This comes with issue #10 of Trust zine and has one song each by three of Germany’s current crop of HC hopefuls. The EMILS play an ultra-fast tune, CROWD OF ISOLATED have a slightly slower but very powerful sound that rips, and JINGO DE LUNCH come on with a late-period AVENGERS sound.
A really fun comp of Detroit-area garage bands. Lots of grunge and great rock’n’roll beats. Features ELVIS HITLER, LOST PATROL, GORIES, ARTPHAG, ZOMBIE SURFERS, and others.
High quality melodic thrash here. Three of the tunes just rip, showing tight playing and lots of energy. The last is a speedy surf number that rocks too. Good debut.
A self-avowed “foodcore” release, these eight songs dwell on the ridiculous, dealing with burgers, being too hot, beer quests, bugs, and other important topics. Goofcore from WHOPPERS TASTE GOOD.
Four tunes from early ’78, in well-done (but a bit toned-down versions) from their studio releases. Still, this material (especially “I Am the Fly” and “106 Beats That”) is mandatory for those who can’t find their first three 12” releases.
The OPERATION IVY of Japan? These guys utilize a slightly ska approach to their punk and HC, a ragged but enjoyable edge. Four tunes.
More hot Japanese stuff. This month’s batch has been largely exciting, really raging, cut-loose HC and this one’s right up there. A four-song, one-sided red 8” flexi that contains this warning: “This is disgusting music.”
Pretty run-of-the-mill Oi! No real spark, just basic rock‘n’roll music and attitudes.
A mixed bag of psych pop and pop punk, most of which is culled from previously released LP tracks. Includes SMARTIES, TRASHING GROOVE, CRETINS, FURY IN THE SLAUGHTERHOUSE, and more.
Out of Massachusetts come the CREEPS and ANGRY KIDS. The CREEPS rip it up on four songs, all done in a raw and energetic style that harkens back to punk’s early days—a treat. ANGRY KIDS have a more modern HC sound with a bit of DC influence on their two longish tunes. Pick it up.
A real variety pack of differing rock’n’roll styles. JOT reminds me a bit of BEEFEATER; MODERN VENDING will appeal to Minneapolis pop fans; SCRAMBLE GRIT has a DC-ish sound; DATURA SEEDS is Paul Mahern’s (ZERO BOY and producer of this LP) current band; SLOPPY SECONDS turn in three more punk classics; RIGHT TO LEFT is a GIZMOS spinoff; and MIKE’S HOUSE is rocking folk.
Eighteen bands, most of whom are in the non-melodic thrash vein, contribute tracks to the theme of the world’s ongoing warfare mentality. Included: CIVILISED SOCIETY?, ATAVISTIC, CHUMBAWUMBA, REVULSION, REST IN PAIN, DAWN OF LIBERTY, and lots more—a veritable who’s who of modern UK hardcore.
No title on this international release. The cover only indicates the bands: COLERA (Brazil), CIRCLE OF SIG-TIU and DUNKEL TAGE (Germany) and W.D.M. (Finland). One song each on this blue vinyl slab, all good, powerful studio tracks.
A garage hell recording, which probably helps in this case. Very crude garage punk, just blasting out five tunes into the most basic recording device imaginable.
For the speedcore types out there, a non-stop barrage of tuneless thrash. Lots of it!
These prolific guys strike again, this time with four driving songs. Distinctive vocal style sets them apart, and as usual, their powerful classic punk kicks ass.
Tommy and Co. let loose with yet another excellent hardcore blast. Lots of production but lots of the basics as well, adding up to an A-1 release. Got a promo EP with mine, a white vinyl job that’s fun as well. Funny-ass cover art on the LP.
A three-song post-punk release that relies on a heavy drum beat and loud guitar. Lots of power despite the chunky rhythm; decent listening.
The former GERMS guitarist puts out an eclectic, boring, self-indulgent LP that makes early ’70s rock look good.
Splatter rock, mainly aimed at cutting up women. “Hey, but it’s a joke, dude.” True enough, and everyone’s entitled to their cup o’ tea, no matter how dumb. It’s just great that all the men involved in this project are so enlightened and have such a good sense of humor that violence toward women is OK to joke about. Hey, racism is funny too, dude, for white people.
This indie contains four long-ish tunes that range more into post-punk than punk. The guitar sound is too “pretty” for me, but the vocals have an edge, as do the lyrics (very politically aware, especially in terms of Argentine politics). Most tunes here are slow-to-medium, though they do sometimes gain third gear.
Decent pop punk out of this Vermont group, though the music is pretty lightweight at points, and that, coupled with the “pretty” vocals and harmonies, makes it difficult to set teeth into. No lyric sheet, though from what I can hear there’s nothing too biting there either.
This straightedge “mystery” record comes with issue #7 of Schism zine. All the songs are negative—how’s that for positive—and insinuate violence, revenge, threat, and other forms of good living. Contains members of various NY straightedge bands.
Continuing in the vein of their fine LP of last year, but these three songs are a little bit more homogenized. The sound is similar throughout, keyed by a signing, high-pitched guitar, clean production, and good tuneage.
Borrowing from ealy punk influences, early ’80s UK post-punk, no wave, modern US hardcore, post-BUTTHOLES insanity and post-VICTIM’S FAMILY jazz, this combo rages. Fans of NOMEANSNO, KILLDOZER, etc, take note.
Really hot raging HC on the dozen tracks here. The vocals are distorted and sound hot, but there’s no way the vocalist, “Margaret,” is a female, at least not of any species I know. Ripping!
High-powered and high-production ’83-ish UK style HC. Six tunes, all with good tuneage and power galore. A bit too studied perhaps, but good listening nonetheless.
A pretty peculiar band, While basing their music on ’77 punk, they employ ’70s rock guitar and eccentric arrangements that are partly amusing, partly nauseating—mostly the latter.
Early UK punk sound slightly updated with guitar overdubs. Four tunes, nothing exceptionally memorable.
Punky/country mix, with accent on the corn. Kinda dippy little stories, almost nursery-rhyme-ish, set to jaunty and sometimes driving music.
Fast and hard punk, powerful as hell. Wild, chaotic and noisy, there’s a real coherence to all six tunes, a sense of tightness in the midst of madness. Good shit.
Speedmetal, slick production, female vocals, and unbearable listening. Ouch!
Fairly light pop punk, combining melodic strains of HUSKER-ish “mould” with ’79-ish punk. Should appeal to a wider audience than usual, but nothing especially gripping.
Two fast tunes and two slow ones, both with a lot of guitar and beat, though the latter gets old fast. The poppy pair have a R’n’B based rock structure, sorta like DR. FEELGOOD meets NOMADS on a so-so day. Plenty of potential, but lagging somewhere along the line.
You betcha! Awesomely weirdly produced noise thrash that just tears out your eardrums. Definitely insane.
Raging female vocals lead this HC frenzy. Sounds like a slightly more metal version of the early COMES. Intense.
Varied punk and pre-punk/post-punk styles. Two or three of the songs are fairly straight-ahead rockers with both ’60s and ’77 influences, while the others are more eclectic and slower-paced.
A repackaged “greatest hits” LP, this features “Wasted,” “TV Party,” “Six Pack,” “I Don’t Care,” “I’ve Had It,” “Jealous Again,” “Louie Louie,” “Gimme Gimme Gimme,” “Slip It In,” and more.
This is volume one of a “roots of punk” series, featuring Northern Ireland’s BEARS. They put out two 45s in ’77, one of which “bears” the name of the LP and rates in my top ten all-time punk list. However, that track on this live in ’77 recording is nowhere near as electrifying. Decent, but not necessarily magic.
Yet another HC band that’s pissed, full of brotherhood, and advocates a “love it or leave it” patriotism. “Back Off” is their by-word. See ya.
These guys make the CRAMPS look slick. Totally demented, rocking trash for all you retardos out there. A classic.
The first French speedcore release. AGRESSOR has less speed and more tuneage, while LOUDBLAST has the speed, more wanking, and even falsetto screeches. Gore themes, with a bit of politics.
Aside from a song or two, this live LP represents their latter sound, a rock-oriented approach. The songs are less anthemic and less gripping, more prone to length and dilution. It’s hard for me to relate to this approach, especially as 7 SECONDS was my fave for many years. And given my fondness for Kevin, it’s doubly hard to say I don’t really like this period of their work, never mind the thin sound on this LP.
One of many emerging post-hardcore, offbeat bands that usually signs to SST or Touch & Go. Actually, post-punk or post-hardcore may not exactly be right, sorta more like pre…something, and I’m not sure I wanna know what. Intelligent doodling.
The third in this sorta series, another monster with 41 bands, plenty of great punk, and of course, no info on any of the bands. I’m sure a lot of these tracks date back to ’83 and are by bands long gone as well as current groups like NOFX, MANIFEST DESTINY, CRINGER (who never sent in a tape and didn’t know anything about it till they saw the LP at my house!), LIFE SENTENCE, DEHUMANIZERS, CANCEROUS GROWTH, PTL KLUB, etc., and lots of vinyl virgins.
Risto Eronen has been doing a lot for the Finnish punk scene for years, but he’s now doing even more—putting out vinyl. This first release is a one-song-each comp featuring APARTHEID, IRSTAS, KUMIKRISTUS, VAPAUTUS, YTIMENJATKE, and NOJDANKENA. Lots of hardcore styles are represented, and I found the latter band’s slow but powerful attack the most refreshing. Watch for more.
Four bands that combine “tunes and speed” says the promo sheet. Well actually, what we have are four bands (JOYCE MCKINNEY EXPERIENCE, INCEST BROS, DECADENCE WITHIN, and NOX MORTALS) that play more traditional sounding punk—melody and medium-paced tempo. Female and male vocals on two bands, neat package, good stuff.
This series’ second go-round on Sweden, covering neo-’60s garage bands. This one features the HIJACKERS, HIGH SPEED V, UNDERTAKERS, SUBTERRANEANS, PRESCHERS, BANGSTERS, CORNFLAKE ZOO, and CRIMSON SHADOWS, capturing a variety of mostly hard-edged guitar punk à la ’67.
COCKNEY REJECTS, ANGELIC UPSTARTS, and SHAM 69 from the older generation and a host of newer Oi! bands like INDECENT EXPOSURE, BRIAL, INTENSIVE CARE, SECTION 5, etc. Some OK lyrics, some shaky ones such as the Y.D.L. song, overall good catchy tuneage.
A hot comp featuring OUTO, CHICKEN BOWELS, SYSTEMATIC DEATH, GUDON, S.O.B., and LIP CREAM. Raging from start to finish, the OUTO and S.O.B. cuts are definitely the highlights, especially the latter who are unbelievable.
This Scottish split LP (OI POLLOI and TOXIC EPHEX) has been out for several months, but I had a hell of a time finding one till recently. O.P. dish out their usual bass-heavy rage, and T.E. play melodic class punk, all of it good sounding. A fine indie product.
Their third twisted “holiday” comp, much in the vein of the previous LPs. Most of the bands are ’60s garage, blues, psych, featuring IGUANAS, GOREHOUNDS, SHARKY’S MACHINE, SENDERS, BROOD, etc., but my fave is the raunchy all-female STERILLES doing “Mrs. Claus has Menopause.”
Vol.1 of a worldwide HC comp series, with most of the songs being in a speedcore vein. Lots of the tunes have been released before, though several are re-recorded, and there are a few unreleased tracks as well. Included are VELLOCET, ACCUSED, DAMAGE (Finland), INFERNO, CAPITAL SCUM, STUPIDS (huh?), NO ALLEGIANCE, MANSON YOUTH, MANIACS, and G.R.B.
A three-song release that accompanies issue #10 of 11 Years On ‘zine. BLOOD AND THUNDER, HEAVY DISCIPLINE, and INSTIGATORS all do one, the latter being live. Last issue of this ‘zine, so pick it up now.
This is a No More Censorship Defense Fund benefit LP with a variety of styles and bands. On the punk side are OI POLLOI and CÁTERAN, while there are a host of aggressive-sounding post-punk bands like PASTELS, SHAMEN, MEMBRANES, PRIMEVALS, PALOOKAS, MEAT WHIPLASH, etc.
Way above average HC, but that might be because these eight songs were released way back in ’82 on Mobstyle. Just totally raging stuff, great vocals, to-the-point, no frills attack. Highly recommended.
When they aren’t busy weirding out into jazz, German, or la-la land, they play a mean brand of modern eclectic DC-type hardcore. Each LP cover is an original artwork done by one of 50 area artists.
Out of the four tunes here, only “Friend Larry” cuts loose hard. The others have a decidedly rockin’ pop feel that reminds me quite a bit of NICK LOWE or UK pre-punk r’n’b/country pub rock.
It’s been three years since their last EP, and while these two tunes maintain their catchy approach (GARY GLITTER-ish on the A-side, early wave-punk on the B), there’s not much beyond that in the way of content.
Not too hard to tell this is a DC release. From the cover art to lyrics to musical approach, this is DC all the way. The lyrics seem to have a fixation on the concept of “time,” which shows up in a couple songs. OK start.
Well done ’77-style classic punk. No real twists here, just tight, fun punk rock. Very tacky cover stuff showing food on one side and semi-naked blonde woman on the other.
That’s not all female singer Ranko is shaking loose on the front cover. Both originals are rock-punk—not too bad, coulda been worse. But on the cover song, “Train Kept a Rollin’” (a song lots of bands, like the ADOLESCENTS, are doing), it gets pretty unbearable.
They’ve had it up to here and they’re not gonna take it anymore. So, they’re gonna bitch ‘n moan and strike out in anger. No solutions offered or recommended. The only tune that offers any emotion other than anger/revenge is “Give Respect,” which says that it’s actions that prove the person—a worthy thought. Hope to see a broadening of their range of emotions/humanity; otherwise, this is your moshable NYHC.
Insanely harsh HC with deranged shrieking vocals. Loads of energy, not the type of thing you listen to when you have a headache. Live recording.
Thrash, punk, pop, garage, all rolled into one rough EP. Four tunes, garage aesthetics, basic rock’n’roll lyrics.
Raging in a NYHC style, mixing metal and thrash along with ragged vocals, non-stop banging galore. Best song line: “Justice is like a dick’s hair on a toilet seat.”
Speed metal from Colombia? Yep, Satan has even reared his ugly head in Juan Valdez’s backyard. Both tunes have all the characteristics you’ve come to know and love(?).
Very impressive hardcore. Tight, aggressive, with just enough flair to make it special. All the songs cook, have lots of power and jump. Lyrics are in the personal/questioning vein.
“Far East skinheads oi.” That’s what it says on the back, honest. Two songs are slow and catchy, one is long and somewhat boring. These DUCKS have hair, by the way.
These recordings date back to ’82 and were, at that time, a five-year reunion of this ’77 DC proto-punk band. Whatcha see is whatcha get. Onward.
With a name like this and the RAMONES-type artwork, I was surprised that only about half of the tunes sound like direct ripoffs, while the others are more generic pop punk. That’s not to say this isn’t enjoyable—it is. Strange concept, though.
A slowed-down “Blitzkrieg Bop” beat and a “I don’t wanna fight” message with Phil Spector-type production highlight the B-side, while the A is in the vein of their recent over-produced releases.
A very unique release, this band combines hardcore ferocity with an aggressive post-punk rhythmic attach, all the while maintaining their clarity and pop sense. Another way to describe it is mixing the BIG BOYS, BIG BLACK, and the STALIN. Hot!
Back again with their fuzz-bass ’60s punk attack, these wigged-out dudes would go over great in L.A. They combine punk, surf and basic rock’n’roll into a fun (though nothing new) experience, and thankfully they tread lightly with the wah-wah this time.
This album has more in common with early ’70s rock groups like BIG STAR and STORIES than it does with the band they evolved from—PARIAH. This is PARADE’s second LP, a poppish, highly-produced and lyrically introspective album.
The A-side is a 1979 studio recording of this seminal Ohio punk band, though it doesn’t have the excitement of their early singles, LP, or subsequent and current releases. The flip is zippier, a live recording that rocks hard but is a true classic.
The NILS have maintained their pop sound since their 1985 debut 12”, but this Canadian band has edged closer to the border, taking on a HÜSKER DÜ overall feel and a more compressed sound that reduces any edge to homogenized pop.
This Aussie-release of Boston band MOVING TARGETS contains two tracks from their classy pop punk LP, plus rocking “Square and Circles.” Good stuff.
There’s a ’77 quality to their sound, perhaps in a GENERATION X pop punk vein, but a bit speedier with today’s HC influence. Very good lyrics (personal and political), 21 songs in all, nice looking package.
On most of the tunes, the CAESARS update (maybe) the early KINKS’ sound, so their “punk rock” goes back to the roots. But they do three covers here, “A.T.V.,” “Neat Neat Neat,” and “Submission,” all done fairly faithfully to the ’77 originals. Weird shit!
Pretty enjoyable medium-fast-paced punk. Lyrically, very astute and conscious, with a “fuck you!” anger to boot. Very clean and well-produced sound with lots of power, but perhaps too many similar sounding tunes. Should appeal to a broad sector of the punk/HC audience.
A dingy STOOGES-meets-post-punk deathrock sound. Some make it, some don’t.
This band’s answer to problems is drinking the world away and partying. Their more commercial rock sound is played hard, but it’s nowhere near the ferocity of days gone by. Lyrically, again it’s frivolous and escapist, but “Another Bomb” and “The Climb” show there’s still a mind beneath the booze.
Classic-sounding funnypunk. Most tunes are catchy, mid-tempo, sing-along types that’ll get you humming even if you don’t understand German.
Alog the lines of CRUCIFIX, FINAL CONFLICT are carrying on a tradition of politically aware hardcore. Very strong musically and politically, they don’t hold back, and in an all-too-hedonistic and conservative environment like Orange Co., it’s no small feat to maintain one’s values and drive. They do.
Out of Austria, this band shared an LP a while back, and on their first solo vinyl they deliver six sizzling hardcore tunes. There’s a bit of metal riffing but no solos in their attack, just lots of tight, raging power and political lyrics.
One of the best in this series, nine raving punk and thrash cuts that sound hot! Highly recommended, a treat.
Finally vinyl from this band! Two slow-ish surf instrumentals, one raging surf instrumental à la fellow chem-rockers AGENT ORANGE, and one brooding tune. What binds them together is the really cool guitar work, which combines surf and psych in an interesting and tough manner. This one’s growing on me.
Hard-driving hardcore that addresses the personal (relationships, alcohol, etc.) as well as the political (apartheid, abortion). Eight tunes, all delievered in a gritty, varied manner—some fast, slow, some both. Like it.
Great! No let up, powerful as hell, raging hardcore with hooks, changes, and cool vocals. Five songs, all good.
This is the DAMNED’s second release in this series (the first being from ’77), and this was recorded in ’76. Needless to say, all five tunes here are very energetic, classic punk rock, and for those who don’t already have their early material, here’s your shot.
Pretty vapid stuff. The title track comes the closest to being listenable, but it is just a few hairs away from being the utterly commercial rock dreck that the other two tracks are. Sad.
GISM-like growls set to punk and post-punk arrangements. Nothing special, but competent.
Recorded live in Germany last summer, and although the INSTIGATORS’ sound is there, it’s not totally. Meaning that it’s a pretty low fidelity recording, more suitable for tape release than vinyl.
This European label has got a handle on getting Japanese HC to the world (a 7″ sampler, this disc, and a comp LP to come), a welcome project. On this release, FUCK GEEZ crank out five great pop punk tunes, all with great verve and sound. Catchy tunes (some off their Japanese 7″s) and hot packaging (as are all the records in this series so far).
High quality hardcore here. Very tight, with hot production, lots of variation and powerful as hell. Good lyrics to boot. Get this.
Pretty nondescript hardcore. Out of the British school of noisy thrash, there is little tuneage, not exceptional tightness, just your everyday bang-away thrash. Title track has the most going for it.
Slow metal, speed metal, lotsa guitar wanking, unimportant lyrics—a sure hit.
R&B sixties punk on both sides, the A-side is an organ-dominated tune and the flip is harp-heavy. Neither really wails, but both are competently delivered and although generic in style, there is a thread of originality. From San Diego.
Aussie rock punk on all three tracks. Decent power and big beat but no real special energy or lyrics to make you sit up and take notice.
German funny pop punk. Good sounding classic punk, which is enjoyable without understanding a word—though I’m sure it’s much more fun to sprechen Deutsch.
Imagine Ralph of CAPITOL PUNISHMENT fronting a grungy psych/psludge band. You can’t? No, it works.
Live at CBGBs in ’79, both tunes suffer from unexceptional performances and poor sound quality. For fanatics of this once-great Ohio band only.
Strange record. Side One consists of two songs, both punk-ish with good drive and aggression, while maintaining a quirky aspect. On the flip, the quirkiness comes to the fore, and musically they transform into an experimental-ish post-punk band, much lighter and eclectic.
Basic and raw, degenerating into noise jazz at times, this will appeal to those who like the NY noise bands of today (SWANS, SONIC YOUTH, etc.) and the NY noise band of the past, VELVET UNDERGROUND. Cool and bizarre cover of PRETTY THINGS’ “I Can Never Say.” Contains members of SHOCKABILLY, HALF JAPANESE, and VELVET MONKEYS.
This first Mexican punk record is a four-song job. Stop-and-go mid-tempo, it’s amazing that anyone could get an indie record out there considering the shambles their economy’s in.
Sixties power pop, one decent rocker and the other a ballad à la PRETTY THINGS. Not urgent.
Less than half the tracks here have enough oomph to make their long and drawn-out format hold my attention. But those that do have punch are good ones, delivering melodic but powerful hardcore à la late MINOR THREAT. No lyric sheet, a trademark of this increasingly impersonal label.
No, this is not the U.S. band of fame, but a pop punk neo-’60s band. At times they sound like LOVE, especially the Arthur Lee-type vocal inflection, though the music is a bit more modern. I knew that France was isolated musically, but this is a bit much!
What, a second EP already? This noise-fest of a record is playable at either 33 or 45, and either speed sounds plausible. So take your pick, slow grunge with growly Satanic vocals or speed noise with falsetto.
Out of New Zealand, this European release contains tracks from two of their EPs. Three of the four tunes are pretty pop punk (with the emphasis on pop), and one’s a cooker with raw guitars, sorta like the DOUGHBOYS.
Metal up the gazoo! Makes me cry to see one of Europe’s (Finland, to be exact) oldest and formerly best bands end up this way.
Just in case you don’t have enough GG ALLIN records, this release will solve your problems. OK, this package contains no songs playable on the radio, ten songs with “fuck” in the title, three with “cock,” five with “piss” or “shit,” etc. Live and studio, usually good sound quality.
This Swedish band sounds more like an Italian hardcore band, meaning it’s a bit spastic and eccentric with lots of changes and frantic outbursts. Actually, it’s sort of like MDC in its bassy, herky-jerky sound. Good lyrics.
Distinctive female vocals (that sound like an angry twelve-year-old kid) are the highlight here. The music is good too, featuring medium-paced raw guitar punk. Sounds tough.
A duo (guitarist and drummer, as well as both singing) dish out pop punk that sounds like it might be the German equivalent of the TOY DOLLS. Catchy, poppin’ tunes.
Weird production and vocal effects add a mysterious feel to this otherwise straightforward hardcore release. If they hadn’t added the distortion, it’d be pretty generic.
This, their third EP, presented heavy-hitting hardcore at various speeds. Seven tunes, no lightweights, all world quality playing and punch.
Mykel Board’s latest scam, a supposed South African surf band who do twisted covers of “Livin’ in the USA” and “California Girls.”
KTMK return after a few years’ vinyl absence, and though their famous short insane songs have disappeared in the interim, what remains sounds OK. Songs are in the medium-speed range, focusing on the beat and power. Good guitar, not too much of the post-punk pretentiousness, and hot production.
At least on their second LP, this funny punk band combines pop punk with that curious mixture of country music and German drinking tunes, a blend that goes down pretty easy. Lots of tunes sound familiar, meaning they’re good at ripping off tunes and rearranging them, twisting them for their own weird reasons.
Punk with a psychobilly flavor, this album is well-done and has a crazed quality to it. Not over-the-edge, but there’s spark, fun, and power to it.
David says this is what can happen if you go too long between records. All I know is they’ve made the most radical change of direction since BAD RELIGION hurled themselves into the unknown and barely made it back alive. So, from a hardcore band they’ve become a WALL OF VOODOO synth/mood band. Only on one track do they use drums and guitar. Hope they get back alive, too.
Really excellent pop punk. There’s a DC-ish quality to the tunes, meaning lots of melody, power, personal/emotional lyrics, and Don Zientara production. Four tunes, all hot.
The B-side is a GEORGE THOROGOOD-type blues/bar band dumbo song, but the A-side is a killer cover of the LONNIE MACK instrumental “Wham.” Don’t know who KATON is, but KODA was a mainstay in BROWNSVILLE STATION.
Though there is a decidedly metal stamp on their material, it’s not too tedious to stomp out their originality. A fairly unique blend of powerhouse metalcore, imaginative structure, and smart lyrics set them apart from the speedcore pack. Worth checking out.
Dark songs of love and bleakness set to mid-tempo punk. The almost forced “sung” vocals may attract some and alienate others. This band stems from the original LOS OLVIDADOS, who eschewed hardcore in favor of slower, more powerful tunes.
A really varied and pretty energizing comp. Hot tracks from MAA SEUDUN TULEVAISUUS, EUTHANASIA, and VALTIOKOLHOOSI put this above average, and other good tracks are supplied by MAHO NEITSYT, CMX, KUMIKRISTUS, and DORIAN GRAY. Get it.
In their never-ending series of comps, Mystic Moody presents fourteen tracks by fourteen bands. All of these tracks are taken from previous 7”-ers. Cool cover and some classic SoCal punk rock.
This flapper comes with issue #5 of said zine, and features neo-’60s pop punk by FIXED UP and STING RAYS, as well as some doom and gloom by CRASH.
Anywhere from three to five tracks each from Toulouse’s PIN PRICK, LE BLOB!, BLABLA SCHMURZ GROUP, JOZEFS ET LES PHILLES, and SWINGLE GARROTE. All the groups play various types of ’77 punk, most of which is infectious and peppy. JOZEFS and the band are an all-female group that shows its ’77 roots best, SWINGLE GARDEN are young and powerful, PIN PRICK rock quirky and French. Good stuff.
The DYLAN cover is OK, a bit too rock but pretty powerful and done with spirit—the flip is way rock Á la WARREN ZEVON.
More guitar raunch garage punk here, though it’s a bit more eclectic than in the past. Side one rocks hard with that “just a little off” quality that makes it special. Side Two is a bit too disjointed for me, but it’s still hot.
A very ’77 sounding four-song release—classic punk, reggae punk, noise punk, etc. Nothing spectacular, but it’s definitely enjoyable, especially “1 August.”
Their first major label release shows their usual pop flair and basic beat, though both tunes are more blues-based than previous releases. Catchy, but I wish they cut loose a bit more with that ever-cool guitar.
Sounds like early TELEVISION meets JONATHAN RICHMAN. Understated garage music with smart but twisted lyrics—like “Little Johnny Jewel”.
Recorded in Australia in ’86, this latest incarnation of the GROOVIES contains originals (dating back to ’67) Cyril Jordan and George Alexander. Included are reworkings of “Kicks,” “I Can’t Hide,” “Shake Some Action,” “Slow Death,” etc., as well as some WHO and r’n’b covers—all inferior to either their own previous versions or the originals. While I admire their rock’n’roll dedication, there’s a real lack of spark or insanity here.
A more powerful remix of their domestic release, with the addition of another track and color cover. South Carolinan/Alaskan metalish hardcore from Wally and co.
What a change—they’ve gone from a CLASH-type pop punk political band to an AEROSMITH/SPINAL TAP rock’n’roll band. Pure radio shit.
A shitload of short, raging garage thrash songs. There’s no danger of too much professionalism here, just plain ol’ retardo raves. Totally fun.
Quirky, jangly hard pop meets the DC sound. Arrangements are complex and broken up in a way that makes it difficult to find the groove, and given the medium-pacing of most tunes, it’s a challenge.
This is a laugher—a leather-clad, mohawked, flat-topped, girl-crazed, bloodsucking punkabilly band. Well, I take back the laughing part. It’s buy now, cry later.
Well, somebody had to cover “Mongoloid,” and these guys did it first. A mixed bag of punk styles, using some special effects. No new turf broken, decent lyrics and enthusiastic playing. Includes a free EP with the first 1000.
This first punk-related vinyl I know of out of Portugal, this has more of a rockabilly influence and is fairly light in power. Three tunes, no real rockers.
Actually a really good record from this S.F. band. While the metal influence is apparent, it’s not as dominating as when they play live, and on these five cuts, it’s the power and energy that rule. Also, the lyrics are excellent and serious, which is surprising considering singer Andy Aeroplane’s normally non-stop wise guy personality. No U.S. release planned.
A skinhead band that’s not bald, praising the glory of being young and not too bright. Their claim is being “famous through slander”; pretty much of an overstatement for a decent sounding but uninteresting Oi band. No lyrics included. From Georgia.
New material from these aging upstarts, and pretty decent stuff at that. As with most of their previous material, the tunes are slow-to-mid-tempo with the accent on lyrics and understated Oi-type songs. The interesting tune here is “I Don’t Wanna Fight the Soviet,” showing quite a bit of insight from a so-called “working class” outfit.
What a cool guy, huh. He rapes girls, shits on the audience, does drugs and pukes all over himself—anything he wants. He plays grungy-ass rock’n’roll—really punk. But I’m still disappointed. G.G. let me down. If he was really the heir to Jerry Lee and Iggy, he’d have made this a scratch’n’sniff record.
Full-on speedmetal now, losing most all previous distinctiveness. Lyrics remain angry but vague. Some are anti-state, or at least what it does to the individual, others are critical of those who oppose. Last time we talked, they said that they were getting away from the stupidity of what the skin scene became, yet here they cover the IRON CROSS anthem “Crucified.”
One of the UK’s ’77 crew turn up with 5 tunes here, and while not as trashy as the originals (very clean production here), they’re still fun. “Gary Gilmore’s Eyes” is still a classic.
A pretty energetic release that ranges from CRAMPS-type trash to punkability to Robert Gordon/Jack Scott deep-throated ballads to classic punk. All songs are crazed in some way, be it by voice or instrument distortion, speed-crazed pacing, or just enthusiastic x 10 playing. Boss.
Inside this very elaborate package (full color jacket and comic book) comes a very hot album. Cross BLACK FLAG with VICTIMS FAMILY and toss in some BEEFEATER for spice and you have an idea of what this is like. Very strong.
Out of the Basque region comes this hot release. R.I.P. produce melodic thrash and punk with lots of catchiness, and, as might be expected from a band out of this controversial area, highly political lyrics. Comes with a huge foldout insert, translated lyrics, and lots of good music. Get this!
Thrash, punk and post-punk all rolled up in one band. Gruff female vocals are the unifying factor, as well as good production. Their third release.
Retardo punk rock from SoCal. In the tradition of ROACH MOTEL, ANGRY SAMOANS, MENTALLY ILL and others with an “I don’t give a fuck” freewheeling attitude. Their second EP, no progress, and that’s good.
Not to be confused with the NY band of recent vinyl, this band’s 7″ comes in a 10″ sleeve. And now…wow! This is a hot-shit rager, sort of along the lines of CAPITOL PUNISHMENT. Highly recommended!
Lame “deathrock” lyrics, but the music and female vocals work well on most of Side One. On the flip it’s pretty SIOUXSIE-ish, but on the A-side there’s plenty of punk power that cuts through the crap.
Unmistakably Ian MacKaye on vocals, teaming up with a member of industrial/dance band MINISTRY. Both tunes combine elements of each person’s forté, and it works. Post-EGG HUNT industrifunk punk. Lyrics seem interesting, but no sheet to clarify.
Two of the four tunes are too far on the pop ballad side for me, but the cover of LOVE’s “7+7 Is” is decent (a bit too clean), as is the atmospheric but rockin’ “13th Floor.” From Australia.
This latest ’77 re-release showcases Shane MacGowan’s (way pre-POGUES) early punk and punkabilly sound. Contains the NIPPLE ERECTORS first 45 and two excellent unreleased tracks, as well as the later NIPS’ two singles. Basic and fun.
This second release heads more in the direction of BIRTHDAY PARTY blues. Both songs are okay, but fail to deliver anything memorable.
A lot more pop than in the past (at times even power pop), this release puts the accent on harmony and melody. Sounds like the BEATLES meet early punk with some thrashy energy. Lots of short, goofing around tracks, as well as their usual good production sound. Guess this signals the end of this label as an indie.
England’s raging noise rockers, sort of in a BIG BLACK vein. Lots of distortion on vocals and the music itself, which is usually churning and powerful and eccentric.
A 50-50 ’77 type four-song job. No particular distinction here, decently energetic, passable hooks.
I wish there was more info on the bands included on this Irish comp, ’cause they’re largely excellent. Lots of pop punk, garage, psycho surf, etc. Fans of UNDERTONES, CRAMPS, REVILLOS, etc. will enjoy the CANNIBALS, PARALISED PURPLE RAYS, PARANOID VISIONS, GOREHOUNDS, BARRACUDAS, etc. Rocks.
Big names are on this effort (7 SECONDS, ADOLESCENTS, CIRCLE JERKS, the BRIGADE, M.I.A., S.N.F.U., DOGGY STYLE, TESCO VEE & WHITE FLAG, C.O.C.) as well as medium names (LITTLE GENTLEMEN, VATICAN COMMANDOS, MAD PARADE, SLAPSHOT, 76% UNCERTAIN, LEMONHEADS, SHONEN KNIFE) and the newer names (BULIMIA BANQUET, PROBLEM CHILDREN, COPULATION). Tunes are both live and studio, of varying sound quality. Interesting notes: what does it mean when the BRIGADE rocks more than 7 SECONDS?
A Philly comp featuring a variety of mostly mid-tempo punk and some thrash. Standouts include DEADSPOT, PAGAN BABIES, TONS OF NUNS, BLUE, SHE MALES, ANTHROPHOBIA, HOMO PICNIC, MCRAD, DAS YAHOOS, and more.
The record is dated 1982, but it was just sent to us as a new release. Hmmm. Anyway, catchy basic pop punk, rapid-paced and fun. Sounds like ’82. Hmmm.
This came out earlier this year, but we just now got wind of it. And I’m glad we did—this is raging US-type non-metallic thrashcore, dudes, and while not the tightest or best-produced record in the genre, it’s a totally enjoyable slab. Sparks of distinctiveness should develop with the next record.
A seven-song guitar/beat record. Slow tunes, lots of raw guitar, straight beat, psych feel, but not enough rage in the vocals (a touch of SUICIDE would’ve appealed) or feedback noise in the guitar. Otherwise, decent.
The system robs us all of identity and power, and encourages us to fight amongst ourselves to maintain their grip. So, it’s always lovely to see working class people (oi, mate) take out their frustrations on people who are even more fucked over and vulnerable. What can you say about a singer who has his favorite footwear tattooed on his cheek?
Slow-to-medium-paced basic ’77 garage, one side studio and the other live. Nothing electrifying, but a simple, catchy debut. Good lyrics.
A three-song release, all of which rage pretty good. Hard-driving thrash with tuneage, no let-up, pounding drums and lots of power. A good one.
Driving mid-tempo punk dominated by very raw guitar and intense male and female shouters. It’s faster than FLIPPER, but has the same level of grunge and abrasiveness. One side’s studio, and the live side seems faster-paced. Both sound good.
Excellent three-song self-produced (and undistributed) EP. Two songs are hot melodic/full sound thrash, and one is a tape loop job that holds interest. Mysterious.
CRAMPS meets NOMADS meets VENTURES.
Very infectious pop punk, especially the A-side which is a raver. Memorable.
Sort of a whiter BAD BRAINS (newer material), utilizing rock, metal and reggae influences. Most songs are slow-to-medium paced, with only one straightforward thrasher. This is somehow a skate band, whatever that means.
These cats can’t decide if they’re ’60s pop stars or country boppers. They do both genres (two tunes of each), though neither break any new ground. OK.
A collection of live radio broadcasts, featuring this organ-dominated garage/frat party neo-’60s band. Out of Boston and having roots in the early punk band DMZ, these guys do lots of covers as well as a few tasty originals. Basic rock’n’roll.
OK, what’s the deal? Lotsa rave about this band, but this sounds pretty so-so to me. A-side sounds like a Ringo song, and the flip is heavier on guitar but pretty average upbeat pop.
Very pop and dance oriented, definitely geared towards the upscale post-punk crowd. Their early material had an urgency to it, whether punk or semi-industrial, but this is just sad.
Rock and roll with a hard edge, pounding beat, sometimes self-indulgent breaks, and too-full production that takes the grit out. They don’t wear make-up, but their ’70s rock roots are showing in any case.
Better production and a little control and seasoning give more definition to this release than their debut. Fans of mid-tempo, smoldering HC will enjoy this a lot. In the vein of EMBRACE.
Their 4th vinyl outing, this German hardcore band employs a big sound that utilizes both metal and non-metallic influences. Hammering.
What can you say? You take one of the best all-time hardcore records, add 6 extra tracks (from previous comps and tapes) of equal quality, and you’ve got an awesome fucking record. Initially released in 1982, the singing and playing still outdoes most anything that’s happened since. Killer.
A new line-up for this Boston band. Though there are fits of rage here and there, and glimpses of real power and acceleration, too often the “corporate pop” sound predominates, an overproduction that homogenizes any eccentricities. Still, the tracks that do demonstrate genuine emotion are really good, just with that shone through more.
Great concept, two split LPs packaged together with lotsa info, enclosures, and fine music. VERNON WALTERS play a highly political and intelligent form of pop punk, sung in English. INDIREKT hit back in Dutch with many punk forms, though there’s less really uptempo stuff then in the past. All in all, an excellent example of cooperation and DIY spirit, and good music to boot.
This package is a dedication to the spirit of the Gilman Street Project. Featuring 12 groups that participate regularly at Gilman (both as bands and individuals), there is plenty of music as well as a 14 page booklet. Bands include ISOCRACY, CORRUPTED MORALS, STIKKY, YEASTIE GIRLZ, NASAL SEX, SWEET BABY JESUS, RABID LASSIE, OPERATION IVY, CRIMPSHRINE, NO USE FOR A NAME, SEWER TROUT and BUGGERALL. My prejudiced view: hot!
DOOM are terrible metal, SHELL SHOCK are decent metallic hardcore, X are enjoyable thrash, JURASSIC JADE are as bad as they sound, GROUND ZONE is boring metal, and ROSE ROSE make powerful thrash noise. And they all look like a punk version of KISS.
This compilation covers a side of the greater DC scene that we rarely hear about. Other than MADHOUSE, PHLEGM, SARCASTIC ORGASM and ASBESTOS ROCKPYLE, most of these bands are new to vinyl, and deliver a variety of garage punk, thrash and grunge. Featured are MOTOR MORONS, PLATINUM SLUGS, BAD VIBES, SYBIL PURE EVIL and many others. Only problem is no insert/no info on the bands.
This edition covers Australian neo-’60s garage bands, and there’s quite a bit of psych/gloom stuff as well (too much). But bands like LIZ DEALEY & THE TWENTY SECOND SECT. CONEHEADS and ASSASSINS do kick ass, making it worthwhile.
