Featured Posts
Vomit Pigs

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 ...

Read More


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 ...

Read More

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 ...

Read More

"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 ...

Read More

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 ...

Read More

Create to Destroy! Reality Asylum

August 5th, 2015 by
wawaHere is Greg of Philadelphia, formerly in DEATH RATS, on his CRASS and DISCHARGE pins.  Q: And pins  A: And pins:
Reality Asylum, who are you?
I’m just a guy. This all started when I was searching for a metal CRASS pin and couldn’t find one. A friend and I were discussing how easy it is to have enamel pins made so I looked into it. I’m just making pins I want to have.
What was your first introduction to Crass?
I can’t pinpoint a first introduction. CRASS is one of those bands that is so ingrained in punk that they are a constant presence. I know the first time I heard them I wasn’t into it. It took some time to realize what a great band they are and that they have a near perfect aesthetic.
Why do you think “Reality Asylum” was such an important 7″ for Crass Records?
I don’t know if I have an answer for this. When I was trying to come up with a name for this thing, my friend came up with, “jesus died for his own pins, not mine.”  It’s hilarious.

What else do you do besides make pins?

I play music and skateboard. Both poorly.

Why CRASS pins?

I think it is the perfect logo. It’s iconic, It’s abrasive, and it’s cool. Also, it’s a circle. The best logos are circles.
I met David King who designed the logo.  It was neat, he lives in San Francisco and had an art show shortly after I moved to the Bay.  Can you break down the symbolism of the CRASS logo for us?  I think a lot of people miss the snakes and other imagery within the design.
There is a lot of things buried in the logo. It’s a cross with a cross-out through it that is a two headed snake. How cool is that? At first glance you don’t really see it all. I’ve read somewhere that the Ouroboros snakes are meant to represent that power will ultimately destroy itself. They could have gone with a plain anarchy symbol. Even when they used that, they made it their own. Their art is thought out and provocative. It’s great.

Where do you have them made? How did you chose this manufacturer?  What are the options like for people who want to design and make pins?

I just found a company online that makes pins. I Google searched “custom enamel pins” and so many websites popped up. They mostly make pins for companies, sport tournaments, and churches, but they can do anything.

Just black and pink for now?

At the moment. I liked the idea of having alternative versions of different logos. A pink CRASS logo sounded tight to me and they came out pretty cool. I don’t think I will do multiple colors for all the pins. Some images don’t lend themselves to color variations, others do. The next pin is a discharge pin in two colors, black and red.


A: Definitely. DISCHARGE has some great imagery too. These are of the face logo. It’s so weird looking. I love it.
Where did the DISCHARGE face come from?
Couldn’t tell you. I’m sure there is an answer for which record it was on first, but I just know it. I see it and I know “DISCHARGE”.
Any last words?
Fight war, not wars. The webstore is realityasylum.bigcartel.com and I post stuff on Instagram too: @realityasylumpins. There is some other cools stuff coming up. Thanks!!

Blast From the Past: Xcentric Noise

August 4th, 2015 by

this ran originally in MRR #339

by Andy “Shesk” Thompson

I’m listening to the Beating the Meat LP from 1984 to get me self in the mood, but it really pisses me off every time I hear it… It was a great compilation, a culmination of the stuff I’d done to date, all the excitement of receiving the tapes, the tape-to-tape duplicating, the stupid sound effects, the letters, the DIY!! When I went into a studio with the quarter-inch tape to put it together (Angel Studios near Hull, with Steve Larkman the engineer — I’m sure he thought I was nuts), I paid about £240. I designed the cover and wanted to do the usual inner sleeve — since packaging was always well important and far more interesting and exciting than a two-track single in a plain sleeve — but I had no money and accepted an offer to release it…and was ripped off, struggled to get any copies, the cover was just turned orange and had no inner sleeve, it never looked or felt right — and yet sounded amazing! There was no communication and it took ages for me to get back my costs for the studio, which only happened because I knew the guy at the distributor Jungle Records and he felt guilty, ’cos he knew I was on a loser. I managed to get a few copies off him, too, but not many. I dunno how many were actually made or sold.

