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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 ...

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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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Reissue of the Week: Flag of Democracy

June 16th, 2015 by

Ah yes, killer reish here of the second best record to ever emerge from the City of Brotherly Love. (YDI 7” is number one if you were curious.) Anyway, F.O.D. seems to have gotten an unfair shake on account of being a “funny band,” and for pressing on far past their peak, but this six-songer is prime, ’80s East Coast suburban, lawn-mowing, hardcore thrash at its finest, a perfect kindred spirit with ADRENALIN O.D. The hyper-speed, snappy thrashers that fill the grooves of this 7” are a crucial piece of the ’80s American hardcore puzzle that definitely need to be digested more than once if you fancy such things. (Justin Briggs)

Since we got sent a giant stack o’ F.O.D reissues which are all reviewed in the new MRR so I thought I’d dig around and find an older mention in ye olde MRR archive… (Taken from issue #5)  You can take a listen to this tape right here courtesy of SRA Records

Record of the Week: BOSTON STRANGLER Fire LP

January 6th, 2015 by


Right out of the gate, Fire just feels like a more mature BOSTON STRANGLER. The difference seems to be that where Primitive was more of a genre exercise or homage to their Boston hardcore forefathers — albeit the best example I have ever heard (and a perfect record) — Fire shows “the STRANGLAH ‘finding’ their own sound.” Still present are the noticeably-Boston steamrolling riffs, but more “punk” influence has stepped up its role, mostly in the form of bass hooks, vocal melodies and guitar leads, which are most obvious on tracks like “Forward into Hell” and “Broken Spirit” and in the outro of “Slow Burn.” I can’t tell you how many times a day those choruses or leads pop into my head. The difference is definitely subtle, because this is very obviously the same frustration-spitting cobra backed by a sonic wrecking crew armed with the power of a major metropolitan DPW crew laying down the best cold-weather hardcore on the planet, making you feel just as bad about yourself as you do about the trash around you, with just as much misplaced youthful anger as real world adult problems staring you in the face. In my eyes, Fire is BOSTON STRANGLER’s best effort and a more singular record. Fantastic.
(Fun With Smack)

Reissue of the Week: DEATHWISH Tailgate 12″

December 5th, 2014 by


Finally, one of the truly mythical, long-lost giants of American…nay, world… hardcore is unearthed from the sweeping sands of time. In December of 1983 this Boston hardcore powerhouse recorded seven songs with Jimmy Dufour at Radiobeat Studios in Kenmore Square, with the intention of mixing three songs — “Tailgate,” “Break the Chains” and “Condemned for Life” — for airplay on local college radio. They did just that. In 1989 those three songs ended up on vinyl via a semi(?)-legit 7” on the Armory Arms imprint, and again in 1992 on a much-less-legit repress on Lost and Found, along with the four unreleased tracks, assumed to be lost for good in a dumpster following the shuttering of Radiobeat. Noooope, this one jerkoff seems to have had ’em the whole time, knowing full well that the band was looking for them. They did eventually get ’em back, thank fuck. Anyway, DEATHWISH played within that classically Boston realm of nasty, first wave straightedge hardcore, fitting seamlessly alongside the bulldozing power of SS DECONTROL, IMPACT UNIT, DYS and LAST RIGHTS. With the huge guitars that Radiobeat was known for, the remix job here by Don Zientara (MINOR THREAT, et al.) sounds incredible. I highly suggest that if you think this record is just another attempt to milk American Hardcore’s glory days for whatever it is they are milking it for, you rethink that and cop this record ASAP. In my humble opinion, this material seeing a vinyl reissue is about as important as any other record that will come out in 2014, and I find reissues counterproductive and boring. RIP, Jordan Wood. Now we can all hold our collective breath until progress on the DXA record kicks back up.

New Band Spotlight: Hunted Down

December 27th, 2011 by

Here’s the demo review for Syracuse, NY’s HUNTED DOWN from the current issue of MRR!

After a quick classical piece, this thing tears into some seriously fucking blazing, falling apart, wild, rampaging, flailing, adjective-inspiring hardcore, that, to be honest, I didn’t expect and caught me completely off guard. I knew this Syracuse band was gonna be at least up my alley in some way, but holy fuck is this evil and furious. The vocals are screaming and reverbed to all fuck. The guitars and bass are buried in just enough fuzz to sound rotten yet not fall into the box of “noise punk.” And the drums, well, they’re kinda hidden in the whole mess, save some cymbal hits and theses occasional huge Godzilla-like thuds, that I can only assume to be tom hits. What a monster. It looks like I just found another cassette addition to my 2011 top ten list. (hunteddownhc.blogspot.com)

Record of the Week: JOHN HENRY WEST Door Bolted Shut LP+CD

December 22nd, 2011 by

This shouldn’t be a sudden realization to anyone, but every era, generation, and microcosm of punk/hardcore has its benchmark records that define the sound, attitude, and climate of what is going on in the moment. To me it’s records like Young Loud and Snotty, (GI), Jealous Again, Pick Your King, Loud and Clear, Dehumanization, My War, Can’t Close My Eyes, You’re Only Young Once…, Wind of Pain, Severing the Last Barred Window, the TALK IS POISON 7”s — I could go on for a while — that embody this, and I personally consider 1993’s lone 7” from the Bay Area’s JOHN HENRY WEST to be among them. Not only is it one of the best of its time, but one of the best of all-time, so the review gods are a-smiling on me this month.

Much like HEROIN, people like to throw around words like “emo” and “screamo” when referring to JHW, but that shit can be left at the door, ‘cause this is hardcore, plain and simple. Hell, even with its near complete lack of machismo, there are some parts in here that could be described as “hard” by some standard — and I just now noticed some riffs that were definitely copped by another popular Bay Area hardcore band from a few years back, that I won’t name, but in hindsight it makes perfect sense to me. JHW’s songs were usually fast, incredibly driving, dynamic, pissed off, technical, noisy and often chaotic, with great, tuneful chiming guitar melodies similar to Revolution Summer-era DC punk; a great light shining on my ideal sound for youth in the early 1990s.

Front to back, this record is like one guitar flourish, vocal pattern, and stomping intro after another that will no doubt get stuck in your head once these tunes get enough spins to become familiar. The vinyl part of this reish has the 7” on the A side, and the trax from the 3/12/93 and A History of Compassion and Justice 7” comps, plus two unreleased joints (!!!!!) on the flip. The two new ones, “John Henry West” and “Ammunition Aired,” fare perfectly well alongside songs that have been with me for the last eighteen years, and I can’t help but listen to them one-by-one, several times in a row like they are in catch-up mode, before moving on.

To be honest, I only bought this reish for the unreleased stuff, since I already had the rest, but that was before I knew about the accompanying 22-track CD, which has JOHN HENRY WEST’s demo tape, seven live songs from their 50th/last show at Gilman, and nine songs from the band playing a radio sesh at WUSB on Long Island. None of the songs here are exclusive and are all better represented sonically on the releases and non-releases that are on the LP part of this package, but the Gilman set is definitely chock full of that reckless abandon and chaos that one would expect from this band in a live setting (sadly, I never got to see ‘em), and similar can be said for the radio show, which ends with a short interview; all of which I’m stoked to have. I’m normally not one for reissues, but this package got the full glorious treatment that it was due and I can’t recommend it highly enough to those unfamiliar with one of the all time greats, and still worth it for those in the know for the two new tracks alone.

(Ebullition Records)