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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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Create to Destroy! Terminal Escape

August 6th, 2014 by


Robert Collins is a Bay Area character — you may know him from numerous bands he’s been in or tours you’ve spotted him on. I first remember him from Chaos in Tejas in 2009 when I bought a Judgment shirt off him in a sea of punk buying frenzy. Mr. Collins has reviewed many cassettes for MRR and has uploaded many of them to his tape blog. I know I was honored when my old bands’ tapes got posted and I’m sure you felt the same way when yours was or you were just stoked to discover a new gem band that never made it to vinyl or sounded way better in their demos days. Here is MRR’s very own Robert Collins of Terminal Escape

US punk/HC (to be ripped, section 1 of 4)

The Terminals Escape tape shelves: US punk/HC (to be ripped, section 1 of 4)

How long have you had a tape blog, Terminal Escape? Sorry to call it a “tape blog” that makes it sound like a trendy cheap experience.
I started Terminal Escape in June 2009, and Escape Is Terminal about two years later. No need to apologize — I mean, they are tape blogs after all. If it’s a trendy thing then so be it.

Why tapes?
The initial motivation was perhaps different than the current one…I received a vault of ’80s cassettes and demos, the result of an old(er) friend’s trading over the years and he no longer wanted to deal with them. There were countless bands I had never heard of and couldn’t find any info about, and the blog seemed a logical way to share the sounds. Through that initial blast I ended up corresponding with members of LUMPS OF MERDE, CONVULSIONS, SNAPPIN’ BOGSEATS…heaps of bands that never released vinyl during their relatively short existences. Punk got passed around like this, on tapes, for twenty years pre-internet, and there is definitely something special about the medium.

Now, however, I kinda view tapes and records as the “things,” the tactile objects that we like to hold so that we feel closer to the sounds and the artists that make them. Simple economics says that if people are going to primarily digest your music digitally anyway (and let’s be honest, much more efficiently) it makes sense that punks in lesser known bands would gravitate towards the cheapest way to have a “thing” that makes your music “real.” You make 50 tapes so you have a “release” then put the fukkn shit on the internet, it’s a lot cheaper than making a record no one is going to buy. It’s a bit fatalistic, and I’m dodging the fact that the cassette is considered a retro and/or hip format, but for bands who can’t afford to dump cash into vinyl and think CD demos are utterly disposable, then the format works.

But why do I stick exclusively with cassettes? I’m five years in, I suppose it’s my thing now…

Do you consider yourself a bit obsessive?
Obviously. But mostly I would consider myself enthusiastic, often to a fault.

How do you record tapes to MP3 format?
Tape deck RCA output –> 1/8″ computer mic input –> record and edit in Audacity (free software) –> dump into iTunes –> convert to MP3 and zip via BetterZip –> upload to Opendrive, Box and/or Zippyshare.

Why a tape blog? Why not just make bootlegs and send them to the other 5,000 punx worldwide? Or is the internet more effective?
Effective is a trick term. Efficient? Yes. But face to face is way more effective than a bunch of files. Why? I just started the ball rolling and haven’t decided to quit.

What tapes do you put on your blog?
Whatever tapes I want.

US punk/HC (posted)

The Terminals Escape tape shelves: US punk/HC (posted)

Is it only punk?
Definitely not. It’s mostly punk, but there are artists and labels outside of that realm that I find extremely compelling and it seems that visitors to the blog appreciate occasional detours.

How do tapes get into your hands? It always seemed mysterious and like an underground movement, the Robert Collins connection…

I buy a lot of them. Sometimes people give me old collections that are taking up dust hoping that the sounds will be eventually shared and not be merely stuck on a shelf (these are always welcome, of course). I do get submissions from time to time, and they are overwhelmingly good ones…though I confess that I feel really bad when someone says “Man, I dig your blog and want to send you my band’s tape because I’m really proud of it and would love to see it on Terminal Escape” and then it’s total crap. I have been a demo reviewer for MRR for years, so that’s an obvious source as well.

How do you feel this supports underground punk?
That’s tough. Does it? Or does it just stroke my ego and the ego of the bands I like? I’m not sure. I know bands that have been “discovered” by labels via the blog, I know bands that have had tour offers after I shared their tapes…but does it support underground punk? Terminal Escape is a way for people, regardless of geography or scene affiliation, to have access to (what I humbly think of as a) wealth of new and old music that they might not otherwise hear. So I guess it encourages underground punk. And hopefully supports it as well.

Why not CDs?
Because I do not like CDs. There are still places where the CD (and, sadly, the CD demo) are still utilized, but thankfully my home is not one of them.

Do you only collect tapes?
No. I like records. A lot.

How many tapes do you think you have?
Too many. I live in a pretty small flat and I am constantly purging, if only out of necessity.