And for the record, I made nothing from Beating the Meat and was forever pissed off that all those years had been hijacked!! Just one of my many regrets, but at least it got the bands heard again around the world! Please have it for free (download via mediafire.com) ’cos I’m not re-releasing it, not that I ever got the master tape back anyhow. I’ll be happy you just at least hear all the bands on it, ’cos that’s all Xcentric Noise was about — trying to pass on some of the excitement I was feeling, spreading this amazing music with message and passion and screaming anger and everyone doing it yerself! It was just so energising….


shesk_oldI first got into punk about May ’77, the moment I first heard it. I was only fourteen years old, previously had liked T. Rex and Sparks and some Bowie. I remember going into school the day after seeing a newspaper with the Sex Pistols in it, and talking music with my mate Mu. He said, “You’d love punk — listen to John Peel.” Bang, it was instant — a real slap in the face. My tranny radio and the pillow were my friends for a few years after that, and definitely the best part of the day! I guess maybe I’d finally found somewhere I felt I could belong, somewhere outside the norm.

I grew up in Little Weighton, England — a village with no streetlights, pretty cut off from the world. I guess I didn’t fit in with the norm, a kinda loner but with friends, the weird one, and the only one really into punk down our way. But ’cos I played football pretty good, I didn’t get fucked around, just the piss-takes like normal. They never got punk rock! I just ended up doing stuff all the time in me room while always liking and supporting the underdog (Hull City / Norman Wisdom [RIP] / Newport County); I was anti-injustice, anti-apartheid and anti-poverty, and I hated pop music, disco and shit soft rock crap.

Read the rest of this entry »

Record of the Week: Power Masters

August 4th, 2015 by

POWER MASTERS — “Home of the Grave” LP
This month’s Mystery Record: no one knows when it got here, no one knows who assigned it, and even midway through listening to it I have no idea what it sounds like. Maybe a David Yow impersonator fronting the bar band from “Roadhouse”? I haven’t seen that film with the sound on in a while, but imagine actually that there are two bands on opposite sides of the room trying to play the same song from memory after not practicing for six months. That’s not meant to be a diss. There is definitely a laid back, behind the groove feel that they’re going for here. Equal parts swagger and self-awareness were poured into this particular rum drink. I don’t know if anyone should be allowed to name a song “Come On Feel This Noise”, but POWER MASTERS certainly did. It has a few cool PENTAGRAM as played by thirteen year-old garage band style riffs, linked by “Shreds”-vid quality interludes (that’s a compliment). I feel like this recording doesn’t capture the vocalist’s delivery as well as it could though. He can manage the swing between atonal deadpan and desperate howl well enough, but some lines kind of fall flat. No moments are really going to get stuck in my head here, but that’s probably not the point. I don’t know if there’s a one big track here that’s going to make my ultimate drinking-in-a-parked-minivan-outside-the-club-after-losing-the-keys mixtape (strictly the EXECUTE and TANK), but a few are weird, loose, and heavy enough to plead their case. I do kind of want to see this band live now that I know they exist, so if I ever swing by Providence I will bring a jug of Malibu just in case. (Eli Wald)
(Surveillance Investments)

Blast From the Past: Trash Kit

August 3rd, 2015 by

This originally ran in MRR #326/July ’10 which you can pick up here

I’ve read about bands being described as Afro-beat, Post Punk, but they end up sounding like a shitty ska group or a Joy Division covers band. These two genres (Afro-beat and post punk) can lazily be used to describe Trash KIT; but I think these genres can and do represent the best aspects of the group. The first time I came across Trash KIT was when the group opened up for the band I played drums in—Black Time. Being a cool jerk, I was upstairs drinking beer and missed what was a short-lived, two-piece incarnation of the group. From then on people kept telling me how good Trash KIT was; so I went down to the next gig. There I found short songs, beautiful melodies, harmonies and rhythms—oh man, the rhythms! With the odd donk of the djembe drum thrown in and when it all got too smooth, some angsty yelps. Needless to say, I was hooked and have now seen them many times. The songs are getting more familiar in my mind and the rhythms and harmonies constantly invade my thoughts. So I managed to get hold of Rachel Aggs (guitar, violin and vocals) and Ros Murray (bass) to answer some questions and spread this great London band to whoever wants to listen. (There are two Rachels in this band in case you get confused…)

