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MRR Radio #1587 • 12/10/17

This week Matt pulls some rarities out of the vault to make the scums and punks drool. Intro song: STENGTE DØRER ...

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MRR Radio #1586 • 12/3/17

On this week's MRR Radio, Rob goes ballistic for late '70s and early '80s Bloodstains punk rock from around the ...

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Maximum Rocknroll #416 • Jan 2018

Another new year, another exciting issue of Maximum Rocknroll! MRR #416, our January 2018 issue, begins with a sad note as we ...

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"Who gives a fuck?"

MRR Radio #1585 • 11/26/17

“[...] Elvis gives them a short speech about the death pangs that humanity must go through in order to reach ...

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MRR Radio #1584 • 11/19/17

Another fuct up Rotten Ron and Horrrible Halitosis Punker Power Hour. Intro song: DRUGCHARGE - Husk Rotten Ron fucks it up so you ...

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MRR Radio #1327 • 12/16/12

December 16th, 2012 by

MRR Radio is a weekly radio show featuring the best DIY punk, garage rock and hardcore from the astounding, ever-growing Maximum Rocknroll record collection. You can find the MRR Radio podcast, as well as specials, archives, and more info at radio.maximumrocknroll.com. Thanks for listening, and stay tuned!

THIS WEEK: Party with Francesca on her 28th birthday with some buddies & some hand-picked favorites!


gimme presents

Intro song:
ALABASTER CHOAD – Suck a Cop’s Cock

“Happy birthday, you’re still going to hell”
CRUCIFUCKS – Similar Items
HARUM SCARUM – The Fight Inside Me
UXA – Death from Above
SHIRKERS – Drunk & Disorderly
THE BOILS – Victims

“Twenty-eight dates”
RIFF RANDALLS – How ‘Bout Romance?
THE ONLY ONES – Baby’s Got a Gun
THEE HEADCOATEES – Now Your Hunger’s Gonna Be a-Comin’

“Stick a fork in ‘er…”
RUDI – I Spy
TROCKENER KECKS – Finishing Touch
QUESTIONS – Take a Ride
SHE – Feel Like Giving Up

“..she’s done.”
BIKINI KILL – Tony Randall
HEAVENS TO BETSY – Get Out of My Head
BIG MISTAKE – Pissed Off
TORCHES TO ROME – Torches to Rome

Outro song:
WEIRD TV – Canalla

MRR archives: Maximum Rocknroll & TRUST present Welcome to Cruise Country photozine • 1986

December 13th, 2012 by

Continuing with our MRR Archives Series in celebration of our 30th Anniversary, here is the complete download of our second photozine, a special All-European issue produced in collaboration with Germany’s TRUST fanzine, Welcome to Cruise Country (see below for link). For this archive post, we sent some questions to our friends Dolf Hermannstädter and Jan Roehlk at the still-thriving TRUST fanzine HQ about the photozine and the current state of punk zinery. Danke schön, Jan und Dolf!

Click image to download Welcome to Cruise Country!

How did you first learn about Maximum Rocknroll?

Dolf: It was back in 1983. Dave Dictor of MDC sent me an issue after I wrote him a letter. He also included a copy of Ripper. If I remember correctly I was more turned on by Ripper. ;-)

Jan: I got to know MRR through a review in a local fanzine in the beginning of the ’90s. I had a subscription, then canceled it and only read it once in a while because I was a little overtired about the millionth crust band interview (sorry!) but renewed a subscription again and this time kept it.

Was MRR an inspiration for starting TRUST?

Dolf: Yes, definitely, we were much impressed by MRR, Ripper and Flipside! I have to say that I don’t really like the open submission concept concerning the interviews. I like it more when a core writer staff conducts the interviews, and it is not only to avoid people sending in faked interviews or made-up scene reports. Like with all open source medias it is the same problem: It is cool that all can submit, but who controls it? Maybe it is just a matter of taste, some people like it, some not, and hey, it works for MRR clearly…so, all good! :)

Painajainen (photo by J.P. Inkinen)

Jan: German Wikipedia writes about TRUST: “Taking the American MRR fanzine as a role model, the first issue of TRUST was published in 1986 by the founding members Thomasso Schultze, Mitch Alber, Armin Hofman, Dolf Hermannstädter and Anne Ullrich. Just like MRR was connecting the worldwide punk scene, TRUST started with the aim to connect the German punk and hardcore scene through a regular published print fanzine, a totally new thing for punk fanzines back then.” (Some zines came out only locally, once a year or so and were kind of harder to find.)