Don’t be put off by the cheesy cover, this LP don’t smell. Bands like FEAR ITSELF, DEPRESSION, A.P.P.L.E. TH’ INBRED, ATTITUDE, DEAD SILENCE, G.A.S.H., LIFE SENTENCE, PSYCHO and lots more add both live and studio tracks. A good selection of many punk styles.
Both bands here are metal influenced hardcore, gruff-vocaled, lots of guitar wanking, etc.
A statewide comp of varying alternative musics. There isn’t any hardcore, but most of the pop stuff here has an edge, and bands like CLAUDE PATE, HOUSE OF LARGE SIZES and SHELLGAME do have quite a bite.
A weirdly conceived LP, because other than a hot and previously unreleased LAW & ORDER track, a so-so version of SCREAM’s “Solidarity,” and a live G.I. track, the rest is very commercial wave stuff. Given all the DC bands whom we haven’t seen on vinyl yet, I was disappointed with this selection.
Quite an accomplishment. An excellent sampler of mostly not-famous bands, but bands that really put out. Lots of differing punk styles, fine choice cuts, lots of listening and most all are invigorating. Bands from Czechoslovakia, Peru, South Africa, Hungary, and just about everywhere else. Hot.
Rully? OK, 7 SECONDS, AOD, WHITE FLAG and F come up with 4 or 5 tunes each, oddities, versions, live takes, etc. Pretty fun selection, plus bits of goofiness and experimentation.
Very blatantly SIOUXSIE influenced material and sound. Well done for what it is, and will appear to fans of pop, wave, early punk, mood music, etc.
A two-song, one-sided flexi that has hardcore graphics but is decidedly pop punk. Not really too jumpin’, but OK.
A six-song straightedge Y.O.T. type band that celebrates youth, innocence and hope. The songs are pretty short; the message loud, simple and progressive. Hope they can maintain their idealism as they grow. Hope they grow.
These guys had an extremely zany and attacking sound, deeply rooted in an early SEEDS mold, but rarely does that manic aspect surface anymore. Only one of the six tracks here really approaches that intensity. Instead, they settle for decent organ-dominated ’60s punk with no stinging guitar and no psychotic vocals. Too studied.
Ah, finally a non-metal HC band out of Utah. Sounds like a great unknown band from ’82, but this is today and a welcome relief it is. Hot, inspired playing, tons of energy and hooks, catchy tunes and cool vocals. As you might guess, I like this a lot!
Really excellent lyrics addressing many of the problems within the whole scene, and doing it with insight and sensitivity. Musically, it’s older punk meets hardcore – very moshable.
Proving that skins anywhere are capable of making simple catchy songs and making the dumbest face poses ever. Four songs, three decent.
Good rockin’ stuff, a ’77 R&B/punk sound. Hard drivin’ pop with no let up. A good debut.
A really hot debut. Great pop hardcore, lots of punch, above average lyrics, memorable tunes. Kicks ass, so get this now.
Turn up the volume on this baby, and you won’t be sorry. Great production brings out the best here, and though the pace isn’t as frantic as before, the power is well directed, the hooks are there, and the energy flows hot. A welcome surprise.
Very basic hardcore that’s dominated by a crude, raw guitar. Everything else sits behind, setting forth short blasts of mayhem, not unlike the old NEOS. Enjoyable.
I made the big mistake of listening to a lot of old Ramones recently, which put this new release into perspective—a bad one. The edge is gone, the wackiness wants, and the singing normal. Outside of “I Lost My Mind” and “I’m Not Jesus,” this is really inferior material, and one can only wish they were halfway to insanity.
Other than the title track, this is a pretty toned-down release, offering little in the way of excitement. One neo-’60s tune, one pop rocker, and one folk tune.
A very polished very pop “progressive” post-punk band. Definitely college radio material with little bite.
Let me guess—pop punk? Yup, five slow-medium tunes, one uptempo number. I can’t believe how many Japanese bands are going back to ’77 punk, but are showing no imagination or hindsight in how they regurgitate it.
The A-side was too lightweight to cover, but the flip has a cool guitar sound, simple psych grunge Á la ’66. Fun from THE OUT.
Sounds like BLONDIE or some other weak ’77 band with a “girl” singer. Get me outta here.
Pretty well crafted pop punk, though a bit too pop at times. Just when you say “no more”, they pull back from the edge and rock surprisingly.
Poor sound quality, not-so-hot performances, no liner notes, lyrics or info. Recorded in ’83, junked in ’87.
A re-issue with a few extras thrown in. Ooh, it’s scary.
David Lester (guitar) and Jean Smith (vocals) team up for some neo-early PATTI SMITH rock’n’roll poetry. One track, “Strong White Male”, really stands out—very haunting.
A one-sided, two-song pop punk release. One is punkier, one is busier, neither necessary.
A very well-rounded, powerful, humorous yet political release, much improved over the last one. Dave is really out there, and his character really comes across here, Experimentation usually works on this release, the lyrics are sharp, the cover art is a treat. Side Two lags at times, but I think the guts and sentiments come across really well. MDC is one of the few HC bands to really cut across time and cultures.
The first East German punk band to release vinyl, and decent it is. Much of the material is typically German older-style punk, while there are a few thrashers as well. Lyrics are translated into four languages and give a good insight into life in East Berlin, showing differences and similarities. A brave band.
He’s Dee Dee Ramone and he’s soundin’ funky, havin’ some fun but he’s still bein’ punky, rappin’ down his philosophy, out right now on this maxi EP, don’t know if you dig it cuz it ain’t fast, but that DD man he had a blast.
Decent but relatively unvaried hardcore here. The songs do indeed have melody to them, but the overriding impact is from the metal-heavy rhythms, the similarity of tempos, the gruff vocals. This LP is much like their previous EP, though not quite as clear in production.
Pretty inspired and raging hardcore here. Lots of different tempos, all delivered with an edge that makes you take notice, tunes that are distinct, and lyrics that usually hit home. Very good effort.
Very speedy yet noisy California thrash, recorded in a way that leaves the rough edges but the charm as well. Nothing original, but lotsa fun.
Hard to say exactly what this band is, but there’s a picture of a bedraggled IGGY-like character on the back cover, and in many ways the six songs here relate back to early ’70s rock as well as ’76-’77 type garage. Basic.
These HICKS belch out their country roots, and though only on one track (a cover of “Take it Easy”) do they hit it punk style musically, they manage to mangle the genre lyrically on all four cuts. For cowpunks.
Hank and Co. pound out a half dozen bone-breakers, and then Holland’s GORE return the compliments with their monotonous post-metal instrumental sound. Lots of crunch on both sides, but there’s an oppressive feel to the whole slab, a tedium to the non-melodic attack.
HALF JAPANESE meets BUTTHOLES? Quirky post-something-or-other? The FALL on DMT? It’s hell being a cow.
The A-side is a cool James Bond-ish-type instrumental, while the flip is a foot-stompin’, CRAMPS-like rocker. A good second effort.
A generally energetic pop band, though not all the songs here are really revved up. At times it’s like the REPLACEMENTS meet DOA, meaning lots of bounce and guitar/rhythm crunch. Lyrically romantic, and with an unusual cover of the BEATLES’ “Norwegian Wood”. Recorded in 1985!
They exaggerated straight edge to an absurd extreme, and it’s amazing how many people took them seriously, both pro and con. With songs against littering, in favor of rewinding video cassettes, and a “positive dental outlook”, all done in imitation of Ian, Kevin, Pat and Ray, you’ve gotta lighten up. Lots of fun.
Fun rock n roll, evolving out of paisley rockers THE MARSUPIALS. Not really too rocking, but jaunty garage stuff.
Hmm, “Ghost Riders in the Sky”-type “western” instrumental, pulsing fuzz-guitar industrial punk, 77-type dumbo punk, and yet another instrumental—all on one slab. The styles clash, but the music hangs.
Great cover on this 45, with a CHEAP TRICK rip off tune/sleeve on one side and KRAFTWERK on the other. Musically, it’s crunching pop, whatever that is.
Like all spoken word records, it may be hard to listen more than once, but a good listen it will be. Jello’s in great form here, doing his satirical Lenny Bruce approach to politics, punk, culture, etc. A very scathing attack causes thought and quite a bit of laughter, and gives a really good insight into how the DK’s former guiding light views the world. A wealth of information on most of today’s attacks on freedom.
As with their previous release, this one has some really excellent lyrics, but again fails to rise above the early 80’s UK plodpunk sound. Not that it doesn’t have power or guts, but if current bands are gonna play older styles, they should really present them with an approach that makes them sound fresh and exciting. Decent.
Simple pop punk with female vocals and sung in English and Italian. Amateurish and charming, like KLEENEX or something. Fun.
The package this band’s record comes in is actually a 36-page booklet, written in German, full of information on nukes, racism, censorship, etc. The songs are all mid-tempo punkers, most holding my interest. Obviously a committed band, definitely into it.
A six-song speedmetal release that is very well done. Will appeal to bangers, skaters, and crazy haircut freaks everywhere.
DAN is actually a four-piece band, and a good one at that. They play good mid-tempo pop punk with female vocals and a peace-punk edge. Well worth checking out.
Well-done and powerful, this EP has two speed tracks and two medium-paced punk tracks. Lots of oomph and good production make it stand out.
A four-song release with one ’77-type song, an upbeat pop punk tune, and two pop clunkers, not especially gripping.
A very hard-hitting release from this Australian combo. Other than the occasional wah-wah guitar, their sound hearkens back to ’70s rock and early punk. Very basic rock and roll with straightforward power and decent lyrics.
Very much in a CLASH vein without being directly imitative. They fuse early punk, pop, reggae and more into a 78 type lightweight sound. All songs in English, politically aware, comes with a free bonus single.
Not as much metal damage as I had expected, and though some of the songs are horror-oriented, the band says they’re phasing out of that towards political lyrics, which already show a strong anti-sexist, anti-fascist strain.
BUTTHOLES-like in some ways, though mellower and artier at times.
The guitarist from GRONG GRONG has a new outlet for his noise, a crypto-blues outfit. I found it pretty monotonous and uninspirational, but I know that people who go in for Down Under rantings will like it.
Japan is notorious for husky-voiced yellers, so it had to happen…a band with a name like this – who don’t have a husky-voiced singer. What they do have is a tight, melodic hardcore band with a slight metal guitar. OK.
The English equivalent of the MENTORS?
The A-side has a slight ’60s feel, while the flip is more in a ’77 vein, both with a straightahead pounding beat, pop singing, upfront guitar. Decent, but not a rave.
Pop punk, but at least there’s flair here (as compared to most of the Japanese pop punk I’ve heard recently). There’s an edge, a bit of punch in the delivery, and nice changes. Not awesome, but fun.
Horrible metal with hardly any punk influences left. Comes with poster and plastic record-carrying bag – give me a fucking break.
Reworkings of their songs off the Why March When You Can Riot?! comp LP. The A-side rages, a powerful fast punk tune, while the flip is a mid-slow tempo tune with a sax that failed to move me.
A one-song effort, a garage-y catchy punk/funk tune that goes on and on, but you won’t mind. Fun.
With a title like that, no review is necessary. It’s all true, and live.
From Wales, this band handles both melodic thrash and various punk styles, the latter which predominates. Lyrics are all in Welsh, a very strange looking language, but the music speaks well for itself.
A varied punk thrash and post-punk collection contains tracks from many of the bands you’ve read about in these pages. Included are ARMIA, DEZERTER, REJESTRACJA, ZENNA, SIEKIERA, ABADDON, and PROCESS. This is out on the state label, Tonpress, but might be available through…
A benefit LP for the Anthrax, the club which gave these early Connecticut hardcore bands their starts. All the songs were originally released as EP’s (long out-of-print), and included are C.I.A., VATICAN COMMANDOS, REFLEX FROM PAIN, LOST GENERATION, and VIOLENT CHILDREN. A limited edition release, this is the first for this non-profit label. Great stuff!!
A pretty neat neo-’60s release. 4 songs in all, full production that makes the sound clear but not wimpified. Cool guitar, slightly echoey psych feel, and a good cover of the EYES’ (the 60’s UK band much like the early WHO) “When The Night Falls.”
Circa ’82 SUBS, some released before, some not — all studio. Classic punk sounds from a band that dates back to ’77 and who sport a singer older than me. While they’ve never grabbed me, the SUBS have been a perennial fave on the East Coast. Eight songs.
Recorded a month after their final show, these 8 highly produced tracks are their last word. Many of their varied styles appear here: reggae punk, eclectic extended tunes, medium tempo punk, medium-fast tunes. While by no means throwaways, there are no immediate standout classics. And then came CULTURE SHOCK.
This band had a blazing HC EP out many years back, then did some recordings in ’83 and broke up before it was released. They’ve regrouped, I believe, and put out these sessions finally. While the new songs maintain their power, gone is the straight ahead approach, and instead they come on with a highly produced, sometimes post-punk approach, sometimes a bit MISFITS like. Very big departure.
I ordinarily wouldn’t review this kind of music, but because it’s on a “punk” label and looks like a “punk” package, I just thought I’d mention… it ain’t punk at all, it’s metal.
A really good hardcore EP, with a really energetic sound. Not generic, but not really new either, they do thrash right with zaniness and good lyrics. “Drugz” is a standout.
Henry’s kinda joke, I guess, as the “concept” here is a bogus title, “Henrietta Collins and the Wifebeating Childhaters.” Ok. Musically, a new wave tune and a mandatory (he was from DC) WIRE cover on the A-side, and four tunes on the flip, which are more like what I thought would be on the LP, sorta rap/spoken word set to music, including a thrashing of “We Will Rock You” only it’s “I Have Come to Kill You.” Liked the LP better.
Posh Boy’s been re-releasing their early catalog in various shapes and forms, and this is one classic you should really pick up. Great garage punk from L.A.’s McDonald Bros. plus Ron Reyes (later to go on to BLACK FLAG) and Greg Hetson (of later CIRCLE JERKS fame). A real treat.
More early ’60s garage meets mid ’80s noise. Can’t say it’s the best of both worlds, but when they aren’t being too arty (a third of the time), they do rock out some grungy crud like CRAMPS meets BUTTHOLES on bad DMT.
Sixties punk done Á la ’76, meaning not enough mania and too much production and rock guitar. It’s not really bad, just not crazy enough to warrant the retreads, and there are plenty of them.
Older punk meets ’70s rock’n’roll with a lot of influence on the guitar power. Lyrics are above average for this genre but the music bogs down too often for me. When they rock though, it’s pretty strong stuff.
Their hottest release yet, at least for me. Many of the six tunes are slowed down, which results in more power and greater clarity of lyrics. Really basic punk and thrash, very well done.
A few of the ANGRY SAMOANS team up for this folk-rock seven-song release. This is really wimpy, self-indulgent material, a definite joke. Fortunately, the SAMOANS still kick ass live.
Their second release, this LP’s chock full of CRAMPS type garage rock and roll —pounding beat, raw guitar, and silly lyrics. From New Jersey, it rocks.
In case you’ve wondered what Matt and Chris of CRUCIFIX are up to these days, here’s what. They’re in a band that plays pounding, rhythmic dance music with political/ominous overtones along with members of FLUX, I believe. Soon we’ll be hearing from Sothira’s new band, an entirely different thing.
A rippin’ six-song job that comes bundled with the reissue of their What Happens Next LP. I don’t know if these guys are at it again, but I hope so. Ripping.
Manic vocals set to sporadic musical mayhem — sort of in the BUTTHOLES spirit. I thought you had to be from Texas to do this kinda stuff, but these lads are from Virginia. Will interest the fringe freaks and art trendies.
Three pounding metallish punk songs and one very snappy thrash tune with no metal influence whatsoever.
Edging ever-closer to rock music, GI employs a big sound, usually powerful beat, and big production to get it across. But the lack of a cohesive, unique sound and catchy tunes make the package relatively unmemorable, making them sound like just another slick band on a bigger label.
Pretty rockin’ garage type ’60s punk with a good beat, fuzzed guitar, SEEDS and ELEVATORS influences and nothing lyrics.
These Quincy punks shared the Last Rites For… LP with MIA way back when, died, and are now back to make you gawk in disbelief at their passé stud/skull look. Equally dumbo lyrics and metallish approach make this a joke, unintentionally I’m sure.
An anti-violence band with a twist. Seems like the singer is a refugee from Iran, because just about all the songs deal with life in the current regime’s grip, with one song even sung in Farsi. Musically, hardcore with metal/power influences. Interesting.
One of “Live at CBGB” cassettes comes to vinyl life, and life it reverberates. Very powerful hardcore that doesn’t stop, and that might be the only complaint here — the on-going similarity of the emotion you’re being clobbered with. But if you want a dose of sledgehammer HC, you know where to find it.
More of the COLORS’ mod (JAM/JOLT) sound. Lots of power pop, power chords, etc.
Pretty decent pop ’60s punk, but this selection doesn’t have the nasty edge that their recent Stop! album had. A few tracks do manage to snarl, delivering that fuzz attack, while the rest are well done by clean.
More than competent metallish HC, another example of Europeans following up on a trend within the U.S. scene. Lots of riffing, non-melodic guitar, power rhythm, etc. Otherwise, unmemorable.
A six-song release, mainly of pounding guitar heavy rock with late-’60s Detroit power and punk influences. Lyrics are nothing, but on one song, “Shake It Loose,” the band does produce something memorable in sound.
This UK band contains Ed of the STUPIDS, and, as expected, there’s a decided American sound here, but not in the same way. The music and lyrics have a DC-type “emo” approach, a powerful but ultimately laid back sound.
Another in a spate of reissues, this one containing some classic retardo garage punk from 1980. Remixed a bit (not to its detriment) and powerful, it contains “Right Side of My Mind”, “You Stupid Asshole,” “Get Off the Air,” and two more gems. Get it.
This record is on a label called Heavy Metal Records, comes without a lyric sheet, sounds laden, but somehow has a glint of individuality. I had a hard time with the length of the cuts and their ponderance, but hopefully beneath all this weight and silliness lies some good lyrics and intentions. Hopefully.
Three bands out of N. Ireland share this amazingly great record. ASYLUM, STALAG 17, and TOXIC WASTE absolutely kick ass, both musically and lyrically, delivery track after rack of powerful hardcore. Very convincing and necessary!
Well, they’ve heard early PRETTY THINGS-type primitive R’n’B, especially the Jagger-like vocals, raw plunky guitar sound (though nowhere as grungy as the THINGS), etc. Out of Sweden.
Great thrash cover of the KINKS’ “Dandy”, a couple of slower tunes with a good snotty-sounding vocalist, and a recitation of the Gettysburg Address set to ominous sounds. Enjoyable.
The BYGONE ERA sound is just that, 78 all the way, relying on a steady and fast punk beat. WARNERS too are a blast from the past, with gruffer vocals and more rock-type guitars. Two songs each.
Old fashioned punk both in musical style and lyrical content, mainly dealing with getting fucked (take that any way you want).
One track each from thirteen primal Aussie punk bands, most being off 77 era singles and most being hot! VICTIMS, RADIO BIRDMAN, ROCKS, NEWS, PSYCHO SURGEONS, RAZAR, LEFTOVERS, X, THOUGHT CRIMINALS, SCIENTISTS, and more. As many U.S. bootlegs claim Australian addresses, this release claims a U.S., but don’t be surprised if no one’s home.
This selection of neo-’60s bands covers Germany. Bands like LEGENDARY GOLDEN VAMPIRES, the CHUD, BEATITUDES, SHINY GNOMES, and more drop all over the turntable for your delight. Nothing too raving here, just fifty mike doses.
NEW DRUGS, the 5.6.7.8’s, SHUFFLE, and another band whose name is in Japanese present cowpunk, SHIRELLES/DOLLS-style early 60s stuff, and 77 punk. Weird mix to say the least, though the SHUFFLES’s “Working Class” has SHAM catchiness.
Seven highly moshable tunes here, all showing some kind of searching attitudes. While there are still traces of the NY “hard” attitude, there’s much more of a human quality that’s replacing the naive “unity for unity’s sake” approach. Bands include YOUTH OF TODAY, SICK OF IT ALL, SIDE BY SIDE, BOLD, WARZONE, SUPERTOUCH, and GORILLA BISCUITS. Pick it up, and hope that as these bands mature they will prove less mercenary and display more emotional depth than the previous wave of NYHC.
An all-Japanese release for those who can’t locate the stuff. Contains a track or two from DEADLESS MUSS, SO WHAT, DETROIT, and FUCK GEEZ. Decent thrash material, nothing lame but little awesome from the current crop.
Three songs, all good garage/’77 punk with good production. Pretty decent lyrics, too, highly caustic towards retardo-punk attitudes. Cool.
Metal damage, leads, and metal structures overwhelm whatever non-cliche aspects remain. Pretty driving, but hard to take or sift through to get any fun out of.
More of their BUZZCOCKS imitations, though it’s not any more rockin’ on this live recording than their studio material. They do indulge in a cover of “Purple Haze,” which is HENDRIX on white bread.
A four-song release, doing very bouncy and catchy 77 punk. Distinguishing features are a really fuzzed guitar and good snarly vocals. Cool.
This band’s sound here is rockin’, but their punk sound is pretty muted by smooth production, which limits the power and accents the pop. A bit too polished.
Their sound lurks somewhere near the STOOGES with a dash of early SAINTS to spice it up. Songs do go on and on, but I guess on the right drugs you can hang with it.
For the most part, this is mid-tempo English type punk, though every now and then a bit of thrash creeps in to remind you it’s not 1979. Decent, but not powerful or catchy enough to be really memorable.
Like their last EP, this one is not manic at all. One punk tune, one pop tune, and a disco tune. Maybe this is wacky in Sweden, but I don’t get it.
Very calm peace punk sounds, to the point of sounding like the CAPTAIN AND TENNILLE or 7 SECONDS (slight exaggeration, Kevin). A couple of tunes have some verve, but overall this is snooze material. From Scotland.
Hey, if you absolutely hate tunes in your music and vocals you can’t understand at all, this album’s for you. Very fast, very metal-influenced, very gruff and very political. Sorta like old DISCHARGE meets every modern speedmetal band.
An anti-Christian rage here, sort of like the first CRASS 7″ but set to a more post-punk mood. Nevertheless, it’s as biting and pointed. Both male and female vocals, nice harmonies on the flipside, though the dance beat on one cut and the “prettiness” on another make them difficult to handle until the guitar and drums kick in.
Pop-punk with good drums and guitars, sappy vocals that detract quite a bit. Add a different vocal track and you’d have the strength of a good JESUS AND MARY CHAIN release.
50s and 60s influences here ranging from rockabilly and R’n’B, but with a 70s rock’n’roll delivery like LITTLE BOB STORY or something. Dated, but it raves.
A two song, one-sided flexi that mysteriously appeared in a NEW ROTEEKA EP. Pretty much rock punk, not too exciting folks.
A varied EP with four songs on the pop punk side. Three are pretty decent ’77-pop style, and one is a bit like a folk tune set to a beat. Not exhilarating, but okay.
Sounding like COCKNEY REJECTS to some extent, this band’s second EP delivers 79 UK punk with spirited beat, choruses, and lots of spunk. Above par.
HEIMATLOS delivers in many punk styles, all of which are done with a special “cut above” feel — whether thrash, classic, short or long, they attack. KROMOZOM 4 are also a tight, aggressive unit whose combination of wicked thrash and goofy stuff between tracks gives them a TOY DOLLS feel. Hot record!
One live side, on studio that is mainly outtakes from their first LP of years ago, as well as a cut with Paula Pandora. These are the San Diegans who went on to be the MORLOCKS, and they do your basic 60s punk stuff, all snarly and ultra-cool. OK music, very sharp cover.
Lots more variety than usual on this release. There are some songs reminiscent of the GBH of yore, but they’ve slowed down their thrash on others, added a lot more melody, and even have a couple of non-thrash tunes. Can’t say if it makes for a better overall record, but they’re at least opening up.
Produced by Giorgio Gomelsky (of YARDBIRDS fame), and “produced” it is. Horns, lots of very laid back instrumentation that serves as a backdrop for Stephan’s ravings, as well as lots of musical styles running into each other, lurching into punk and back out. I think too much of the power is sacrificed in the name of variety, but other’s less influenced by stylistic purity might buy it.
77 style punk that only on two or three songs rises into a musically inspiring pitch. Lyrically caustic appraisals of both world politics and poser-punk problems. With a bit more cutting loose, this would make a real dent.
You gotta hand it to Wattie and co., they do keep the faith. Same old hooks, still pissed-off political lyrics, and still driving punk tunes. Lotsa thrash, some pretty repetitive, but they continue to add some variety as they have over the last several releases. On the other hand, he’s gotta keep doing this — I mean, can you imagine Wattie with a skate punk look?
Rockabilly meets the RAMONES, meaning ultra-fast rockabilly with powerful as hell drive and retardo lyrics. Fast as thrash, raging stuff that only a corpse like Elvis himself couldn’t get caught up in. Hot platter!
This live at CBGB’s album will appeal to MISFITS fans, fans of melodic punk, and malevolent folks everywhere. Non-stop power, lots of tunes, and sarcasm galore. VERBAL ABUSE, move over.
Highly produced power pop that’s got a good beat, interesting lyrics, and a homogenized sound that removes any real guts.
For years, after they evolved into RANK AND FILE, the DILS disavowed their punk roots as vehemently as they had previously espoused punk ideals. Either they’ve mellowed a lot, or times are hard for R&F, but in either case Chip and Tony Kinman have allowed these recordings to see the light of day. Most of this LP is circa 1980, and shows their country sound creeping into the raw punk. The remaining tracks are from 77, but the sound quality here is really bad. This is a collector’s package more than a listenable selection, harkening back to 330 Grove, Barrington Hall, and the Mab. Try to find the singles.
A really powerful mid-tempo cruncher on the A-side, heavy guitar and bass, a no-letup job. The flip is a slow droner that failed to hold my attention despite its occasional outbursts.
Their name is meant to reflect their music (not their political) views, meaning a basic guitar rock band. The tempo is mid, a bit of pop and country meets an early punk sound. More often than not, they sound too clean for me. If they were really contra, they’d be today’s RAMONES, not the REPLACEMENTS.
C.M. are from New Zealand, play fast punk a la 78 on three tunes, all of which are socio-political attacks. You probably are aware that POWERAGE comes from South Africa (4 EPs out), and play highly political punk. The new drummer here wasn’t broken in when the recording took place, and it shows painfully.
DRI-ish approach, though sloppier and with trashier production. Little in the way of melody, long on raging noise and bitter political lyrics. French speakers by birth, the lyrics are in English. From Montreal, Canada.
A seven song slab, very powerful sound, metalcore, etc. Can’t tell what they’re singing about and no lyric sheet. Professional hardcore, leaving little room for fun or humanity.
Their second LP, this one moving away from more generic hardcore into experimentation with funk, rock, pop, but all with an edge, as well as more standard punk fare. Lyrics are again above average, a good effort.
A one sided single, this track is sort of a mid-tempo garage-y rock tune, sounding like how a 1976 midwest pre-punk might do it, but it’s new and a rarity.
A pretty bleak picture painted here. On one hand, BL’AST demands we not be led, that we awaken and fight, yet on the other hand they inform us they’re withdrawing into solely self-oriented gratification. Hmmm. The music is in the FLAG-rhythm hardcore we’ve come to know, tight and powerful lurching stuff.
A bit disappointing. The singer has Jagger down to a tee, and the band has a mellow STONES bluesy sound like outtakes from the Rolling Stones Now LP. Live, they really rave, but here it’s pretty laid back. Roll over CHUCK BERRY.
Fairly decent thrash, though a bit herky jerky at times. It’s tight, but the construction and lack of tunefulness make it seem fairly generic. One tune, though, “Self Destruct,” does stand out in its forcefulness.
One of the best EPs I’ve heard in awhile. Raging and enraged UK political thrash on one side, like CRASS meets old DISORDER and DRI. Side one consists of about a half-dozen rippers and rants, while the flip is one long song that goes through many changes/styles. Comes with insert and record want list!
Mixed with the gore tunes, there’s a surprising amount of thoughtful tunes, though the onslaught of music doesn’t seem incongruous with sensitivity. Subjects include anti-pope, nuclear power, child abuse, religion. Musically, it’s standard Combat fare, tuneless speedmetal.
A calypso/noise song and a rock send-up are latest releases from MYKEL BOARD, that little daredevil himself. Otto Control and Zeppo Ramone team up for some fun at your expense.
Yet another band that mines the 60s punk meets ’77 punk vein. Slow-to-mid tempo STOOGES-like rock, the only cover being The GROOVIES’ “Slow Death”
Between bands like the MELVINS, U-MEN, GREEN RIVER, and now these guys, Washington is developing a “sound.” So if you’re into LED ZEP retreaded for the 80s, check into this.
Hey, there’s one song on this LP I like, a cover of CRIME’s “Hot Wire My Heart”. The rest is just too oozingly cool for me, though there are VELVET-y moments that appeal.
These Detroit guys have been around forever, and now finally get their grunge down on vinyl. This is a decidedly garage release, with three medium-beat crunches and one fast one. Lots of distortion, popping vocals, and a FLIPPER-ish trash feel adds up to…punk rock.
For a band that hasn’t been active in years, they do get an amazing amount of vinyl out. This is a Japanese release of great sounding material. Which includes a MINOR THREAT/SSD medley cover.
Pretty accessible stuff for this label, as the music is punkish eclectic pop with a dash of straightforward R’n’B based rock. Lyrics are L.A. bleak but more political than most emanating from the sun-fried zone. Pretty cool.
Their “unreleased” second LP, this, like the debut, is more of a mini-LP with seven tracks. And like the original there’s a definite STANDELLS influence — guitar, organ, clean — production, proto-punk. Several covers from this defunct band, whose singer is now in the RAUNCH HANDS.
Now, this is a “punk rock”, no doubt about it. While the band is not quite as tight here as they are live, this still rips. Mike’s retardo lyrics are at full tilt here, and this self-produced/distributed product is proof that some people are still into the whole punk idea.
A really surprisingly varied pop punk LP. At times they sound like STIFF LITTLE FINGERS, delivering really gutsy raunch. At other moments, it’s excellent Boston rockin’ pop. And then suddenly, they’re more to the pop a la HÜSKERs, but still maintaining their edge. Good job.
At their best, they remind me of the PAGANS in their simple and hard-hitting guitar punk. Other songs also carry a ’77 punch, and a few draw on 50s R’n’B for inspiration. Cool.
Horror themes/death are the subject matter. Mostly medium/fast are the paces. Surprisingly non-metallic is the HC here. I guess this is radical in Utah.
Mainly mid-to-slow tempo tunes, often lilting, more often with a metalish riff structure but without the wanking, while lyrics are dark and introspective. There’s something here in both vocals and music that reminds me a teeny bit of BEEFEATER, but not in an imitative way.
Five tunes, most of which are steeped in mid-period LED ZEP crap. Blues based self-important rock with lyrics about “babes” predominate.
Probably the first punk band to sing about strip mining, these guys cover a whole range of ecological/political subjects, and obviously know a lot about what they’re singing about. The music, however, tends toward consistently basic riffs, which gets a bit repetitive. A bit more variety there, and the diatribes would probably have more impact. Decent.
Kinda like newer RAMONES sound with a bit of glam and rock thrown in. Vocals are like a fast MOTLEY CRUE style mets ZERO BOYS. Rockin’, but on the verge of poserama with little inspiration.
Probably the DK’s final release, this is a greatest hits package containing all their singles, cuts from various compilations, as well as a bonus flexi and some live tracks. A really nice way to go out, and comes with a cool magazine, a page for each track.
A very high quality live boot from New Zealand. The CRAMPS gotta be the most bootlegged post-’77 band, which is a compliment to them, but quite a ripoff.
Really interesting, distinct and rockin’. Sort of a combo of early DAMNED energy and a mod sensibility meets the REAL KIDS. Three songs, all cooks and all have neat, memorable hooks. Go for it.
An all-instrumental combo out of St. Louis, Missouri. Lots of darkness in their big sound, but the ever-present pounding drums save it getting too heavy or dreary most of the time. As with most Instrumental efforts, there’s lots of repetition and little to bring you back for additional listenings, unless you’re a stoner.
I didn’t think this’d ever come out as it was recorded quite a while back, but ran into all-too-typical indie problems. This LP encompasses a whole range of HC styles, none handled generically. Very good L.A. modern punk, so I hope we get to see them live now, too.
It’s hard to follow up on a debut LP, never mind one that’s generally considered one of the punk rock “classics,” even if six years have gone by. But the revived (and revised) ADS do a pretty decent job — at least they still sound like the ADOLESCENTS, with tuneful songs, classic guitar and vocals. They even throw in a few oldies (“Welcome to Reality” and “Losing Battle”), a few covers (“House of the Rising Sun,” “I Got a Right”). Very recognizable, but only time will tell whether it measures up.
BIG BLACK meets JESUS AND MARY CHAIN. Tough but post-punk rhythms and noise guitar galore work together with machine gun vocals. Precious little info on this colorful fold-out sleeve that becomes a poster.
The “funny” side of the SPERMBIRDS, it’s amazing this is the same band. While the BIRDS thrash like crazy, this is more poppy, coming off like a French punk band or TOTEN HOSEN.
An international comp featuring FUCK GEEZ, GLORY, B.P. THE PRISONER, UK JUNX, FREEZE and ASBESTOS ROCKPYLE from the U.S., SCRAPS from France, S.O.D. from Sweden and the DEFORMED from England. Varying quality and sound, and hopefully more international punk will get exposure there.
This split LP contains the ABNORMAL and BARBED WIRE. The former has fairly decent lyrics but pretty unexciting music. The latter cooks musically (straight on fast punk) but they’ve little to communicate cept they’re bored.
Though both bands sound pretty similar, these are two entirely different bands. Both play engaging mid-tempo British political punk, with the latter band using both male and female vocals. Good indie effort, nice package.
A split EP featuring ex-TERVEET KÄDET guitarist Tiimo on one side (playing all the instruments) in a speedcore frenzy, while the flip contains tracks by WOLFGANG RUTH doing a synth pop ditty.
A unique and good looking package here, with a 7″ comp EP and flexi. Bands from the U.S., Canada and Japan include SEPTIC DEATH, FRATRICIDE, C.O.P., FINAL CONFLICT, NEGATIVE GAIN, GHOUL, OUTO, S.O.B., and GHOUL SQUAD. No info on the bands, but the needle jumps, and that’s the bottom line.
Cheese whiz pop. It’s got a beat but no balls.
SEARCH AND DESTROY sounds good, though the tracks with the female vocals (half) stand out the most. Sort of a chaotic thrash, and when it gets it’s hot.
The A—side is semi-rockin’ Pop, but the flip shows a lot more character. It’s a medium-paced pounder about shooting up, sort of a noisy, relentless tune that gets the point across.
Pretty ordinary melodic punk and thrash here, and though the lyrics are very strong. I don’t think the music really comes across with the same emotional impact. This isn’t a bad album, just a not a pissed kick-in-the face.
Political punk from Greece. This is ’77-style punk with a bit of a CLASH influence. Reconfirms my opinion that Greek, along with French, is the worst sounding language to work with in punk songs.
A real powerhouse band and album. Non-stop quality thrash, great sounds, and even hooks and choruses. Guitar gets out front a few times, but it’s restrained and the overall band sound is maintained. With titles like “Lost of Words” and “Not Worth Dawn” (they do mean “damn”) you can’t go wrong. Killer.
Pop punk and thrash. The music’s good, song titles like “Fuck’n Girl” and “Nagality” leave me scratching my head, and it came packaged with a flexi from another band the JOKERS. Same planet, different worlds.
Hardcore, sort of like a fast PERSONALITY CRISIS. Rock structures, pounding beat, crunch guitar, semi-theatrical vocals. Heavy handed.
This band frequently has flow, metalish intros, then launches into non-metallic straight ahead thrash. Five tunes, some catchy.
A three-song, lightweight pop-punk release. Comes packaged like the first PIL 7″. “Punk the World” it says on the back. I guess their approach is to lull em into it.
Missed this when it came out, but it’s well worth listing now. Very much in the English “peace punk” tradition, there are CRASS—like rants set to driving simple punk, poetic conversations and folky interludes a la CHUMBA. Well done.
Most of this month’s Japanese batch have been really poppy, as is this one. I guess it’s a trend. First metal punk, now this. But it’s not ace pop-punk. Just wimpy ass stuff. Aaagh!
A five-song release of pretty high quality thrash. Lots of melody, though, no metal, tight playing, and lots of energy.
Sort of MC5 meets BIG BOYS and BUTTHOLES. Hope ya like wah wah.
Sounds like a rawer-edge Homestead band with a political consciousness (a contradiction in terms?). Very HUSKER-ish guitar, aggressive but controlled post-thrash: I think they’d be very at home in DC today. The final COR release, distributed by…
While there’s no overt fascist ideology in most of the lyrics, the mentality is there, both on a more subtle level (the admiration of blind violence, the skin “look” and the inferences to racism in “White Cap.”) on the sleeve itself, graphics are by “KKK”, as well as plenty of iron crosses. Musically, pretty decent Oi sounds.
Three of the four songs are really decent medium-fast punk with a drum sound that seems like a machine til it does stuff a machine can’t. Catchy tunes, pounding beats, and good guitar. 75%.
Really great garage here, really pounding punk. Cool cover of the RATIONALS’ hit, plus two other ravers. No info on sleeve as to their origin, but they don’t seem to be the band from Wales. Ragin’ stuff.
Was expecting a bit weirder than the ’77 pop I got. Like wimpy CLASH? Wrong generation.
A “live in the studio” recording, this band is of the ’77 ilk, featuring a female singer, organ, and cover “Pretty Vacant”. Where am I?
Four ultra-catchy pop-punk tunes with a definite RAMONES influence without being copycats. Very basic, very rockin’, very good.
Mostly JESUS AND MARY CHAIN-trend stuff here. Pop, feedback, distant, a beat.
Andy Martin has always been a bundle of contradictions, and on this, their fifth LP, he comes off with his reactionary side, a perspective that would make SKREWDRIVER proud. There’s as much hatred, racist bullshit, and “white tribalism” here as on any LP by the aforementioned sickies, and this time the APOSTLES even sound like SKREWDRIVER. Very fucking sad.
Three fairly similar speedcore songs, short on melody and long on guitar squawking. Good lyrics, good intentions, but nondescript speedcore is even worse than nondescript thrash.
Compiled by the BUTTHOLE SURFERS, there’s two tracks each by said band. Steve Fitch, Daniel Johnston, and STICKMEN WITH RAYGUNS. It’s all Texas weirdness/bad acid stuff. Highlight is the latter band, whose sound is like the SCREAMERS meets FLIPPER.
Three separate EPs, three different sounds, three different color vinyls. PILLSBURY HARDCORE, PEACE CORPSE, and WHITE’N’HAIRY get their individual say here. Made for collectors, comes in a box.
Sort of a BUTTHOLES/BIG BLACK on the A-side, while the flip’s got a bit of BEEFEATER sound to it, though a bit more rock. Hard bite.
Every one of these German bands (CHALLENGER CREW, UNWANTED YOUTH, SPERMBIRDS, JUMP FOR JOY, SKEEZICKS, PMA, and ANTITOXIN) deliver one song each, and great ones they are. It’s rare to find a comp that’s really consistently sold, but this one is. Put out by Trust fanzine.
About seven years after the trend, along comes a sampler of NY area ska bands. Varying calibre, mostly rocking.