Interview by Mr. Stix


MRR: Due to the internet there is now an excess of hassling patrons online. They invite ten thousand to a Facebook event or get you to vote for their song on the Smirnoff Rock Chart. Do you agree with this aggressive marketing?

Rachel: We’ve been really lucky so far with “promotion,” like not needing to do it at all, so I don’t know. I feel sorry for bands that are duped into signing up with totally bogus agents, etc. But it’s easy for me to say because we never really needed or wanted to!

Ros: No! I’m not on Facebook so I don’t understand it and don’t have to worry about it, but it also means that I miss out on lots of fun things too.

MRR: You are putting an album out on Upset the Rhythm. How did this come about, taking into consideration your lack of excessive blogging or rock chart votes? Or are you guilty of the aforementioned contemporary sins?

Rachel: We gave our souls to Upset The Rhythm Records right after the first time they saw us play Yes Way. Yes Way was this amazing mini festival they put on at a disused car showroom in south London called Auto Italia. James from Pheromoans and Sex Is Disgusting Records saw us play our second ever show and told Chris [from Upset The Rhythm] that we should play. This was still only a month after our first gig so we didn’t get much of a chance to “promote” ourselves, it’s been a year since then and we’re going to have an album out soon so the Upset The Rhythm promo machine is getting into gear! We’re loading the biggest guns they got!!

Ros: Chris and Claire heard us on MySpace and asked us to play Yes Way, and then they asked us to do the album…

MRR: Originality seems to be a big buzz word in the music business. However, everyone (the cool people) knows you start by borrowing from your influences. I believe yours are proudly displayed on your sleeves. But you also mix it up a bit by having a djembe drum as part of your consistent drum sound and a violin thrown in on one track replacing the guitar. How did this transformation take place? Or was it a ploy to get into the post-punk, Afro-beat demographic?

Ros: Rachel can reply to this better, I just play bass.

Rachel: [laughter] Well I can’t claim we’re doing anything “new,” but I hope trash kit would never sound pre-meditated or contrived because it’s always felt very natural. We knew we wanted to start a band where Rachel [Rachel Horwood, their drummer] played awesome drums; drums are what it’s all based around. Rachel had only just started playing, but I knew she was going to get really good really fast and I wanted drums to be like the lead instrument in the band. The name trash kit comes from an article I read in Shotgun Seamstress by Osa (an amazing violin player) from New Bloods, it’s a zine about punks of color and had this totally inspiring article about street drummers in DC who use trash cans as drums.
Read the rest of this entry »

MRR Radio #1464 • 8/2/15

August 3rd, 2015 by

Jenn and the Gang of Mysterious Skins and Abyssinian Flag Wavers execute one big set cut into manageable chunks as Dan cracks bad jokes and sometimes turns knobs.


Intro song:
ABYSSIANIAN FLAG – Tripping Streaks

Mysterious Skin

Mysterious Skin

Act I
SIEGE – Walls
SHITLICKERS – War System/Armed Revolution

Act II
DISCHARGE – Ain’t No Feeble Bastard
DISORDER – Preacher
PART 1 – The Corpse

THE LEWD – Fight
HELEN KELLER – Dump on the Chump
X-RAY SPEX – Identity
DOWNTOWN BOYS – Secret Police
FLIPPER – Sex Bomb
DEEP WOUND – Dead Babies

Act IV
CADENAXO – Intro/Prejudicios
TWAT TRAP – Queer Army Knife Fight

Stage banter

Outro song:
MYSTERIOUS SKIN – Piss in the Sink

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 DJs 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!