So, yes, MRR was a really huge influence. And for me it will remain an inspiration for continuing with my writings for TRUST. MRR offers a real good worldwide view of the punk scene, and it is (still) great to have all the news, columns, record/movie/book reviews and shit collected every month on paper, at least for me.

For a while, Flipside matched my musical taste more, but really, I like(d) both a lot. By the way, here is an interview I recently did for TRUST with Hudley Flipside. There is a nice part about MRR and Tim Yo in her answer after question six.

I always like to do something for/with the people of MRR. TRUST asked MRR years ago if we could support each other by exchanging ads and we do so to this day… And it always felt good to contribute (did two scene reports in 2004 and 2010).

One special thing about MRR which blew me away twice and still keeps me inspired when I think of it is the spirit of the coordinators and their serious dedication to the labor of love for the DIY-punk scene and the mag. I twice met different coordinators for an interview for TRUST and they were like, “MRR gave us so much when we were young, so I give it now back with my MRR involvement.” I did two interviews in San Francisco at the MRR compound in 2004 and 2008. Both times it felt really good to meet the coordinators in person and see how it all works in the house.

How did the idea come about for the TRUST/MRR photozine?

Jan: Helge Schreiber had the idea. He also stayed for some months at MRR and pulled it together. His involvement in this issue came from his writings for MRR from 1983 to 1994 about European bands.

Dolf: We just thought it would be a great project and that it would help the global scene to connect.

Who decided which photos to use?

Dolf: As far as I remember, it was a co-op of people from TRUST (Anne Ullrich, Thomasso Schulze..) and Helge Schreiber was also heavily involved.

Tu Do Hospital (by Helge Schreiber)

Was all of the production for Welcome to Cruise Country done at MRR? Did any of you actually come to MRR to work on this? If so, what was it like to meet Tim Yo in person?

Jan: In the beginning of 1987 Helge finished his civil service and with the transfer money he flew out to San Francisco. Together with MRR he put together the zine. He collected all the photos out of the sources of a lot of photographers from over Europe. Later the same year, the special photo issue between MRR and TRUST called Welcome to Cruise Country with photos only by European bands was released. Since the street date it has ten million copies. No, it is for sure sold out.

Dolf: Yes, it was all done there. It was great to meet Tim, he was a fun guy to hang around and had a lot of life experience and good ideas and arguments. What impressed me the most (this was in 1987) was that there was a older guy who was still cool. Since most of our peers where our age, or usually older people become adults and Tim was still cool. I liked that since I hardy knew any other older people who where like him.

Were there separate European and U.S. printings of the photo-zine?

Dolf: Yes, the US version was on shitty newsprint [hence the kinda crappy quality of the PDF here —ed.] and the Euro version was offset. They where otherwise identically, only the cover was a bit different. The names of the zines where in different order.

Do you want to explain the title for our younger American readers? How big was the cruise missile issue, and was it seen as a uniting political issue for European punks?

Some older punks dissed the new breed as Stirnbandwixxer (“bandana jerks”) and the younger dissed the old punks as Nietenkaiser (“spike emperor”). —Jan

Dolf: The historic-political background concerning the title of the photo issue had to do with Cold War times and politics. In 1980 NATO planned to react to the deployment of Russian intermediate-range missiles with the deployment of American cruise missiles and Pershing II intermediate-range missiles in Europe. Parallel to that, NATO wanted to make an disarmament offer directed to the Soviets. That double-strategic plan — install weapons while talking about disarmament — was called the NATO Double-Track Decision. This decision was the reenforcing point of a whole bunch of anti-war protests in Europe, and a lot of people in the punk scene were against the Double-Track Decision. All of that emerged later in the title of the photo issue. Uniting political issue for European punks? Hard to answer…

Jan: I’d like to add one more thing may need some explaining — the very origin of the name TRUST. Sometimes people don’t understand or just don’t know what the original intention was. One of the founders of TRUST, in 1986, had the idea for the name. It has nothing to do with the 7Seconds song title, and also not with the French band by the same name. It was intended to be a play on words: “trust” is an old expression for “huge monopolistic corporations cartel which dominates the market.” Besides the obvious (trust) that was the intention, to claim in an ironic way, like “Trust us, obey us cause we rule.”