A five-band comp that features one song each from groups that span the length of this island nation. ACID REIGN, HOLOCAUST, DEFIANCE, and MINDFUCKERS all have a ’77 UK sound, and all the recordings are amateurish, though the latter has a most interesting track. NAZGUL is in the thrash vein, and attacks! Good cut!
YO LA TENGO, BIG BLACK, and KILSLUG present one track each for pretentious and depressed pseudo-intellectuals, and MOVING TARGETS kill ass as usual in their allotted space. Comes with issue #5 of…
The Captain musta been drunk when he chose these, because it’s one weird combo of eccentric pop and a dollop of HC to top it off. On the punk side, there’s GOD, WILLARD, CONTINENTAL KIDS, LOODS, and LIP CREAM.
This EP contains one good punk track each from FREEBORN, CRIMINAL SEX, BLOOD AND THUNDER, and NICK TOCZEK (the ranting poet backed by a rocking band). Nice to hear decent stuff from relative unknowns, and…bring back more 7″ers!
DRILL, EXIT, 16 TONS, and T.D.F. present eccentric pop, punk, and industrial. Odd record, odd format.
The ZETTLERS, TRAPPERS and RINGO & MAINERS all deliver two songs each of instantly disposable R’n’B and Mersey stuff dating from the mid-’60s.
Professional punk that just barely maintains its roots after all the production and arrangements. Kind of like the Japanese equivalent of the DAMNED. Slightly better tunes appear on the 12″ of “Catholic Day.”
This band has gone totally metal, both musically and in mentality. Lame isn’t good enough to describe this.
Much of this material’s been out in the States before, but this is a good overall sampler for Europeans (or anyone who doesn’t already have their prior releases). Energetic 60s oriented punk.
A very enjoyable punk/thrash debut. 5 songs in all, most are catchy and rip as well, featuring inane but creative lyrics. Check it out! A rarity: no pic sleeve!
Mid-tempo punk with female vocals. While the lyrics are on the mark (anti-racism and anti-state abuse), the music is a bit repetitive. This is not to say it’s limp, but just that the tempo and structures are very similar on all 3 tracks, and given their length, a bit more change might’ve livened it up. Decent.
A novelty here, as Tesco of the MEATMEN indulges in a little punk rock nostalgia. While his covers of the AVENGERS and FLESH EATERS are nothing special, this is the kind of one-off thing I wish there was more of. Credit for persistence goes to Jimmy Johnson for getting this out, a freebie for subscribers of…
A 4-song debut that shows promise. Outside of the occasional wanking guitar leads, I like the mixture of fast and slow hardcore and the straight-ahead attack. Watch for more Orange County releases on this label.
Straightforward HC that’s tight and everything, though there’s little in the way of distinction except on a couple of tracks (like “Gutgekotz”).
Three-quarters of the old WILLFUL NEGLECT play metal-riff rock on side one, almost too much to take. On the flip, the metallish aspect is still there, but the basic tune is good, as well as the singing. Lyrics aren’t very important here, and the guitar is a pain.
A “drinking” band, they must have gone over the edge cuz all the songs are radically different: thrash, Euro-pop, punk, country, and sometimes all of the above together. “Straight Edge Band” is a classic. Hilarious!
Total commercial rock, and the worst thing I’ve heard in a long time.
Jazzy HC with metallish guitar on the A-side, and catchy straight-on HC on the flip. It’s like two different bands, but both sides are done with verve and class.
Well, the little skate geeks are back with another dose of U.S. hardcore a la U.K. Fueled on pure root beer, Tommy and company indulge in a few longer tunes this time, including a hilarious scratch song. Why go to L.A. when you can have the VANDALS meets D.I. in the UK?
I think this is a reissue of the STALIN’s first two 7″ records, as well as the track they put on MRR’s international comp LP. This is nice to have as a collector, although this relatively primitive punk doesn’t hold a candle to their subsequent material, which raged.
Speedy hardcore with jazzy/metalish guitar riffs but otherwise straight-ahead thrash. Fans of non-melodic aggression will get into this — no let up, no distinction.
Pop-punk meets surfing sounds in Buffalo? The three tracks are not hokey, musically, but are pretty passe. Lyrically “nothin’”.
What the SOUP DRAGONS are to the BUZZCOCKS, these guys may be to early SAINTS, with a dash of 60s punk and perhaps Belgium’s KIDS thrown in. Really rockin’ pop punk with great guitar and good snarly voice. We’ll know better after their next release.
Atmospheric but driving post-punk with female vocals. Reminds at times of early SIOUXSIE, with the haunting/tortured vocals and the psycho-punk music.
Fairly rockin’ pop-punk with a RAMONES feel to it. Nothing really amazing, but somehow catchy and pretty tight.
Metal tinged thrash in the COC/NEGAZIONE mold. Very political lyrics dealing with power, exploitation, racism, and even the “scene.” Strong beliefs and intense music.
Like the REDSKINS, these are leftwing skins, musically following in the footsteps of early punk a la CHELSEA, ANGELIC UPSTARTS, CLASH, etc. The music is fairly light though, more like current 7 SECONDS than the ’77 crew.
This is a Steve Spinali kinda record, boppin’ pop-punk, back-up choruses, etc. Half the tunes rock, half are a teeny bit too light (especially in the vocal department), but not bad overall.
Very high-powered thrash, not without a decent dose of BAD BRAINS-like attack. Metal licks kept to a tolerable level, while the overall fury carries the day.
With music like this, they’ll be back in the pubs: highly produced, including synth and keyboards (usually unobtrusive), slow-paced tunes (only a couple rock much at all). Definitely going for the college radio market.
Aptly named, this is largely lightweight pop punk, a much-cleaner REVILLOS. The beat is there, but the insipid lyrics and too-sterile production keep this from really grabbing me. Main feature: Wolfie of the STUPIDS is the bass player.
For most of this LP, we’re floating along in a very pleasant ’78-79 type of political punk with both male and female vocals. But then, just to show us they’re not completely stuck in the past, they lash out with a terrific thrasher. Very good release, and much more gripping than on their EP. From Ireland.
A reworking of the A-side by this reformed early punk outfit, and it’s got the guts and great bass riffs of the early version. The flip, a cover of the JOHNNY RIVERS classic, is as garage-y and raw as I’d hoped. Basic punk rock.
Surprisingly rockin’ pop-punk/thrash. Based on their last 7″, I thought the OFFBEATS were wimping out, but on this LP, they deliver a lot of wallop as well as catchy songs. No lyric sheet is always a bad sign: either the band puts little stock in their message, or the label could care less.
Again, cleaned and prettied up. The tunes are still cool, but the bite and raunch just isn’t there, that extra spark of rock’n’roll that heads a band over the line into madness. Too reserved.
Very well done melodic HC with roots in ’77 punk and the DC sound, and they even do a T. REX cover. Tight, tuneful, and songs that can be remembered.
Garage, punk, garage ska, and just general garage, done with a flair—the lyrics are sharp, but not dogmatic. At a few points, there’s a dash of FEEDERZ here, but that’s not really what they’re about. Good debut.
It’s rare when a HC band can sound tighter and better on their faster material than on the slower tunes, but that’s the case here. While 50% of this LP is average, the other half is definitely a cut above, showing real snappiness. Lots of promise.
With titles like “Stagedive to Hell,” guess what kind of music this is? Yep, fuckingspeedcoreandsmetalmentalityandIbitit’llsell.
Tight but relatively indistinct hardcore. All the ingredients are there, but nothing really sticks in my mind afterwards. More tuneage!
The American release of the hot TVOR album. Different (but equally as bad) cover, but it’s what’s inside that counts, right?
This album is a bit lighter than the previous, though it contains the same early punk mix of pop-punk and ska punk, Reminds a lot of middle-period CLASH. Pretty slick.
Their debut U.S. album, which includes all the tracks on the Aussie 12″ as well as the “Girl in the Sweater” 45. Fans of pop-punk should snap this baby up!
Cowpunkish Irish music? They cover KENNY LOGGINS, sound like the VANDALS at times, and do yet another song called “Gimme Gimme Gimme.” Blarmey, podner.
I don’t know who Terry Gibson is but I think he thinks he’s Dave Edmonds.
Previously released excellent Aussie stuff, this time released for European consumption.
Dumber than the STUPIDS? No surprise, since some of the same suspects appear here, delivering like DOGGY STYLE. Melodic, frantic thrash to go. Do they have drive-ins in England?
A lot more “rock’n’roll” than their ancient debut, this one has your metal/rock feel to it, and despite the usual dumbo lyrics, the music don’t cut it (the West Coast MEATMEN?). Amazingly, they do one “punk” tune, a cover of…BAD POSTURE’s “GDMFSOB.” Not worth the wait.
Side One is “LSD,” a news story about the stuff set to a slow, psychedelic pulsing accompaniment. The flip, “Maggie,” is a slow, buzzsaw of a tune about Margaret Trudeau. Graphics insinuate Nazi b.s., but given the twisted nature of the music, I’d guess it’s just bad drugs at work.
All the songs on this EP start out quiet and pretty and quickly move into speedy but highly melodic thrash. Don’t be fooled by the “Wavish” sleeve, this one’s got punch while maintaining its tune.
Strap yourself into the old time machine and set the controls for 1977/NYC/Lower East Side. Zap! Now you’re at a CONTORTIONS and TEENAGE JESUS gig. Lots of saxes, jazz punk, screeching vocals and funky bass. If this is ’87, it must be Scotland.
Akin to TALKIN’ TO THE TOILET (see review this ish), but more on the industrial side and not as goofy. Joe Raimond and friends turn out rhythm machine slow punk with layers of noise and guitar.
Lightweight punk with surf and pop influences, sounding like the frat party-band they are. Could appeal to fans of Midwestern pop and garage bands, but they lack any real punch or zaniness.
Ultra-gruff vocals and engaging (?) mid-tempo post-punk thrash. No wait, this makes no sense, but there’s both a negative feel and yet something uplifting too in the tuneage. Interesting.
A posthumous release dating back to five years ago, featuring early 60s Brit-type R’n’B. Nothing particularly awesome here to warrant such a belated release, except for pure collecting purposes.
I guess these guys are here to give Wattie a run for his money in the dumb lyrics department, with “Up Yours,” “Boots Go Marching,” “Kick Down the Doors,” etc. I think you get the picture.
Argentine Oi music, with a decided anti-capitalist bent. But there is the all-too-typical skinhead cry for “fighting” here, and too often that emotional response is poorly aimed. Musically, very credible and catchy.
The CELIBATE RIFLES’ cut, “Merry Xmas Blues” (an Aussie rarity, re-released here), is an excellent punk raver, but the flip is about as exciting as the food Martin eats. Comes with the winter ’87 issue of Pulsebeat zine.
A bit livelier than their debut 12″, but the accent is still on drastic lyrics, throbbing and abrasive music, and a post-punk overall feel. Very good punk indeed, a sound that harkens back but remains modern.
Their second 7″ and a good one at that. Both songs are real punch punk, with sharp drumming, crisp bass playing and good tunes to boot. Catchy, and on the nose.
The KINGSMEN cover is good compared to the recent DEAD BOYS release, but pales when compared to the NOMADS version. The flip too is a tame soft rock tune. Not happening.
Musically, pretty good sounding mid-fast tempo punk and HC, but when the vocals kick in, it’s a whole new thing. Unless you’re into the latter day TSOL “singing,” these voices may really bother you. Different? Yes. Annoying? Yes.
Pretty driving post-punk that gets lost in the blur. While well done, there’s no special spark of energy, hooks, or imagination to make it memorable.
A benefit LP for the armed ANC resistance in South Africa, released by De Konkurrent in Holland and Mordam in the U.S. Besides coming with a really excellent (visually and content-wise) magazine, this LP contains some great stuff from SCREAM, SOCIAL UNREST, VICTIMS FAMILY, RHYTHM PIGS, and 76% UNCERTAIN in the U.S., and CHALLENGER CREW, THE EX, DEPRAVED, BGK, EVERYTHING FALLS APART, SCA, KAFKA PROCESS, and MORZELPRONK from Europe. Get this, for sure!
A new San Jose comp, featuring the FACTION, FRONTLINE, STIKKY, ORANGE CURTAIN, LOVING END (yech!), NO WARNING, JET CRASH MIRACLE, STEVE CABALLERO (yech again!). Wish there was more choice material from STIKKY and FRONTLINE, and NO WARNING show promise, too.
Quite a collection of many of the hottest UK hardcore bands. Includes one of each by DISORDER, CHAOS UK, CONCRETE SOX, RIPCORD, ELECTRO HIPPIES, GENERIC, STUPIDS, DEPRAVED, POTENTIAL THREAT, OI POLLOI, and many more, as well as non-UK stuff by CCM and VICIOUS CIRCLE. Rips.
An international sampler featuring DEPRESSION and GASH from Australia, SONS OF ISHMAEL, HALF LIFE, FAIR WARNING, and DEHUMANIZERS from N. America, FUCK GEEZ from Japan, and MOTTEK, K&T, SO MUCH HATE, and RAPED TEENAGERS from Europe. There’s little in terms of melody, lots in terms of pounding speed and intense lyrics.
A mostly-French comp with BRAINWASH, BUTCHER, RAFF, and several more (including TOLBIAC’S TOADS, who we’ve heard nasties about), and then GOVERNMENT ISSUE. Mostly ’77 punk styles here, but Germany’s MANIACS’ thrash tune is the hottest track.
Not as speedmetal as I thought their second LP might be, though there’s plenty of guitar wanking woven into the HC. At least they don’t try to come up with a gimmicky imitation of “Institutionalized” here, but the lyrical content is pretty thin, with lots of egotism. Okay, but not special, especially considering the time between albums.
Hard to believe this band is German. The music sounds like ANGRY SAMOANS, the vocals are U.S. style snotty punk (the singer is actually an American ex-G.I.), the lyrics are sarcastic SoCal-type, but instead of sun-baked retard we get some genuine insight. Hot as hell!!
Combining elements of punk, country, blues, rockabilly into something other than “spaghetti western” music is no easy feat for an Italian band, but they do it well. Fun, and not pretentious.
I haven’t liked too many amelodic trash bands lately, but these guys attack their music with such enthusiasm it works. Raging vocals, pounding snappy drums, insane guitar noise, reminds me of early Brazilian HC. Definite.
This colorful outfit put out a couple of recent releases that we missed, this being the latest. As with their other material, this is well-crafted pop punk, accented by female vocals with somewhat feminist/radical lyrics. Underneath the colors and pretty music lies some disturbing realities worth checking out, especially for fans of X-RAY SPEX, SLITS, CRASS…
Last time we saw RHINO on their own vinyl, Dangerhouse Records still existed and it was still the 70s. I guess they’ve reappeared just to prove that not every revival has to be lame. While not quite as exciting as that old single, this still cooks, though at times slumps back into rock tedium. Could have been a lot worse.
RESISTANCE can do many punk styles, and included herein one finds DOA-ish punk, 77 punk, post-punk, a punk ballad and hardcore. While none are overwhelmingly powerful or tight, with that variety they should mature into something to consider.
Well, Felix and company are back but there’ve been some changes. Side one if the more “punk” side, though only two of the tunes are really hardcore tunes, while the others are slower and go into metalish or post-punkish territory. Side two is decidedly lighter, sounding like a poor man’s LOVE. Lyrically there’s a lot of “regret” themes (mainly having to do with drugs), a few generally “outside view” tunes, and even two love songs. Glad Felix is turning it around, but I hope the next release shows more verve.
While not as melodic as most of their Swedish counterparts, this outfit plays excellent hardcore. And compared to most other bands of this ilk, they are way more melodic. Like their previous 7″ (we fucked up and didn’t review it last year – also available at this address) this disc has power, hooks, and depth. Check them out.
The two songs by THE PAINKILLERS are like 60s punk blues meets PERE UBU and BIRTHDAY PARTY. The YETTIS “song” is like the BUTTHOLES meets PAINKILLERS. You figure it out.
Sort of a FLIPPER meets BIRTHDAY PARTY with the accent on the less pretentious noise side. Lots of grunge and painful guitar attack, some set to poetry. Pretty gripping.
NABAT, Italy’s longest running skinhead band, returns with their original and hard-hitting Oi, this time delving into reggae a bit as well. Consistent, diverse, and powerful stuff. This LP is dedicated to Nelson Mandela (among others), which sets NABAT prominently apart from the racist stupidity of most other bands. Good.
With a name like this, I expected an early THEM raunchy R’n’B sound (band name is a great THEM song), but it’s pretty lightweight 60s pop with only a lilt of “G-L-O-R-I-A” in it.
Both sides of his German band’s latest are excellent pop punk. Well produced, catchy tunes and lots of guitar and vocal choruses. Classic punk.
Is there such a thing as getting “BYOed”? While their latest release is pretty decent pop punk (at best they sounds like an American NEUROTICS), it’s a bit weak compared to the previous 7″. All the tunes are mid-to-slow paced, have very good lyrics, and I bet they really rock live. But at this point, they seem to be going the way of the RED ROCKERS.
Done in the early 70’s before he gained fame with Ohio’s PERE UBU, the A-side is a DYLAN-like acoustic ballad and the B-side is a very garage-y cover of the VELVET UNDERGROUND classic, done as if Lou and company took downers instead of speed one night.
Title track is one of their haunting and beautiful ballads, while the flip features a nasty cover of BO DIDDLEY’s “Who Do You Love” and an awesome song, “Kill Surf City,” that sounds like a SUICIDE gone apeshit. Hot.
The A-side has a definite STOOGES feel to it, a medium paced song with mysterious undertones. The flip conveys the same mood, taking the DYLAN classic and taking it as far from the TURTLES’ version as possible within a pop reference, sorta like BRYAN FERRY might have done.
Well done pop-punk, but the vocals are mixed way up front (and are a bit annoying), and the music itself is so produced that it loses a lot of bite.
A speedcore group whose three tunes all thrash hard and have “horror” lyrics. Oooh, I’m scared.
The singing sounds like TELEVISION and so does the music, but at almost schizophrenic “extremes.” The A side is way clean sounding and the flip contains some noise guitar and could be right off Tom Verlaine and Co’s first LP.
Noise with an edge, and occasionally some recognizable melodies, too. No wave meets beatnik jazz meets the modern “Chicago sound,” from whence they hail. Arty, but not too pretentious.
Surf, 60s pop, psyche, all rear their ugly heads here. It’s OK, inoffensive stuff but nothing to do a double-take over. If you’re gonna go back to the past for inspiration at least re-emerge with some idea of what decade we so live in. These guys coulda done for BRENDA LEE’s “Sweet Nothings” what THE SAINTS did for CONNIE FRANCIS’ “Lipstick on Your Collar.”
Sometimes surprising in its variety and energy, sometimes overdone and too long–a mixed effort. While their 7″ was funnier, this LP goes for production and power, sometimes obtaining a good cross of both, but not frequently enough for me. Lots of metal for the bangers though.
Some things are better left alone, like certain memories…or bands reforming. All the original members here, Stiv, Cheetah, etc…but this sounds like the LORDS OF THE NEW BOYS, not the snarling, twisted, classic shit on their first LP back in 77.
This is a 9-song demo, featuring some great sounding punk. CRIMPSHRINE have a 77 sound, somewhat along the lines of SLF. Besides their material, this tape features 2 songs each of some recent Berkeley bands like SOUP, BASIC RADIO, SWEET BABY JESUS, KWIK WAY, and DISTORTED TRUTH. Well worth picking up.
A whole new band (except for vocals) since their 7″, this one will delight speedcore and metal-influenced punk fans. Lots of production, big guitar sound, and even colored vinyl copies. Classic TVOR inner sleeve layout, but the outer cover? Stiv?
JESUS AND MARY CHAIN meets DREAM SYNDICATE. Can they be sued for this?
One raunchy LINK WRAY-ish tune, one world beat-ish tune a la the BEATLES “She Said,” one ballad and one college FM-sounding instrumental. For a band that can rock, they sure seem shy to do it on vinyl, opting instead for a commercial sound.
Pretty enjoyable 77 punk with good energy and tunes. Not as tight as I’d hoped, but at least on one song, “Jo Dassin,” they sound almost like SOCIAL DISTORTION.
A decent retrospective of one of early punk’s finest bands. Pop punk that lasts, mostly dealing with the insanity of love. Their catchy tunes, great harmonies, and hard drive are virtually unmatched (the punk BEATLES?). Still, you should try to pick up all the original releases as this retro just scratched the surface.
Two “embarrassing” tunes, as MYKEL BOARD terms his latest release. Embarrassingly good, actually. One is a rager, one a slow diatribe, both well done and up to his usual quality (?), and both appeared on the German comp LP, The Power of Love.
Not sure where the “Memphis” part comes in, though at times there’s a slight CRAMPS influence. Otherwise, this is raunchy rock’n’roll meets early punk with screeching female vocals. Real rhythm, basic stuff with ultra-trebly production.
Fans of Japanese metalthrash will suck this baby up, though the lyrics here are highly intelligent. Growling, slashing, metallish noise — well, you know.
Neo-Mersey R’n’B, but nothing too wild. Would have been cool in ’65, though…
This LP doesn’t really have the zip, or even the overwhelming angst of many of Greg Sage’s previous efforts. Maybe it’ll grow on me, but I wanted to be taken to a stranger different place…and got half way there.
“Next summer” is a pretty pop tune with really quirky lyrics, but the flip is a cool pop punk tune with femme vocals, a more rocking B-52s. A giveaway single.
A more punky PIL meets early MEKONS with a GANG OF FOUR lyrical bent. Excellent five-song debut that exudes intelligence, drive, and what’s so good about punk. Get it.
Relative unknowns like SCHLIESSMUSKEL, CRETIN HOPPERS, TARNFARBE, A.N.A.L., and others play punk, thrash, and post-punk. All bands are from Germany, and this is a fun, non-commercial effort.
A four-band, one track each regional comp from Hagen. Hottest tracks are by CZERNY SMIERTELNY (sounds Polish to me) and SJORBUT, but WICKIE and HEMMUNGSCLOSE EROTIK are both enjoyable. Good indie punk effort.
BCT bounces back with a hot EP featuring Italy’s WRETCHED and RAW POWER, Sweden’s MOB 47, QUOD MASSACRE from Yugoslavia, SATANIC MALFUNCTIONS from the UK, FUNERAL ORATION from Holland, and PSYCHO from the US. Get this one!
An all-Welsh comp featuring one song each by CLASSIFIED PROTEST, I MOBSTER, BUGS, YR ANHREFN, ELFYN PRESLI, and HERETICS. Faves: BUGS (sounds like DESPERATE BICYCLES), ELFYN PRESLI (great pop punk), and HERETICS (charge old punk).
Hey, yet another indie UK release, this one featuring the DISTURBED, LIVING DEAD, LEFT FOR DEAD, and SILENT COMMUNITY. One track each isn’t enough to drive any real conclusions, but these bands all convey a basic, unglamorized punk appeal. Honest.
An international comp with HOMO PICNIC (U.S.), KAZJUROL (Sweden), QUOD MASSACRE (Yugoslavia), and INSTIGATORS (England). Four bands, four styles (pop-thrash, speedmetal, pop-punk and thrash). Good selection, good production, a worthy effort.
Good Swedish pop-punk/thrash on most cuts, with one folk fool-around track and one rock number.
This domestic release is a bit different than the recent UK job. It contains three songs not on the UK version (two of which disappeared on their last 7″) but one song that’s on the UK version doesn’t appear here. Rockin’ improvement.
What is this? It’s hard enough to figure out the name of the band from all the stuff on the record and sleeve, and things go downhill from there once on the turntable. Actually, three of the five tracks are pretty decent older style pop punk, while two are goofy as shit. The jokes lost on us non-Swedes.
These guys seem to be able to handle any speed of melodic punk and hardcore, delivering all with power and zest. Very well produced record to boot, making this a definite cut above. Rocks.
Their second LP should dispel any doubts about SPECIAL FORCES and generic thrash. This Berkeley band hits hard and with variety, though Bill Collins’ excellent guitar work is now history for this band. Orlando was always a more interesting performer than good singer, but on this LP even that aspect seems very improved. Very hot!
SHOUTLESS combines 50s, 60s, 70s, and 80s into one, adds big production, and the end product sometimes cuts it, sometimes not. The grunge is maxed out and I think that hurts their impact. Needs a bit more madness.
This is supposedly a “giveaway” single, but is on sale in some places. The A-side is an overly long mid-tempo ballady thing, but the LITTLE RICHARD cover wails!
Dated 1986, this one slipped by us but I’m glad I found a copy. BAD BRAINS type vocals and pop-thrash music combined with stuff like “Too Fat To Flirt” make this bizarre. Album coming soon.
A collection from ’82 — ’85, this is a fine example of their garage, grunge, sixties, noise approach. A good sampler for those without.
All originals this time, and way toned down from all previous releases. I guess the kids are growing up, and production and fancy arrangements take over. Too bad.
Mania this ain’t. Decent pop rock ‘n’ roll it is, with early pop-punk influences. The A-side is pretty light, but the flip reminds me of 79 UK anthemic mod/punk stuff. Wish it were crazy.
It’s great to see this white South African anti-apartheid band still expressing themselves in the face of extreme repression. Both songs here are mid to slow-tempo jobs, one with a one-sided anti-Russian attack, the other dealing with the nuclear fear. Sad to see Rubin Rose out of the band.
If you’ve been trying to locate their previous and impossible to find vinyl — relax. Finally, this incredibly hot combo comes up with something to almost equal their live shows. Well, not quite, but people who love the BUTTHOLES, NEOS and No Wave clamor will all find something here.
I guess it had to happen, but the NOMADS have toned it down. Both sides lack the raucous, free-swingin’, guitar crazed rock ‘n’ roll that I loved em for. Instead, we get two medium paced, thick sound production tunes that are decent but pale in comparison to their early rave-ups. Alas.
One of those modern rarities, a truly self-produced UK release. This three-song job is very straightforward, mid-tempo, non-dogmatic political material. Though nothing new or special, there’s a basic honesty here that is refreshing, sort of like early NEWTOWN NEUROTICS.
One thrash tune, the rest being rock/metal at varying tempos. Lots of squeaky guitar bits, which we ruin otherwise almost palatable songs. Promo sheet contains a quote “…we didn’t want anything to do with punkers”. Do you want anything to do with them?
I think this is the first modern punk record Bomp’s put out since the ZEROS and WEIRDOS days, and this one is excellent. Really good, driving tunes, crunching guitars, and fun/tough vocals. Pick this up.
Two pop punk tunes, both with a big production sound, 60s sensibilities and modern punk drive. Like this stuff, but the lyrics are stone age, especially on the flip.
Sixties-type pop rock ‘n’ roll, sort of in the “Hippy Hippy Shake” vein, the only one of three rocks that much.
A song for each of these personalities. One song is a driving, punky tune by this duo, while the other is a catchy but quiet ethereal ditty. Weird.
A four-song lightweight pop rock’n’roll. Could be a lot more garage-y, considering the neo-’60s R’n’B trash material.
Back again, and funny as ever, these original Canadian punks deliver their melodic PISTOLS-type rock’n’roll. Only real complaint — production does away with any real grunge, which this type of punk needs.
Modern power and late 60s/early 70s influenced music and lyrics. Sort of a modern NAZARETH or something.
The cover sticker bills them now as “metal,” and there is a lot of thrash in that, but overall it’s still D.R.I. — lyrically and musically (though weighted down at times). While C.O.C. has soured on this “crossover” business, D.R.I. seems to be making a blatant marketing approach — just catch the cover art.
A cover of BTO’s “Takin’ Care of Business” might tell you something about the rock approach of this new DOA platter, as many of the songs have that same heavy rock sound. A couple rage, though, “To Hell and Back” being one, as does the revised classic “Nazi Training Camp.” Mostly strong, political lyrics, however ironic that is for this label.
The original D.I. 12″ is re-released here, along with 3 current tracks. Despite the fact that I dearly love their music, I’ve never seen a band with so many re-appearing tracks on their “new” vinyl. Should be a whole new LP’s worth soon. Dudecore — totally.
Features Marlene Dietrich singing semi-industrial pop music. No?
Very political, very basic, and very speedy thrash with both male and female vocals. Actually some songs slow down and break into pretty eclectic stuff. Interesting and sincere.
I’m not too keen on live recordings unless they’re amazingly electric, conveying a dynamic unavailable in a studio. As far as this one goes, it’s okay, giving you a good idea of the RIFLES’ hard-driving Australian rock meets early punk. But special? No.
Decent but relatively unexciting pop punk à la ’78 or so. Eight songs and all, with little variation from the mid-tempo beat.
Can’t read the lyrics sheet — it’s kind of black and red print, not synchronized. It does say “UKHC” in several places, does have a song called “Best of Both Worlds,” but after hearing it and seeing the cover, it should be called “UKHM” …and I understand why the lyrics don’t matter.
An Xmas record I just got a hold of, and excellent pop punk it is. Four songs, all with a characteristic French punk rhythm machine, fuzz guitars, good hooks, and even bagpipes. Cool.
Mid-tempo speed metal without the leads. Gruff-ola vocals, repetitive riffs, good production, and a song called “In My Eyes” that isn’t the song we all know. Oh, the band’s from Sweden.
I had all but given up on these lads when, “boom,” they surprised me. Besides some of the mellower stuff they’ve done recently, this LP includes folk, blues, spoken word, industrial, and a really decent portion of raw, well-done punk a la CRASS. Includes a great cover of one of punk’s all time classics, ATVs “How Much Longer?”
Highly intelligent and politicized anarcho-punk here, which delivers in packaging, lyrics, and music. Supporting this kind of indie effort is a pleasure.
Okay, okay, so dumb lyrics aren’t just limited to the USA. Actually, less than half the tunes here have gore-related subject matter, while the rest are introspective and brooding, not so lame at all. Musically, mostly speedy thrash, but more musical than speedcore, as well as some slower tunes.
Recorded 3-½ years ago, I’m surprised this LP finally saw the light of day. If it had come out back then, the YOUNG LIONS would have been seen as the forerunners of today’s “HC gone eclectic” bands. One side maintains the HC edge while indulging in rock, metal, and other slight influences — powerful sound. The other side sounds like another band entirely — pop, country, etc. Good lyrics throughout, but schizo as hell.
Punk attitude/lyrics meet post-punk almost wave music. Assets: great female vocals, sometimes haunting moods which remind me of several recent UK femme-vocal bands. Drawbacks: doesn’t quite pack the punch of their live set. Comes with free 70’s Top 40 schlock 7″.
A metalcore sampler, featuring ANNIHILATED, CIVILIZED SOCIETY?, LORD CRUCIFIER, and DESECRATORS. Unless you’re really into speed metal, this is pretty hard to take, with guitar wanking all over the fucking place. Only CIVILISED SOCIETY?’s cut is listenable, but a better version appears on their LP. Some good lyrics, and a collective effort.
This on-going chronicle of unknowns swings to Sweden, 1964-67. Most of the tracks are Mersey, Mod, or R’n’B, with the hottest coming from the PALMES, HEP STARS, and TAGES. This volume, unlike the others, contains many live tracks, some of which aren’t the hottest sound quality.
Another of Rev. Norb’s “finds”, and the A-side is again barely palatable pop wave, but the flip has a more punk edge. As Norb said, “OK, so they ain’t quite the PAGANS or AVENGERS, but this ain’t S.F.”
A re-release of this retarded song. Trubee sent off ultra-weird lyrics to a Nashville recording outfit, doubting they would ever record it. They did, and Mykel Board now wants us all to know and enjoy it. A short but sweet joke.
An energetic trio that has a pretty sparse (guitar is largely rhythmic) and clean sound. Goofy lyrics and boppin’ tunes are the thing here, and should appeal to a broad range of listeners.
Three songs this time, two of which are up-tempo pop-punk ringers, and another which builds up (too little too late). Again, the obvious BUZZCOCKS influence, and again, enjoyable.
This record has more drive and power than a lot of post punk releases these days, but that energy is often sapped by annoying breaks, too many funky riffs (for my taste), and sometimes irritating vocals. Could be worse, though.
Japanese skate metal thrash— what’s next? Well done, but all four songs are devoid of personality. I think Roger really likes them so they must shred.
Somehow, Norb Ugly (ex-S.U.M., now of DEPO PROVERA) dug up quantities of two early Green Bay “punk” singles and now wants to foist them off on you. This one is from 81 and has that new wave punk sound of 79-’80 — okay beat, but with deep pop-rock roots.
Forget the MIQUEL CO. side (sounds like Irish folk meets bad 70s rock), and the MASSACRE side is a 50/50 proposition. One tune is a pretty driving yet tuneful thrasher, but the other is a miserable metal clunker. Why?
New York’s alright if you like saxophones.
Both bands (the former now defunct) do the same song. One version comes out like early new wave/pop punk, while the other comes off more 60s garage psych. Fun concept.
Yet another album full of grungy, usually driving noise. Most of this is listenable, a pretty fair reflection of modern, urban bullshit.
Finally some new material, but a letdown. They’ve always been pop, but with a lot of punk punch. In this case, three of four tunes never deliver that wallop, and the other does so sparingly. Boooo!
Strong musically with almost new wave meets punk meets Three Penny Opera vocals — a more new wave DK’s? Intelligent lyrics, very tight and driving pop punk music, but the singing, though gruff at times, does detract a bit. Different.
An animal rights/human rights approach, packaged in a large fold-out sleeve. Four buzzsaw punk tunes, some medium, some fast, all enraged and powerful. Good effort.
This is the version of DOGGY STYLE that contains the majority of the original members. While this record rocks, it doesn’t quite come across with the humor on first hearing. Musically, good but polished melodic fast punk. Artwork: amazing ripoff of LED ZEP II, sure to draw attention.
Okay, this album’s worth on two 7″ers is your basic, hard-to-find-today punk fucking rock. No frills, just basic driving punk with the appropriately pissed off lyrics. A big middle finger to you, too!
Highly percussive punk/post-punk with hot guitar slashing in and out. Sounds like a cross between early punk and some current Chicago bands — meaning delivery, loud but clean and melodic punk.
A very high energy release — this is metal-heavy hardcore without the excesses and with intelligence. Though riffs do get repetitious, the overall power is intense enough to hold your attention. Should be popular.
A really cool release with garage, punk and noise cuts by BIRDHOUSE, ULTIMA THULE, and SILVER CHAPTER. All three cuts have guts and character. Comes with issue #3 of…
This split LP contains OI POLLOI from Scotland and BETRAYED. The latter play pretty unexciting but competent Oi with lyrics that range from the standard working class oppression themes to dubious calls for skinhead unity. OI POLLOI, on the other hand, rip like crazy and have lyrics that rise above the norm.
An international comp featuring BLUT+EISEN, ANGRY SAMOANS, SUBHUMANS, KTMK, COC, FANG, I SPIT ON YOUR GRAVY, and lots more. Hot tracks from the DEPRAVED, NEUROTIC ARSEHOLES, FALLOUT. Many tracks previously released, but now largely unavailable.
A regional comp featuring S.O.B., BRUTUS, OUTO, DITHER, RIOT, and DORORO. Mainly hardcore, with some pop-thrash and a bit of slower music. S.O.B., OUTO and RIOT are my faves.
A four-band project. LES GNOMES have a hard-hitting but quirky thrash/punk sound that’s distinctive without getting pretentious. DAMES are an all-femme band that have an English pop-punk sound with a slight post-punk flair. BARON ROUGE has a ’79 English arty punk sound that still has power. ZOI are a mid-temp band that occasionally lurch into thrash, all with SIOUXSIE-like vocals. Good variety on all tracks.
Current garage sleaze from both the U.S. and Europe featuring LES THUGS, CANNIBALS, LEGENDARY GOLDEN VAMPIRES, SICK ROSE and much more. One of the best neo-60s series going.
Metalcore with songs like “Motor Maiden,” “I Hate the Bitch,” and “Kill em All,” etc. Draw your own conclusion.
If you feel the HÜSKERs have gone too far overboard into pop lately, then try this baby out. Same melodic din, but delivered with crunch. Poetic lyrics that don’t do much for me, though.
I don’t think fans of Southwest bizarro noise will be disappointed here. Six songs that loudly snake their way across your turntable, with a modern acid sickness in their trail. I guess this is art.
HENRY ROLLINS’ (ex-SOA/BLACK FLAG) first solo vinyl effort is not so solo. Backed on cuts by a hard-driving band (including ex-SOA/FAITH/EMBRACE member Mike Hampton), the musical tracks sound much better to my ear than anything the Four Towels did in recent years. Despite the cleanness of the production, there’s real structure and bite here, and Hank sounds in great form. Biggest surprise — no spoken word.
While the sound is fairly decent (a bit thin on bass), the music is a mixed bag. Some tracks rage, while others are a bit languid. Lots of medium-to-fast punk, with a few ballads. Not overwhelming.
The A-side is a decent driving post-punk tune with a YARDBIRDS’ “For Your Love” vocal harmony. The flip is an early 70’s type ballad — yecchh!
A-side is pretty icky pop, but the flip has a lot more zip and a slight edge and okay guitar sound. Decent power pop.
On a major now, and the music is way pop. Decent rock’n’roll a la RAMONES, but not as pounding or catchy. Kinda disappointing.
Thirty-six songs, half-live/half-studio of this hard-hitting Dutch band. Very politically aware and idealistic, their beliefs translate into raging, noisy outbursts. We in the U.S. may get a chance to see them live this summer, so buy this slab and help em get over here.
From the Basque region of Spain hails this pop-punk band. This is commercial punk in an early UK style, incorporating ska and other influences as well. There are funny songs as well as an overriding political bent. Okay, but slick.
Another metal meets punk band, though not of the speedcore variety. The sound is more early punk with metal tinges, and lyrically it’s a mix of punk self-destruction meets metal themes. Pretty hurtin’.
A varied and well done EP. Some tunes are older punk (with a flair), some more typically modern Japanese hardcore — but all have something special. A treat. Not sure when this came out, though.
Decent blues based pop with okay guitar sound and pounding beat, but with lamentably lame romantic lyrics.
These guys put out as many records as BLACK FLAG used to, with about the same quality control. Boring, pretentious stuff, at least on vinyl. Guess that’s why they’re so popular.
Pop is the key word here — be it pop-punk, pop-reggae, pop-ska, pop-wave —it’s all a bit too pop and not enough of whatever else. Buy hey, if you like pop…
Poppy yet rhythmically driving, this release shows lots of power, but rarely really cuts loose. There are three guitars here, three women named Susan, and five songs that should have been shorter. Potential.
Short but sweet, one quick blast of the old A.A. Like it this way — short on metal damage solos, fast power and food lyrics. Subscription freebie for…
More country-ish than their previous grunge, they sound like a lightweight CCR now. Best song is a cover of ROY ORBISON’s “Rock House.”
This label really puts out the material these days, and most of the bands here have their own separate new release as well. Included are HARD-ONS, VULTEES, MASSAPPEAL, SPUNK BUBBLES, HEADSTONES, and a number of others. Good effort.
Yet another Xmas comp of neo-60s bands, and this one is pretty decent. Tracks by the SLICKEE BOYS, VIPERS, PSYCHO DAISIES, IGUANAS, CHEEPSKATES, and more.
If ever a bunch of guys deserved each other, it’s these geeks — WHITE FLAG and the NECROS (who split this disc). Nothing to do with supporting the AT defendants. Next…
Four bands, one song each, in a 60’s vein. Hottest track is from SPECTRE’S REVENGE, a tough rocker. Lighter material from BO WEEVILS, NO MAN’S LAND, and GAS BABIES. Comes with issue #2 of Foreign Object mag out of Australia, but I don’t have an address for them.