Do you consider your collection an archive?
No, though the UK collection I got that prompted the start of Terminal Escape would certainly fit that description…and that stuff is in my collection, so maybe it is? It will be someday, but it’s hard for me to think about things I’ve accumulated through my own time going to shows as archival — even if many of them are, by now, rather old.

Where will it go when you die?
To the thrift store. Someone is gonna be stoked.

Do you still do mail trades?
No, and I never have done so with any efficiency. I am really bad at mail, really bad at correspondence. Really bad at selling stuff. I am a terrible person to trade things with.

How can we stay up to date on Terminal Escape?
terminalescape.blogspot.com (updated daily)
escapeisterminal.blogspot.com (updated sporadically)

Any last words, wizard?
Not really? I’m ripping a live YOUTH RIOT tape right now and it’s pretty awesome, so that’s cool.

Monday Photo Blog: Svin Panov

August 4th, 2014 by

For this Monday Photo Blog we get a look into the punk rock archives of  Svin Panov. Maybe you read the article in issue #375? For more check out svinpanov.ru.

Andrei “Svin” Panov at the 6th Leningrad Rock Club Winter Stadium 1988. (Photo taken with permission from the Svin and AU digital archive)

Band rehearsals at Svin’s apartment began in the 1980s. (Photo taken with permission from the Svin and AU digital archive)

Leningrad’s early punk pioneers. The photo is characteristically called “A Mass Brawl at the Plant”. Andrei “Svin” Panov, Evgeni Yufit are within the mess. Leningrad 1984. (Photo used with permission from the Svin and AU digital archive)

Leningrad punks1990. (Photo by Natasha Vasil’eva)

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!

MRR Radio #1412 • 8/3/14

August 3rd, 2014 by

Per from Sweden’s own SEX DWARF stops by and pulls some of his favorites from the collection. Rob plays some new stuff and gives the letter X some love. This is how rock ‘n’ roll should be!

Sex Dwarf (photo by Soile Siirtola)

Sex Dwarf (photo by Soile Siirtola)

Intro song:
SEX DWARF – Dera Ord

Rob – New Stuff
THE DISHRAGS – I Don’t Love You
WHITE ASS – Stencil
ZIG ZAGS – No Blade of Grass
BIKINI KILL – Don’t Need You

Per – Rocks and Rolls Part 1
MG 15 – Genocidio
FIRMEZA 10 – Emergencia
DESTINO FINAL – Ove Vas a Hacer?
ARCHAIC – Noise in Your Head

Rob – X Marks the Spot
XPOZEZ – Skitzofrenia
X-O TOXINS – Living Hell
X-CRETA – Exaggerated
X-RAYS – Totalled Baby
XTRAVERTS – Police State

Per – Rocks and Rolls Part 2
BELGRADO – Dead Nation
PART 1 – Possessed

Outro song:
COMPLETE DISORDER – We Must Do Something Now (Tribute to Fraggle, aka Comrade Barley)

Maximum Rocknroll Radio is a weekly radio show and podcast featuring DIY punk, garage rock, hardcore, and more from around the world. Our rotating cast of DJ’s picks the best of the best from MRR magazine’s astounding, ever-growing vinyl archive. You can find MRR Radio archives, specials, and more at radio.maximumrocknroll.com. Thanks for listening!

Record of the Week: TAULARD Les Abords du Lycée LP

August 1st, 2014 by


After my recent fascination with ’80s French Oi! and coldwave, here comes something equally interesting, one to add to my list of grande musique de France: keyboard-, drum- and bass-driven synthpunk right out of current day Grenoble! I love everything about this release: the mixed bag of influences (punk, post-punk, electro, hip hop, Renaissance music!) the subtle cinematic orchestration, the layout of the inner sleeve and silk screened Miró-esque cover. The almost church organ-like keyboard tunes steal the show, sounding like they’re coming from some busted up old ’60s synth, wafting and weaving through the tight, minimal yet animated drumming (kick, floor tom, snare and hi-hat), the soulful rhythms of the bass (that fullness of jazz, that spike of punk, that slight funk edge) and the attitude-filled vocals (with that poeticism that the French language inherently possesses). The backing vocal harmonies leave a ’60s psych garage aftertaste, but the keyboard and vocals really manage to set a multitude of tones and moods to real-life settings (suffocation, depression, drunken mirth, traveling, crushes, loss, sexual mistakes). There is a sense of humour (even mockery) to the performance, and the A-side almost sounds as if a bunch of punks got together in a brick basement (upon Roman ruins for all I know) to write a soundtrack to the urban comedy/drama they call life. Don’t let that playful attitude fool you though; the darker B-side ends the show on a morose tone, where disappointment and disillusion abound; a bad trip confession set to music. Bitter yet sweet, magical yet haunted, vintage yet moderne. Fucking brilliant! Get it!

Listen/download here