Everything Falls Apart (photos by Anne Ullrich)

As you look through the photo zine now, is there anything that surprises you, makes you laugh, makes you embarrassed, etc.?

Jan: Fuck you big time, you old punks over forty. I am jealous. Seriously, this remains amazing on several levels. First thing that comes into my mind: Great cover shot. And how young all these bands were. So enthusiastic. So serious and joyful and powerful and full of good fun. A few of my favorite shots include NEGAZIONE and the crowd shots in Italy. And the LÄRM guys who seemed to have lost contact to Earth: how high can you jump with a bass in the hands?! Guess they took that from SNFU, I assume… Look at that TU DO HOSPITAL pic. No barriers between band and audience and these happy faces. On the pic of EVERYTHING FALLS APART you can see the singer, Thomasso, back then one of the main driving forces for TRUST Fanzine.

For today’s 16-year-old kids, this issue must look like an artifact from a long gone civilization. Does that all mean that the past was better than today? Fuck no. It was just…different.

But the Cruise Country issue is also an interesting document to understand the transformation of the European scene. Most of the people on these photos were punks before US Hardcore landed in Europe. They then combined the new sound with British anarcho-punk values and that was the new “movement” of European hardcore back then. Some older punks dissed that new breed as Stirnbandwixxer (that means “bandana jerks”) and the younger, of course, dissed the old punks as Nietenkaiser (“spike emperor”).

And, fuck, then there are those old ads I love looking at so much. The one from Alternative Tentacles announcing the Give Me Convenience DEAD KENNEDYS collection (one of the first punk records I bought, but only in 1991, haha) and saying that Sex Mad by NO MEANS NO is soon to be released. Alchemy Records stating that something from RKL is coming soon, which surely meant the great Rock’n’Roll Nightmare record. Man, Starving Missile Records are also inside. Taang! announces Hate Your Friends by LEMONHEADS.

…Maybe a reprint on good paper quality would also make sense? Read the rest of this entry »

Relatos del punk subterráneo en Perú: primera parte

December 12th, 2012 by

Here is the Spanish-language version of part one of our three-part history “Notes on the Peruvian Underground.” This originally appeared in English in MRR #353. You can read part two in English in MRR #356 (parte uno en español aquí) and part three in English in MRR #359 (parte tres en español aquí).

Traducción por Sandro “Dogma” Casas y Sonia “la Perra” Serna*

El punk no nació, el punk es. ¡Hijos de puta!

Podría decirse que el origen de la escena punk en Lima, Perú, corresponde a una amenaza de ataque a un país que, de hecho, ya estaba siendo atacado. La imagen de una estrella de rock flotando enloquecida sobre el horizonte de una sobrecogida ciudad adornaba un afiche de finales de 1984 que titulaba: “Rock subterráneo ataca Lima.”

Con ese afiche, diseñado por Leopoldo de la Rosa, bajista del rítmico y ruidoso trío Leusemia, y que era conocido como Leo “Escoria”, se anunciaba un concierto con las primeras bandas subterráneas (como Narcosis, Guerrilla Urbana y Autopsia, entre otras).  Los punks peruanos, a diferencia de los punks en otras partes de la América hispanohablante, se habían agrupado bajo el rubro “rock subterráneo”, a lo que siguió la creación de una identidad subcultural conocida como “subte”, que connota la especificidad de lo que significa ser un punk en Perú mejor de lo podría hacerlo el término punk genérico o algunos de sus hijitos (como hardcore, post-punk, pop punk, etc.). El término inconscientemente llama la atención sobre una relación ambigua entre lo “subterráneo” y lo “subversivo”, es decir, sobre la participación en una subcultura musical subterránea versus la participación en políticas subversivas. La escena punk peruana, después de todo, agarró fuerza en el contexto de la guerra civil entre el estado autoritario del Perú y Sendero Luminoso, un grupo militante de inspiración maoísta que estuvo muy cerca de derrocar al estado, pero que comenzó a desmoronarse en 1992 cuando su líder, Abimael Guzmán, fue capturado.