This EP is out of Germany and contains one track each by Germany’s STROMBERG POLKA (Oi), TIN CAN ARMY (punk), and the UK’s UPROAR (melodic punk) and CIVILIZED SOCIETY (thrash). Liked the latter the best by far, but overall a worthy effort.
An anti-Nazi skin band is always a pleasure to see, let alone an anti-nationalist skin band. Delivering their message in a slow/medium Oi style, most of the songs are adequate, with one that’s more catchy. From Germany, but available from…
Quite a versatile band. On this meager EP, we get high class pop thrash, metallish punk, and what sounds to be ethnic beer drinking music put into Oi!-ish form. Very good.
They list DESCENDENTS, RAMONES, DEAD BOYS, MOTORHEAD, and early SAINTS as their main influences, but these two songs here lean more on speedmetal and MOTORHEAD than on the more melodic punk genre. Decent, but nowhere with lyrics.
Industrial punk set to a rhythm machine, reminding me a bit of early TG or TUXEDOMOON. Plenty of guitar-like feedback and distorted vocals set the mood for this NJ combo.
It’s taken quite a while, but they finally got their LP out. Though both the music and lyrics tend to be unexceptional hardcore, SHELL SHOCK is to be congratulated for sticking with it, especially as they hail from the heart of Klan Kountry.
An excellent pop-punk LP. This band combines great female unison singing with ultra-catchy pop tunes and driving delivery. Lots of guitar and pounding drums — sort of a VELVETS/JESUS AND MARY CHAIN approach.
This is yet another “Best of…” compilation, and a fine one it is. SHAM 69 were the original singalong Oi style band and they pounded out lots of catchy, memorable rockers, most of which are captured here. If you don’t have this stuff yet, get it now.
A quality Finnish hardcore release. Great at both thrash and slower grunge, a genuinely hot first release. More!
A three-song release in the pop genre. One song is fairly straight pop, one sounds like the late Mod band the JOLT, and one’s a real good rocker.
Definitely hardfuckingcore. Fast, slow, hard, gnarly, unrelenting, pounding…you get the idea. First rate in the genre.
Don’t know what the big deal is over this band, at least after listening to this three-song release. I found the tunes boring, lengthy, and exactly what I’ve been trying to avoid in music for a long time. Maybe live they make it.
Missed this one a while back. Apparently, this band is known as the GBH of Germany, but I hear that sound as well as a melodic SoCal sound, adding up to an excellent sounding, politically aware release. Good one.
A very lively live recording that’s perhaps better on tape than vinyl. Actually, it’s hard to tell if this is a boot or legit as there’s no identification or label or other information. But it’s genuine, and sounded like a great show.
Some serious noise with a beat here for the BIG BLACK/SONIC YOUTH fans, as well as those who like loud guitar/drum power. Thanks to Kent for making me aware of this.
After several 7″s, we get eight songs together finally. HARD-ONS combine punk, HC, metal, and 70’s rock and roll into a hard-driving, energetic blend with geeky lyrics.
One of the better sounding domestic HC releases in a while. Good power and production on all four tracks, and although it’s mainly generic metal-influenced hardcore, there’s a gripping urgency that carries it off. Lyrics are pretty bleak, although “Consider the Alternative” offers some hopeful thought.
Sounds like LINK WRAY meets funk meets your average rock’n’roll bar band. Sometimes it’s fun, sometimes dreadful. A little of both here.
An early 70’s rock’n’roll sound here. Not on the slick side at all, but much more of a rough guitar sound.
Mix GUN CLUB, BUTTHOLES, and THE WALL, and you get a pretty cool down and dirty bastard blues/punk mix that is modern as hell and timeless at the same time. Excellent.
A dressed-up KILLING JOKE? Poppish, driving rhythms with a basic pop-punk mood. Lots of hooks, but the relatively unchanging medium tempo does leave you wandering at times.
Highly political melodic punk. A three-song giveaway that comes with the equally political World War 3 comic (#7). Both are well worth checking out.
Actually, this is a re-issue, one side containing their first EP Lungs, and the other presenting their Bulldozer 12″, both of which came out in 1982. Lots of driving darkness here, though the Bulldozer side has a lot more power to it.
Six bands from around the world, one track each. AEMATRACK from New Zealand kicks it off with one of the better recordings, a slow/fast rocker. There are two GUERILLA URBANA’s here, one from the Canary Islands and one from Peru, both of whom turn in raw but exciting thrash. DOC WOR MIRRAN is from Germany, doing an experimental punk cut that works. NO LIP is from Japan with an okay tune albeit on the slick side, and BULK (Denmark) wraps it up with a post-punk CURE-ish song.
The soundtrack of a movie, I think, with six tunes, all in an older punk vein. All the bands were from Hamburg, including SPIEL 77, 100% DISKRETION and others. Liked MEINE SCHUPPEN the best.
Lots of 60’s influenced bands, though more can trace their roots back to the MC5 heyday than to earlier garage punk days. Some poppy stuff is here, as well as pop-psych influenced tunes.
On the two zippier tunes here, they sound like GIRLS AT OUR BEST with a shade of BUZZCOCKS. On the other two, I fell asleep and can’t remember.
A reissue of the ’77 classic by Martin Rev (rhythm) and Alan Vega (vocals). SUICIDE pioneered this experimental but raunchy early punk sound, using effects in a psychotic VELVETS meets THROBBING GRISTLE manner with a dab of rockabilly. Get it!
One of the greatest snarly teen voices in the neo-’60s vein, combined with a rockin’ R’n’B combo makes for hot listening. The addition of Farfisa doesn’t really help a lot, but the band is so astute that it certainly doesn’t hurt. Excellent.
Varied musical approaches for this (relatively) long-lasting Ohio band. Fraser Sims and company prove they can do thrash, hard-edged mood music, funk-influenced beats, etc., with equal ease and power. Hard-thumping Midwest stuff.
Live, these guys impress with their tunes, energy, and performance. Here, you get a well-crafted pop LP. I know the HÜSKER DÜ comparison is uncool, but it’s so obvious, along with a REPLACEMENTS touch, that I gotta do it. Power-pop.
A real homemade job, just 300 pressed of this one-sided, hand-painted cover LP. A cleaned up CHEMOTHERAPY? Perhaps, but this is still grungy Midwest punk. No frills from this now-defunct Pittsburgh band, just basic garage democracy.
More typically an “Amigo” band, there’s a “big” garage-type sound here, straightforward pounding rock’n’roll and snarled vocals. Both sides rock. Heard this is the NOMADS under an alias.
I’m always suspicious of records that only have song titles of three or less words. All the “tunes” here (except the title song) have just two words, and the music is equally imaginative. For the speed metal genre, it is pretty well done, but ultimately dulls the senses.
One side is way too pop for my tastes (as are many of their releases), but the flip has much more of a rockin’ feel, with a sound reminiscent of many of the bands on this label (NOMADS, etc.)
Your standard but well done Euro-thrash release — meaning lots of guitar, gruff vocals, and light on melody. Four songs, no surprises, but tight and loud.
Like RED KROSS, this band draws from 70’s hard rock for influences, combining guitar power-pop with punk crunch for maximum effect. Well done.
Just a ranting poet and a guitarist — great lyrics, but the guitar has so many special effects that it doesn’t add to the rawness that would make the lyrics really come to life. Have seen them live and they had a lot more impact that way. Still, the words are worth hearing.
Political pop punk with mod traces and CLASH influences. Well done but not on the edge.
One excellent song from these troopers, just to prove they still exist. Max Volume and Buzzsaw Iron Bill have been at it for years (only previous vinyl was on MRR’s Not So Quiet comp of ’82) and though this song doesn’t contain the humor of most of their material, it still rips. A freebie to Thrasher subscribers. More Max!!!
A supposedly “fun” album by this New York band, one of many that play good music (punk—as opposed to thrash metal—in this case) but who make it difficult to enjoy because of their advertised ignorance (homophobia, among others). Accompanying press release actually lauded singer Jimmy Gestapo for his “Donohue” performance, as well as containing his self-description as a “macho goon.” Real fun.
A re-release of a great punk record for those who missed the first time around. This matches their early 1980 7″ release with some noisy but spirited live tracks from their last show.
UK pop stuff in a FALL-ish mode — meaning sometimes driving music and incomprehensible lyrics. For the desperate looking for trends.
Not sure what this band is about, but they’ve got sex stuff all over their graphics. Musically, both slow and fast hardcore, live and studio, well recorded and raw.
Half studio and half live material, this above average band rages, has fun and executes a powerful but non-generic thrash/punk style that hits the spot. Enjoyable.
Sort of a lighter version of the PISTOLS sound meets mediocre Oi! sound. Certainly not his most exciting material.
Six finely crafted pop-punk tunes. Sounds like ’78, but not in a nostalgic way—just powerful but tuneful material. Despite signing to a major, they remain political (title tune, plus “El Salvador”), though there is perhaps a bit of overproduction.
Quirky punk here — the vocals being the most abrasive aspect, though the music is pretty uptempo at times, too. Older punk styles predominate, often varying towards obnoxious pop, but veering away at the last second.
One serious and one fun band share this slab, and will share an LP early next year. HEIMAT-LOS have a modern thrash sound that is powerful but relatively uneventful musically. KROMOZOM 4 employs more imagination musically, making this more palatable for non-French speakers. Sounds good.
COC-like hardcore from Belgium. At times, the drumming seems to lag a bit, but overall, you’ll find some pretty inspired and aggressive power thrash. There are more weird guitar bits thrown in than you’d find on most such records, and the production is top notch.
Despite the rough sound, there are two classic tunes here. The HARD-ONS style mixes 60’s punk with a great pop-punk ’77 sound, and especially on the second track, really hits home (a cover of the LEGENDS). Available on Livin’ End zine #6, a mag dedicated to 60’s Aussie bands.
A two-song, one-sided job, both tunes featuring driving rhythm and noisy guitar, though the overall effect is not too powerful.
So-so Oi here. Okay buzzsaw guitar, but not very inspiring tunes. But hey, if you’re into off-key choruses, this is it.
Recorded (I believe) during a recent incarnation of San Francisco’s GROOVIES when they played Australia, these two songs extend their folk pop direction even farther. Both tunes hold back, threaten to burst out, and never do. For collectors only.
I guess these are early and unreleased CANNIBALS cuts — who knows, who cares — it’s just so-so but fun garage R’n’B based trash. Okay.
Noisy meets early CURE here for three grinding tunes. Lots of guitar from this three-piece on all three tracks, including a slide sound.
Citing the SAINTS and TELEVISION among their influences, one can hear it a bit. But those groups, despite sometimes extended length songs, always made them memorable, whereas DOS seldom leave traces of tunes re-emerging through the mind rubble. Undelivered promise.
A four-song old Britpunk style release, simple on the beat, fast punk and growled political lyrics.
I guess if Joe POP-O-PIE could build a career on just one song (GRATEFUL DEAD’s “Truckin”), then the COOLIES certainly can with just one artist (PAUL SIMON…well, actually it’s SIMON & GARFUNKEL). Yep, most of the tunes here are rocked versions of S&G hits (“Scarborough Fare,” “I Am A Rock”, etc., etc.). Gets old fast.
Cool guitar sound and an almost rockabilly beat are offset by slick singing and pop structures. Tight and shows promise, but they gotta cut the cutesy crap.
I would’ve reviewed this, but after hearing two songs we winged it across the room in disgust, smashing it to fifty pieces. Unadulterated dance music bites the dust!
Highly produced yet still garage-based R’n’R, both songs have a CRAMPS-like feel though the B-side is much more basic.
This one sounds more Swedish than Finnish, with an accent on well-constructed thrash with great tunes, melodies, and a variety of paces. Like it very much.
An over-the-edge group with a lot to say. This is not rock and roll, but is a pop form of experimental music, largely instrumental, but with thought-provoking printed accompaniment. Not too pretentious.
Two uneventful covers of ’50’s tunes. For a good update of the B-side, check out the KINKS’ cover of this CHUCK BERRY obscurity on their debut You Really Got Me LP.
An interesting mix of ’60’s pop, late-’70’s Boston rock’n’roll, country, MINUTEMEN, and REPLACEMENTS. All the recent Midnight releases seem to be less raw and aimed at a “broader audience.” This might be the one to attain that.
Folky-rocky with a decent beat, but a bit lacking in energy on the A-side. Nothing special, from New Zealand.
Their second release contains a slower droner, two PISTOLS type tunes, and two thrashers. All are well done, lots of guitar power as well as atmosphere. Good.
Wouldn’t normally review shit like this (you got it—HANOI ROCKS B.S.), except that this is what became of the once-awesome COMES. Incredible.
First, the music of GAUZE, OUTO, LIPCREAM, and SYSTEMATIC DEATH comprise some of Japan’s best HC, a variety of approaches, all gripping. Now the cover—one of the best all time graphic jobs, both in layout and content. Impressive.
This compilation is put out by Senzapatria, whose political magazine is included with this disc. Bands featured are MYDGARD, LINK LARM, DISPERAZIONE, and ANTISBARCO, who present different brands of hardcore. As with many of the Italian bands, their tastes run eclectic, and within any given song you’ll hear lots of changes and styles. Stiv art graces the cover.
This flexi comes with 10 Years On #7, and contains a pair of ’78-style pop-punk tunes. Nothing special, though, as they’re fairly lacking in excitement. Oh well — it’s free with the zine, though.
This latest in the series (which is not being issued in sequential order) covers the Pacific Northwest, home of many of the earliest U.S. garage bands like the SONICS, WAILERS, KINGSMEN, and PAUL REVERE AND THE RAIDERS, none of whom appear here. What does appear are a host of lesser-knowns, bands that would play bars/frats and rock out. Hottest are SIR RALEIGH, and the STATICS. The rest will appeal only to historians, with the usual fine liner notes by Lee Joseph.
This compilation contains a few tracks from already released LP’s (DR. KNOW, COC, MENTORS), some unreleased tracks (DRI, UGLY AMERICANS, BEYOND POSSESSION), and a few odds and ends (INSOLENTS, DEPRESSION, and CIVILIAN TERRORISTS). As you might guess, this is death/speed metal up the ass. Aargh!
This neo-’60’s band touches on folk rock, blues-based punk and punk/psych — some soft, some tough. Sounds like Chicago meets S.F. a la ’67. Okay if you got your head on backwards, babeee!
A really excellent punk record. Some tunes are melodic, some thrash, some slow, some raging, some metallic, etc., but all are hot. Very enjoyable.
Every time I started thinking this was generic thrash, S.O.C. Would throw some twist in to surprise me. A thoroughly home-produced LP (the sound is okay though, but the silk-screened cover is definitely tacky — literally!), there’s plenty here for HC fans — with little or no metal.
Not aggressive at all, the A-side is a weak pop punk tone with too much pop. The flip is a PISTOLS cover, well done, but out in a different version on a previous 7″.
Bands that are (and look) heavily ’60s influenced shouldn’t use song titles of ’60s songs for their own compositions. The A-side is not the STONES’ title, though it is a decent pop tune. The flip is too insipid to go into.
A one-joke band, at least on this 45. Side one rocks for you holy rollers, while the B is a countrified goof.
A compendium of this Aussie band’s material between ’82-84. Their slower tunes appeal to me the most, down and dirty a la STOOGES with lots of guitar noise. Those tunes that approach blues a la NICK CAVE leave me fairly cold, but they are a minority on this release.
Two thrash tunes (just very fast punk, really) and two punkers, all enjoyable. Good change of pace from metal/HC.
A three-song job in the throbbing, rhythmic vein. All the “fed up with generic punk” types will like this generic post-punk stuff.
A very intense and rowdy thrash release. Seven songs in all, blazing and tight with manic vocals. A cut above, and an excellent debut.
Medium-fast paced neo-psych. High production, moody atmosphere, strong drums, and jangly guitars. Decent but a tad slick.
A four-song release in the pop-punk mold—good pounding beat, lots of powerful clean guitar, and melodic songs and vocals. Sounds more like French punk.
A four-song thrasher with metal-ish solos. Lots of power but pretty generic — you know, flying-V guitars and all.
A three-song standard pop punk/thrash release. Nothing special, but as with most Japanese records, production and taste add. Decent.
This 3-song job is NO LIP after Roger Armstrong’s departure. Somewhat different, this is hardcore but there’s experimentation or complexity that both add and detract. Can’t say I like the singing, which is too damn clean.
Post-nuclear holocaust speedmetal, part of a new series of demo releases on this label. Eeek!
Sounds a lot like the FALL or CREEPERS, with a steady (monotonous) beat and post-punkish feel.
Rock and roll with definite punk sensibilities or perhaps it’s insensibilities. A fun/dumb band a la SAMOANS or DAYGLOS, intentionally (hopefully) retarded lyrics and punk delivery. Singer sounds like he teethed on the HOLLYWOOD ARGYLES (“Alley Oop”) and Handsome Dick Manitoba (DICTATORS).
New recordings here as the band has re-grouped, though a few older songs (re-recorded) appear as well. This does rage throughout, an energetic blast of excitement with a very “live” feel to it. Get it.
A cut above most metal-influenced hardcore bands. There’s an urgency to their music and a feeling of more intelligence/thought than on many such groups, which combined with the hot production makes this highly listenable. Breakneck speed but tight as hell, like early MDC.
An unusual record—not so much in the music (good pop punk), but in how the first song continues onto the flip, and then abruptly changes to the second. Interesting.
Rocking pop music very much in the REPLACEMENTS mold. Four songs.
The material here is about 1-2 years old, but that shouldn’t deter you from picking this disk up. From Japan comes EXECUTE, a mainstay of the HC scene there. Their tunes appeared on a 7″ there, re-released here in all their powerful glory, with little or no metal damage. INFERNO, from Germany, have a bit more melody but at no loss of power — and again no metal overdose. Hot!
Ultra-fast R’n’B based rock’n’roll — very cool and lots of fun. Better than most similar neo-’60’s bands.
Missed reviewing this a few months ago, so I wanna make up for lost time by saying that this band plays wonderful pop-punk in the tradition of the RAMONES or LURKERS. Get everything they’ve put out.
The band says they sound like the STOOGES, AEROSMITH, and the PISTOLS — and guess what? Yup, that’s what they sound like on both tracks here, with a dash of DEAD BOYS.
This European equivalent of GONE—an all-instrumental band—claims to bridge the gap between hard rock and hard core. One such GO_E is enough (too much) for me, though this one does include a lyric sheet for their all-instrumental songs. Hmmmm.
Oh God, another Japanese packaging flipout—comes in a mylar sleeve, the record itself is a picture disc that looks like a circus clown on PCP devised it, and there’s an extra flexi included. After this, the music itself is a letdown.
One side is 33 and contains a pop-ish thrash tune, the other side is 45 and has a grunger and thrasher, both hot. Also hot is the packaging, a multi-colored, flecked white vinyl EP packaged in a fishnet, plastic cover with “sex” written on it. Wild.
Another in a series of ‘live’ 10’ers, this is one of the better ones sound-wise. Though the tracks chosen are mainly not their fastest material, they are powerful as hell—a modern STOOGES sound. Good one.
Two french bands of the HC variety. FINAL BLAST’s tunes are in a melodic vein with a somewhat English mid-tempo thrash feel, while RAPT are definitely on the noisy, raw production side of short-song thrash. As raw and “beginner” as this side is, I liked it better than all the pop shit I heard today.
A simple beat supplied by a drum machine, raunchy guitar chords, bass, and echoey vocals are the ingredients. Reminds me of some early punk bands that later went overboard on the art side of things. But the punk/art combo is something I’d like to hear more of.
A 4-song weirdo—they are more instrumental than not, a “Walk Don’t Run” sound meets garage punk. A Ray Farrell kinda band.
Melodic thrash with a dedicated Dischord influence (not only musically and lyrically, but with their cover art as well.) What makes this a bit different is their choruses, sometimes adding a UK feel (like, say, the THREATS — thanks for the hint, Achim!).
Well, two of the songs here rock hard, though there’s a lot more guitar doodling than previously. On the flip we get one moody tune and a short reprise, both laced with malice. Don’t know.
I think most people who read these pages know what Orange Co. straight edge bands sound like, and also know that despite their imitative streak, these bands usually have something to say and deliver that message with lots of great music. DON’T NO are not an exception to this.
Was this DOC OI before? Hmm…anyway, nothing too oi here, mainly early punk sounds. Actually, 3 of the songs are on a vinyl 7″, the 4th track being pressed on an accompanying flexi—oh, those Japanese.
Their second 7″, this one contains 4 tracks that all rage. Blazing hardcore, no let-up stuff, with tight turns and lots of fire. Nothing new, but excitingly done.
I’ve always enjoyed this band, their exuberance, dedication, and insane stage performance. While live they create a wall of noise that’s virtually impenetrable, on record you can make out the tunes of a lot more, hear their early punk roots and still get off on their attitude. Punk lives here.
Tons of tunes here, though the monotony does finally get to you. There’s just a singer/guitarist and a drummer who blast out ultra-simple rock’n’roll a la CRAMPS, drawing on ’50’s R’n’B and rockabilly.
A softer but more imaginative LYRES? Maybe that’s not really fair, ’cause there’s a lot more slow L.A.-type ’60’s pop-psych here, only occasionally getting to third gear. But they do have that bar band/grade B exploitation movie feel.
One-hundred-miles-an-hour thrash with 3 second leads. Okay! Very straightforward, lots of power, snotty vocals and decent lyrics. Your basic hardcore, but with lots of energy and enthusiasm. A pick-me-up.
Snappy shit here — driving drumming (a much updated rockabilly beat), hot guitars and lots of energy. Great pop-punk, on the NOMADS’ label.
Oh boy, genuine insanity. It starts with the wrong titles (“Anal Eat”, “God From Anal” and “Born to Anal”) and continues with wacko garage music punctuated by the most bonkers vocal ravings and production heard in quite a while.
Contains many of the tracks off their EP’s, though it omits at least one track off each. Divided into a folk-punk side and a surfer side, this is highly enjoyable teen pop.
The original line-up is here, but the sound is quite subdued these days. There are one or two thrashers (even those are not the ravers of times gone past), while the rest of the songs are strongly based on various forms of ’70’s rock, most of which don’t really excite.
Nice to see these lads still at it, blasting out great pop-punk with continued enthusiasm and gusto. Catchy tunes, high speed playing, and great musicianship add up to songs that stick. Just about all new material here, but it sounds like a friend on first listening.
Very basic but driving punk on five of the six tracks. Lyrics are explicitly political a la DOA (Joey Shithead produced this disk), delivered with snarled vocals. Good to see this band back again.
Lots of great material from the current crop of French HC bands, and there’s enthusiasm as well as tight, hot music. Bands include ZOI, HEIMAT-LOS, FINAL BLAST, M.S.T., SCRAPS, RAPT, and more. These bands are not as distinctively “French” as previous waves of French punk, seemingly more influenced by US hardcore, which in a way is a shame.
Pop-punk, thrash, Oi, are all present here. Hottest recordings are by DEAD ENDS and URBAN BANDITS (odd production), but if GEORGE IMBECILE & THE IDIOTS’ live tracks had been done in a studio, they’d have been tops.
This is their second LP, and there have been some changes. A few males are now in the formerly all-female line-up; the sound has gone from a rougher KLEENEX-type sound to a much slicker SIOUXSIE-influenced feel. What hasn’t changed is the lyrical radicalism, still inspirational.
A vast improvement over their last LP, this one showing lots of spark and energy, sometimes reminding me of BAD BRAINS. Glad to see these vets rocking so hard and still keeping their fine lyrical content. Plenty of melody, too.
Their second release continues with their BUZZCOCKS-like pop-punk sound, though not quite as explicitly derivative this time. They combine tough lyrics, pounding beats, teen vocals, and a slight bit of experimentation with pop rock’n’roll tunes. It works.
A 24-song 7″ that’s as basic and homemade as you might expect. Musically, it’s rough—both in terms of playing and production, but that shouldn’t stop you from enjoying the punk primitiveness within. Fun.
This is a nine-song 7″ of pretty raging thrash and hard-edged punk. The drumming is mixed kind of weird so it sounds a little tinny at times, but otherwise this band delivers short, fast blasts of anger with early DISCHARGE-like ferocity.
The A-side is driving melodic punk with cool guitar and neat singing, as well as some sound effects. It works. The flip is much more of a ballad with lots of choruses. OK, but it does drag on. Neat guitar, again.
Punk in an English ’78 style. Both funnypunk and serious punk lyrics set to above-average driving punk tunes. Hey, I think this is a punk record, and a totally enjoyable one at that.
Two fine German hardcore bands share this platter. HOA clock in with some pounding thrash, tight as hell and powerfully delivered. Ah, but then MANSON YOUTH take their turn, and for a band with such a lame name they are quite a revelation—tight, great guitar, and one of the most urgent female vocalists I’ve heard in a while—great lyrics, too! Hard to go wrong with either side.
A four-song bone-crunching EP, heavy on power and guitar. In the mid-tempo range, they have a big sound without getting too clean or too metallic. It pounds.
These guys write pop-punk songs so simple and catchy that you swear you’ve heard them before somewhere. Maybe you have, but the secret of great rock’n’roll is the ripped-off riff, reshuffled and redelivered in a new context. Both songs (one slow, one rocker) are top-notch. A special band.
Really fine, driving punk rock with that French inflection. Not thrash, but quite uptempo basic melodic punk with lots of zip and power. Cool choruses, too.
Very garagy production and basic mid-tempo late-’70s punk sound. Can’t say much about their musical competency, but it is an indie record and they sounded like they had fun doing it.
Great cover of the OTHER HALF’s ’60s classic on the A-side, while the flip sounds like a slightly cleaner early FALL tune. Great drive and spirit on both—a treat.
On the faster tunes here, I don’t think this latest version of Wattie and Co. do as well as before, but on the more adventurous tunes, they come off very well, with a fuller sound. They can still put out some good sounds, as hard as that is to admit.
Buzzsaw guitar thrash on all six quickie tunes here. A posthumous release, this band was influenced strongly by the US hardcore sound with stop-and-go arrangements, snarling vocals, and short punches.
A whole cassette LP of great punk with lots of hooks, melodies, and good rocking. Reminds me a bit of the DK’s with political lyrics and all. Hot.
Marc Riley and company break a bit out of their FALL-like beat mold (at the same time as the FALL do with their cover of “Mr. Pharmacist”—interesting) with a cover of BRIAN ENO’s “Baby’s on Fire”—a pretty exciting version. On the flip, they return to their usual rolling form with a jangly, driving tune.
Excellent classic punk, Oi, and thrash here. Not only do these guys play fine, tuneful stuff, but they deliver It with oomph and have fine lyrics to boot (no pun intended). Good stuff.
A seven-song raver in the early DISCHARGE vein. Glad to see this excellent Swedish band getting exposure elsewhere. Pick this up!
This Polish band recently toured Yugoslavia and while there, recorded this album which was then released in France—a truly international effort. Their style is generally thrash with good tunes and out-front guitar—a more melodic approach not unlike TOXIC REASONS or N.O.T.A. They are fine musicians, and on a dub tune you can really hear that well.
Contains SCAB, ULTRAVIOLENCE, and KRAKDOWN from NY, and ZERO, VOMIT AND THE ZITS, and GASSENHAUER from Montreal. All the tracks are live, but of good quality. Lots of great noise, thrash, and energy. Recommended for those who enjoy live recordings.
A mixed bag of punk, ’60s folk, rockabilly, experimental, and pop with Volume 2 being a bit better than Volume 1. Features the likes of GRUESOMES, DEJA VOODOO, MY DOG POPPER, ENIGMAS, and lots more.
This installment, The Wound Deepens, contains a few tracks each from an international line-up. Hot stuff from E.A.T.E.R, STRANGLEHOLD, HALF LIFE, CÁ”LERA, PANDEMONIUM, LEGION OF PARASITES, and others. Excellent selections and fun listening.
From out of the ashes of late SIC KIDZ rises DAS YAHOOS, a CRAMPS-like “horror” quartet. Though it’s nothing new, their music is very well done, real pounding simplistic psychobilly stuff in five tracks, and one atmospheric, spoken-word track.
Known as a “musician’s band” in the Bay Area, this Santa Rosa trio plays tight, tight, tight and leaves the other local musicians in awe. Musically, they utilize jazz, metal, and HC in a manic combustion that breaks new ground, though traces of early MEAT PUPPETS seem evident. Lyrically progressive and musically intensive.
Decent but unoriginal power-pop on these six tunes. Jangly guitar and pounding drums are the cornerstones here, a more BEATLE-y version of the CHORDS or JOLT. I’d use the late, great QUICK as my standard in power-pop, mainly due to their guitar power and tunemanship—these guys’d get a 6 to the QUICK’s 10.
Both sides of this 45 are great rocking tunes that do the term power-pop justice. Plenty of zip, great guitars, and catchy tunes and vocals. Fine.
This band was great early on in the San Francisco punk scene, but before they split up they went way soft. Back again now, they’ve taken up where they left off, with soft pop. Unless wimpy BLONDIE meets bad NICO is your passion, avoid this.
Boston has given us some great pop-punk like STRANGLEHOLD and the NOT, only to see them slip away largely unappreciated. OK, Boston’s giving us another chance in MOVING TARGETS, whose debut is quite a gift. Hope you try this one, and you’ll find there’s more to this city than metal.
Slow, grinding punk with a metal influence. This band relies less on annoying solos, though, and more on a crunching pace to knock you down. Victor loves these guys, but then again, Victor is crazy—so test these waters ourselves.
The long-awaited MDC LP is an interesting release. Thematically, they cover South Africa, cops, food, bullies in the pit, soup kitchens, nukes, skateboards—the gamut of HC themes. The mix isn’t quite as full or noisy as it could’ve been, but a cover of “Big Picture” (Canada’s SUBHUMANS) is a treat, and the rest of the material is pretty much thrash, though country, R’n’B, jazz-metal, and even rap influences sneak right in. Dave’s voice seems a bit straight at times, but that may have been intentional to make the vocals clearer.
A torturous, grinding experience that occasionally lurches into third gear, only to slam back into first, not to mention reverse. Metallic gears of guitar driven onward by the pounding, crunching rhythm section and the howled-over grated vocals. The ants will get you! Hey, somebody’s got to do this since Pus ain’t doing it here anymore.
Besides a pair of folk-tunes, what you get from this young band is a thrashing, HÜSKER-ish folk rock sound. Complex yet straightforward, these tunes show promise, though the various members are strewn around the country in colleges.
GI seem to alternate releases between Dutch East and Mystic, this one on the former. Excellent production and melodic punk tunes are the hallmark here, and while you can still pick out that DC sound, they’ve broadened to reach back to punk roots, as well as even earlier (the WHO?), all without losing that oomph or character of their presentation. Interesting.
Little or no fluff here, just eight blasting tunes, fueled by lots of booze if most guesses are correct. Tight, fast, and intense, even if you wouldn’t rather “drink than fuck.”
Back again with their noisy brand of raunch’n’roll, these gals don’t disappoint. Most of their songs are slow-to-medium-paced and only occasionally drag—yet somehow maintain a special quality, be it in the lyrics (“Punk Rock Jail Bait”), singing (Freedom”), or that down and dirty pounding (“Crazy World”). Oh yeah, they’re even better live.
Great music, great lyrics, and great guys. Eurothrash meets US stop-and-go. Though a bit generic in sound, the intensity and urgency easily overcome that potential problem. Hot stuff from the Northwest.
Like many hardcore bands today, DISORDERLY CONDUCT has incorporated growly metal vocals and some metal guitar licks into their song. They keep the “damage” to a minimum though, and the overall feel, both musically and lyrically, is punk with a sorta SoCal feel. Should be popular with fans of both ’cores.
This 21-song album may well be the DK’s swan-song, and ironically is one of their best releases. 95% thrash, this one rages from start to finish, but also contains some of those nice little touches which make some rock’n’roll a cut above. While I haven’t really gone to a DK’S album for quite a while, this one stands out, lyrically as well as musically. “Chickenshit Conformist” is the most accurate, no-bullshit analysis of the current state of punk on record to date, a must for all concerned.
This outstanding Fresno band barrels along still relatively unknown after all these years, and undaunted by their lack of recognition, continues to produce hot material. Besides being some of the nicest folks in HC, they are among the most proficient, and on this LP, they’ve broadened their material to include blues, jazz, and other influences, as well as adding a lot more guitar work.
The A-side is a tuneful thrasher that holds your attention with its pounding, building drive and lyrics. The flip is a ballad about growing up that starts out interesting but goes on far too long. Worth it for the “Death Beach” alone, though.
Plenty of good stuff from the state of Washington these days, and count this one in there. Great, fun punk/thrash with really nice touches throughout. Check it out.
The A-side will bring a smile to your face—a great, ripping punk song, more melodic than their previous material yet still powerful. The flip builds from power crunch to absolutely raging thrash. Great.
Great, raging hardcore—tight as hell and power production to spare. Glad to see another new outfit not pandering to metal clichés or influences, delivering the straight goods, musically and lyrically. Contains Dewey (ex-WHITE CROSS) on lead guitar.
Taking obvious cues musically, philosophically, vocally, lyrically, and even graphically from MINOR THREAT (and to a much lesser degree, MDC) might lead these guys in for criticism for being unoriginal, but what they do is so powerful and convincing that it’s easy to overlook these charges. Good lyrics, though a bit unspecific, hopefully to broaden with age and growth. Keep the commitment!
New wave delivered with punk energy, as many “wave” bands were doing in “the early days.” But the female “singer” and keyboards put me off, as well as the rock/wave arrangements and slick production.
Sort of MEAT PUPPETS-ish in their 70s rock gone amuck approach to modern music. Should be popular with SST fans with their tight, jazzy eccentric approach. Most tunes are pretty fast-paced.
This is your basic rock’n’roll punk a la ’76. Okay guitar-strong garage punk that rocks okay and only occasionally gets embarrassing. Reminds me of the RAMONES or HEARTBREAKERS. It’s the lyrics, though, that are really embarrassing—definitely “sweetheart” stuff.
One side of this LP is your basic funnypunk a la thrash with a taste of MISFITS among others. The flip is indeed a flip, foregoing the thrash for early punk, rockabilly, country, etc. Interesting approach.
Containing members of GONE, REGRESSIVE AID, and other bands, this Jersey outfit is into noise, FLIPPER obviously comes to mind, though there is a funk aspect to some of their grunge as well. By now you know if you’ll go for this or not. A live recording.
Wimpy folk-rocky trendy A-side but a decently rockin’ surf/garage “Frenzied” on the flip with lots of noise and guitar pounding. A 12″ is on the way soon.
So many bands pretend to have something to say, but the PROLETARIAT have always had articulate and pointed lyrics to match their sharp, precise music. The addition of two vocalists is kind of cool and makes things a little more interesting.
Hard to believe this is the same band as on their pair of EPs (but it largely is). They began as a garage thrash band, moved to a more melodic style of the same genre by their second release, but on the two tunes here they’ve gone way poppier. The A-side is pretty straight pop, while the flip has a bit more garage to it. Can’t say I fully appreciate these changes.
Eccentric garage punk with very clever lyrics—sort of like early DEVO meets Gulcher Midwest bands, with Doc Dart meets Allen Ginsburg on vocals.
Well, they sorta are. Two of the five tracks are bluesy rock, one more punked out than the other. The other tracks are thrashed out, but still with a slight country/blues inflection. Definitely a Texas band.
Speed metal with all its excesses and pretentiousness. Four songs, all heavy.
This classic protopunk band existed back in ’76 or so (when this was recorded) and starred Jeff “Mono Mann” Conolly, now in LYRES. They released a great 7″ on Bomp and a couple of LPs, none of which had these two rockers. B-side is a great FLAMIN’ GROOVIES cover.
Too horrible for words, this aggregation of the once-great DISCHARGE goes full-on metal sounding like LED ZEP (15 minute songs to boot!). No traces of punk at all, even to the point that the drummer Gary has covered over his CRASS tattoo with some metallish tattoo. Last DISCHARGE release we’ll be reviewing. (Unless we decide to ridicule them further. —Ed.)
PISTOLS meets GISM? Okay results, but nothing amazing except maybe the song title “Fuck Day.” Whadda they mean, are they pro-night? Oh, these punks. And yes, they do have a song called “I Love Punk.”
This is well-done speed stuff with guitar leads, lots of power, and intense vocals. Excellent lyrics to boot—good debut… but those leads.
Poppy teen punk. Big in melody, simple construction, decent production and guitar sound. Midwest garage meets BUZZCOCKS. Jumpy.
A good punk and thrash record with lots of zip, good lyrics, and that’s fun to listen to. But what makes these guys stand apart is that in the great tradition of the SCREAMERS and SUICIDE, they rely on synth. You’d never know it, though, as there’s no trace of wimpiness—just two hard-driving machines, drums, and vocals. Not to be confused with another fine band of the same name in New York, and another in Finland.
I think you’re familiar with the “NYHC” sound by now—a mixture of HC and metal. This release is no slouch, a high production job that displays tightness and power. Can’t comment on lyrics as no sheet was included.
More well-done ’77 punk, though there’s a sameness and lack of real fire that ultimately dulls. These KIDS have had plenty of time to liven up, so no excuses for them. Okay pop punk.
“The same old CONFLICT,” says Vote Vasko. So true, and vintage sounding material at that. Great production and sound supertight, and gripping delivery all add up to one hot release.
On a third of the tunes here, this band gets too mellow for my rockin’ meter to register, but on the others they play a rough pop rock’n’roll that’s pretty neat. The guitarist can really wail—he just doesn’t do it often enough. A neat cover of the VELVETS’ “What Goes On” that mutates into the STOOGES’ “1969.”
Performing both older punk and thrash styles (mainly the former), most of the material is fairly generic, but then there are little twists (vocal tricks, weird guitar sounds) that set it apart. But not by much, at least yet. Could develop into something distinctive.
High-production punk like a lot of UK bands got in ’78 or so. Decent on both tracks with the power able to overcome the slickness.
Good ’77 punk with female vocals, great choruses, and a pounding beat. Many of the ’77 rip-off bands in Japan (and there are a lot!!) fail to convey the strength, but this one is as vital and fun as the originals were.
A four-band, four-track comp featuring HEX, STALAG 17, OI POLLOI, and SYMBOL OF FREEDOM, all from the British Isles. All the bands are powerful as hell, though SYMBOL OF FREEDOM is the most traditionally Britpunk (though they’re from Wales) and the least dynamic. An excellent release.
Okay, this latest volume of raging thrash contains more of Sweden’s finest. Included are AVSKUM, DISCARD, DTR, SSS, EXISTENZ, SLAM, DISARM, BEDROVLERS, and many more. As with the other Really Fast comps, you get really fast thrash with the usual Swedish flair for hooks, though this one tends to be more straight noise thrash.
A largely German comp (MOTTEK, R.A.F., GIER, COCKS, TOXOPLASMA, etc.) with a couple of tracks each. There’s also TOXIC REASONS, ARTLESS, and FRITES MODERN thrown in, making for an energetic, well-recorded sampler.
Four Mersey-like tunes, but nothing to click your Cuban heels over. Why bother rehashing the past, especially with cover tunes, when the originals win hands down?
A bit confusing (their logo is “TCACT”) but this is the latest TIN CAN ARMY release. This multi-track 7″ has one side of up-tempo punk, and one in a more jazzy punk vein. They are experimental in some ways, though their pop HC format and vocal sound reminds me most of the DKs.
