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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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ATTENTAT!

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: MERCENÁRIAS Demo 1983 LP


October 8th, 2015 by

MERCENÁRIAS – “Demo 1983” EP
There is probably no band like MERCENÁRIAS. This 3/4 femme Brazilian band, better known for their late ’80s post-punk repertoire, made an extraordinary first recording that seems out of time and place. Totally weird, awesome, and fierce: peculiar gruff vocals that predate grindcore layered over angular choppy rhythms making it sound like someone took a chainsaw to the rock song and assembled the hacked up pieces back together with lots of sharp edges sticking out all over the place. They were definitely ahead of their time with irreverent and unapologetic lyrics taking a shit all over patriarchy and scandalizing audiences (the song “Honra” never made it onto their recordings until now). The story in the booklet of sending a talent scout running after hearing one of their songs reminds me of the philosophy of Spain’s VULPESS, active around the same time, who got a TV program shut down in Spain for performing a song called “I Like Being a Slut.” Nice packaging with a semi-bilingual booklet in English and Portuguese containing old flyers, pictures, and lyrics. This is an important piece of Brazilian punk history and crucial international punk artifact with a renewed relevance in 2015. (Lena T)
(Dama da Noite / Nada Nada)

 



Reissue of the Week: Disclose


September 30th, 2015 by

DISCLOSE – “Yesterday’s Fairytale, Tomorrow’s Nightmare” LP
This is a monumental record, even without considering its place as the final DISCLOSE LP released before Kawakami’s passing in 2007. His death casts an enduring pall, particularly evident here in the new liner notes from Stuart Schrader. While Schrader primarily writes about the ill-fated DISCLOSE / FRAMTID tour, it is a far more insightful, nuanced and touching read than that might seem. Neither romantic nor cynical, the tone is simply reflective and personal: here are his perceptions of Kawakami’s experience in the US, not a verdict but a single opinion. The epilogue of the story, over a decade later, remains ambivalent. Kawakami, despite his legacy, was still a human being irreducible to the mythos that lives on after him. The continued care and commitment shown by those that knew him and called him “friend” are a welcome palliative, showing a more grounded context to the DISCLOSE legend. In that respect, the royalties from this reissue are going to Kawakami’s mother. Of course, for the vast majority of listeners, as Schrader is mindful to point out, the context is far less immediately relevant than the record itself. For those who ignore or simplify DISCLOSE as just some DISCHARGE-worship: you are missing the forest for the trees because these trees look like some other damn trees you saw in a different fucking forest. It’s just not that simple, and especially not with this record. Schrader’s track-by-track notes are much more compelling and attentive than anything I can comparably muster, so I won’t attempt too much here. Yesterday’s Fairytale is the pinnacle of “Disbones”-era DISCLOSE: fuzzed-out D-beat with increasingly more metallic influence in the guitar riffs. Without forsaking any of the raw energy, this style set loose the true hypnotic potential of the unrelenting beat that found its logical conclusion in the closing track “Wardead,” a nearly ten-minute opus of swirling chaos and perpetual solos; a psychedelic disengagement with time, a sonic inertial assault that is simultaneously as stupefying as it is doggedly transcendent. Noise, not music. Best listened to with a foggy brain. RIP Kawakami, Kawakami forever. (Shit Zoo)
(La Vida Es Un Mus)

 



Reissue of the Week: Conflict


September 24th, 2015 by

CONFLICT – “Last Hour” LP
If there were any justice in this world, punks would think Tucson, Arizona, not London, England, when they heard the name CONFLICT. The superior American band released a demo tape and a single LP in the early ’80s and the record gets the reissue treatment here, complete with a deluxe 40-page booklet. This is absolutely essential for all fans of classic USHC—think the thrash of early TSOL with intelligible MacKaye-esque vocals overtop, except now Ian’s called Karen and she’s a queer Japanese-American woman singing about things a hell of a lot more important and interesting than straightedge and post-adolescent disaffection. Not that there’s anything wrong with anthems about being merely out of step—some of the greatest punk songs ever written are about nothing more than that!—but at a time when being a hardcore band in the United States meant being anti-Reagan and anti-establishment seemingly by default, the political specificity of Karen’s vitriol must have been refreshing. She wrote lyrics about human trafficking, nuclear war, femicide, and her lived experiences as a psychiatric nurse, a woman, and a minority, always direct and never preachy. The flyer reproductions in the enclosed glossy booklet reveal that CONFLICT played with everybody who came through Tucson—BLACK FLAG, HÜSKER DÜ, DIE KREUZEN, DEAD KENNEDYS, MINOR THREAT, DOA, CRUCIFUCKS, MEAT PUPPETS, the GUN CLUB, and TOXIC REASONS, to name just a few. This group should be a household name like the rest of them, but as we all know, history is rarely just. Also reproduced are two interviews with the group from the archives of the greatest punk fanzine on the planet (ahem), one done in their heyday and the other ten years after their dissolution, conducted by the late great Lance Hahn. Comes with a lyric sheet and photo insert. Get it. (GA)

(Puke N Vomit)

 

 



Reissue of the Week: Reatards


September 17th, 2015 by

REATARDS – “Grown Up, Fucked Up” LP
When this record was originally issued by Empty Records back in 1999, it felt like the REATARDS had already been around for a decade, at least (their first single is from ’97). The band seemed to jump into existence already in “mature phase,” which is the benefit of having a true maniac creative like Jay crafting your songs. It’s great to now slide back into the shitty, shitty, shitty, shitty, shitty, shitty pile of emotional bile that the best REATARDS tracks evoke, and realize the ability it confers, upon first needle drop, to discern fake punk from the real thing. It’s always going to be present on this record, the best full-length Jay Reatard ever pulled off. So, it still holds up as one of the ten best punk LPs of the decade, and the best ’90s party bummer LP I own outside of the BAD TIMES LP, and hey! Look who’s all over that fucker too. (Ryan Wells)
(Goner)



Reissue of the Week: Happy


September 10th, 2015 by

HAPPY? – “Anger” EP
This felt vaguely familiar upon first listen. That feeling turned into deja vu and I had no idea why. The previous day I had been thinking about leaving San Francisco after more than a quarter of a century and was going over all the wonderful Bay Area bands I had seen over the years and thinking back to the early days of powerviolence. Ah ha! Got it! This 7” was familiar because I had heard the vocalist many times before. HAPPY? was a Redwood City, CA band that I don’t remember ever releasing anything or playing out much. These tracks were recorded back in 1993 and the band contains members that went on to play in bands such as SPAZZ, FUNERAL SHOCK, BUG PEDALS, CANDY MUSCLE, and POWER PELLUT along with a few others. What you get is raw hardcore that is full of energy. It sounds like it was recorded live in a garage and the songs are sort of intentionally sloppy. These tracks were originally available on a cassette. “Biggot” is a bit faster and tighter and I love the vocals. This is a great historical release if you’re interested in some fast hardcore with vague sounds of the things to come from Redwood City. Think of it as a precursor to powerviolence. (Mike Howes)
(Flinch Lumin)