Los Saicos

También podría decirse que la escena punk peruana comenzó en 1978, año en que por primera vez en los bares de Lima una banda llamada Anarkía comenzó a hacer covers de grupos como los Jam, los Sex Pistols, los Dead Boys y los Ramones, entre otros. Anarkía fue quizá la primera banda peruana en autodenominarse punk mientras estuvo activa. En una corta entrevista publicada en una edición de 1980 de la revista mexicana de rock Conécte, Anarkía reconoció haber sido una banda pionera del punk latino. Treinta años después, Martín Berninzon, baterista de la banda, encuentra esa declaración cierta pero irónica. Cierta porque Anarkía estaba al tanto de los sonidos punk en el mundo, irónica porque sus compañeros de la banda no eran más que unos excelentes músicos ansiosos por tocar rock progresivo.

Podría decirse, incluso, que todo el género punk — sí, ¡despierta gringo de mierda! — tuvo su origen a mediados de la década de los sesenta en el distrito Lince, en Lima, lugar en el que Los Saicos cantaron “Demolición”, un hecho que los anticiparía a las crudas composiciones y provocadoras letras que posteriormente resultaría básica a la sensibilidad punk. Ni entonces ni ahora Los Saicos han llamado punk a lo que hacen, aunque después de haberse reunido para realizar una gira en los últimos años, se han entusiasmado un poco con la idea. A pesar de ello, y en un irónico giro del destino, en 2008 el gobierno municipal del distrito de Lince, siguiendo la tendencia española y latinoamericana de declarar a Los Saicos la primera banda punk del mundo, les impuso esa etiqueta a 40 años de que los hechos hubieran tenido lugar. Hoy en día, en una concurrida esquina de Lince hay una placa financiada por la municipalidad que declara audazmente en honor a Los Saicos: “En éste lugar nació el movimiento punk rock en el mundo”. Una afirmación convincente como relato alternativo del punk e, implícitamente, del mundo, que no resulta para nada modesta.

Por ahora tengamos en mente que las historias de los orígenes siempre son mitos construidos para sustentar puntos de vista ideológicos. Primero fue Dios, luego Adán y luego Eva. Sí, claro, así fue. Primero fue Occidente, después el resto. ¡Maldita sea! Las historias sobre el punk no son inocentes respecto a sus propios relatos de origen, pues ellas cargan con las posiciones ideológicas de quienes las crearon. La historia del punk padece esa tendencia a estandarizarse, padece la imposición de una narrativa que, en efecto, ha establecido un punto de “origen” mítico. La mayoría de esas narrativas son predecibles respecto a los tiempos y a los lugares: Londres y Nueva York a mediados de la década de los setenta (entiéndase los Sex Pistols, los Ramones y esas “otras bandas”). En últimas, la gente podría retroceder hasta Michigan a finales de la década de los sesenta y, sin arriesgar demasiado, llamar a ese periodo proto-punk (por ejemplo, MC5, The Stooges etc.).

De ahí que quiera dejar clara mi posición ideológica: no busco reescribir la historia de modo que la gente llegue a pensar que el punk empezó en Perú, pero intento dejar por escrito algunos relatos para que la gente sepa que el punk en Perú es de puta madre, tan de puta madre como en cualquier otro lugar. Aunque no puedo evitar hacer cierta cronología, no estoy comprometido con una historia de orígenes fijos y finales definitivos. Pienso que los momentos en que se generan esos relatos son múltiples, que cada uno de ellos ha derivado de algo más y que, por esa misma razón, no son para nada “originales”. Y, como no me puedo quedar divagando para siempre, de repente tendré que parar de escribir. Eso, aunque marcará el final de éstos relatos no puede significar el fin de la movida subterránea peruana ni, mucho menos, del punk en general. No es necesario recordarles a los lectores de Maximum Rock-n-Roll lo que ya deberían saber: que el Punk No Está Muerto.