Their second big ‘un is as ripping as Peruvian Vacation, again with a decided North American feel to their hardcore approach. Lots of melody, but not at the sacrifice of power or energy. You can guess what the lyrics are like.
Containing younger siblings of TERVEET KÄDET (and on Laja’s label), this one-sided, six-songed EP is a raging, eccentric, jazzy thrash noise fest, much in the crazy approach of the late NEOS. Real short tunes, no let up.
Good noisy buzzsaw guitar drive at mid-fast tempo. Young roots punk with verve and garage appeal. Good production.
A three-song job, two of which are decent pop-punk with femme vocals, while the third has a bit more spunk, especially in the singing (cool choruses). Decent.
Pop-punk with a good beat and a decently noisy delivery. Some ’60s and ’77 influence, but the production gives some of that current UK noiseband feel to it. Good putdown song aboout JESUS AND MARY CHAIN.
A two-song flexi, unusual in that this Japanese release doesn’t come in a sleeve (Japanese sleeves are the most expensive looking I’ve seen). Good ’77 punk with cool singing and rockin’ power, especially the drumming.
I hear a cross between DOA and TOXIC REASONS on this one. PÖBEL MÖBEL? Hmm, should have known it’d be a Swedish band with those melodies. Good.
A live recording, the centerpiece being a cover (under the title tune’s name) of the MEMBERS’ “Solitary Confinement.” Also included are some ranting poets and a few other NEUROTICS’ cuts. Great shit.
Acknowledged by many to be Europe’s best thrash band, this release (out both in Holland on Konkurrent and in the US through Mordam) show their power. Songs are multi-layered with lots of growly singing and non-generic structures. Remind me a bit of a cross between the OFFENDERS and early DIE KREUZEN. Yet another Italian powerhouse.
Out in two versions (“raw” mix and “final” mix – the former being livelier, the latter more homogenized). Even on the raw mix, the sound is pretty clean and straightforward, a very powerful British type of hardcore. Good stuff.
The music is decent punk in a ’77 style with slight metal influences, but the singing is so “sung” that it defeats the whole purpose – no oomph or anger.
Pretty slick-sounding (and looking), this band combines older punk and speedcore. Though the sound is big, there’s a homogenized feel to it all, an impersonal wall.
A four-song EP that comes with a one-sided flexi, all in a PISTOLS ripoff sound. Okay, but “old” and not delivered with the gusto it’d need to be special.
Formerly the ACID DROPS, the Aussie quartet has a blues-based post-punk edge, sort of like a slicker early GUN CLUB. One clunker tune out of four.
Some excellent ’60s surf/psych stuff, generally really rockin’ and with top notch production. More energetic and less derivative than many bands of this nature, especially surprising considering their country of origin.
Reminiscent of many of the Italian HC bands, this group rips along at 90 miles an hour, but hardly generic. Lots of speedjazz influence, but it doesn’t detract from the overall power. Five songs, lots of power.
One of the better sounding modern metal-inspired HC bands with the GISM influences. Overwhelming power and drive without obnoxious solos. Great drumming and guitar as well as vocals. Comes with a live flexi, fancy photo booklet, all enclosed in a sealed paper bag.
A pounding, eerie but simplistic guitar/noise post-punk throbber on the A-side while the B-side is a bit poppier but still simple and big in sound. They’ve got a live feel despite the studio recording, which probably saves them.
Three more quite VELVET-y songs , with only one “hit,” having any bite. I think I’m sick of this band’s current mellowing. Liven up, guys.
Sounds like LES THUGS meets BUTTHOLES meets GUN CLUB. Powerful blues-based rock’n’roll filtered through an ’80s outlook. PERE UBU on speed? NOMAD-itis? It rocks, though not as insane as the 7″ers.
A three-song speedmetal and metal-punk release, with the accent on the metal. Not as bad as some, but still a dinosaur.
A one-sided release, and as the title might imply, the single tune here is a Brit-style soccer chant and a good sounding one at that. Lots of power.
Mid-tempo metal-ish thrash and power HC. Not uplifting, but well done for what it is. What is it?
Good sounding punk/Oi with some lyrics that are as stupid as they come. Glorified ignorance.
WDM (Finland) clock in with a hot DISCHARGE-like ripper, III KATEGORIJA (Yugoslavia) have a “heavy” thrash sound on their three short blasts, MARITAL LAW (England) have a long, slow-tempo punk tune, and I REFUSE IT (Italy) finish it off with their jazzy HC sound. An indie international effort.
Many of the tracks on this garage/psychobilly comp are previously unreleased, many are covers , and most all rock. You get the likes of PURPLE THINGS, X-MEN, TALL BOYS, MILKSHAKES, CANNIBALS, STING RAYS, and more.
Four bands here: HONEY DEEP WET, NO LIP, REAL, and MERRYGOROUND. Average of a couple of tunes each, and I found none of this material truly outstanding, though none is really boring or incompetent, either. Accent is on the message in lyrics, though, which won’t do much for most of us.
Two hard-driving tunes in a tough early punk style but with HC’s zip. There’s subtlety as well as power, making this not just collectable because it’s from Poland. Not only that, it’s out on the official state label, with a picture sleeve.
Two tracks from their LP (the title track and “Idle Gossip”), the former sounding like early 999 (according to Lydia), and the latter is a classic TOY DOLLS rave. Then there’s the onus track, the title track again, but sung in Japanese. I’ve heard it all now.
An early CLASH sound on both sides, though it’s not just limited to that early punk derivation. Good tunes, good playing, not too nostalgic.
A highly political release, but sadly missing a lyric sheet. Contains some reworkings of their debut EP, as well as lots of new material. While ample competent, there’s something a bit lacking in the overall sound — perhaps a thin mix. Otherwise strong but unimaginative thrash.
A three songs Oi job, with only the title track showing some spark and originality. I’ve heard that Italy is the only European country where it’s not safe to assume skinheads are fascists, so let’s not make that assumption here.
Decent melodic punk a la ’78-’79 vocals way out front with good back-up singing, okay power, simple beat (through variable) and good lyrics. Fancy bass playing at times.
The title track is the only studio cut, and takes up the entire A-side. It’s very long. Its not very interesting. It would be just passable if it were a quarter as long. The B-side contains four live tracks, largely uninspirational save for “Vicars Wank Too” which shows the most pep on the slab.
Okay CRAMPS-type psychobilly. Nothing new, but decently don’t. Not much else to say — oh yea, six songs.
Blues, thrash, HC thrash, fast punk, pop punk, jazz, speedcore… you name it, they do it. For such a variety of influences, KINA seems to pull it off, lending their “sound” to all styles, providing a continuity. Eclectic and yet maintaining an edge.
Combining tracks from their LP and 12″ (released in Europe), this domestic LP introduces their pop-punk sound to American audiences. From Switzerland (originally in a 70’s punk band SOZZ), these guys combine power and great tunes into an early CLASH-like sound. Excellent.
Actually much more than two 7″ records, there is a full-fledged several hundred page, highly produced book sandwiched between them. The theme is obvious, covered from an anarchist post of view, printed in both English and Dutch. Musically, there are traditional Spanish songs updated in a CRASS-like manner — really vital. GREAT package.
Three more metallish hardcore tunes, the title track plus “10, 5 or a Dime” and “Gotta Get Out of Here”. The latter is the hottest except for the little guitar flourishes. Guess they’re good at what they do.
Found this in LA with no pic cover, saw it had eight really short songs, and took a chance. Glad I did. While not spectacular these songs are rapid-fire blasts with gnarly vocals, and lots of energy. Inscription on B-side vinyl: “Skinheads sing in nuke rain”.
A comp LP taken from the various tapes being released by CBGB as well, Lots of pop/new wave/trendy stuff, and the only redeeming cuts are by LUDICHRIST.
Apparently Mystic does still consider these samplers necessary. This one includes tracks from other recent Mystic released by GOVERNMENT ISSUE, WHITE FLAG, PTL KLUB, ILL REPUTE, MENTORS, FACTION, AGRESSION and several samplers. Me, I’m unconvinced.
A really great garage compilation featuring all Midwestern contemporary bands. Sounds range from 60s punk, surf, mid-70’s punk, psychobilly, and beyond. Hot stuff from MANGOS, ELVIS HITLER, MYSTERY BLUES, 3-D INVISIBLES, and lots, lots more.
A Buffalo area comp, featuring punk and garage trash. Thoroughly enjoyable, raging madness, a must for all indie collectors. Features, PAINKILLERS, PEOPLE’S FRONT, POKACON, TEMPLE OF CHUD.
While metallic in the beat (and perhaps the growling vocals), the overwhelming feel of both tracks is power punk a la ’77. Hard heat, powerful but non-metal guitar, and decent lyrics.
Out of Texas blazes this eight song ripper. Owing some of their sound to fellow Texans DRI and the OFFENDERS, I think you can form an idea of how they rock. Hot!
Two different recording sessions are mixed together here — one done in DC in ’85 by Ian MacKaye, and one done by BYO in LA in ’86. The DC sessions rock hard while maintaining that 7 SECONDS melodic appeal, while the LA tunes are decidedly more commercial sounding, with a U2 influence. Fortunately, 7 SECONDS makes even these tunes sound great live.
After all these years, SACRED ORDER finally get their own vinyl out. Sounding very little like their tapes of yore, the thrash is gone and is replaced by a heavy rock/punk sound. On some of the songs, that makes it work as an early punk sound emerges predominant. But on many tunes, the old rock blues-based riffs just don’t cut it. Enough with this early 70’s rehash.
This debut LP comes across with a good measure of honesty and credibility — and that would be enough, but there are some catchy melodies mixed in with the fine lyrics to make this album a winner. This is punk in the best sense of the word: aggressive, original and committed. Most of the songs are nifty, too. A strong release.
“Crummy Stuff” is the draw here, though not really a knockout with tinges of synth here and there. “Something to Believe in” rears its ugly head again, and the painfully slow rock number, “And I Don’t Wanna Live this Life” is the finale.
At long last it’s out, and well worth it. Proving that life exists after metal (or at least hardcore does), this is a power-paced assault without a tinge of dinosaur damage. Very pro package by Pushead, though there’s no lyric sheet included, and Tom Roberts has got to be seen to be believed. A powerful punch. Now.. if they’d only tour.
A very hot mix, and sound (I know, I know… “but they’re on Mystic”… It’s still hot), and eight really ripping thrashers, no metal, lots of power. Good record.
Largely juvenile lyrics (except one song “Distracted from the Truth,” which shows some subtlety and thought) set to older garage and punk tempos. Well produced though with such a trashy aesthetic, perhaps it could have been cruder.
Really good mid-fast paced hardcore, a good variety of tempos, lots of oomph, that SoCal melodic thrash sound, and really tight playing all make for good listening. Mystic’s new recording studio is way better than their Hollywood set-up, and this (along with a whole slew of new 7″ers) is proof.
A posthumous release, six songs in all including a cover of GENERATION X’s “Your Generation” and MAMAS AND THE PAPAS’s “California Dreamin”. The originals mix the FACTION’s pop/surf punk style with a DOA-type hardcore sound, while the covers are credible. Good power.
Slow tempo but rough as hell garage punk. Definitely in the STOOGES school of grunge, a 5-song raw assault. Hear this is WHITE PRIDE minus the singer.
Heard they rip live, but this debut LP is heavier than livelier, and the weight takes its toll. Lyrics fall into the “life sucks” category with little glimmer of imagination or hope beyond mere survival. They live up to their name.
Some great punk rock here. A 7-song release, lots of frantic power, great lyrics, and plenty of imagination. A punch in the face.
An eight-song posthumous release. Recorded in 1983, this is standard NY thrash, though I’m not sure why this particular release came about so late or what particular historical significance it contains to NY HC. Decent.
Finally some new material, a limited edition release (to entice a big label?) that is indeed a bit “different” for Metal Mike, Greg Turner and Co. While the five originals still have the trash edge, they don’t have the thrash delivery. Harkening back to their 60’s punk roots, these tunes are not frantic but are “love gone bad” garage — snottiness fades to sadness. Includes folk-punk cover of “Somebody to Love”.
Sounding much like a rockin’ DOA, this particular live performance is AGGRESSION is decent, though a bit disjointed at times. Guess I’m not one for most live recordings unless incredibly magic moments are caught, and in this case it’s just an average performance.
Proving there’s more to NYC than street survival and “fuck you” lyrics. Fueled by strong female vocals, intelligent lyrics, and still powerful playing, there’s a PENETRATION/ POISON GIRLS influence, but also more going on here — funk influences, folk rocks aspects (cover of “Blowin’ in the Wind”) and classy production. 8 songs, worth mailing away for.
A four-band comp from the Basque region of Spain, containing three tracks each from the above-named bands. KORTATU is a peppy ska band—decent. CICATRIZ rages with some fine punk, the best tracks here. JOTAKIE and KONTUZ HI! have some pretty unmemorable pop wave stuff.
WARPAINTED CITY INDIAN has a GBH-meets-PISTOLS sound, does both thrash and mid-tempo punk, is tight, and occasionally surprises. Overall—good punk.
So-so early English-style punk. Four tunes, no real standouts, but not dragging either.
One JOY DIVISION-type song, one decent punker, one tune in between. Well produced but not especially remarkable.
Pop punk and thrash owing to the RAMONES, DK’S, etc. Singing is way wimpy, but the music cooks at times. Afraid to know how tame the lyrics are.
A refreshing yet rockin’ departure from HC, reverting back to early punk’s simplicity and yet maintenance of power. Just a drummer and guitarist who sings as well, this is rock’n’roll as it should be, though there are a few limp tunes.
Poppier than I remember their previous efforts, there’s a lot of psych guitar and feel here, though rarely crunching. With the female vocals, they at times sound like some early UK pop-punk outfits on the rockier tunes.
Real pounding beat and buzzsaw guitar, mid-tempo punk. While not remarkable, one tune, “Move Onward,” is quite special, a catchy classic.
Excellent at both classic punk and thrashy punk. Lots of back-up singing adds to the more-than-adequate playing and production. An English feel.
Their second release (first was a one-sided 7″), this one flexing some muscle. The three A-side songs are slightly-better-than-average pop-punk, but it’s on the flip where they really cut loose. Three more tunes, much more energetic, both thrashy and imaginative.
Gruff, rough vocals set to pounding classic punk. Four-and-a-half tunes, mid-tempo, decent power but no really blasting memories.
A pic disc 12″ in a regular color cover, and the weirdness doesn’t stop there. There’s one “normal” punk tune, one change-of-pace thrasher, one BLURT-type raver, and then a bizarro mix of that same title song. Quite a treat.
More pop-punk with powerful guitar and drums from KENZI. An early UK punk sound on all three tunes, all quality.
Early BLONDIE sound with plastic female vocals and a decently powerful pop-punk band. Vocals ruin it all.
Two of the four tunes are pretty decent ’81-style Britpunk, while the other two songs have a trumpet added, which adds a goofy feel, sort of like HERB ALPERT gone punk.
The A-side is a harmless little ditty, power-pop with a little guts, but the B is a neat cover of a VELVET UNDERGROUND tune, one of their poppier numbers that’s been up a bit here. OK.
Quite interesting. CRAMPS-like at times, real grungy sounding stuff, but quite primitive yet produced. Femme vocals lead the way for raunchy blues, rock’n’roll, and punk.
The A-side is a good mid-tempo punker, catchy, etc. This flip is a ballad, rock Á la LED ZEP, and unbearable.
Throbbing, pounding mid-tempo guitar-driven anarcho-punk that occasionally lunges into fourth gear, or goes into metal second. Five long songs, lots of power as well as repetition. Good lyrics, as always.
A fine idea, a compilation of original tunes that the CRAMPS have covered over the years. Both ’50s and ’60s songs, there are either whole songs covered, or songs the CRAMPS took the lyrics from or took the instrumental licks from. Given the huge amount of songs the tasteful CRAMPS have copped, we can look forward to Volume 5 in no time.
A politically inspired comp, this one contains such bands as LIFE SENTENCE, GROUP OF INDIVIDUALS, BORN WITHOUT A FACE, RAPED TEENAGERS, and many more. A really worthy project, plenty of good music, and lyrics that matter. Especially like the Missouri band LIKE A HORSE.
Clearly half of this soundtrack LP stars the LOVEDOLLS, who seem to mainly to do the vocal tracks (sounding like the RUNAWAYS), and backed by the likes of REDD KROSS, SWA, PAINTED WILLIE. Remaining tracks star BLACK FLAG, DK’S, GONE, MEAT PUPPETS, SONIC YOUTH. Fun, in a Hollywood sort of way.
Various pop-punk and folk rock bands with neo-’60s flair. The bulk are 50/50, but there are at least three real standouts, coming from the MIGHTY MOFOS (formerly the HYPSTERS), the WIND, and the CAVEMEN.
A one-off “instant record,” this EP is dedicated to exposing the scam of the Vancouver Expo and its effects on those who aren’t just profiting off of it. MECCA NORMAL, RHYTHM ACTIVISM, and another band do folk or dirgy noise, while DOA does a CREEDENCE-like tune, “Billy and the Socred.” A timely release.
Not anywhere as amazing and explosive as the recent VU release of similarly unreleased VELVETS material, this new batch contains a few moments of wonder. A studio version of “Real Good Time Together” is decent, the ridiculous “Ferryboat Bill” is a treat as is the original version of “Rock and Roll.” The real standouts, though, are the instrumental version of “Guess I’m Falling in Love” (a pounding experience) and version two of “Hey Mr. Rain” that contains some awesome John Cale viola noise. Again, a must for VELVETS maniacs, if only for the clean production of all those bootleg versions you’ve had to strain through.
Dare I say there’s a Chicago “sound” gelling, epitomized by a powerful punk approach to post-punk (BIG BLACK, NAKED RAYGUN) and joining their vinyl ranks is URGE OVERKILL. Big bass and drum sound, loud production, and cryptic lyrics are the ingredients. Of the five tunes, two appealed, three didn’t.
This band has been compared to the MINUTEMEN in previous tape reviews here, but on two of the three cuts here they remind me more of the no wave post-punk, while the title track is more in the eccentric pop vein.
This band is one of the new “eclectic” post-punk outfits that seem to be pouring out of SoCal. They mix punk power and intensity with other genres, borrowing from hard rock, funk, etc. This one works better than many I’ve heard, though I’d like to see more of these bands harken back to early punk’s appreciation of economy in length of tunes.
The A-side is a rapid-paced tune that combines the charm of early PENETRATION with UXA’s power—both female vocals. The flip is very POISON GIRLS-like. Whoops, just noticed that this should be 33, not 45. Still OK, but now it’s a male vocalist sorta STOOGES-like and not early as fun. Oh well.
Half the tracks here are really listenable garage rock’n’roll, while the rest tend to be too rockabilly-ish or poppish in derivation for me. Obviously, they’ve got power and roots, but I hope they don’t get stuck in the past.
A one-sided “live in the studio” LP, pressed on green vinyl with an etching pressed on the flip. A good slice of these enjoyable guys, funk and punk, a treat.
Traces of HÜSKERS meets ’70s rock, containing many of the excesses (long, drawn-out songs, self-conscious structures, etc.) that made that kind of music so unbearable and necessitated punk in the first place.
Though there’s nothing new musically, this mid-tempo hardcore platter is well done, has clean (perhaps a bit too much) production, really audible vocals, and really good lyrics. Always glad to see a good band emerge from mid-America.
Volume One covered French neo-’60s garage, and this latest volume covers Sweden. The bands emerge from punk to pop-punk to power rock, all with that zesty garage undertone. Grittiest stuff comes from the SLAMMERS and SLOBSTER, though fine stuff by HIDDEN CHARMS, SINNERS, and BOTTLE-UPS (among others) are welcome, too. Good work.
This label Anhrefn is dedicated to alternative bands who pride themselves in their Welsh identity, culture, and language, and this comp contains two tracks each from five bands. Two are punk (YR ANHREFN, ELFYN PRESLI), while the other three are best described as folk-punk, post-punk, and techno-pop. An interesting array.
Two to four songs each from GAUZE, GHOUL, EXECUTE, LIP CREAM, OUTO, and GASTUNK. Lots of great stuff, especially by LIP CREAM and GAUZE, though there are very few slouchers at all here. Hot.
A big sound, classic Britpunk sound—lots of production, accent on vocals and choruses. Professional punk from England.
Most of the tunes here rip right along at a rapid clip, combining good tunes, that classic French chorus singing, and hot production. There are a few change-of-pace tunes which are decent though they tend to be longish. BLITZ influence, but uniquely French. Watch for more hot records on this label.
Outside: a plain, homemade, obviously “punk” sleeve. Inside: a three-song, well-produced, hot sounding record. Powerful punk, both fast and medium-paced. Quite a refreshing surprise—no hype, just the facts ma’am.
A couple of former UNDERTONES blend pop, post-punk, and folky experimentation with mixed results. Somewhat of a letdown after the good recommendations I’ve heard, as I found it lacking in punch and focus. Not dynamic.
This latest release has taken quite a while to get pressed. They’ve slowed down a tad, but still maintain their characteristic intensity. You get twenty songs, mainly mid-tempo noise thrash, a heavier sound than usual. Catch ’em live this August-September on tour in the US. (They need a van for two bands; can you help? Write…)
More great punk, really ripping powerful stuff, hot bass and singing. Tight band.
These guys have been compared a lot to the BUZZCOCKS, though I hear a lot of the early UNDERTONES as well in here. Both tunes are bouncy pop-punk, with good melodies, pounding drums, and up-front guitar. While this is a good start, the tunes weren’t as instantly memorable as their aforementioned prototypes, and I hope they don’t lose the grit in their attempt to “make it.”
Two songs are rock punk, while a pair are straight-on punk thrash. Schizo personality, but good at both.
Brian Walsby-ish hardcore? Actually, his drawing gracing the cover sums this up well—good fun punk sound, though the lyrics indeed have a lot of meaning. A fine young band.
A send-up on GBH, the key word “baka” (meaning “foolish”) appearing frequently. Hilarious music, as well as the funniest back cover I’ve ever seen. Great Big Haircuts, indeed.
Though the music is not the slickest thrash I’ve ever heard, there is an urgency to it that’s most compelling. Combine that with raging vocals of a highly political nature, and you’ve got something special.
Neo-’60s punk with a CRAMPS undertone. Really simple songs, a slightly raunchy R’n’B feel, and basic guitar drive. Fun.
I think this is more or less RAW POWER’s original line-up (not the metal band that toured as RAW POWER) as there’s a lot less guitar wanking. Pretty straightforward thrash as well as some punk tunes. Lacks the overall insanity of some of their best material, but there’s plenty of hot stuff here and a lot more variety than usual.
Pop rock’n’roll with ’60s, punk, and R’n’B influences. Well done but no special punch or grabber.
Pretty quiet stuff with female vocals, not really very inspiring except if you’re laid out on ludes and can’t get up to turn it off.
Divided into a “Romantic” side and a “Realistic” side, this band pulls off an out-of-the-ordinary LP. Their punk is not generic usually, but doesn’t really drift into experimentation or post-punk to pull it off. Can’t really say what it is, but it’s a tad different. Worth checking out.
A wide variety of ’60s sounds—spaghetti western, pop, punk, psych. Third release, all good.
Above-average speed-metal. Lots of power, quite a bit of imagination, and really nice packaging (as well as white vinyl) add up to something special.
A three-songer, one a “classic” punk tune, the other pair are thrashers with neat raving guitar and a gruff Japanese-like vocals. Good sound.
Most (five of six tunes) are traditional punk, sing-along and Britpunk styles—one tune, “H.E.”, though is a decent thrasher. OK.
Real decent thumping pop-punk with post-punk undertones on the A-side, while the flip is a way lighter tune that’s a backdrop for a weird little story.
More like punk with post-punk production, this record is nothing new, but does contain conviction. Good power, good lyrics, hope to hear more.
Well, hey—here’s your chance to snap up some early or rare DAMNED stuff, back when they were a slap-in-the-face punk band. Includes “Help” and “New Rose” from the first 45, “Stretcher Case” and “Sick of Being Sick” from their ultra-rare freebie 7″, as well as “Neal Neat Neat.” Get this fucker.
One side of this red vinyl job is punk with some experimentation, folk, and other varied influences, while the flip contains three long songs that are post-punk. On both sides, vocals and lyrics are way important, but unless you understand Italian, a lot will be lost on overall impact. Highly political.
Side one is the better recorded of the sides, with a mighty driving bass clearing all obstacles, leading the way for non-stop metalish thrash. Lyrics remain in the doom-and-gloom mold, but appropriate for the music. Lots of power.
Two of the three tunes here are in the dreamy psych vein, full of pop softness despite the psych moodiness. The A-side, though, is largely riveting; a psych number with good drive, owing to early PINK FLOYD. Decent.
Slightly above-average ’60s comps, ranging from garage punk to pop punk. Volume 2 contains the classic “I Said Oh No No No” by the RAVING MADD. Far out, man.
Greg Sage and co. return for some more of their classic, driving guitar rock’n’roll. Side one rocks harder than their last outing, but ends with a long, moody tune that sets the pace for side two, which is a bit cleaner than previous WIPERS stuff. Like the gnarlier stuff myself, but it’s all cool. Keep it up, Greg.
Contains this ’60s Michigan band’s distinctive cover of “Who Do You Love” as well as ten others. Influences run from YOUNG RASCALS to LOVIN’ SPOONFULS to early STONES.
Another good sounding LP, as these guys churn ’em out. Still have a problem with their so-called “anti-political” lyrics, which more often than not are a not-so-subtle acceptance of the conservative status quo. Musically, they maintain their zip and imagination, producing fine punk and thrash.
Rock’n’roll with punk, dance, and post-punk influences. There is a driving beat on two of the three tunes, but the singing is a bit too much “sung” and the addition of a sax only detracts from the power. Sounds like ’79-’80 degenerated early punk.
A posthumous release, a five-song job of not-so-exciting post-punk, or maybe it is exciting for jaded, over-the-hill, aging “I never was a punk” types. Actually, “Ha-Ha-Ha” has fine power and moments of madness, but that only pales the rest of the tunes.
The same great debut LP by this defunct Vancouver outfit, but with two additional songs. High-class punk, great lyrics, a must if you missed it the first time around. May be released without the ex-members’ permission.
Quite out of the ordinary—at times almost no wave, sometimes lyrics set to intense doodling, sometimes moody like TSOL, sometimes like BIRTHDAY PARTY.
Really basic but well done garage punk. Improved production boosts the power on this, and the snotty vocals and classic punk add charm.
While there’s a decent power here and the vocals are as great and gruff as ever, there’s a sameness to their largely mid-tempo tunes that lulls me to sleep. Outside of the title track and one other tune, I didn’t perk up that much.
A cross between ’60s punk and a ’77-ish sound, with some cool ’50s vocal harmonies. way too long (90 minutes), but energetic and fun. Song title of the month: “My Penis Is Made of Cheese.”
This is a fucking boring record. This is a fucking bor… nah… pretty unmemorable stuff. The speed is down, but so is the spark, leaving those still-ragged vocals and an R.E.M. meets LED ZEP sound. Wish I could be excited, but I’m not.
Four pounding punk tunes with great, shouted vocals. From San Antonio, Texas, this bunch pokes fun at both Khomeni fanaticism and the US. Excellent recording.
Basic bone-crushing, change-the-pace thrash with good production. 27 tunes, both punk and thrash, raw guitar drive, and snotty vocals. Good start.
The A-side is a good power-punk song with some metal licks, while the flip is a metal song with some punk influences. I obviously prefer the top side, but both have appeal.
Metal punk, both in music and attitude. Hey, if you’re one of those people that write into MRR saying we should cover more “rad” metal bands, buy this and leave us alone.
Speed-metal or dumb punk, take your pick. Decent power and non-stop energy with metal guitar leads and riffs.
With their debut LP, I liked the music, liked the lyrics, had doubts about certain contradictions. With this follow-up, I like the music less (way more metal), the lyrics are largely good (though the anti-welfare “Public Assistance” attacks minorities as the problem), and again I am not convinced—even less so.
Around for many a year but their first vinyl. Began as a thrash band, but are now decidedly a punk band with classic punk riffs and approach. Good sound quality, decent tunes and power, and fairly fun. Could have done without “Sweet Jane ” cover though.
Miriam Linna (original CRAMPS drummer and ex-ZANTEES) and other ex-ZANTEES and ex-DMZ/LYRES team up to provide some pretty mediocre and unexciting rockabilly.
A live (and hot one at that) recording of this power-pop band that feeds off both ’50s and ’60s roots, R’n’B, and pop and turns it into a rockin’ sound like early DR. FEELGOOD meets CHRIS SPEDDING.
Pop punk like the ROMANTICS at their early best. Boppin’ bozos.
They’ve gone way pop since their PISTOLS-like debut LP, and would go over really well with nightclub punk acts, those “professional punk” bands. There’s still a spark of guts here and there, but mainly it’s power-pop music.
At last, the best of BCT’s cassettes. Quite a ripping collection of live and studio stuff, this LP includes European and North American bands. Some of the bands included are: RAW POWER, PSYCHO, RATTUS, TERVEET KÄDET, CCM, WRETCHED, DETENTION. A real testimony to Chris’s perseverance and dedication; I hope this will be the first of many vinyl efforts.
A non-fascist skin (“street-punk” is what they call it) comp with the OPPRESSED, OI POLLOI, COMPLETE CONTROL, BARBED WIRE, and more. OI POLLOI and BARBED WIRE come off with the most energy and determination, while the rest sort of hang together undistinguishable.
A split tape of England’s AD NAUSEAM and Holland’s CKN. Both bands rip, though both the sound quality and depth in power and proficiency of AD NAUSEAM is superior. Good listening.
Two tapes, 44 bands, and a booklet—an amazing comp of some of Australia’s best of the last few years. Includes DEATH SENTENCE, CIVIL DISSIDENT, VICIOUS CIRCLE, and tons more. There are a lot of live tracks, most of decent sound quality, though not all.
Some good punk from RED LONDON and HAINE BRIGADE, some poetry from ATILA, some odds and ends, some poorly recorded live NEUROTICS. Mixed bag.
A really decent Germany comp. though the sound quality varies from band to band. Some of the included are: CRAPSCRAPPERS, CIRCLE OF SIG-TIU, EUTHANISIE, IM ZEICHEN DES KREUZES, and many more. An enjoyable slab.
An awesome comp of international scope, though the majority comes from Japan. This tape was put together by Roger Armstrong for the joy of it, and he encourages people to duplicate it rather than purchase it. Includes too many to name.
All three bands here (two tracks each) are in older punk styles. Recordings vary in quality (some live, some studio), but there is a sameness to it all. Includes: BLANKER HOHN, KIE ERBEN, and R.Z. AMOK, all from Hamburg.
The A-side is a long, LOU REED-ish tune that dirges into occasional mile weirdouts. The flip has a ’60s pop girl-group sound that’s way simpy.
A live recording from Germany in 1985, this one captures the power and spirit of the SUBHUMANS really well, as the sound quality is top-notch as is the performance. Worth picking up.
Thrash for the most part, but broken up with changes that are a bit jazz-rocky. Several Italian HC bands seem to have these varied influences, some of which I find distracting, however eclectic and broad their tastes. Others may appreciate the variety. When they rely on power, they really wail.
These four tracks are toned down a bit from their earlier pair of 7″ers. More ballady, less neo-’60s, but still with some bite.
Great combination of crisp, hard-hitting, fast punk and funny upbeat comedy tunes. All the music is produced by talented West German musicians who keep their musical roots present throughout every song. The clean, excellent production only helps this twelve-song LP’s attack become stronger. Good stuff!
An Aussie version of the MILKSHAKES, drawing upon ’60s styles of R’n’B, blues, and pop rock’n’roll genres. Decently done, simple fun.
Twelve songs of a garage/art nature. No wave meets early HALF JAPANESE meets early MINUTEMEN.
A five-song ripper—great powerhouse punk/thrash that doesn’t let up. This is more like quality Swedish thrash, replete with hooks, melodies, and plenty of zip. Cool.
Decent but commercial-sounding punk. This pop punk style is not surprising, considering OS REPLICANTES are out on RCA Brazil, but what is unusual are the lyrics—attacking censorship, banks, and other problems common not only to the Third World, but the West as well. Interesting.
Very fast-paced stop-and-go melodic thrash that’s pretty basic and unoriginal. There’s no real spark here, though it is quite competent.
This French outfit specializes in pop-punk with the traditional choruses, but emphasizing a more rootsy rock influence. “Allez Danser!” is an especially invigorating melodic track, while the flip connects with more energy. Basically good and solid.
Good driving punk but without much distinct personality. While the music’s plenty punk and there’s good power and vocals, they lack that special something which becomes evident on LPs more than EPs. Still, it’s not bad at all.
More CRAMPS-influenced stuff, though we get a SEEDS cover (“Girl I Want You”) as well. A long psych tune with guts (“Suzie Creamcheese”) is pretty cool.
A “…Youth” band that’s not hardcore? Yep, pure psych/punk here, and though they’re hardly “psychotic,” they do rock pretty good. Do an ELEVATORS cover, as well as the FE-FI-FOUR PLUS 2’s “I Wanna Come Back From the World of LSD” and two originals. Not remarkable, but decent.
A really well-done seven-song release. Whether doing thrash or impassioned poetry set to ominous noise, this band executes with verve, tightness, and lots of power. Intelligence and musical expression are A-1.
Purveyors of a certain brand of high-energy rock’n’roll that very few bands today understand (the NOMADS being one of the few), this single has both a rocker and slower pounder. Roots: MC5.
More pop than JESUS AND THE MARY CHAIN, but utilizing their noise guitar. The singing isn’t well done or enigmatic, and the overly subdued nature of the playing leaves leaves a lot to be desired. One track (“No Place to Go”) has enough energy to overcome this, but a .250 average doesn’t make it.
At breakneck speed or mid-tempo, this band turns out well-crafted, powerful punk and thrash. They have an almost SoCal sound, full of melody and hooks, lots of guitar, and neat vocals. An excellent tape, well worth picking up.
Fairly derivative ’60s pop-punk with mostly originals. Snarly vocals, simple delivery, pretty forgettable.
This group sticks to their early punk roots, relying on pop melodies, heavy on the high production vocals and mix (a bit too much so), and simple, catchy tunes. It can wear thin, but is an OK change of pace. Especially liked “Broken Generation.”
Sort of ’70s rock’n’roll meets early punk. Simple drive and beat, chunky guitar, and cool vocals. Decent.
A six-song release, this is punk rock with a distinguishing guitar sound. For the most part, the band has a SUBHUMANS-type English sound, but the guitar has a post-punky tone, a combination that comes off well. Good thoughtful lyrics to boot.
A really good single, both sides having a lot of punch. There are early punk influences here (FALL, STRANGLERS) but this rocks better than either. Powerful.
Snappy punk with good hooks with an unobnoxious UK influence. Two of the four tracks rip, while the other two are poppier, but all are enjoyable.
Pretty decent early punk sound with a mixture of rock influences. Reminds me a bit of some Midwestern ’76-’77 bands, though slicker. Easygoing, but maintains momentum.
A one-sided job; two studio and two live cuts; two fast and two medium; all good punk. Hot guitar and drumming, energy and fun.
Seems to be recorded somewhere between 33 and 45 RPM, cuz it seems plausible at both speeds. This is driving, bass-heavy guitar noise stuff, sometimes quietly mad, and at other times blatantly insane. Grunge with conscious intent but really well executed.
Really snappy thrash with hooks and choruses. Lots of stop-and-go action, cool singing, and rapid-fire tunes with little waste. Neat entry from this German band.
Switzerland produces some very mundane punk and some quite interesting experimental punk (such as the MANISCH DEPRESSIV 7″), and this release falls into the latter category. One side is indeed a politically biting rap song set to rhythm machine, while the other is a highly persuasive punk song. Interesting.
Lots of covers (ELECTRIC PRUNES WAILERS, CONNIE FRANCIS [?]) and a few originals in another neo-’60s fun-filled extravaganza. It’s fun OK, but wearing thin.
One one side, it’s NICK TOCZEK backed up by a simple punk band (the BURIAL, who look more skin than punk), while on the flip he’s backed by a ska/reggae outfit called the SPECTRE. NICK’s bitter social commentary comes across well despite (or enhanced by) the music.
A distinct improvement over their debut 7″, this one contains better material, better production, and more power. Good, driving hardcore with sharp drumming and cutting guitar. Cool.
This fine band seems to have lost some of their steam and distinction from their previous two sparkling LPs—the songs here tend to run into each other without much differentiation, and the lack of real punch is a disappointment. Maybe I’m missing the subtleties, but I miss their power and speed.
Energetic pop/punk/thrash with chirpy female vocals. Good power, though the pop tunes get a bit too pop at moments. Overall: better than average.
A US comp featuring SEIZURE, EMG, PSYCHODRAMA, CERTAIN DEATH, HELLHOUSE, STIKKY, and more. Largely garagy-sounding, with varying sound quality. OK.
Punk, thrash, early-’70s rock, and metal thrown into the old rock’n’roll blender, and you get 22 songs. Some cut it, some don’t (self-indulgence) from this all-male combo.
A split tape by two Colorado Springs bands that will be out touring this summer. WILLIE THE DISK have a powerful pop-punk sound and can thrash on a dime. ANTE BELLUM have a “heavy” sound more often than not. Sound quality is decent.
Though the recording is just a bit on the thin side, there’s lots to pick up on here—lots of energy and tight as hell, quick changes and blazing yet melodic thrash, and some positive lyrics. Like the singing and harmonizing, too. A good start.
DOLLS meet Death with six HEARTBREAKERS-ish tunes. Other influences thrown in, such as metal rock.
I like this record a lot, with its straightforward powerful punk/thrash and teeny-nasty vocals. Nothing really unusual here, but its simple punch and power are really enjoyable. A no-frills treat from this now-defunct band.
A lengthy but enjoyable tape of real good pop-punk thrash. Good production as well as way clear vocals makes this even more enjoyable. Good lyrics and neat back-up singing as well.
The pretentious artsters will like this one: neo-no-wave music, down atmosphere, nihilistic lyrics. Too “cool” for me.
Alas, the RAMONES, on their latest release, are heading back to their overproduced period of a few years back. Too many instruments (synth, horns, extraneous shlock and vocals) clutter it all up, absorb the power, and detract from their simple raw pop power. Disappointing three tunes.
This band is back with a vengeance! Great, powerful punk that inspires, both musically and lyrically. A most welcome return, so get this hot 7″.
This is a retrospective comprised of tracks from POP RIVETS’ two LPs from ’77-’79. This is garagy pop that’s plenty fun and basic rock’n’roll punk.
A big punk/thrash sound here. Their wall-of-sound production and punk power are pretty overwhelming, but not to the point where it all gets homogenized. Some real rockers here.
Yet another SoCal band that’s got good power, hooks, tunes, and delivery. Sort of D.I.-ish…a good job.
A decent little record that sounds like it’s straight out of ’79. While not too exciting or raucous, it’s got that simple punk beat and attitude, a garagy pop sound.
Good power-pop with a punky edge, meaning good guitar and bass, driving beat, and good hooks and vocals. Six tunes, all decent.
Some really cool, driving punk rock—like a more melodic early TOXIC REASONS. Two originals as well as a punky cover of the STONES’ “Mother’s Little Helper.” Good.
