky In Like Flynn-esque spy flick with lots of psychedelic colored orbs and rack zooms up the wazoo. The Bad: The bulk of the tunes are based on finding a groove and riding it all the way into shore, which works like gangbusters when youre talking about funk, but too often here ends up with a given song sounding like merely a rough sketch of an idea rather than a realized whole. There are also some instances where similar ideas pop up again two or three tunes down the track list, resulting in, Wait, wasnt that just one a second ago? moments. The Good (Slight Return): Many of its shortcomings are saved by the fact that the ideas are, in fact, good ideas, so while it may come off as unfinished in spots, its at no point unlistenable. –Jimmy Alvarado (HoZac, hozacrecords.com)

All That We Know: CD
Larry And His Flask is country punk band that is every bit as gimmicky as all of the Irish punk bands around. The vocals are a bad imitation of a drunken pirate, except for the parts where they sound like Bad Religion, and then they are a bad imitation of that. I know that were past the phase of accusing bands of being over produced, but thats the best way to describe this CD. Larry and His Flask forces different combinations of banjo, trombone, piano, mandolin, and trumpet (plus complex vocal harmonies) into each song, and its just too much. They should definitely strip it down to just what they need and drop the gimmick. –Lauren Trout (Silver Sprocket)

Self-titled: Cassette
Punky California beach pop. Sounds like Hunx (And His Punx) on a weed day. Burger Records have cultivated this great little sound with their acts seemingly stuck in this world where the 90s took place in the 60sthe beach bum loser aesthetic backed by the music of the proto-psychedelic rock era. The vibe lingers throughout the record and dominates the sound; I can feel the high vibrating out of my stereos speakers. I now regret skipping his set at the Burger showcase when it came to town. Special mention to the track Alone and Stoned, which has been stuck in my head since I first popped the tape in. Recommended. –Bryan Static (Burger, burgerrecords.org)

: Split 12
This four-way split of Pennsylvania bands is a beautiful looking record. Three color silk screened cover and fancy zine-like booklet titled, A Young Scouts Field Guide to Penns Woods Hardcore, makes me think youd also find it on Etsy. The eclectic spread of bands on this piece of vinyl makes for a groovy time. Everything from Modest Mouse garage rock to hardcore to math rock to goodtime Midwest punk. Definitely worth a spin. At least side two is. –Matthew Hart (Chumpire / Square Of Opposition / I Heard You Hate Caskets)

Self-titled: 7
JTT are a band from Corvallis, OR that plays country-damaged pop punk. Theyre very sincere and great lyricists with songs that range from adult anger at a deadbeat dad, to a story of a lonely old man who drank himself to death, leaving the narrator wanting to pursue a better life and encouraging the listener to hold yourself up and make your presence known. Its a pretty good and inspiring effort. It makes me feel both like the old man who wasted all his time and inspires me to think Ive got a lot of time left, to not let life pass me by. –Craven (Secret Pennies)

Of All Things I Will Soon Grow Tired: CD
Joyce Manors taste for throwing down even the briefest outline of a song on their sophomore album almost makes them come off like the pop punk Guided By Voices. This also puts the album into a weird flow. At nine songs in thirteen minutes, there are some real choice bits, like the succinct punk nuggets, Comfortable Clothes and If I Needed You There. Theres also the distinct-sounding See How Tame I Can Be? (which seemingly stole its rhythm section from a new wave band) and the janglier excursion Bride of Usher that change things up a bit. The couple of oddly recorded acoustic songs, Drainage and Im Always Tired, though come off as filler on such a short album. Seeing as they sound like incomplete demos or song ideas put on to bump this just barely into LP runtime, they give the proceedings a weird odds and sods feel rather than that of a coherent album. After all, I dont think Group Sex would work quite as well if it had a couple songs that sound like Keith Morris about to fall asleep with a tape recorder on plopped into the album. Plus the singer sounds way too tired and sort of annoyingly apathetic when hes acoustic. He needs the balance of driving music, which makes his vocals work. Otherwise, he starts to sound like that one person who gets irritating due to how jaded they are since they have seen/done/experienced more than you can imagine (cough cough, the title of this album). All said, there is a really good EP present on here, as these guys really have the whole rapid-fire punk thing down when their running at full steam. Side-note, theres also a cover of Video Killed the Radio Star on here thats much raggedier and faster than the Presidents Of The United States version, but just as charming in its own way (though the original Buggles version still owns my heart). –Adrian Salas (Asian Man, mikeparkmusic@gmail.com)

Goes to Purgatory: CD
Metallic mid-tempo thrash with a punk edge to it: thats what this band brings to the table. The production is pretty lo-fi and the leads are pure late 80s thrash, so fans of under-produced metal will probably dig this. –Mike Frame (Cassette Deck)

Go West Old Bastards b/w Close Ur Eyes: 7
Musical genres are word corrals. For people new to a genre, or mere consumers, theyre helpful. Garage rock. To me, as a termits almost as meaningless because its so vast and has such a rich and continuing heritage. Then there are the compartments in the corrals. The subgenres. They use hyphens and the hyphens cordon off smaller chunks of musical landscape. Mummies-inspired-proto-Crypt-rock. Gunk-punk. That sort of thing. But, as a music lover and an American who loves wide open spaces, I give thanks to artists like James Arthur and Alicja Trout. Instead of cant-turn-around-in-this-cage, Im-going-to-die-in-here, veal-fattening pens of much of corporate-sponsored garage rock today, these two are on wildly different trips. James Arthur: best instrumental soundtrack to a movie that hasnt been made. I would like that movie to have a robot, a monkey, and a cowperson. Alicja: for those familiar with her work in Mouse Rocket and Alicja Pop, she sounds like a deconstructed New Rose Damned, sung with palpable heart, open artful stitches, and wide-open wonderment. Excellent pairing. –Todd Taylor (Spacecase, spacecaserecords.com, info@spacecaserecords.com)

Hygiene b/w Hygne: 7
Big ol question mark punk rock. Are they really primitive moderns channeling the Monks and Black Time? Kraut rock with beans on toast? Wire unraveling into uncomfortable, spiked strands? Sham 69 deconstructionists? Intellectual skinhead revivalists? My guess is that they know exactly what theyre doing and that confusion, obfuscation, and unanswerability are part of their concrete-small-flats-and-parka mystique. –Todd Taylor (Sorry State, yourgeneration@gmail.com)

Crows and Cranes: CD
This is a dark, dreamy album with gorgeous vocals and guitar melodies. Hunters, Run! sounds totally unique and unpretentious. –Lauren Trout (Battle Standard / At Arms)

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