A lo que quisiera agregar: el Punk No Nació, el Punk Es. ¡Hijos de Puta!

“Canten en Castellano,  ¡carajo!”

Son muchos los aspectos que hacen la diferencia entre la banda Anarkía, de finales de la década de los setentas, y las bandas que empezaron a tocar punk a mediados de los ochenta en Perú. Anarkía estaba por su propia cuenta, sin mucha de la “movida”. No existen grabaciones suyas de la cuales hablar o, al menos, nadie ha ubicado la única grabación que, según Berninzon, hicieron tocando en vivo en un estudio de radio. Además, Anarkía sólo tocaba covers de bandas estadounidenses y británicas, lo que significa que cantaban en inglés.

Las cinco bandas que emergieron en Lima entre 1983 y 1984 (Leusemia, Narcosis, Guerrilla Urbana, Autopsia y Zcuela Cerrada), y que hacían música inspirada en el punk, contrastaban con Anarkía de muchas maneras: escribían sus propias letras, eran un grupo de amigos conectado con otros grupos de amigos que pronto consolidarían la movida, dejaron muchas grabaciones y, quizá lo más importante, CANTABAN EN ESPAÑOL, ¡CARAJO! La declaración la tomé de la boca de Daniel F, líder de Leusemia, quien en junio de 1984 se paró en frente de una audiencia limeña de clase media-alta y, como si se tratara de una orden, dijo: “Canten en castellano, ¡carajo!”, escandalizando así a un público que esperaba a que las “verdaderas” bandas peruanas subieran al escenario a tocar covers de canciones en inglés. Su punto estaba claro. El idioma en el que cantas, así como el idioma en el que hablas, es en su naturaleza geopolítico. ¡Paren de complacer a los gringos! O, lo que es aún peor, paren de complacer a los gringos wannabees que viven en toda América Latina, a todos aquellos que, consciente o inconscientemente, creen que el rock como género inequívocamente se canta en inglés. El rock, como el punk, como cualquier manifestación cultural, puede ser cualquier cosa en cualquier lugar. Depende de uno poder hacer que hable en su lengua, sobre su contexto, sobre su sociedad: ¡Hazlo-tú-mismo-huevón! Read the rest of this entry »

Videos of the Week: ABSURDO y ORDEN MUNDIAL

December 11th, 2012 by

Here are TWO raging videos for you this week, cuz they’re short… and awesome. ABSURDO from Barcelona appears in the newest issue of MRR and Mallorca’s ORDEN MUNDIAL, well, they just kick ass. Here’s both bands performing at the same fest (I think?) in 2010 and 2012 respectively. Feel free to dance!

Monday Photo Blog: Natalia Moko

December 10th, 2012 by

The photos of Natalia Moko are the focus of this week’s Monday Photo Blog. These photos were taken at the DIY social centre, Ypogeios tis  Kallidromiou 94 in Athens, Greece. We’ve got six killer shots from the bands Witchcult, Cut Off, and Beartrap.

Beartrap at Kallidromiou94. (Photo by Natalia Moko)

Beartrap at Kallidromiou94. (Photo by Natalia Moko)

Cut Off at Kallidromiou 94. (Photo by Natalia Moko)

Witchcult at Kallidromiou 94. ( Photo by Natalia Moko)

Witchcult at Kallidromiou 94. (Photo by Natalia Moko)

Witchcult at Kallidromiou 94. (Photo by Natalia Moko)

Send your tour photos, bands that have come through your town, the best of your local bands, etc. to: . Include your name, a link to your website (or flickr, Facebook, or whatever), and the band (or subject), date and location of each photo. Just send your best photos — edit tightly. Three to seven photos is plenty, and it’s best to send pictures of different bands. Please do not send watermarked photos. Please make your photos 72 dpi and about 600–800 pixels at the longest side. Not everything sent in will be posted, and a response is not guaranteed, but we do appreciate all of your contributions. Feel free to submit more than once. Thanks!