Driving blues-based stuff with a dance beat. Funky punky rock treads the fine line between obnoxious art and wavish vapidity, but maintains some power.
Six pop-punk tunes from out of the garage but well produced. They rock good, have lots of guitar and drums, snotty singing, a tinge of REDD KROSS meets ’60s UK R’n’B.
Mod, early punk, R’n’B pop influences here. Not especially powerful, but could develop their own sound yet.
The title is off their latest LP, and the other two tracks are nothing to rave about. “Get Off the Road” and “Give Me a Woman” are very simple tunes, but lack any special character or zip. Like the RAMONES’ new 12″, a poor follow-up to their recent LP.
Really well done charging thrash. Good lyrics, lots of anger, some metal guitar damage and tough vocals. Check it out.
Good but undistinguished melodic thrash. Lots of stop-and-go stuff, good playing, appropriate lyrics. Decent.
A three-song job that combines neat vocal harmonies and simple pop songs with an edge. Sounds like mid-’70s pre-punk rock’n’roll like the REAL KIDS. Nothing frantic but enjoyable.
Good, snotty early punk, basic no-frills smart-ass stuff. Five tunes, all fun.
There’s quite a variety of nasty sounds on this fine-sounding studio LP—lots of drive, dirty guitar varying tempos, and power. Much better than I had expected; a pleasant surprise.
Tony (ex-ADOLESCENTS) adds his great vocals to a more metal band (ADOLESCENTS meet STOOGES?). Nothing lyrics, but the sound is OK.
An above-average noise thrash release, rife with buzzsaw guitar, raging beat, and gnarly vocals. All nine songs are sung in English, the intelligent lyrics driven home with passion and power. Hot.
Along the lines of Bullshit Detector, this LP is a collection of mainly English bands (with German and French representatives), a benefit for hunt saboteurs. It’s quite good, and introduces some relative unknowns like AXE THRASHER, DEATH ZONE, REVULSION, etc. as well as the likes of DISRUPTORS, HAINE BRIGADE, and NICK TOCZEK.
A split LP by two savage Italian bands, NEGAZIONE and the late DECLINO, this originally appeared as a split tape in ’84. Highly energetic thrash with charged political lyrics. Dynamite stuff, and COR’s done a service by releasing it.
As good a neo-’60s compilation as you’ll find, this one covers the international scene with the likes of the STOMACH MOUTHS, BOYS FROM NOWHERE, MIRACLE WORKERS, CRIMSON SHADOWS, CORNFLAKE ZOO, and many, many more. High quality recordings, largely enjoyable punk and psych/punk.
A variety of punk styles (punk, thrash, post-punk), all done with spunk and power. Definitely leans toward an older punk style, albeit fast. Pretty decent.
Awesome! As with their incredible 7″, these eight songs combine the power and freshness of ’77 punk with the pop songwriting mastery of the VELVET UNDERGROUND, producing crunching, up-tempo, and harmonious ravers. They’ll knock your socks off.
A three-song job—one slow punker, one medium punker, and one fast punker. All are fine sounding, hot vocals, and lots of power. Good stuff, and neat guitar.
As featured recently in MRR, this Icelandic band plays a somewhat energetic brand of post-punk, though it’s somewhat restrained. The sound quality here is decent though thin, but given the lack of availability of their native recordings, collectors of the unusual might want to check this out.
’60s-influenced yet not derivative pop-rock. Good beat on two of the three tracks, owing more to bluesy rock with punk tinges (like GUN CLUB) than anything else, only cleaner sounding.
Sort of like early B-52’S, with LENE LOVICH on lead vocals. Decent, but borderline schlock.
Punk with rock influences, usually pretty up-tempo, a bit oversung, with lyrics in English. Decent words.
Three songs in a CURE/PSYCHEDELIC FURS mold. Decent energy, but a bit too self-conscious.
Fairly rockin’ folk rock with female vocals, like a less-slick (no pun intended) early JEFFERSON AIRPLANE. Part of the Milan underground scene of Leoncavallo and Virus, this band is dedicated to the autonomous movement, opposing commercialism and rockstarism.
A four-song, one-sided release, this is decent but unexceptional thrash and driving punk, some of it which reminds me of a Finnish DOA.
Hard-driving hardcore with slight metalish influences, but largely straightforward. Good energy, good playing, decent sound quality. Pretty hot.
The A-side is a jaunty post-punk tune with punky vocals, somewhat reminiscent of early CURE, while the flip lags pretty much. I found the topside to be pretty catchy, though I imagine wimpiness is just around the corner.
Atmospheric but energetic post-punk. Actually, at times they’re more punk than not, with a rockin’ beat, driving guitars, and somewhat crazed vocals.
What comes in a black and white and red sleeve, looks punk, has conscious lyrics, and sounds way metal? Now you know what you’re getting, and it’s decent, for the genre.
M.B.P. is a noisy yet melodic thrash outfit who hit the spot—no complaints here, as they play an American style hardcore, energetic but tight. Turning the tape over for AMPACHEN we find a less frantic but nonetheless equally enjoyable and imaginative band. They too have wild vocals, great guitars, but are a bit more tuneful. Good buy.
Pretty good hardcore with OK hooks and power, though a bit short in the vocal department. Another Finnish one-sided wonder, six songs in all.
Moody, atmospheric post-punk on most tracks, though one (“Bapteme”) breaks out into driving powerpunk, a welcome change. Helps to understand French, as the words are way up front.
Alleged to have reactionary/stupid lyrics, this band has an older punk sound with Oi influences. Pretty up-tempo stuff, lots of choruses and melodies, etc.
Political speedcore. Vocals like RAW POWER, and musically they shred, although the drummer seems a bit pressed to keep up at times. Pretty hot.
PISTOLS-type punk rock here, well done though a bit on the quieter side. Good pounding stuff.
A record that sounds like ’60s pop-punk infused with surf and folk rock tinges, knocked out with verve. Catchy fun.
Great-sounding classic punk—heavy on guitar power, riff drumming, and tough vocals. Love it.
Excellent fast punk that slows down, thrashes, lurches into reggae. Hot playing, political lyrics, and great melodies. Male and female vocals add to the potpourri. Powerful debut, quite recommended.
Some former SID PRESLEY EXPERIENCE members come up with a powerful, catchy three-song release. The title track has great guitar hooks, fine drumming, and tough singing. Wish it wouldn’t end. On the flip, we get more of a rock’n’roll song and a tribute to John Barry’s James Bond-type theme songs.
A cool garage sound with ’60s fuzz punk influences. Decent power, lots of guitar, and solid production make this quite listenable.
A live “benefit” LP, this one to help various centers aiding in riot defense zones. The target here is unnamed (a band who “sold out” to EMI), but should’ve been since it’s not obvious to most people I’ve asked. Recorded at the Olympic in LA, the sound is appropriately live, and quite energetic with 22 songs. Anyway, CONFLICT, after you get done ranting about other rip-offs, why not send MRR the $30 you owe us for your ad of last year?
Ya think it’s gonna be ’60s? How’d ya know? Anyway, three of the four tracks are pretty decent at that, the best one (“Renée”) sounding like an outtake from the VELVETS’ first LP.
Much more rockin’ than their previous releases, the BRIGADES cut loose with powerful pop-punk. Their style is a cross between mid-period CLASH and ’80s Brit-punk, while their lyrics are unabashedly political. Driving, well-recorded punk rock.
Hard-driving thrash and punk with metalish guitarwork. Strong production and lots of energy, so will appeal to both speeds and cores.
The A-side is a ballad, and gets tired in a hurry. The flip is an organ-dominated instrumental, a more crazed R’n’B-based tune. Though it rocks, I’d sure like to have heard some guitar on that baby, especially as this band’s name evokes the SHADOWS OF KNIGHT and rockin’ R’n’B.
Finally, their first LP (after five 7″ers), and they continue with their scaringly personal and honest lyrics and liner notes, but the music itself (offbeat as ever) has toned down considerably, to the point of being almost folk. With this band, though, it’s their wordage and politics that matter, so…
Lots of metal damage here, which maybe would be decent sounding in the studio, but on this live recording (ten tunes) doesn’t come off that slickly. The power is evident (especially on the drums). Studio should produce better results.
A very good-sounding demo, these five songs are classic mid-tempo SoCal melodic punk tunes, with tough guitar and great vocals and lyrics. Hope they get to vinyl, but in the meantime check this out.
A split 7″ by England’s CHUMBAWAMBA and America’s A STATE OF MIND. The latter’s two tunes vary between melodic parts and punk rushes, all in an English anarchist vein with heartfelt political lyrics. CHUMBAWAMBA, too, deals with subjects of war/fear and state control, and musically, similarly, rave yet intersperse with “pretty” aspects. Comes with an incredible amount of info/opinion. Get this!
A variety-pack of US punk hands from these zine makers: POETIC JUSTICE, LOOKOUTS, GROUP OF INDIVIDUALS, NASAL WASTE, DEAD SILENCE, YOUR FORM OF GOVERNMENT, and even the HATES. Most of the bands have this in common—you can hear the lyrics, meaning they’re more punk than thrash.
Pop-punk and melodic post-punk, cleanly produced and played. The pop aspects aren’t overemphasized and keep this trio away from heavy rock influences, which is much to their credit.
With song titles like “Punks Are Rad,” “Gov’t Sucks,” “Skate or Die,” etc., you gotta wonder if this is for real. I doubt it, but the world is full of surprises.
Incredibly cool and gnarly vocals set to frantic thrash, with a unique flair. Sound quality is decent, but does take away a hit of the impact. A band to watch for.
Decently powerful older punk sound, four songs in all. Good production, pop/punks, and upfront driving rhythm. OK guitar, too, though not really crunching.
Quite a variety of styles apparent here—two of the five tracks are synth-oriented new wave, two are ripping thrash, and one is an upbeat R’n’B-based rocker. Cool vocals throughout, lots of power on the three, and a change of pace on the remainder. Interesting.
A sort-of reissue. Side B is the same as the original—speedcore wailing and frantic Pus vocals. The A-side, however, is another story: three tracks are from the original release, but have new guitar and vocals; three are completely new tunes; and three are songs that appeared on various comps, again redone. Beautiful packaging.
Featuring ex-members of CATATONICS and SUBURBAN REBELS (from upstate NY), this posthumous release features driving melodic guitar punk and thrash. While it doesn’t always sparkle, there’s lots of energy and potential…but alas they hung it up—Belvy moved to Reno, Bob to San Diego, etc. Another sad story, but that’s rock’n’roll.
Their sound is somewhere between the LYRES (more evident on A-side) and ? AND THE MYSTERIANS (cover on B-side). Pretty rockin’.
Primitive 60’s punk that relies heavily on rhythms simple drumming, maracas, tambourines, etc.). Basic R&B punk with classic garage meets Mersey tones. They can fuzz punk as well, though, and that wimp Jeff (who was supposed to have done this review!) really likes this one.
This band (includes some ex-SIN 34ers) seems to be moving away from their more explicit political origins towards a mix of politics and personal love/hate songs. Musically, it’s mid-tempo punkish stuff with early-’70s rock influences. Not yet well-formed personality-wise.
A real split personality here—of the six songs, two are soft rock, two are hard rock, and two are punk. Since those are the only two I could stomach, I will only speak of them…and they’re quite good—real driving punk with good hooks and singing. Odd.
With vocals reminiscent of Ian MacKaye or Kevin Seconds, combined with an almost jazzy hardcore band makes for interesting listening. This band is big on intros that are slow and different then rip into a thrash song with changes throughout. BEEFEATER fans will relate to this. Lots of challenging/thoughtful lyrics to boot. Great effort here.
The HÜSKERS’ premier major label effort finds them displaying some of the most depressing/unsure lyrics yet. Musically, this album is no departure from their pop direction, some delivered with power, some not. There’s a 12″ out now, too, containing one track from this LP, as well as another studio track and a live (but unsensational) “Helter Skelter.”
If there is such a thing as a “Vancouver vocal sound” (D.O.A., DEATH SENTENCE) then this band has it. With former members of BILL OF RIGHTS and HOUSE OF COMMONS, you’ll find four largely mid-tempo punk songs, lots of guitar, and plenty of drive. It rocks.
Hard-driving punk and thrash with an accent on singing and melody. Could’ve done without their DEEP PURPLE cover, but the other tunes on this six-song demo are powerful, guitar-heavy rippers. Contains ex-MALIGANT TUMOR members.
I was warned that this would be “too metal” for me, but far from it. While there’s a slight bit of metal guitar action (no obnoxious leads though), for the most part this is speedy thrash. Though generic at times, there are a few touches, overdubs, etc., that break it up. Five songs, good lyrics.
Eclectic hardcore that combines power with offbeat influences, changes of pace, funky bass playing, SoCal-sounding punk vocals, and the eccentricities usually associated with Sun Belt bands. Should establish them with fringe-freaks everywhere.
A garage punk fan’s delight. The A.G.’s are really garagy sounding as well as their attitude/approach, while the STUKAS are better produced but come across just as goofy and funny. No one escapes the satire herein.
Back, with a new band (CEDAR ST. SLUTS), who are listed as, and sound like all-female (but probably aren’t). Real garagy rock’n’roll here, so bad it’s good at times—the DOLLS on a typically bad night… and then some.
Wally and the Beav comes up with another hot new comp, a prelude to their first vinyl effort. Band like LUDICHRIST, PHANTOM TOLLBOOTH, SHELL SHOCK, HYPE, A.P.P.L.E., DIRECT ACTION, RED TIDE, REST IN PIECES, and lots more supply the more-than-ample power. Overall fine sound, comes with booklet. Rips.
Clean pop-punk that verges back and forth from B-52’S new wave to JEFFERSON AIRPLANE rock to X-influenced early punk.
Metal-damaged punk for those who enjoy such things. Lyrically, all the songs deal with the sleazy side of NY city life. OK, but pretty heavy despite the drive.
Whereas I just had written JOHNNY THUNDERS off as poopoo on toast last issue, I’m now glad to report that he’s now just plain poopoo. Lots of songs about all the girls throwing themselves on the boy, done in his traditional R’n’R style. Would’ve been happy, though, if he at least rocked out, but most tracks are fairly tame, with very clean playing. Miss that nasty guitar. OK at best.
A three-song project that incorporates pop, surf, and ghouly garage. Each song is in a pretty distinct style, though none stands out above the others.
In the tradition of early industrial punk like the NORMAL’s “TVOD,” incorporating incessant rhythms (machines), eerie vocals, and twisted subject matter.
Noted for their frantic live act, this 12″ captures that energy as well as their variety. Using funk, rock, and other influences, galvanized by punk energy and attack, they pound out six pop/punk/garage rippers. Great singing, too.
A politically progressive Oi band from Canada, these guys have come forth with a really well-produced tape full of catchy tunes, hot up-tempo playing, and fine lyrics. Good job.
More garage punk from Les Black and Co., this time with cleaner production. Covers of “Long Tall Texan” and “Lion Sleeps Tonight,” as well as four other grungy fun ’78-style tunes.
Finally! Other than hardcore collectors, most of today’s punks have never heard the awesome power of Cleveland’s PAGANS. These blasts (seventeen of ’em) include the seven tunes off their four 7″ records, as well as ten unearthed studio tracks from ’77-’79. The single tracks still seem the hottest, but there are no throwaways here. Get it!
Decent thrash and raw punk centered around pretty bleak personal themes. Metal influences in both music and lyrics, though it’s more punk than metal. Is this misogyny or childish ghoulism?
Good sound and variety here. Both punk and thrash with tuneful, intelligent songs, delivered with punch. Cool singing as well. The more I hear, the more I like. A cut above.
On this release, MOD FUN has updated their sound from ’64 to ’66, incorporating ’60s fuzz punk into their pop mod sound on one song, going pop-psych on another, and fairly straight pop on the longest track. Like the two uptempo songs better than their previous efforts.
Their fans call it “acid punk,” which brings to mind the BUTTHOLES, but this is nothing like that. Much more melodic, with “harmonic” vocals and a decent medium-paced beat. Not really too psych or crazed, just moody with a raw guitar.
A nine-song good-sound-quality tape. “KLUGED” apparently means jerry-rigged or thrown together in a really quick, sloppy manner. It doesn’t appear so to me, as the playing is tight and powerful angry thrash, cleanly and energetically delivered. Lots of changes and non-metal guitar work (extended at times) and strong vocals. Good debut with an early SoCal HC sound.
Fine job. Really ripping hardcore with above-average lyrics and playing. Somewhat of a DC sound but not generic at all. Heartening effect. Keep it up!
Some ex-GUN CLUB-ers (LEGENDARY STARDUST COWBOY’s touring back-up band, I think, including Kid Congo and ex-BAG Pat) turn in some fairly unexciting psych/blues. Boring and unoriginal.
One studio side (originally intended for release by Mystic, and is classic SoCal melodic thrash) and one live side (more recent material with a definite metal edge). Both sides are good sounding, though I prefer their earlier sound by far.
Rockabillyish rock’n’roll on this 4-song EP, occasionally sinking its teeth in, but not really blasting like it could. This is best seen on their cover of the FLAMIN’ GROOVIES’ “Teenage Head,” which just doesn’t have the bite of the original.
From out of nowhere (well, actually Long Beach) come DISSENSION, and their “generic thrash” sound is done with conviction and power. While their message may be generally in the new “positive” school of HC, their lyrics range a bit wider than many such bands. Line-up includes ex-TARGET OF DEMAND guitarist. A promising debut.
A band whose lyrics matter a lot, who have put on benefits to back up their beliefs, and who rock hard as well. Really cool fast, grungy punk with tough committed vocals. Neat fuzz guitar fits well with thrash, too. Excellent, exciting debut.
A bit stronger than their debut EP. This band has a punkish ’66 sound with a singer who almost sounds like Gary Floyd of the DICKS. The A-side is the superior track, with cool fuzz and lead guitar.
Some hard-hitting Skeeno HC here, folks. There’s some metal damage, but not to a distracting degree. Power and production are tops; intense lyrics, too.
The big difference on this release is that Ivy finally steps out with some clean guitar soloing, and I like it. It’s straightforward and simple, and reminds me of something, like a slightly more souped-up JOHNNY BURNETTE TRIO/BO DIDDLEY. Some real chances get taken here, and the results: their best record in years, though many don’t like it.
Pop with a rock edge. Sometimes DOORS-sounding, but not real rockin’.
A three-song job, pop-punk is the style, with female vocals not unlike early BLONDIE. It’s got that Boston rock’n’roll sound, clean but rockin’ with guitars and drums up front with the singing. More power-pop than punk. it’s still a punchy effort.
Industrial punk. There’s music of various post-punk styles, combined with an overall industrial (as opposed to arty) feel that makes for good listening. At times it gets a little annoying, but they take chances.
A one-sided release that is a freebie to subscribers of Forced Exposure. BIG BLACK does an adequate cover of the repetitive REMA-REMA song, originally released on a 12″ in 1980.
I suppose it would’ve been unfair to expect this LP to strike me as their debut did (my fave LP of last year), but perhaps with many playings it will come close. There’s still that great, distinctive voice, super-tight and fast melodic thrash delivery, clean production (perhaps a bit too clean here), classy hooks, and that rare sing-along quality, so… Catch ’em on tour and sing your heart out (great lyrics, too).
These Australians continue to put out interesting records. This LP contains tracks in their ’77 power-punk sound as well as more eclectic sounds that rock. Can’t say I like it all, but for a band that’s been around so long, they still pound.
Four bands (PAST, CHARTA 77, LOST NOT POSERS, and PISKAD SENAP), four songs, all excellent pop-punk with great Swedish hooks and classic punk delivery. A joy.
A sampler from this mainly pop label. HAPPY HATE ME NOTS live up to that standard, EASTERN DARK clocks in with some cool psych noise, ITCHY ART come off with a driving dirge entitled “Attempting to Give Your Name to a Policeman While Tripping,” and TACTICS do a live folky punk ditty.
A Kyoto-area comp featuring INFECT, SCABIES, WALTZ, FUCK GEEZ, SEX COMPLEX CLASS, and the SADIST. Mostly ’77 stuff except for ripping thrash from WALTZ and SADIST’s fast punk.
A 50/50 proposition. OK tracks from LOODS, ZOLGE, and the POGO; losers from SISTER RAY (yet another band with, this name that doesn’t have a VELVETS sound at all), and IKARI; and hot stuff from ROSE ROSE.
A Finnish-US effort (being sold in the US by BCT, in Europe by Kaaos). The US entries are ENTROPY, SPASTIC RATS, and CAUSTIC DEFIANCE, while from Finland hails MASSACRE, PRAVDA, and POLISTVALTIO. All I’m gonna say is HOT! Some of these bands never sounded better.
Best part of this is the driving beat and occasionally guitar chords. Otherwise, it sounds like a slightly tougher GRASS ROOTS, what with all the lush harmonies and production. Too clean.
Despite the four-track quality, the eight songs here are pretty listenable. Thoughtful, melodic, medium-paced punk with interesting guitar work and, at times, post-punk singing. Not ordinary.
One pop song each on this release that comes with The Legend fanzine #4. SHOP ASSISTANTS are the more enjoyable of the two, being more upbeat with good drive and female vocals.
This four-song release is well produced, featuring medium/slow-paced moody post-punk. There’s a decent amount of power, but the excitement level never quite boils. Also, given the language barrier, a lot is lost in this music where you can hear the singing so clearly, and where, I’m sure, the lyrics set the whole mood.
A neo-’60s band that plays punk and pop-psych. Nothing too startling here, and as you can judge by some of the covers (“Gloria,” “I Can Only Give You Everything”), not too much delving into the musical past. OK.
Even though the sound quality is not the best, one can get off on this release because of the sheer energy put out by Finland’s RATTUS. I wasn’t too excited by RATTUS’ last vinyl (a more metallic direction), but there’s no hint of it here—just blazing, ripping, and sometimes tuneful thrash. The pace is awesome.
A two-song job, and a curious blend of punk energy with early and progressive punk. Absolutely no info on sleeve.
Back again quickly, these crypto-rockers hit with four songs, three of which are bizarro blues, twisted Á la BUTTHOLES. The fourth song is a cover of PINK FLOYD’s “Lucifer Sam,” an OK version.
Classic Finnish thrash in the DISCHARGE mold. While not as noisy as some, the basic ingredients are there, though a bit more slowed down on about half of the six tunes. “Brainless” is the anthemic tune here.
Early punk sound with really awkward and unfitting vocals. Would’ve been an OK PISTOLS-type release otherwise.
Pretty cool fast Oi-sounding stuff, four songs, good vocals, back-ups, and tight playing. Classic title: “All My Oi.”
A simple guitar, drum, and bass playing basic raw punk rock’n’roll Á la ’76. Nothing spectacular but enjoyable in its basic nature. Pretty garagy, but the spirit is right.
While the A-side is a bit too poppish for me, the B is a bit punchier beat-wise. The pop aspects crop up here, too, and at their worst remind me of the BOOMTOWN RATS. Too cute.
That weird ol’ Jello has a passion for dementia (FLIPPER, BUTTHOLES, etc.) and after seeing these guys Down Under, decided to get ’em released domestically. Like the aforementioned bands, though a bit more frantic (at least on vinyl). Sure to go over big with both punks and the art crowd.
Rockabilly with just a slightly modern feel, as evidenced by their cover of “Batman” and “B-Side Blues.” Nothing too special, but decent.
Pop female BLONDIE-ish vocals set to early crunch punk sound. Vocals ruin it completely, and the BEATLES cover doesn’t make it.
Liner notes state: “This record will perhaps be one of the greatest rock’n’roll records of a generation.” Hardly, but this is decent boppin’ folkish rock. Six tunes, the hotter ones owing more to psychobilly than anything else.
Really melodic sing-along punk with good drive and bounce. This sounds more like French punk than Swedish (in fact, I could swear it’s French because they’re singing in—actually, it isn’t). Good production, good singing, and tight pop/punk playing with tough guitar.
Pretty noisy thrash, more like Finnish than Swedish hardcore. There are some tunes here, but it’s largely a non-metallic blast of crazed thrash energy.
Very slick rock with pop/punk influences, kinda like X. Weirdest part is that they dedicate the record to DICK DALE, CLIFTON CHENIER, and HOUND DOG TAYLOR (among others), none of whose grungy blues or surf influences appear at all.
This LP contains session material from 1977-’79 (largely unreleased) of this groundbreaking UK trash outfit. Lots of rockin’ blues, ’60s rock’n’roll, etc. from their various aggregations (several of them went on to form the INMATES). Early STONES sound.
Mid-period JAM meets mid-period CLASH. Melodic rockin’ pop.
Older style punk with synth. Seven songs in all, which are OK but the synth adds a “circus” atmosphere that detracts from the overall impact.
Folk-rock/singer-songwriter stuff with the accent on audible lyrics. While the music is pretty meager and fairly light, the lyrics are crypto/critical DYLAN-esque without being too pretentious. Wish the music rocked more, but otherwise it’s intriguing.
’60s influenced rock’n’roll, with touches of folk rock, pop, psych rock. Too pop in general for me, but their cover of GARY GLITTER’s “Rock’n’Roll Pt. 2″ shows the most imagination on this disc.
Put out by the guys from DEAD SILENCE, this sampler contains quite a variety of styles as represented by such bands as RHYTHM PIGS, DEHUMANIZERS, BLATANT DISSENT, GLORIOUS DIN, AGAINST THE GRAIN, INSURGENCY, RIPCHORDS, CRUCIFIED TRUTH, DISARRAY, and tons more. Check it out.
A weird marketing concept—three colored vinyl EPs boxed together. You get one by PEACE CORPSE (country metal weirdness), WHITE ’N’ HAIRY (funk doodling weirdness), and PILLSBURY HARDCORE (droning FLIPPER-ish weirdness). Pretty goddamn weird.
Poet John Giorno presents stuff for the arty crowd, mostly jazzy/experimental tracks with poetry or tunes interspersed. Contains HÜSKER DÜ, DAVID JOHANSEN, SONIC YOUTH, COIL, CABARET VOLTAIRE, etc.
Seattle-area bands here, mostly in the speed metal vein and no-so-speedy metal vein. You get two to four tunes each from GREEN RIVER, MELVINS, MALFUNKSHUN, SKIN YARD, SOUNDGARDEN, and one from U-MEN. Passable.
The vast majority of the tracks here are post-punk of various stripes, with a few punk tracks interspersed (SUBHUMANS, RUBELLA BALLET, AUSWEIS, LUCRATE MILK). Other bands include K.U.K.L, BRIGADES, MARTYRS, SHOCK CORRIDOR, etc.). Sound quality varies from track to track with many live recordings. Interesting insert concept.
Four bands from Sweden (BULLSHOT BABIES, GEGGAMOYA, GALER, and KRONSTADT. Driving punk and post-punk, all dedicated to animal liberation.
A highly enjoyable three-song debut from these ska-influenced skins. There’s one ska tune, one ska-tinged rocker, and one Oi tune. All are well-done, good-natured, and seemingly without any negative or fascist overtones.
A very raging international comp featuring such rippers as STUPIDS, MG 15, GEPØPEL, TERVEET KÄDET, INFERNO, CIVIL DISSIDENT, RAPT, NO LIP, DIATRIBE, and many more. Three or four songs each, non-stop intelligence, and an intense madhouse. Great.
An unusually well-documented comp that comes with a fold-open glossy cover that becomes a history of the many bands involved, lyric sheet, a family tree of bands, and poster collection. Bands include X, BEDSPREADS, JOHNNY DOLE AND THE SCABS, HARD-ONS, FEEDTIME (great!!), BEGGARS COURT, XL CAPRIS, and LOCAL PRODUCT. And, oh yes, the music is great. Hot job, Bruce!
Taking their cue from the British “Big Beat” sound, these Danish bands are more Mersey than punk or raging R’n’B. While not a bad compendium, this record will mainly appeal to avid collectors as the recording facilities in Denmark were not the best. Plus, many of the tunes are covers, or covers of covers, and somewhat inferior at that. Historical document.
A good selection with two or three tracks each, starring INSTIGATORS, KAFKA PROSESS, PYHAKOULU, S.O.S., WRETCHED, AKUTT INLEGGELSE, SUBCULTURE, etc. Lots of energy, no clunkers, and decent-to-good sound.
A super hot tape that includes DISORDER, CHAOS UK, LUNATIC FRINGE, and AMEBIX. These tapes are either unreleased demos or in-house tapes. The sound quality is above average, and it all is powerful as hell. Class stuff.
With the accent on non-hardcore punk (“so one can hear the lyrics”), this band comes forth in a 1977 tradition. The B-side is reggae, whilst the topside is quite powerful guitar-oriented punk that’s really catchy…but I still can’t hear all the lyrics.
Jazzy thrash from this English band that contains the former drummer of Italy’s STAZIONE SUICIDA. Very well done, and though I’m not prone to like such material, I found myself into it. Don’t know if this is a UK or Italian release though I think it’s the former.
Two girls and two guys playing poppy punk. The A-side is lighter but with good psych atmosphere, while the B is punkier with a KINGSMEN/Northwest sound, raunchy and rockin’.
SPUNK BUBBLES come through with eight very catchy and driving punk songs with ’77 appeal and girl-boy lyrics. KING PIG couldn’t be further from that spirit, presenting five moody, psych post-punk guitar-effected songs (also well-done). Top-notch production on both.
The A-side is a kick-ass fast punk tune with pounding drumming, cool singing, and though some of the structure is self-consciously broken up, it still clicks. The flip is more like a better produced PISTOLS-type sing-along. Pretty cool.
A three-song job, one track of which is a rhythmic, driving, raw song with a dash of early CRASS or the EX. The other two are raving, noisy thrashers. Lyrics are of a political nature, and all in all, this is a band to watch for. Confusing note: their flyer says seven songs are on a 20-minute tape for $3.50 ppd.
A slightly toned-down REVILLOS meets early-’60s garage/surf. Pretty garage in approach (though the recording isn’t) and the flip is a zany freakout. Loonsville.
Awesome. The fourteen songs crammed in here are up to the quality and style of Boston HC from 3-4 years ago. Just rippin’ from start to finish. And good production sound to boot. Get it.
Their second release, this one is more CRAMPS-like than their debut. A-side is a pretty typically raunch’n’roll fuzzer, while the flip is a cover of the NOVAS’ classic, also covered by the CRAMPS. OK.
Good rockin’ punk with a slight RAMONES inflection and more serious lyrics. Not a lot of power, but the melody and catchy delivery make up for that. Decent.
A good rockin’ pop-punk song with ’60s influences on the A-side, a more contemporary, ultra-fast-paced pop-punk tune on the flip. The latter is pop only in form, as the delivery propels it well into the ’80s.
Playing ripping hardcore at many speeds, this mostly female combo (a fact they don’t accentuate) attacks with power, confidence, intelligence, and proficiency. Six songs that make me think this is what the AVENGERS and UXA would’ve sounded like today. Great!
The A-side is about as hard a rocking pop song as one can find—powerful, with pop structure. The flip starts out slow, but picks up considerably. Superior playing that reminds me of the EASYBEATS or a less psych CREATION. Cool ravers.
Jazzy punk with rock influences. I find this too distracting overall, but I think the more adventurous among you might like the variety of influences. Decent power, odd thrash.
For such a young bunch of kids (15-17 years old) this is a pretty good debut. Mid/fast-paced punk and thrash, with decent hooks and fairly tight playing, lacking only a bit in the drumming. Keep it up.
One of the earliest still-existing German punk bands have regrouped (with a few replacements) and kick out a really good pop-punk/thrash four-song EP. A band that deals with political subjects humorously, these four tunes are catchy, well-produced, and up.
I can understand why these guys are anti-labels, coz their music somewhat defies categorization. There are elements of punk, ’60s, metal, and rock thrown into the blender and out comes a heavy beat with big production. They rock, but both tracks are somewhat hard to settle into. Jello says he likes this a lot.
Eclectic and offbeat hard-driving punk. The Italian BUTTHOLE SURFERS? Definitely outside stuff without losing the power.
Despite the fact that me and Pus both listed this on our Top 15’s months ago, we failed to review this killer three-song EP. Sharp, audible vocals that attack hard drugs (among other things) are driven by raw, powerful, but somehow melodic raging hardcore. Lots of anger and frustration here, but tempered by intelligence. Excellent, and a shame they split.
Their name translates as “Creative Chicken Fuckers,” and if that isn’t enough to get you to buy this, then the music will be. Awesomely fast and powerful thrash that’s both non-metallic and creative. Contains songs both in Dutch and English, and from the latter one can discern their radical political bent. 20 songs.
Despite the sometimes rough sound quality, there’s a lot to check out here. Intermixing news reports and music, there’s a compelling reality at work here—almost an industrial nature to their approach—which pervades their punk and thrash, an accent on atmosphere and meaning, not slickness.
Their sound is a raw, crunching guitar-based one with post-punky effects, and it really works. Lots of power, edge, drive, and diversity within the medium-tempo genre. Good.
Mid-tempo punk that’s in a Brit-punk style. Not especially inspiring musically, although there is post-punk moodiness, which might suit the lyrics well (except I don’t know what the subject matter is). OK for the style.
Very fast and snappy punk that’s got a fairly distinct and clear sound (especially with the drumming). Gnarly singing, hot but simple guitar, and excellent production. Enjoyable political punk, in German.
A Detroit comp of mainly neo-’60s sounding bands. The Motor City has long been a holdout for this heritage, and some hot tracks are delivered by 3-D INVISIBLES, CINECYDE (still around!), and the BONERS. Other bands in a lighter vein include HYSTERIC NARCOTIC, FRAMES, SLEEP, VERTICAL PILLOWS, and BOOTSEY X AND THE LOVEMASTERS.
A non-geographical comp, this one is a cut above some of the previous multitude. The OTHERS, ROGUES, BRIMSTONES, and STYX come across with some cool ditties in punk and folk rock veins. Good comp job by Lee Joseph of YARD TRAUMA.
A furious-paced comp from bands all over the US, most of which are pretty good sounding. Some groups are STEVIE STILETTO & SWITCHBLADES, REALITY OF TRAIL, MAGGOT SANDWICH, SHELL SHOCK, GROUP OF INDIVIDUALS, LEGION OF DECENCY, PSYCHODRAMA, and several more. Lots of music, lots of energy.
The bulk of the bands here hail from Ontario (ANGRY RAISINS, AFHAKKEN, PORCELAIN FOREHEAD, MADHOUSE, APB, TERMINALS, and more), while the remainder are from scattered US locations (BLATANT DISSENT, 1/2 JAPANESE, PSYCHOTIC NORMAN, etc.). Mostly punk, with some thrash and experimentation. Good sound quality.
OK, this is a “rock” album, meaning the accent is on tunes, power, and production. What it’s missing is the excitement and spark of this band’s earlier releases. Punk background music?
The CRAMPS meet the old FLAMIN’ GROOVIES? Raunchy R’n’B meets countryish rock’n’roll meets surf. Nothing new, not quite psychobilly, but OK fun stuff.
With a name like SISTER RAY, I expected a real pronounced VELVET UNDERGROUND sound, but not so. There are some ’60s influences (punk, Batman-theme-type guitar), as well as early US ’70s punk sound. All four tunes cook, with the guitar being the driving force. Nothing flashy, but they rock.
A mod band that “springs from the Maximum R’n’B tradition” (early WHO expression), their accent is on rock’n’roll and not ska. This group is integrated racially and sexually, and rocks good, more in the manner of the JOLT than anything else in recent memory. Good ISLEY BROS. cover, and record dedication to the African National Congress rebels in South Africa.
A three-song demo that’s really good, though it seems totally out of time and place (nice change, though). The tunes combine older-style punk tunes and raw, powerful playing, much in the way some of the early English, and especially Irish punk bands did. Enjoyable.
Outside stuff aimed at smashing both pretentious arty/industrial music and the stagnant aspect of hardcore. Whether they accomplish this or not remains to be seen (heard). To quote the press release, “They will use anything at their disposal to fucking obliterate everything.” Sounds like it.
Bill of Toxic Shock fronted this band back when, and I guess couldn’t resist releasing this somewhat death rock relic “posthumously.” Actually, lyrically it’s not death rock (more intelligent than that!), but it’s the overall sound, enhanced by lots of production, that gives it that “ghostly” feel. Well done, if you like that heavy, power sound. Excellent guitar noise from Julianna.
Much more produced sound than their earlier raunchy classics, sometimes including a disco-ish sound. Yech. While there are some garage ravers here, the bigger sound doesn’t become the PANDORAS much and that’s especially telling on their new version of “You Don’t Satisfy.” “Let’s Do Right” and “It Felt Alright” are pretty hot, though.
Despite the homemade sound quality, there’s still plenty to listen to here. Their ominous overtones permeate fast-paced guitar/noise raves and slower/experimental/industrial dirges, making for an eerie but non-cliché horrific mood. Much potential, as long as they maintain their edge.
Real garage hardcore punk. Most of the songs are medium-paced with super-gruff vocals and raw as hell noise guitar. Good garage.
Out of Baltimore, this tape has a live feel to it. Lyrics are pissed off but intelligent, music is heavily rhythmic hardcore with good vocals. Should be something real good if they stick with it.
If self-righteous Christianity and punk are your bag, go for it. Well-done hardcore it is, but you get 20 songs telling you about “the Lord” and why you’re wrong about everything until you accept “Him.” I’m waiting for a Toothfairy HC band myself.
I guess it was inevitable, so here’s a ’77-style send-up, retardo/reactionary lyrics and all. The A-side equates AIDS to decadence and Hollywood—sheer genius. The flip is equally “brilliant,” attacking liberals as being the ones in the way of freedom. Hmm, guess they’ve been asleep since Ronnie took over.
Could you guess they’re speedcore? Pretty good actually, though the drumming lags a bit. Gruff vocals and raunchy thrash guitar with metal inflection. Practice tape but decent sound quality.
This GUNS (not the Ohio band) is a one-man project of George Smith of SENSELESS HATE. Playing guitars (tough), bass (driving), and drums (tight), this is powerful punk with both the crunch of ’78 and the imagination as well (from pop/punk to slight experimentation).
Makes me feel like I’m in a time warp, shipped back to some hokey ’77 scene. This is early garage punk meets new wave rock’n’roll and wrestling mania. I’ve heard the DICTATORS are reforming, so this could become a trend.
FLIPPER-ish trash meets folk rock? Definite “sun damage” here, garage charm, and nutso/intelligent lyrics. Early Dylan gone punk rock.
This former hardcore band has gone the way of the buffalo (or is it the dinosaur?), opting for an older metal sound meets ’70s rock meets post-punk. Of the six songs, only “Talk of the World” (speedcore) contains any real zip, though the vocals really detract from it. Lyrically, it’s quite “dark” and self-absorbed.
Adam (ex-FACTION) and friends come up with a couple of almost power-pop tunes, which means lots of melody and hooks powered by punchy and guitar-oriented backing. Good effort.
A Geza X production job, these tracks combine elements of punk, metal, and ’70s R’n’R, perhaps exemplifying their proclaimed influences of “GRAND FUNK RAILROAD and the TROGGS.” Decent, but not overpowering.
In their early days they were M.A.D. (see Not So Quiet comp) and were a raging thrash band Á la BLACK FLAG of ’82. Then BLACK FLAG and SSD changed to a “heavier” sound, and so did these guys (now BL’AST!), only they hung to it. This LP captures that “power” hardcore sound well, combined with angry, yet positive lyrics, and even a few thrashers thrown in. A strong release.
This odd release from the Phoenix area could go over with metalers, punks, psychedelics, and rockers—a really bizarre mix of styles. Something for everybody, or maybe nobody…
This Boston-based band cranks out powerful pop-punk. Owing more to ’70s bands like the REAL KIDS than ’60s rockers like the REMAINS, their sound will appeal to lovers of powerful rock’n’roll, hence its release in Australia where that sound still reigns supreme.
Yup, a match made in… Anyway, Mykel Board’s ARTLESS material is the same as what appears on the recent Placebo Records one-sided 12″, while I don’t know nor care if G.G.’s stuff was previously released. This label wants to license more US bands for European release.
Well, actually this is half of a 12″, with an etching (come up and see my…?) of Mykel Board (the star of this disc?) on the backside. ARTLESS presents their version of thrash and punk, incorporating saxes (non-offensively?) and Mykel’s pseudo-conservative lyrics (“How Much Punk Rock Do You Hear in Russia?,” “We Want Nuclear War,” “We’re Republicans,” etc.). And hey, great liner notes!
The sound quality is passable, but had it been well done, you’d be in for a thrash treat—excellent stop-and-go stuff with power. Hope they’ll get into a good studio.
A 28-song release displaying the BALLS’ hard-hitting but almost pop hardcore sound. There’s a lot of attention on melody, vocals, and back-up singing, as well as many changes within songs. This can be annoying, but their overall power and unrelenting energy carries it off. Pro job, fine lyrics too.
Throbbing, pulsating, driving intensive post-punk with gnarly distorted vocals. Maintains the edge while striving to be different, yet somehow ends up like KILLING JOKE anyway.
An all-European comp LP with the bulk of the bands hailing from Germany. There’s quite a range of punk/hardcore styles evident, though the thrash from Holland’s PANDEMONIUM and Germany’s CIRCLE OF SIG TIU stand out for me. Other bands include ENOLA GAY, TIN CAN ARMY, WUT, A.N.A.L., EKLATANT, and France’s VERDUN. Comes with a thick magazine that leads me to believe that most of the songs are politically oriented.
This next We Won’t/Don’t… LP is an international blow-out with the likes of D.O.A., SACRILEGE, VIRUS, DIATRIBE, OI POLLOI, DEATH SENTENCE, NIC TOCZEK, STONE THE CROWZ, POST MORTEM, A.O.A., CONFLICT, TOXIC REASONS, and tons more. Sound quality makes for a Bullshit Detector varied effect. Scant info included.
Raw punk guitar and almost UNDERTONES-like pop-punk add up to enjoyable listening. Both tunes are very straightforward and it’s the simplicity and the power that are so catchy. Weird as shit language, though.
Well-produced eccentric pop punk. The B-side is a bit pop for me, but most of the A-side is interesting (save for some of the breaks, which get a bit “wavy”). Not run-of-the-mill at all.
I think maybe I could handle this super-produced punk-derived rock if it weren’t for the singer. He plays it totally straight vocally, sounding real mainstream, and that puts me over the edge. Maybe LOU REED or DAMNED fans could get by, though. Comes with a three-song flexi.
The A-side is decent but uninspiring ’77 punk, but the flip is a thrash ripper with cool choruses, though the lead singer doesn’t quite grab me—too clean sounding.
A ten-song follow-up to their cassette (released in the US), continuing with ultra-simple and basic (primitive?) pop ditties. Well, the music is at least…but with song titles like “Banana Leaf,” “Chinese Song,” “Flying Jelly Attack,” and “Insect Collector,” I have a feeling these girls are not at all as sweet and innocent as they sound.
Medium/slow-paced but powerful, combining some of the better aspects of post-punk with the raw power of PISTOLS-type punk. Lyrically, the three songs deal poetically and philosophically with alienation, religion, etc. Good sound.
Pretty cool and raw ’60s-type punk. Tight and powerful, with an obvious NOMADS influence, they rock hard and have a gnarly singer. Hot rock’n’roll.
If you’re a fan of that raw, early PISTOLS punk, as well as fast, well-done punk, you’ll want to locate this. Although it’s a live recording (good sound, though), there’s plenty of power and clarity, as well as excitement. Great guitar.
An above average neo-’60s disc that mixes Lux-type CRAMPS vocals with slightly more tight ’60s punk instrumentation. Maybe it’s the hot production, but the five songs here really stick out, including a cool cover of “Wild Man” and RED CRAYOLA’s classic “Hurricane Fighter Plane” (another CRAMPS rediscovery).
Eccentric hardcore, ranging from FLIPPER-like dirges to weirdness that I thought only comes from Arizona or Texas. Pretty garage at times, too, on this five-song job.
Heavy rockin’ Aussie stuff with plenty of late-’60s and mid-’70s influences, and since the Detroit sound seems permanently ensconced Down Under, it should come as no surprise. OK.
Both of these EP’s are fairly crazed post-punk meets ’60s junk meets NAKED RAYGUN meets BUTTHOLE SURFERS meets BIRTHDAY PARTY etc., etc. I made the mistake of playing one record at 45 RPM instead of 33, and it sounded even better. Incredible production doesn’t hurt a bit either. Find these.
Thee MIGHTY CAESARS sound a lot like the MILKSHAKES on the A-side instrumental and a lot like ’62 UK R’n’B on their cover of JIMMY REED’s classic. Beat/surf/R’n’B stuff with a cool but simple trebly guitar lead. Basic crude and lightly produced rock’n’roll.
While I’ve liked a lot of their earlier releases, this one didn’t grab me. It’s really rock-heavy punk and post-punk that rarely cuts loose. On some of the slower stuff they do mount good power (“Lollipop”), but it’s not enough.
An interesting four-song effort, featuring an almost folk pop-punk sound like the NEWTOWN NEUROTICS. And; as with that band, you’ll find thoughtful lyrics and punchy delivery. Subjects covered are skinheads, glue, and standing up for your dignity. Fine-spirited punk.
Schmaltzy ’50s R’n’R meets DOORS meets simple punk—and I don’t think I like the results very much. Total noise it ain’t.
Actually, this is a 45. Both are fast punk with fuzzy guitar, a bit experimental sounding at times, but by no means groundbreaking. Decent.
Their first album contains three previously released tracks and eleven newies. And like their other recent material, this new stuff contains numbers that melt perfect simple pop melodies with a wall of guitar noise—a sublime combination only approached before by the VELVETS.
A three-song one-sided effort, this bands’ name translates as “A Whole Family Suicide.” Fans of fast-paced UK thrash will like this one, as it’s well-produced and crunches. Good debut.
Both sides are rockabilly-influenced punk, decently done but pretty country-fried. Definite CARL PERKINS influence.
Both A-side tunes are slick, mainstream punk (if that’s not a contradiction in terms), and are to be played at 33 RPM. The flip is a 45-er, though, and is thrashy, making it hard to believe this is the same band. That song rips, and the cover is also a grabber.
Containing both live and studio material, this tape demonstrates HEX’s powerful anti-state message as well. There isn’t as much bass as I’d like to hear, the sound quality is good and there’s plenty of powerful music, as well as chants, rants, interspersed sound effects, and literature. Concerns are predictable: bomb, anti-vivisection, politicians. Good chaps.
Fans of eclectic hard punk should appreciate this release. Combining funk, rock, and jazz influences. LES GNOMES have a punchy and herky-jerky sound which could have been too distracting had they not delivered it with such force.
In reality, just two songs, both highlighted by melodic punk Á la PENETRATION, complete with a clear singing female vocalist. Quite good, actually, with excellent production and simple but well-done mid-tempo instrumentation.
GIRLS AGAINST SEXIST HYPE aren’t fuckin’ around at all! Great smashing hardcore, sharp lyrics, powerful production—too much. Imagine a POISON GIRLS approach with thrash power, and you got it. Get it.
Rock punk with crooning female vocals, metalish rock guitar, and overall late-PENETRATION sound. Singer bugs me a lot with her “sweet” singing.
Sounding a lot like the FLAMIN’ GROOVIES in both their early ’70s “Slow Death” sound and their later jangly guitar stage, this single is pretty rockin’. While they don’t flip out totally, it’s good, powerful R’n’B rockin’, especially the B-side.
Both sides are typically rockin’ Aussie stuff, with a DOLLS sound updated by Motor-City-type late-’60s rock. Rock’n’roll, dudes.
Great! Who are these guys? Awesomely powerful English-style thrash meets almost a DC-like hardcore approach meets DOA at their best! Great lyrics to boot.
A wonderful noisy and crude assault on your ears. While the musicianship is basic and loud, there are structure, changes, and thought behind it all. Good and intense, political as well.
The A-side sounds like the SAINTS (second LP) meets ’60s pop-punk—OK. B-side is way rad, a snarling ’60s punker with SKY SAXON-ish vocals and nasty instrumentation. Once again, Sweden leads the way in this genre.
This year’s Original Packaging Award winner, this single comes in a cardboard X-mas stocking. Is the music as zany? No, but it’s rockin’ R’n’B-type ’60s stuff, especially on the B-side. Fun.
Both tracks are from previous LPs, and while both are OK punk, they certainly aren’t so superior to warrant separate release. “H-Bomb” captures live energy, though.
Pretty decent older punk styles, both live and studio. Lots of melody, raw rhythm guitar, choruses, etc. Good music to file records to.
A Cleveland-area comp of varied underground bands. There’s hot punk/HC from SPIKE IN VAIN, OFFBEATS, DARK, GUNS, IDIOT HUMANS, as well as moodier post-punk from SHADOW OF FEAR, FAITH ACADEMY, DEATH OF SAMANTHA, and others. Outside of just a couple of tedious cuts, this record is fine listening.
First NorCal comp in a while, this one features some East Bay bands (SPECIAL FORCES, BONELESS ONES, FANG), Sacto’s TALES OF TERROR, Santa Cruz’s BL’AST, and SF’s VERBAL ABUSE. Lots of metal or “heavy” punk, some thrash, and lots of power. Good recording brings out the best in these bands.
Mr. Beautiful must have his head up his butt, cuz outside of the FREEZE’s “Warped Confessional,” OYSTER’s “Headhunter,” and GANG GREEN’s “Let’s Drink Some Beer” (previously unreleased), you get mostly MTV-quality rock from a slew of groups. Occasionally OK moments, but overall it’s hurtin’.
Mostly SoCal bands like ENTROPY, ILL REPUTE, SCARED STRAIGHT, STUKAS OVER BEDROCK, DOGGY STYLE, DON’T NO, as well as DRILLS, and AMATEUR GYNECOLOGISTS. Sound quality varies, but everything rips… good listening. This label has also just released in the US the INSTIGATORS live tape.
An all-female band comp put out as a non-profit project by two women in Canada. The music itself is all pretty hot, ranging in punk styles from thrash to classic punk to garage to pop/punk. Some bands included are: ICONOCLASTS, A.S.F., RAUNCHETTES, UNWARRANTED TRUST, INDUSTRIAL WASTE BAND, RUGGEDY ANNES, BARELY HUMAN, and PRE-METAL SYNDROME (among others). Good job, and comes with a booklet.
Not metal at all, but a sort of psychedelicized heavy punk sound. Very well-produced, this eleven-song tape is both “different” and yet still powerful. Most of the lyrics are a cut above, too. Worth checking out.
Interesting schizo release. Simultaneously rough garage and well-done moody post-punk, and lyrically both sensitive and crude. Female vocals (with echo or harmony?) sound cool. Sounds like LOU REED meets SIOUXSIE meets GIRLS AT OUR BEST.
Somewhat garagy thrash, coming out of the ruins of ARSENAL (not the NY/SF combo) and is pretty decent, though the bulk is live recordings. Actually, the playing is pretty tight, and hey, how can you go wrong with titles like “Republican Children,” “Team Gilligan,” “When Mom Find Out I Drink,” “Conceptual Realizations of a Life as Applied to the Oakland Coliseum,” and “Reagan Is a Poseur!”?
Good atmospheric production makes the noise hang together better than on a lot of their releases. “Fuck” is bleeped throughout the A-side, which really grates more than the music. Flip is the A-side backwards, and no bleeps.
This live recording dates back two years (SEPTIC DEATH haven’t played live in well over a year, but will regroup this summer, according to Pushead) and features a whole slew of songs, including some not on their studio LP. The sound quality is definitely lacking on the bass end, but gives a good representation of their breakneck stop-and-go thrash interspersed with metalish breaks. The first of a whole series of 10″ live discs on this label.
As you might have guessed from the song titles, this isn’t the Long Island outfit of the same name. Far from it, both sides are instrumentals borrowing from the YARDBIRDS and ELECTRIC PRUNES, but doing pretty toned-down semi-psych stuff. Nothing to rave (up) about.
While the A-side is more on the slow metal side of punk, the flip rocks more, has challenging lyrics (see article this issue), and reminds me of good early RUNAWAYS. Raunchy indeed.
A novelty record, to be sure. Side one features a flute and rhythm machine backing a ridiculous monologue about middle class guilt on starving Third World peoples. The flip is a satire on sex-oriented rock songs set to a grinding guitar and a beat. Twisted.
Combining garage, noise, punk, and spoken word, this crude trio will not appeal to most in their simplicity, but their commitment to the original punk aesthetic should. “HC Rebellion” has some important criticisms to hear, which you can also do live (see tour ad this issue).
With all the skill of an early GERMS record, these guys will punk rock their way into your twisted little heart. Aptly titled, this EP is goofy and enjoyable. Playable at any speed.
Classic mid/late-’70s Midwest garage punk, one side studio and one live. Full of grunge and satire, Les Black and Co. do covers (“Ring of Fire”) and plenty of originals. Raunch and roll.
The recording is pretty rough, but that won’t stop you from enjoying this. Intelligent lyrics are propelled by tough and loud thrash. Noisy but controlled, with plenty of energy and determination. Good start.
Most of the songs by the Arizona-based band are in the medium-paced punk vein, with a few slower or more rapid-fire. The production sound is thick here and, combined with their rock influences, makes for a lot of listening. Not awesome, but well done. Question remains though why they chose this label often accused by German punks of pro-Nazi connections.
Fusing punk, metal, rock, and other forms, this second release by NOMEANSNO is delivered with lots of power and punch. Their experimentation hangs together pretty well too, sort of like what BLACK FLAG could do with a bit more imagination.
Around for a while but finally out with vinyl, this highly eclectic band debuts their sounds: post-punk, industrial, folk-punk, and more. Following in the footsteps of TOILING MIDGETS, SLEEPERS and even FLIPPER, you’ll find musicianship and intelligence at work here. Comes with booklet.
A-side sounds like ANIMALS meets LEMON PIPERS, while the flip is less bluesy and more poppy. OK bandwagon stuff.
The stick-on label says “Iggy-esque post-punk.” Forget that shit, this is full-on punk. While the vocals do remind me of IGGY, the music is raving punk stuff, not unlike early SAINTS. Excellent.
Very well-produced power thrash. This is hard-hitting, head-on, stop-and-go hardcore. No frills, no innovations, and lots of tight meat-cleaver stuff. Good lyrics, too.
Somewhat garagy and loose, but more than made up for by the sheer zest and crunch. Cool guitar and good drumming center this ripper. Lots of thrash and a good cover of “I Wanna Be Your Dog,” all done with lots of power. Good punk lyrics as well.
77 punk, both musically and lyrically. I mean it’s fun stuff, retarded lyrics, old punk format, but there’s not an overwhelming power behind it or special wit. Decent regressive venture.
One of the best sounding tapes I’ve heard in a while; these guys utilize ’60s punk, surf, and old punk, but weld it into a very modern, hard-driving punk sound, not unlike AGENT ORANGE running headlong into NAKED RAYGUN. Very tight, very powerful, intelligent, and not cliché at all. Plus there are tons of tunes. Dynamite.
A four-song “death metal core band” that zips along at a frantic pace, isn’t as metal as it is thrash, and avoids lame lyrics and sticks to political/social subjects. A pretty hot debut.
Simply great. Classic SoCal pop thrash with hot Agnew guitar and Casey vocals. Hot production, too. Rips completely.
A seven-song release from this up-and-coming SF band, most of which are thrash. There’s a heaviness to their sound, which becomes even more apparent on the two slower numbers, powerful post-punk dirges. Dave (ex-JERRY’S KIDZ from Albuquerque) sounds good, and the band is tight and strong, though I think the super-clean production here detracts a bit from their normally noise-intense live performance standard. A band to watch.
Fans of early NO TREND will appreciate this rockin’ noise. With funk, jazz, and experimental leanings, this screamin’ combo raucously slashes their way onto vinyl. Angry yet absurd.
If it were 1966, this record would be cool. But alas… Anyway, most of the tunes here are originals (and decent at that, including the classic “She Told Me” from their last 45), breaking away from their cover syndrome which spans back many years. Now if they could only break into the ’80s thematically…
A live tape that has its pluses and minuses. The drumming is really strong, the guitar raw, and the vocalist rivals CAPITOL PUNISHMENT’s for lowest range around. Drawbacks include the mix and the somewhat “heavy” aspects of many tunes. Still, it’s crude and powerful.
From Chicago, high-production post-punk with good power, occasionally delivering straightforward punches, but like the robot boxers on the cover, there isn’t an overwhelming sense of identity or heart. Maybe I’m just OD-ing on all these major “indie” releases that rely on major-type production, making them sound homogenized to me.
Dark punk with rock overtones, reminding me a bit of some ROKY ERICKSON. At times, it’s too “rock” for me, but there are some songs with late-STOOGES influences (“Agents of Faith”) that make up for it.
Originally planned as a live flexi (rejected by Eva-tone, monopolist flexi-pressers in the US, because of language), this limited edition comes out as a 7″ with no pic cover. The A.O.D. stuff shreds as always, including a thrash version of “We Will Rock You.” BEDLAM’s side is rawer, but still rips. Well worth sending for.
Some pretty basic rhythmic punk rock here. The recording is well-done, and probably shows them at their best, but there’s no real imagination at work yet. This is a young band and there’s evidence of future specialness.
Good driving, pounding early punk sound that kicks both musically and lyrically (anti-war). Interesting divergences are thrown in here and there, but don’t detract at all. Cool vocals, too.
A comp that features all Yugoslavian bands (PVJS, CZD, MASAKER, and MARZIDOVSHEK). There’s a bunch of experimental thrash, which while wandering into the unknown, always comes back with power. Sound is decent.
A four-band comp, featuring CRISMA KAOS (melodic thrash), SLAM (metal-laden), PAST (straight-on melodic thrash), and BIZARR (melodic thrash, with the most bite here). All in all, OK, but not awesome.
From Sweden, this combo plays pretty competent ’60s punk (an eerie aspect of said genre) and a bit of rockabilly. There are traces of CRAMPS and NOMADS in here, but little in the way of originality or special verve. OK.
A-side is a schizophrenic ditty combining acoustic guitar with ’60s snotty punk vocals with DYLAN-esque undertones, pop melodic instrumentation, and a folky BYRDS-like break. The flip is even weirder, with more cryptic changes Á la SOFT BOYS. Nuts.
Decent moody pop neo-psych. Both sides have their ominous slower moments (almost like certain aspects of the DKs, including East Bay Ray-type guitar work), and then pick up at times. Just OK.
This, their second 7″, is pretty rockin’ ’60s fuzz punk, but doesn’t stand out too much from the crowd. Nonetheless, there’s great guitar, tight beat, and non-wimpy production.
Famed for their super-short, incoherent noise blasts, these guys have changed their “musical direction, attitude, and bass player” after getting “fed up with those short songs.” Trying now to write “decent tunes,” they sound only slightly tighter (if that), still thrashing away frantically and raving about the ills of the world. In other words, they’re still a charming garage mess.
A three-song job featuring a cover of the LYRES’ “She Pays the Rent” (a hotter version than the original), a pounding “My Little Ruby,” and then a very atypical “Nitroglycerine Shrieks” (a crypto, unrelenting post-punk blaster like LINK WRAY on acid). Hot as always.
Experimental hardcore that’s most appealing. While maintaining their edge and aggression, this band breaks rules with percussion and structure without getting too jazzy or arty.
A four-song rock release that’s in the post-HENDRIX tradition—”heavy” guitar, slow blues/rock tunes, long songs. Not too crazy about it.
Translates as “Muscle Little Girl Group” (I really owe Roger for all the translations on Japanese reviews). Don’t ask me? Musically they’re crazed, jazzy, avant garde, post-punk loonies. Vocals are pretty punky, and the music usually has bite, but boy, it’s weird.
Reformed, recorded this one, gigged twice, and split up again. Worth it? Largely. Two of the four tracks really kick, with driving early punk laced with subtle post-punk touches: powerful. The other two cuts are more ballady/post-punky, not unlike some aspects of the STALIN. Well done.
“On the Warpath” is the title translated (as are all the lyrics on a poster insert), and an accurate one it is—raging from beginning to end. Stylistically, they cover a lot of bases from straight thrash, metal thrash, country thrash, punk…all done really well. Lots of power, great lyrics, female shouter are characteristics here, so I have no problem recommending it.
Firmly rooted in an older punk sound, but it doesn’t stay there. Traces of the DAMNED, post-punk; and even the ROUTERS. Not crazed, but interesting while rockin’.
As their name suggests, this is indeed Oi music, and decent at that. It’s got all the ingredients—catchy tunes, choruses, etc. Lyrics are in English and are anti-authoritarian. Only question: these guys are out of uniform—all spikey heads.
Four medium-paced, somewhat ploddy punk tunes with Oi/rock/metal currents. Powerfully recorded, but not very stimulating, lacking any real verve. Decent tunes, though.
Yet another Mystic sampler of previously released material from the label’s former projects. Included are DR. KNOW, INSOLENTS, DOGGY STYLE, and more. Is this really necessary?
Side one is largely “cheesy” (as Martin’s wont to say) pop, lightweight neo-’60s stuff (the kind that gave the ’60s a bad name back then), with only one passable track (MOD FUN). Side two of this all-New Jersey comp comes on with A.O.D., then back to cheese (psych and blues), then some rockin’ PLEASED YOUTH and SACRED DENIAL, a bit of garage, some STOOGES-like stuff from DAS DAMEN (pretty decent, Lyle), DOLLS-like material from SKULLS, and some jive fun from the PUNSTERS.
A US/German sampler containing the likes of MANIACS, LOVE CANAL, CHRIST ON PARADE, VOMIT VISIONS, NRK, INFERNO, and many more. Sound quality is largely excellent, as well as the material.
All manner of “death” rock here, from metal to SIOUXSIE-style dreariness to TSOL-type moodiness, from a host of bands known and unknown. Includes ILL REPUTE, SUBTERFUGE, WHITE PIGS, MESS, AWOL, FALSE CONFESSION, and more. This is where I usually stick in a bad pun, but in this case I’m scared to try.
“Never Say Die” is right, as Bobby Steele, originally a MISFIT and veteran of his UNDEAD, re-emerges with the umpteenth lineup. Glad he did it, too, because both sides are excellent rockin’ early punk, a sound that crunches, and you can hear the lyrics. Hot pop punk.
The first original-sounding thing from JOHNNY THUNDERS in ages, with singing back-up by ex-SNATCH Patti and instrumental help from ex-HEARTBREAKERS Jerry Nolan and Billy Rath. Sounds promising? Nope, you get a countryish slick R’n’B tune, and two versions of the title tune, a sultry bluesy number that’s pretty unmoving. Oh, well, you can’t put your arm around a memory.
You know right from the start that this will blast a hole in your heart. A raver, full of high quality straight-ahead hardcore with nary a trace of metal. Powerful as hell!
These garage thrashers have been putting out tapes for years now. And while this one’s as energetic, blazing, noisy, and politically sharp as ever, I think it’s high time for some vinyl. In the meantime, get this—sounds like a modern-day PAGANS.
This guy was old back in the ’60s during his second coming, so you know he’s ancient now. No matter, this sicko of the R’n B world can still wail, doing a credible version of his classic “I Put a Spell on You” and three others. While nothing to rise out of the grave for, fans of both he and the FUZZTONES will want to have this musical memoir.
Admittedly unhappy with the sometimes tinny production, the SARCASTIC ASSHOLES have made the best of it nonetheless. Blasting forth with over a dozen tunes, their sound is pretty straightforward thrash/punk with lots of speed. The singer’s voice really gets gnarly at times, and lyrically they’re right on, with frequent attacks on racist/redneck mentality.
From Rhode Island, if I remember correctly, comes a punk rockish pair of tunes. Neither is particularly overwhelming, though both are easily competent and well-produced. Just OK.
The A-side is just so-so folk rock, nothing too memorable. And while the flip isn’t awesome, it’s got more interesting structure and more punchy instrumentation, especially with the raw, jangly guitar. Better.
Hot! A very politically motivated record that also socks you in the jaw with its music. Gruff-as-hell vocals, great thrash, and inspiring lyrics and package all add up to a winner.
Taking his tunes from his former band, NO SYSTEM, Al Quint (MRR reporter, Suburban Voice editor) teams up with PTL KLUB for six totally ripping tunes. Hot thrash, great lyrics, and strong beliefs back this baby up. Shoulda been a record.
Excellently spirited punk and thrash with well-thought out and biting lyrics. Although the playing is garagish, it’s not really a drawback because this release is about honesty. Rips.
Excellent! A really unusual approach here—punk-rocked-out folk rock in a way, but with more drive and noise. Lots of originals as well as gnarly covers of DYLAN, EVERLY BROS., STONES, VELVETS, STOOGES, MDC, SIMPLETONES, DOVELLS, ROSIE & ORIGINALS—but all rocked out. Get it.
A six-song tape that’s really well done. There’s plenty of controlled mania on the fast tunes as well as good melody on the poppier tracks. Overall: rips like crazy.
Fun garage punk that at times reminds me of early MODERN LOVERS or HEARTBREAKERS with a bit of early ’60s garage/surf thrown in. Enjoyable.
Quite a pleasant surprise. This tape contains seven pop/thrash tunes of high-quality tunemanship, playing, and production. Very sarcastic lyrics bite to the “core.” Worth checking out.
A half-dozen pop-punk tunes owing to ’76 East Coast proto-punk more than anything, with a touch of REPLACEMENTS. Good beat, intelligent personal lyrics, snarly vocals, occasionally lame metallish guitar, but otherwise it’s pretty rockin’.
Much more on the punk side of things than pure thrash, their most appealing material has good melody, tough guitar, and an almost PISTOLS-like quality on the better tracks (“Brainwash”). But there’s plenty of thrash too, as well as a clunker or two. Overall—pretty good, hot production, tight playing.
Punky yet metal, but not speedcore. Paced medium, this sounds more like early punk with metal guitar work at times. Same with the vocal approach, though the lyrics are pretty solidly punk.
After a bizarre beginning, this tape launches into a thrash attack that’s raw and exciting. Recorded live, there’s some charm here overriding the obvious live recording problems and garage aspects. Definitely are hot moments.
The title-track is classic-sounding early R’n’B CRAMPS, while the two accompanying cuts are either Elvis-influenced or country-blues sounding and nothing too special. I’m glad they’re still at it, but this didn’t have me bouncin’ off the walls.
While musically tight and strong, and despite Keith’s continued strong singing in the face of numerous physical injuries, this LP doesn’t really kill. The JERKS may never approach the heights of that first LP (a tough standard to beat), but they’ll keep at it, on the road and on vinyl. Decent.
Pretty rockin’ pop punk that takes me back a few years. There’s a good beat with pretty complex songs, moddish at times psych at times, and despite the special effects, high production, etc., the overall impact is fairly punky and powerful. Interesting.
While there is punk power here, BLATANT DISSENT doesn’t rely on it for overall impact. Their sound is almost understated, based more on melodic tunes, up-front lyrics, and clean production. Complexities at times remind me of fellow Chicagoans NAKED RAYGUN (Jeff Pezzati does production too).
Pretty poppy punk and rock stuff with somewhat twisted lyrics and occasionally bizarre instrumentation. I bet Biafra would like this one.
If this is a taste of things to come from their long-delayed LP on New Underground, then we’re in for a treat. Well-constructed, diverse, SoCal punk/thrash with good hooks, lyrics, and delivery. Gary, get that record out!
While their debut EP borrowed more heavily from early punk and basic thrash, this follow-up has ANGRY RED PLANET joining the burgeoning ranks of “early HÜSKER DÜ”-sounding hands. Actually, they also sound like latter-day HÜSKERS, with Bob Mould-type guitar and much poppier tunes.
A real mixed bag of smart and dumb lyrics hardcore, and metalcore music. It’s largely on the sharp side, though, and all the music rocks. I know Kent likes it, but she likes anything from North Carolina.
Neither the US or Aussie band, this Japanese combo has decent and somewhat complicated rock/metal meets punk structures, but their falsetto singing really drives me up a wall. For metallers only.
A domestic release of two Australian powerhouse HC hands. Half of the VICIOUS CIRCLE material appeared on their Aussie 7″, while two of PERDITION’s eight tracks showed up on their 7″. Well worth picking up, this LP can only help further interest and ties between these two continents, and you’ll get some fine sides for your money, as well.
A regional compilation from Kyushu Island in the south of Japan, this baby features two or three tracks each from six bands: GAI, GEDON, GESS, NO-CUT, AGGRESSIVE DOGS, and KURO. Most all is in a hard-driving original punk style, sounding really good and straightforward. Fine musicianship and production are hallmarks in Japan, and this one is no letdown. Hot.
An all-Scottish sampler, starring OI POLLOI, LAST RITES, DISTEMPER, and the CONDEMNED. There’s a decidedly Oi-ish feel to this punk and skin band comp, with OI POLLOI taking the honors with “Boot Down the Door,” a killer track. Otherwise nothing startling.
Another hot comp from Humbug, this one features mostly European bands from Germany, Poland, Norway, Sweden, France, etc., as well as a few from the Americas and Down Under. Hot sound quality as well.
This tape contains about 87 million five- to thirty-second thrash raves, kind of like early NEOS. Nothing new, but a garage orgy.
An ambitious all-European sampler, with German bands predominating. The tape comes with a booklet, wherein all the lyrics are translated into English for international consumption. Bands include KGB, KINA, WUT, ANTI-HEROES, ASOCIAL, SECOND AUSCHWITZ, HOSTAGES OF AYATOLLAH, SCREAMING DEAD, and more.
Buzzsaw hardcore meets industrial primitivism. Nasty-ass noise background with hard but simplistic punk with especially gnarly vocals all add up to a unique and enjoyable release.
Very aggressive post-punk that’s set to a usually straight-ahead rhythm. Although a little repetitious, the sheer drive of the beat kept my interest throughout the noise.
Hailing from Alaska yet released on an English label, this band sounds more like it comes from Ireland circa ’77. The music is pop-punk in the Good Vibrations label tradition, with a tinge more of a ’50s rock’n’roll influence. I guess the singer is what bugs me, as he really tries to sing instead of shout it out. Best song: “The Punks Are Divided, Jimmy.”
BIAFRA meets BEEFHEART meets BUTTHOLES. In other words, Basic Blues meets Bonkerbilly.
Hard-driving punk and post-punk that’s really simple, basic, yet there’s something pretty unique in their approach. Reminds me a bit of early RICHARD HELL & THE VOIDOIDS for the same reasons. Cool.
Decent but not overpowering pop-punk. Easily catchy pop tunes (almost too AM) are caught with OK power and production, and at times almost a post-punk feel.
The second round from this band (and simultaneously a new one from NIRVANA DEVILS…same personnel?) showcases a great pop/’60s punk song on the A-side that maintains its edge, and a nastier but still poppy cover of JOHNNY BURNETTE’s classic, sort of Á la FUZZTONES. Good listening.
With the signing of JMC to a major comes a predictably toned-down sound. While the title song is cool in its pop way (they’ve discovered Phil Spector?), and “Head” is a fairly noisy tidbit, “Cracked” is way too tuneless and dirgelike, and the second version of the title track is way wimpy. There’s still some edge here, but it’s fading fast.
Really bass-heavy political mid-tempo punk. Good and raw, with intelligence and anger, this band has got lots of potential. Classic line on their lyric sheet: “Eat shit—50,000,000 flies can’t be wrong.”
While these two songs at times seem to lack cohesiveness, there is an infectious quality that makes up for it. Make no mistake—these are basically medium-tempo, older-style punk with a real garage feel and not “pro”-type HC at all, but the tunes and singing stick with you.
A five-song release that strikes a unique combination of metal/thrash instrumentation with BUZZCOCKS-like poppish vocals and intelligent lyrics. Watch for more.
Male and female vocals combine with some hard-driving punk/thrash and intense political lyrics. Besides their varied originals, there are a few covers (CRASS, BEATLES, DICKS, etc.) on this live recording. Sound quality is decent and energy is high. Good.
Eric Hysteric and his drinking buddies return with yet two more garage sing-along tunes. Characteristic traits are thumping drums, fuzz guitars, raunch production, and lots of choruses. Fun.
Interesting. At times, this band’s sound doesn’t quite seem to gel, but then within their simplicity lies a vast amount of musical innovation and complexity. Combine this with extremely intelligent political lyrics and a desire to take chances while keeping an edge, and you’ve got the beginnings of something. Watch for growth here.
While the DISRUPTERS’ brand of mid/fast-tempo punk is not very original or very accomplished, there’s a charm and belief that comes across to make the listening experience not be a waste of time. Good production helps, too.
Totally garage, incompetent, and possibly charming (?). Let’s just say this could only appeal to fans of the old ESP label, those who can find “good” junk in dumpsters.
Surprisingly hard-edged pop-punk (at least on three of the tunes). While the pop elements are pronounced, the driving beat and Lou Giordano production really rocks it out while maintaining the subtleties.
While largely “out there” experimental music (there is actually a lot of music here), they at times produce some pretty gripping stuff in a psychedelic MOTHERS-type of way. For the adventurous.
This Alaskan comp presents some pretty good bands (SKATE DEATH, CLYNG-ONS) and some others (PSYCHEDELIC SKELETONS, BUTT CLITS, LOGAN), but the sound quality of those live recordings is pretty hurting, making this non-mandatory.
Very, very good lyrics set to a fast-paced thrash with guitar leads. The band’s really tight, but I found the soloing a bit detracting from their overall impact, which was very favorable. Power and intelligence.
Highly politicized and non-cliché lyrics are driven home by slightly funk-tinged punk. Their sound reminds me a bit of the PROLETARIAT with less melody and more of continuous medium-fast-paced rhythm (driving bass really stands out). Committed, and a band to watch for.
Can’t beat it—this classic single has been reissued in limited supplies and should not be passed up. Raw, awesome raging punk rock from Cleveland ’77.
Total CRAMPS rip-off here, but these guys (from lyrics to cover art) are really into their “macho” BS. (Interestingly, this record is marketed by Jem Records, who applies the same mentality toward indie labels these days.) Fun music, lame men.
A three-song job that’s just OK, lacking any real wallop or magic. LYRES supply minimal rockin’ ’60s pop, and in the past have come up with real gems. None here, though; maybe they “gave it up now.”
I was prepared not to like this, based on the “corporate” feel to this so-called indie record. But the music speaks for itself. If you’re into that early punk sound heavy on pop, then you’ll like this. It’s got a RAMONES-ish approach, though a bit more melodic musically and smoother vocally. Killer rave version of the ELEVATORS’ “You’re Gonna Miss Me,” not unlike DMZ here.
The American BIRTHDAY PARTY, like it or not.
Drawing influences from ’60s punk, early Aussie punk, and early proto-punk (DMZ, RAMONES), this band manages to rock out pretty good. They have a slightly more up-to-date sound than many “neo” bands, but lyrically they’re still in the past.
While the B-side is decent punk, the top-side is one classy, classic ’77-punk-style tune, full of great hooks, choruses, and good lyrics as well as power. Quite a pleasant surprise. Recommended.
BEEFHEART-baked Texas transplants run amok on four longish tunes, creating musical mayhem, making friends and enemies all over the place, and I gotta wonder if their heads will stay on or not.
Experimental music set to a beat. Abrasive, twisted, and fully psyched-out with a mean edge and guitar. I like this stuff.
While the A-side is a creditable (though uninventive) cover of the TROGGS classic the flip, is a pretty good send-up of DOLLS/HEARTBREAKERS material. Enjoyable, not good.
Sounds like a somewhat more rockish DKs. Jello-like vocals and satirical lyrics are combined with tight, though a bit metalish instrumentation. Good sound quality.
While this is a garage recording, its sheer enthusiastic short bursts of thrash noise and accompanying song explanations are very enjoyable. Well done, however naïve it comes across.
A 21-song tape that displays this band’s tight medium-to-fast-paced hardcore sound well. There are some metal influences, but not in really blatant ways, with the accent on power. Lots of well-executed stop-and-go action, excellent vocals, and heavy bass and drums make this worth checking out.
Could be the West Coast’s answer to the PROLETARIAT, what with their older punk sound (not driving post-punk as with the PROL’s) and their non-clichéd political lyrics. The FRONT’s highly catchy powerhouse pop-punk makes them immediately memorable, but I suspect there’s staying power as well.
Awful, lyrically and musically. Lyric-wise, I was expecting their usual dose of idiocy, but the band really blows too. No zip, rock influences, terrible guitar solos. Avoid.
Very basic and power-oriented thrash and fast punk. Outside of a sporadic wanking lead solo, this record’s straightforwardness is its strong point, as well as the gnarly singing and strong lyric content.
A classic KENNEDYS’ cover opens up to reveal a very controversial artwork poster and a record that will surprise many. Lyrically, it’s Biafra’s satire, biting as ever, and aimed at jocks, MTV, work, and the sick absurdities of bourgeois life. Most of the tunes are mid-tempo punk this time, with a couple of thrashers interspersed. But there’s a more “psychedelic” feel to many of the songs with Ray’s often-twangy guitar very cleanly produced. There’s even one (gasp!) experimental number, and also shocking, Jello actually sings (as opposed to yells) on several tracks.
Revisionist rock for people looking for a “hip” way to mellow down from punk. You know, those folks who find the newer HÜSKER pop sound really stretching their limits of noise tolerance. Hmmm, I guess I don’t like it too much.
Biting early DYLAN-like lyrics meet HENDRIX-like psych/noise meets blues/folk and BIAFRA. Check it out.
“Progressive” punk that maintains a hard musical bite, yet combines with an almost folky female vocal (not unlike Pauline Murray in her PENETRATION days). Great words (comes with lyric book) and an intelligent outlook are as refreshing as the music itself. From the makers of Counter Culture zine.
This latest comp from Hollenqual contains hot tracks from the likes of VICIOUS CIRCLE, HALF LIFE, NEGAZIONE, BLUTTAT, HEIMAT, CRUDE SS, GEPÁ˜PEL, DETONATORS, NIKOTEENS, DOWN SYNDROME, and more. Good sound quality, though there are several tracks that were submitted by bands off their vinyl releases. All in all, a powerful collection, including the tracks from unknowns like GROFTROSEN.
This all-Hamburg comp (past and present bands) is accompanied by a 20-page booklet, and contains all sorts of punk and hardcore styles. The bands are largely unknown to me though some familiar monikers popped up (CHANNEL RATS, HH-MILCH, BOIKOTTZ, KOMA KOMBO, TORPEDO MOSKAU). Enjoyable historical retrospective.
Containing some powerful and well-recorded tracks from EPIDEMIJA, TOZIBABE, U.B.R., ODPADKI CIVILIZACIJE, and III KATEGORIJA, most of whom shred in the early Finnish tradition. Highly recommended.
Owing more to UK thrash than the US variety, this band rocks with the best of their ilk (DISCHARGE-spawned), coming forth with a whole host of powerful hardcore tunes. Includes a hot cover of TERVEET KÄDET’s “Outo Maa.” Excellent.
This six-song release features older material, the highlight of which is four of the five tunes from TOY DOLLS’ first (and hardest to find) EP on GBH Records. A must for this loony band’s fans.
Minimal and raw basic punk, garage level, but well recorded and immediately pleasing. Coolness of guitar noise, snarly singing, and a refresher on what punk’s all about.
While the B-side is OK “progressive punk,” the A-side is a real blaster. Great punk rock, powerful as hell, with absolutely scathing lyrics. I wanna hear more!
Four gals and one guy team up for some pop-punk with punch. Sort of like GIRLS AT OUR BEST, which, for me, is a good recommendation.
Will the headbangers like this? Musically, it’s that old thrash/metal half the time, and slower-paced metal at others. Lyrically, it’s not “satanic” at all, and instead covers political topics in a manner more complex than, say, DISCHARGE. I guess the main problem for the metalheads will be the female singer (best part of the record). Can they handle it?
A three-song rockin’ all-female power-pop release. Two songs are more pop (a female RAMONES?), and one is a more moody post-punk tune. Good production, good record.
Out of left field (literally), this Yugoslav band has done a great job of resurrecting the best aspects of ’76-type punk. It’s a hard-rockin’, R’n’B-based punk style, reminiscent of JOHNNY MOPED or some early NY punk and proto-punk bands. Despite those roots though, PARTIBREJKERS manage not to be derivative, and almost every track has some spark of originality.
Hardcore that’s based on R’n’B, extrapolated through ’60s punk, early ’70s rockin’ blues filtered through HEARTBREAKERS into the ’80s. In other words, imagine a totally punked out version of CHOCOLATE WATCHBAND’s “Let’s Talk About Girls” in French and you’ve got the idea.
A pretty uneventful outing for these normally exciting guys. Their cover of CREEDENCE’s classic is no improvement at all on the original, while the flip seems pretty uninspired as well. C’mon guys, get psycho!
This collection of the prototypical French punk band is not to be missed. Their sound (raw guitar and vocals combined with a rhythm machine) set the standard for “the French sound,” evident still in many punk and hardcore bands. Contains LP and 45 material, as well as their later incarnation as METAL BOYS.
More “electric Q-tip” music from the neo-noise boys from England. A-side contains a JESUS AND MARY CHAIN meets the BYRDS noise/pop ditty, while the flip is more in the ultra-treble tradition.
Is this really from Greece? Countrified rockabilly meets SUICIDE for three rockin’ tracks that are hotly produced with neat psych effects here and there. OK.
Very well-done and punchy pop-punk with femme vocals. All four tracks rock hard but maintain great melody. Unfortunately, one of them, the title track, is marred by the addition of horns. Otherwise, fine effort.
Better-than-average power-pop from France. There’s a hint of ’50s rock ’n’ roll, GROOVIES-type pop (late period), and surf.
Quite an auspicious debut for this hard-rocking outfit. DEADLOCK hits with powerful yet varied hardcore, playing tight as hell and with melody as well as speed. Holds your attention.
This is the Canadian band not the Aussie one, and their debut contains what I’ll call the “Western Canadian” punk sound with the DOA rock ’n’ roll influence. When I heard em live last year, they were straight ahead thrash, but their debut contains eight songs that rip along with a combination of melodic thrash, DOA, and even a sort of DEAD BOYS influence at times. Like fellow Canadians the ASEXUALS, lots of good hooks and choruses, and good lyrics, too.
Hard to tell what’s what on both sides, but it doesn’t really matter as this bugger is excellent. Besides a very stimulating eight-page booklet/cover, the music is riveting as well, making good the band’s stated desire to not just entertain but inspire. Get it.
Recorded back when men were men and the COCKNEY REJECTS were the heirs apparent to the PISTOLS sound, I was hoping for a real knockout. While most of the tracks here are decent, they are largely studio doodlings, outtakes, jamming, etc., and rarely approach the awesome power and impact of C.R.’s first two LPs. For collectors.
Besides an outrageously funny and lewd cover, this comp delivers two tracks each by eight SoCal bands, most who hail from the Long Beach area; RHINO 39, VANDALS, RED BERET, CREWD, FALLEN IDOLS, SECRET HATE, NIP DRIVERS, and TARGET OF DEMAND turn in surprisingly unraucous tracks, mostly in the mid-tempo HC vein. Decent, but not mind-blowing.
They snuck this stuff out from behind the Orange Curtain, the stronghold of ultra-fanatical right-wingers here in the US. And yes, even in this suburban hell, an underground exists (and an extensive one at that). The likes of D.I., DOGGY STYLE, JUST BECAUSE, EXOBIOTA, CONVICTED, BLIND HATRED, LOVE CANAL, and tons more (only notable exclusion is UNIFORM CHOICE) turn in one song each in many varied punk styles. Good comp with high sound quality.
“If there’s no discussion there’s no growth” is the byword here, and the lyrics and accompanying text/graphics certainly live up to the challenge. Musically, it’s surprisingly melodic (as in great pop punk thrash), considering the anger of the words. Very well done and should be sought out.
Haven’t heard a record quite this primitivo-garage in quite a while. I mean, they guys are barely out of the basement, let alone the garage. But the lyrics are not stupid, and as with some few records of this genre, they come across with charm in their ineptitude, making this a very enjoyable seven-song thrash/trash disc.
This band had a great pop/punk EP out a few years ago, and while this new tape still contains their gritty approach, the material is a bit slower (wasn’t too fast to begin with) and a bit more “heavy” (not metal, though; more like mid-period SAINTS). Decent.
Four blasting East Coast heavy hardcore tunes, almost a rarity these days. No metal here, just straight-on thrash-and-burn, no let-up killer stuff. Keep it up!
One of the greatest US ’60s bands gets reissued yet again (third time?). The first album contains all the tracks from their awesome ’66 LP, as well as all the 45 tracks from their heyday. The second disc contains mostly studio outtakes, only one of which (“I’m a Man”) really matches their pinnacles. Definitely worth snagging, for great R’n’B-based powerhouse rock ’n’ roll Á la early STONES, KINKS, BEATLES.
OK, here’s your chance to pick up REDD KROSS’ early stuff, back when they had short hair (see photos this issue). Classic stuff like “Annette’s Got the Hits,” not to be missed. Great reissue!
Named after a great YARDBIRDS song, this band is nothing at all in that rave-up vein, but rather sounds like tons of early ’70s blues rock bands. Laid back and uninspiring, this is in no way “alternative” or exciting. Not happening.
Many personnel changes since their debut 12″, making this aggregation a little less popish and a bit more powerful. Without resorting to metal, this new disc should appeal to both punks and metallers. Lyrics: Desperate Anger Dept.
While not as eccentric as, say, the CRUCIFUCKS, there is an intelligence at work here that combines great lyrics with a Doc Dart-type vocalist and good garage punk music. Hope they keep working at it.
Decent neo-’60s punk, at times attention-grabbing though ultimately unmemorable. More towards CRAMPS than METEORS. There are a few covers, the most unusual being the SMALL FACES’ “Whatcha Gonna Do About It?”
Fast, tuneless metallic DISCHARGE-ish thrash, heavy on repetitive riffs and choruses, rapid-fire guitar, and relentless drumming. Contains some former VORKRIEGSJUGEND jugends.
Smooth, predictable melodic hardcore. The tunes are all tight and powerfully done, but lack a specialness or rawness to make them stand out. Titles are translated in English, but I’m sure understanding the lyrics would make this form of Finnish HC more exciting.
There are three German guys from AJZ Youth Center (where many of the tracks here were recorded live) peering over my shoulder, making sure I give this tape a good review. Like most live tapes, I think charm is there only if you’re really into or friends with the band, so these guys love it. There are German bands like NUCLEAR, RAZZIA, BLUTTAT, NIKOTEENS, etc., as well as foreigners like TOXIC REASONS, MOB 47, KANGRENA, BGK, JERRY’S KIDS, etc…
Garage recordings of some newer Finnish bands, such as KUMISKRISTUS, WANKERS, KAYTTO-OHSE, VIVISEKTIO, and more.
An international comp tape inspired by Chris of BCT. This effort covers a bit of Spain, England, Canada, Germany, Sweden, and Holland. Represented are ANTI-DOGMATIKSS, MANIACS, CHRONIC SUBMISSION, RÖVSVETT, CERESIT 81, POST-MORTEM, BLACK VAMPIRE, ANTI-HEROES, AD NAUSEUM, FIEND, and BLUTTAT. Good sound quality. More comps to come.
A benefit tape for Greenpeace, and, in a word, awesome. Incredibly tight and powerful yet melodic Swedish thrash from S.O.D. (get their EP) RAPED TEENAGERS, ASTA KASK, ASOCIAL, DISTRUST, HERRAIDS, and MOB 47.
This unusual comp accompanies Hide zine #5. And unusual it is, in that all of side one features all-female bands (FIFTH COLUMN, ASF, UNWARRANTED TRUST, WORD OF MOUTH, CURSE, BETTYS, GIRL WAR III), an effort to “make women an integral force in punk once again.” Side two features women and men together, such as MYDOLLS, RAGGED BAGS, and many more. Varying degrees of sound and competency.
The follow-up to Pebbles #15? This Part 2 contains mostly punk with lots of fuzz, a few covers, and at least average material and bands. Pretty cool raves from the TYKES and VIKINKS. Most material is from 1966-’67.
I wish they meant what they say and destroyed metal. Instead, they’re “destroyers” in the metal vein. This metalcore stuff is pretty fast, but the guitar…I can’t go on.
The cover might fool you into thinking this is ’60s-punk-oriented (it did me), but forget it. Unless you’re into EAGLES drivel, pass this sucker up. Australian country crap.
Germany’s goofy punks present a concept record: five songs, each one pretending to be a different band from a different country—a US surf band, a UK metal band, Mexican mariachis, etc. Good idea, terrible results.
Can you picture MDC meets HALF JAPANESE? Sort of garagy thrash blitzes punctuated by ranting vocals and a unique drum roll. Short tunes, and short on melody. Different.
A very limited posthumous release, this garage production features a 1981 recording of two wonderfully noisy, trashed, raw-as-hell punk rock classics. Find it at all costs.
Very good neo-’60s punk, indeed—perhaps second best in the burgeoning Swedish scene. Tight, loud, and with really good influences (HAUNTED, CHOCOLATE WATCHBAND). But they are just a shade shy on pure aggression, and that’s why I give the nod to the NOMADS.
Good skunk French punk, if you know what I mean. You know, music you can pogo to, that has those unmistakable French choruses. Strong production.
Pretty atypical for a Japanese release, this all-female combo comes forth with four grungy garage tunes, with production to match. Some fast, some slow, all trash. Primitive.
Not to be confused with the early UK punk band, this combo is formed of ex-RATSIA and PELLE MILJOONA N.V.S. members. Both songs are in an early pop-punk style, owing more to pop than punk, with an accent of high production.
A four-song rip-snorting thrash attack. It’s in the English-style of thrash, but with a decent amount of melody. Non-stop tight, angry attack.
Quite unusual punk. Take a synth-oriented new wave band, double their speed, adjust the vocal speed to “perky,” and voila—three songs, all zippy, poppy, and enjoyable. Good hooks.
Very excellent ’77 punk style release. I thought by the sleeve and name it’d be metal mania, but instead it’s really powerful, tuneful, and catchy PISTOL-type punk without being really imitative. It rocks.
Great melodic thrash with power, hooks, and tunes galore. Neat trade-off male/female vocals. Hot production. Recommended!
Some of the rockingest and most sparkling post-punk I’ve heard since the early FALL. Hey, it’s a band like this that might give “post-punk” a good name.
Over the metal edge go our Italian friends. This time out they present four songs, all of which sound like GBH to me. A step in the wrong direction musically, but they’re still hitting hard lyrically.
This is the “HOLY DOLLS,” formerly RIISTETYT, gone from HC to new wavey synth-pop post-punk. If that sounds bad, it’s because it is. If that sounds good, pick up another rag.
Yet another neo-noise band. This group combines the sparse post-punk sound of BIRTHDAY PARTY with the treble feedback guitar of JESUS AND MARY CHAIN. Three tunes, none awesomely ripping.
A five-song, one-sided 7″, this is largely abrasive slower punk/post-punk. It’s all well-done, though I think knowing the lyrics would be most helpful.
Abrasive, raucous yet sparse fast-paced post-punk. Reminds me at times of the FALL meets BLURT meets the JESUS AND MARY CHAIN.
Most of the material here is psych-wanking in a BEEFHEART meets BIRTHDAY PARTY vein; post-punk inanity. But one of the two versions of “Happy Hour” that appear on the disc really cuts loose, with a great CRAMPS-like rock-out. The rest leaves me cold.
Eccentric folk/blues punk? The YOUNGBLOODS meet the FALL? Whatever, the MEKONS are back, expanded to about seven or so people of all ages and descriptions, and their music certainly reflects that variety.
Metal-influenced thrash and punk from Finland. Well done but somewhat uninspiring, though it should appeal to more people than not, as their genre is “in.”
Missed reviewing this a few months back. This trio is pretty versatile, varying from tight, fast thrash to rock ballads to metal-tinged punk to melodic fusions. Well produced, but the heavy rock influences take their toll.
Melodic punk that’s well done, with the accent on both lead and back-up vocals. This is not raw punk, but the guitar sound is powerful, and the drumming strong, too. ’78 in ’85.
Another very hot recent Italian hardcore release. Gnarly, well-produced political thrash, intense vocals—good all the way around. Get it!
A rippin’ little tape. Full of sharp lyrics, tuneful-as-hell thrash, and an upbeat attitude. Another fine band out of Canada with a good debut.
Unlike a lot of contemporary Japanese HC bands, this group delivers some very powerful HC without resorting to metal influences. Really well done recording and come distinctive touches add up to one hot release.
Actually, this is a four-song 6″ that comes in a 10″ jacket. Don’t ask me why! Musically, it’s slowed-down punk and noise, somewhat like FLIPPER (garage-y) but more tonal. Decent, but not exciting.
Right up there with all the best English power-thrash bands. Repetitive speed riffs and howling vocals, hot production and no-let-up pace all add up to a great four-track debut.
The four excellent straightforward thrashers here will all be appearing on Pushead’s EXECUTE/INFERNO split 12″ really soon, so you’ll get to check this one out or yourself. Good one.
Despite the RAMONES influences in the title, these tunes are much more on the pop side of R’n’R. Which is not to say that the music is poor, but power-pop is not what I was expecting. OK for what it is.
Pretty repetitive metalish hardcore at a medium- to fast-clipped pace. Not as offensive as some, but doesn’t do anything for the emotions or intellect. Okay vocals.
The first of many Oi! releases to be put out by Roddy of the OPPRESSED (a label looking to non-racist Oi! music. Incidentally, he’s looking for US Oi! bands for a UK Oi! comp LP of this nature.). Decent Oi!, and a project worth supporting.
Tricky cover (doesn’t state the band’s name anywhere on the outside), but straightforward, driving punk inside. There will always be a place for well-done ’77 grunge.
Jeez, could they be Mods? Yes, but not very stimulated ones. Four songs, decent pop rockers, but not ravers at all.
All four tracks here are instrumentals, as I assume all the tracks are on their LP as well. If you’re into ’50s rockin’ tracks like “Tomahawk, “Rumble,” etc., you’ll jump for this. Modern spaghetti western rock ’n’ roll from Sweden.
Sun-baked punk, thrash, Egypto-crypto-weirdness. Sound quality is shaky at times, but fans of Southwest psycho blues will love it.
The ’60s reissues continue to pour out: #18 is Colorado, a mixed bag but with cool stuff from MOONRAKERS. #19 covers Michigan (Pt. 3), with a pre-STOOGES track of Iggy with the IGUANAS. #20 is LA (Pt. 4), and might well be the best of the new lot with classics from the MUGWUMPS, LAST WORDS, and others. #21 covers Ohio (Pt. 2) with average material. Finally, #22, and the South (Pt. 2), with a lot of folk rock stuff and a classic by DICK WATSON 5 extolling the virtues of intellectualism!
Did somebody slip a GBH record inside this jacket? Metalcore to the max by SUICIDAL TENDENCIES and their homeboy buddies BEOWULF, LOS CYCOS, NO MERCY, and EXCEL. Somehow, between the metal sound, song titles, and artwork, I don’t think this project goes too far in convincing me that Mike Muir really is down on the macho, violent gang mentality he professed in MRR.
Although sometimes of garage production standards, there’s more than enough hot material to warrant this Annapolis-area comp. SPASTIC RATS, FIT OF RAGE, STRICTLY PROHIBITED, CHRIST ON A CRUTCH, SICK CHILDREN, HATED, PURGATORY, ROADSIDE PETZ, and the RUDE thrash their way into your geographical memory.
Somehow this unknown HC hand from Buffalo, NY made its way to Italy and released a five-song 7″ (I believe it will come out in the US eventually). And I’m glad they did, cuz the results are hot! High-quality production and top-flight melodic all-out thrash with excellent lyrics to boot. Get it.
Recorded live in ’83, both sides of this disc rip. While not my absolute fave type of sound, this no-wave-meets-hardcore group attacks with noise and energy, and this release is as good a demonstration of their efforts as any.
Let me put it this way—if you liked PSYCHEDELIC FURS’ first LP or two, you’ll be heavily into this. The likeness is uncanny.
I think this is the band that went to Guyana to bring HC to the “natives,” but instead brought back the “natives” to us. Really, though, this is a sloppy noisefest of thrash, much like many of the European thrashers. Great lyrics, totally pissed and flailing about. Enjoyable anxiety attack.
Recorded in ’83, these four tunes are all previously unreleased and all rip. Great covers of “If the Kids Are United” and “These Boots are Made for Walking.” Available only as a 7 SECONDS Fan Club promo, so send $5 to Positive Force.
Eight ripping, catchy thrashers—tight, powerful, and melodic thrash ’n’ punk. Yep, it’s yet another class act on the scene. God, it makes me mad how little exposure or credit bands like this get.
The first release on Spot’s new label, this all-female combo hits hard with quirky punk. There are funk influences in their post-punk rhythms, traces of PATTI SMITH, POISON GIRLS, and more illustrious predecessors. A well-executed variety pack.
I believe this comes under the general heading of “generic thrash”—well done, fast-as-hell, pissed political lyrics, and as of yet an “undistinctive” style. Give ’em time, though, because they’ve got all the ingredients except the time to grow.
You’ll be hearing more from these guys on vinyl soon (a couple comps and perhaps their own release), but for now you’ll have to settle for this raging seven-song demo, a slightly more metalish version of DIE KREUZEN. Good start.
Actually, I’m not sure which is the band’s name and which is the title, but this seems to be the likely set-up. Very unmelodic, short outbursts, driven by mostly snare drum (bass and bass drum aren’t audible) and fuzzy, gnarly guitar. Mixture of speed-metal and straight thrash. Very fast stuff.
First off, this is not the Swedish NOMADS, but a US garage band from the ’60s. Secondly, it’d have to be an awesomely great band to warrant a whole LP’s worth of rough demos, and this combo from North Carolina is not of that calibre. Lots of covers, but the title track is hot.
You can tell it’s a good record when it ends all too fast (or else it’s way short, but in this case you get 16 songs). Rippin’ punk/thrash/skate music with bits of funk, but all really well delivered. Theme-wise, skating and “fun” songs predominate, but there’s some serious stuff too, such as “C.I.A.A.I.D.S.,” which insinuates there’s a CIA conspiracy behind the AIDS epidemic. Hot record!
Despite the garagy recording, this young DC-area band shows they’ve got something to say, and a zippy way of doing it. Straight-edge Á la MINOR THREAT. Will be good.
More in the current wave of “positive” HC bands owing most to 7 SECONDS and MINOR THREAT. And, as the title implies, the impetus is to think before acting, set to a driving mid-to-fast tempo. Good effort.
There’s a bunch of rip-roaring, stripped-down thrash here, powerful as hell and with great lyrics! Then, too, there’s more to this band as they display a fair amount of experimentation on a couple of tracks, and don’t lose a bit in the process. TH’INBRED are a band to watch.
Hard to believe. The Pope giving blow jobs, a circle-jerk party, necrophilism leading to AIDS, and fucking someone’s dad are the themes covered here. Hard to believe.
Quite a departure, at least as compared to the ICONOCLAST demo of a while back. Only one of the tunes is ripping thrash, and the other two explore more melodic/poppy and abrasive post-punk fields, which they accomplish to varying degrees. Adventurous.
“Expand Your Mind and Shorten Your Life” is one of the six songs here, and that typifies the “zany” outlook expressed by this combo. Musically they play a grungy, noisy but tight garage metal-tinged thrash. Unique.
Aha, here we have for a mere few dollars what government-supported scientists have been paid millions: conclusive evidence that prolonged use of marijuana rots the brain. All kidding aside, this record “blows it” (tee-hee). No, really, if your “bag” (ha-ha) is “fusion” music, this does it: punk, jazz, rock, reggae, horns, synth, etc., etc. “Dread”ful (ho-ho).
Most or all of the dozen or so songs here would fall under the “generic thrash” cover, with predictable but enjoyable energy and an abundance of youthful enthusiasm. Pretty tight, and decent recording quality.
Four fairly long but extremely catchy tunes. Owing more to melodic early-’70s rock like T. REX, this is a pretty stripped-down mid-tempo rock approach with an added drum-machine sound as well as regular percussion. Fun.
Organ-dominated neo-’60s punk that chugs along pretty well. At times, the guitar parts get a bit too rockish for my tastes, but the basic simplicity of the songs save it from degenerating too much.
HENDRIX hardcore? There’s a hard, quirky element at work in this otherwise hardcore band that adds unusual flavor now expected from this label. Different.
Quite a versatile band. Almost every track sounds substantially different from the last, ranging from straight chord garage rock (great cover of “Boys”) to folk punk, to MUTANTS/X-type early punk (cool male/female trade-off vocals), noise, thrash, and more. A band to watch for.
The first WILLARD record I’ve been able to get my mitts on, this picture disc displays power pop with early punk energy and drive. I get the feeling that DAMNED fans would appreciate this more than I.
Another excellent pop-punk release from VERTICAL HOLD. The A-side is the catchier of the two, employing choruses, driving medium-tempo rhythms, and snappy snappy vocal hooks. Memorable.
A four-band, four-song sampler from the Australian zine of the same name (comes with issue #14). Most all of the groups (POSITIVE HATRED, SUICIDE SQUAD, BOX OF FISH, and VIGIL-ANTI) play slow punk/post-punk with rhythmic appeal and rawish yet clean guitar sounds. Good idea.
Quite an undertaking, this tape contains 40 cuts of bands from just about every country where punk flourishes. The sound quality and choice of material is good and hot, and comes with a zine as well. A project well worth supporting and enjoying!
While both sides of this release have that funkified dance rhythm, both are listenable in that they maintain an aggressive beat, fairly unproduced guitars, and good shouting. Reminds me of middle-period GANG OF FOUR. OK.
Metal/rockish punk. I played this three times (kept being distracted by the phone), and only one track, “Speak for Myself,” has made any impact. Otherwise, it’s fairly standard punk.
Crazed vocals are the highlight of this tight rockin’ group, with both sides demonstrating pretty up-tempo snarlin’ teen punk in a ’60s vein; SEEDS are a big influence musically. Boss.
A one-sided release with sloppy, generic thrash noise. The drumming is the weakest link, but otherwise it’s a decent first outing.
An all-girl trio from Japan that plays your basic ultra-simple garage-pop. It’s that early ’60s garage/Mersey sound with punk fuzz guitar and pop female harmonies. Charming, but perhaps only ’cause they’re women.
A US release of this pop/punk Australian neo-’60s band’s two early 7″ers (both reviewed previously).
This band consistently comes up with outstanding (and expensive to produce, I’m sure) picture sleeves and mediocre vinyl. Actually, the two A-side tunes are a bit better than previous tracks, but the flip and accompanying flexi are just so-so (at best) pop-punk.
I’ve heard this is one of Japan’s earliest thrash hands, and this posthumous release was recorded live in 1979 to prove the point. Results: totally ripping, ragged-ass, no-holds-barred thrash. Besides the clear vinyl, collectors will seek this for its small pressing (500 made), but anyone else will want it ’cause it shreds!
A bit more of the metalish power sound seems evident on this release. This doesn’t come across in wanking solos (none, thank God), but in the repetitive and somewhat slower (for RATTUS, who are still fast by most standards) song structures. Still, it’s a powerful, tight release, a prelude to their (hopeful) US tour next summer.
An enjoyable earlyish punk-sounding band containing two guys and two gals. Some of the tracks contain that characteristic French drum machine/punk sound, while others are more traditional—all of which are garage in nature and energetic. Fun and interesting, despite the sometimes 50/50 sound quality.
Well-produced, mid-tempo punk that’s both emotionally unmoving and unmemorable for me. None of the four tracks made flail in any way, although “In Unity We Fall” did have me moving my hands in the air with its upbeat airs and choruses.
Medium-to-fast-paced punk and thrash. Pro production, good tunes, and occasionally innovative changes make for good listening. Trad punk with melody is their forte, and they do it well.
Both sides sound very similar, employing noisy slide guitar over a rat-a-tat rockin’ beat, combining post-punk pop with R’n’B. Interesting neo-noise.
Kind of a lighter RAMONES sound, almost folky at times, or perhaps it’s a dash of Merseybeat thrown in. Garage but clean production.
Positively awesome attacking thrash Á la DRI or MDC. This band is highly politically motivated (see Spain report this issue), and their music reflects their anger and commitment. Send $2 for the tape and $1 for their zine, Drama Del Horror. Nails.
Backed by the MILKSHAKES’ raunchy guitar sound, this trio of shoutin’ femmes are a treat (except every song is about “boys boys boys”!). But in a way, this rippin’ LP is a rip itself, as eight of the sixteen tunes herein appeared on their two 7″ EPs. Why??! LINK WRAY’s title track is covered with gusto, making it the highlight of the previously unreleased tracks.
The ultra-gruff vocals on a lot of Japanese hardcore may seem tedious reading about or cliché to some, but you really have to hear them to “appreciate” this new standard. DEADLESS MUSS provides a good example, backed by a wired and loose aggregation. Good.
As with many other of the current crop of Italian HC bands, there’s definite jazziness to their music as well as totally gnarly vocals, tight musicianship, and plenty of emotion and political awareness. Both male and female vocals lead the charge.
The A-side is an unbearable, slow, long, tedious bluesy number never to be heard again. The flip is more in a melodic but tough punk style—OK, but not at all exciting. Disappointing.
This, CHARTA 77’s second album, continues in the fast punk/occasional thrash groove they’ve established. Mostly tuneful material with a steady (sometimes too much so) beat, chorus back-up singing, and every now and then a song that jumps out from the rest. Good, but not awesome.
The first US release of Australia’s CELIBATE RIFLES contains eight tracks from their first Aussie 7″ and LP. Half super rocking punk Á la early SAINTS or RADIO BIRDMAN, and half hard-edged ballads.
Cleanly produced but noisy post-punk. Most of the songs are pretty dirgy, with a few that are quite driving. The music itself is powerful and churning, although I found the vocals a bit on the annoying side.
Totally excellent melodic punk/thrash record. This, their second LP, is no letdown at all, cruising along the autobahn at 120 km/hr, powered by non-stop punk fuel. No knocks, no sputtering—great ride.
Highly produced and accomplished pop-punk with punch. Catchy songs are the hallmark, done in the older but quite powerful punk style; this four-songer from Japan (not the LA group) is excellent.
At times this is rather usual mid-tempo Brit-punk, with some of the intros being more exciting than the body of the song itself. But then at times they surprise with their sudden bursts of extra excitement and energy. Also, this is a live tape of this anarcho-punk band, and a studio might produce a much livelier product.
A US compilation consisting of IBEX, VOA, BUTT ACNE, JUVENILE BEHAVIOR, BEDLAM, A.O.D., MAGGOT SANDWICH, LONELY CROWD, and MUTES. Varying sound quality and musicianship, but overall an OK comp.
A whole range of anarcho music, mostly in the British anarchist band tradition, but also including sparse post-punk, poetry, and semi-industrial—all of it coming off pretty well. R.A.F. PUNK, ICONOCLAST, INDIREKT, HAGAR THE WOMB, DECADENT FEW are among the choices. Some disparity in sound quality, but most is up to snuff. Good job.
A domestic US comp featuring VATICAN COMMANDOS, VERBAL ASSAULT, CAPITLE, LOST GENERATION, SACRED DENIAL, PLASTIC BANGS, and CANCEROUS GROWTH from the East; BURNING WITCHES and MINISTRY OF TRUTH from the West; and TOEJAM from the Southwest. Good sound quality and good studio production are the call of the hours, as are the performances themselves. Well done.
A bizarre East meets West combo. One side contains D.C. area bands (EXHUMED LUNCH, SPASTIC RATS, MALICE, G.I., UNITED MUTATION, etc.) and the flip are all from Albuquerque, New Mexico (JERRY’S KIDS, AKA, WONGS, and more). Slightly uneven in sound equalization, but overall, it’s an enjoyable thrash/noise experiment.
From the graphic look of the cover and band names, I would’ve thought this was a largely punk record. Not so. Fully two-thirds of it is various forms of new wave—some listenable, a lot not. It’s only with the last eight or so tracks on side two that we get some punk, with cuts from many bands previously not recorded such as HICKOIDS, SHOCKHEAD, CRIMINAL CREW, HAPPY DEATH, IDEALS, and JEFFERSONS (ex-DICKS minus Gary). Mixed bag.
Billing themselves as an “industrial hardcore half-breed,” I’d say they’re more on the industrial side of life. While there are some post-punk influences, the noise/mechanical factor is predominant. This is a “live” tape, and well-done if you’re into modern pain.
Poppy garage band with ’60s bubblegum sound meets ’60s punk. Organ sound and lightweight guitar characterize their “teen sound.” OK cover of “These Boots Are Made for Walking.”
Wrestling Hardcore, folks. Yep, all you pencilneck geeks will wanna snap this mutha up to show how on top of things ya really are. Musically, good blues meets punk. Enjoyable.
Continuing along with political/topical material, the RAMONES hit on Ronnie’s trip to the German cemetery with SS dead. The song (B-side is off LP) is a medium tempo rocker, a catchy tune that grows and grows and grows and grows and grows on you! Great!
Rapid-fire ’77-ish experimental synth punk Á la SCREAMERS or early TUXEDOMOON. There’s a definite edge to both the music and lyrics, and although the songs are long and repetitious, there’s a mania that sustains interest. Dark, but not overwhelmingly depressing.
Mykel Board loves this band.
PINK FLOYD-ish psych from the Milwaukee monsters—says there’s three songs on the label, but really it’s just one plus some noise. Comes inside the latest issue of Bucketful of Brains.
Is this the “fusion” music of punk? OTTO’S CHEMICAL LOUNGE pounds out these eight songs, and depending on whether or not you view this as a plus or minus, incorporate funk, jazz, rock, etc. into the tunes. Personally, I find it a bit annoying, especially on the covers of the GROOVIES’ “Slow Death” and the classic rocker “Shakin’ All Over.” I’ll take the originals, straight up, thank you.
At times metallish thrash, at times straight-ahead. Young and undeveloped as far as individual sound goes, this is a fairly generic Mystic-type release, giving a new band a starting chance to get some attention and develop. OK.
A 100% improvement over their recent 12″, this rocks out. Lotsa fuzz, cool tunes, and even the organ isn’t had. Only beef I have with all these neo-’60s bands is the lyrics—dumb boy/girl stuff. Otherwise, this is boss.
Unlikely name for a great thrash band. Actually they’re more than a thrash band, combining funk, rap, and lots of odds and ends, but all delivered with power, gusto, and a great gruff singer. Excellent.
Neo-’60s pop with a dash of psych. Reminds me a bit of the HOLLIES, with good vocals and harmonics, but not too much edge.
This hand includes late ’60s pop-psych and rock influences, as did many fellow Midwestern bands of that era itself. Sometimes it works, sometimes not. On the single, it doesn’t really click (too poppish), but on the free promotion tape you can write away for, the garage side does come out much stronger. Different (now).
Abrasive, driving post-punk. Lots of guitar, sparse but full production, rhythms, and depressed lyrics. Is there something “D.C.” about this still? Perhaps, because despite the “down” aspects mentioned above, there is still an upbeatness to it all. Can’t put my finger on it—not sure I want to.
G.I. is flooding the market with quality DCHC. “Plain to See” is awesome, and though these live tracks vary a bit in sound quality, most are rippin’. Only minor metally digressions, as the pure punk sound predominates and dominates.
A very well-produced and appropriately gloomy JOY DIVISION-influenced band. Don’t know if this is your cup of arsenic, but if you’re into such moods, then you’ll be thrilled to death to pick this up.
Garage thrash meets industrial noise. Primitive sounds whacked out with rock’n’roll gusto, includes both studio and live recordings. Some songs are actually catchy, and I got to (I think) feel complimented by the tune “Reagan Dropped the Bomb (on Tim Y).” Crude, rude, and rockin’.
This band is walking the tightrope of trying to delve more and more into rock and post-punk while maintaining the punk power of their earlier years. Overall, they manage to pull it off here, with the one or two less exciting tunes made up for by a tasteful cover of early JOY DIVISION’s “No Love Lost.”
Unusual hardcore, where thrash meets industrial noise with sometimes inspired moments. There’s straight thrash too, as well as FLIPPER-esqe music. All in all, a band to reckon with, despite their garagy live recording. Very intelligent lyrics, too showing that thrash can indeed be creative and manic today. Hey, they even incorporate surf music into it.
Side one features a couple of slower punk tunes with gnarly vocals and somewhat metalish overtones. Side two is an unbearably long “freak out” Á la IRON BUTTERFLY or some godawful downbeat hand.
The second tape from these folks contains five studio tracks and some live material, and is no letdown from the high quality inventiveness of their premier outing. Punk with guts but incorporating weird changes that most post-punk bands utilize at the expense of rawness and exuberance—these guys keep it all.
Despite the clichéd HC name, this transplant from Chicago has turned out quite a decent demo. Fine studio recording brings their thrash to life. It rips.
The layoff and new drummer has not daunted DRI a bit. They’re back as powerful as ever, with 25 songs as wickedly sharp as ever. There are a couple of slower metalish tunes (DRI are big with headbangers), but most are short sharp shocks, and include a couple of reworkings of tunes off their debut release.
When last we reviewed CHILD SUPPORT, we weren’t sure what direction they’d head musically. I’m still not sure; this is a pretty mixed bag of poppish-punk, new wave, experimentation, pop-rock, etc. Lyrics are above par in theme and intelligence, but this record will probably only appeal to the more open-minded or dance-oriented (not one and the same) folks.
Those Stepe brothers will do anything to keep their names in print, even going to the outrageous length of putting a tape out. Decent garage quality sound here, and better-than-decent stop-and-go thrash. Funny “thanks to” and “a big fuck-off-and-die to…” on the enclosure.
It’d be simplistic to compare this combo to the HÜSKERS, but suffice to say that they both play extremely fast pop music. At that point the comparison ends, as BRAILLE PARTY play very cleanly, though they don’t sacrifice a lot of power for doing so…just a lot of raunch.
This one’s growing on me. Neat garage punk and thrash showing lots of imagination and diversity. There’s weirdness interspersed between tracks (must be a Midwestern tradition), in the tracks, and in the lyrics. Singer Eric Fund Fournier actually sounds like LOVE’s Arthur Lee on “Young and Restless.” Cool.
Decent older styles of punk (’77, GUN CLUB, R’n’B), but often ruined by “rock” excesses of guitar solos and plodding metal structures.
Fairly powerful, pounding punk somewhat reminiscent of the DK’s, though that only creeps in occasionally in vocal quality and riffs. Just a few songs here, but they show much promise.
Most Northern European bands don’t put much emphasis on melody, it seems but these SCOUNDRELS certainly do. This is somewhat explained by a lot of medium-tempo punk tracks (as well as faster thrash), where tunefulness is more important. Well done. They love the GERMS.
Tuneful punk with pop influences. Quite melodic but done with a raw edge, clean professional production. Contains members of STRES D.A. and UBR.
Both fast and slow hardcore of a rather standard type. It’s all well done, but doesn’t quite have a real spark to it which could be more a matter of recording than the band’s fault. Decent, with plenty of potential.
Remember “TVOD” by the NORMAL? Well, this band is sort of in that genre, along with early HUMAN LEAGUE, etc. Lots of experimentation with electronics with a punk feel overall.
Fuck if this doesn’t sound like S.S. DECONTROL’s second release. It’s got that power thrash sound, with Springa-like vocals galore. Very well done, with political lyrics.
Totally excellent tape that presents a wide variety of powerful punk/HC styles. Bands appearing include: IDIOTS, BEDROVLERZ RIM SHOUT, DIE ANNER, NORMAHL, RAYMEN, SCREAMING DEAD, DER RIB, SEPTIC PSYCHOS, etc. Rips!
This international comp features mainly Finnish, Swedish, and Brazilian bands, with a sprinkling of US and Australian. Some of the bands are: BRISTLES, MOB 47, TA.S.K. W.D.M., D.T.A.L., MASSACRE, R.O.T.A., VICIOUS CIRCLE, RUIDOS ABSURDOS, and many others. Varying sound quality, all savage.
Yet another international comp featuring Swiss, English, French, and other bands. Mainly featured are HELVET DISORD, XPOZEZ, VERDUN, STAHLWILLE, and VICIOUS CIRCLE. OK, but the sound quality is not the best.
Maybe I’m getting spoiled by all the great Italian HC releases of late, because this comp just doesn’t reach the energy or excitement level I’ve grown accustomed to. Most of the bands here (BASTA, CANI, DIOXINA, HOPE & GLORY, ROUGH, SS20, KLAXON, among others) turn in older-style punk or Oi sounds that just don’t overwhelm. Even the normally excellent NABAT doesn’t really break through.
A split LP by Italy’s I REFUSE IT and CHEETAH CHROME MOTHERFUCKERS, this was originally released as a tape by the bands in ’83. I REFUSE IT combines punk, jazz, thrash, and experimentation in a unique way, while CCM attacks with an experimental thrash that sounds like RAW POWER meets DIE KREUZEN meets the MINUTEMEN.
Two tunes each from these British anarcho-punks. MORBID HUMOUR are more vocally oriented with sparser, slower instrumentation while ANTI-SYSTEM turns in two ripping classic UK thrashers. Good on both sides.
Rockabilly, the punk of its time, meets today’s punk in Psychobilly, some of the results are recorded herein. While the METEORS (who appear here) broke this trend, tons of bands have followed. And while the genre is even more restrictive than punk or HC, it still sounds good, especially the RESTLESS, DEMENTED ARE GO, and ROCHEE AND THE SARNOS. Enjoyable rockin’.
A Polish compilation LP that features both HC and reggae bands. Surprisingly well-recorded for the most part, there are some strong tracks by PROWOKACJA, ABADDON, TILT, and DEZERTER, among others, but the standout track is the title song of the LP, done by SIEKIERA. Find it if you can.
By now everyone’s heard of the NOMADS, but what a pleasure to find they’re just the “tip of iceburg” as is proved by this “Distorted Sounds from the North” comp. Incredible neo-’60s punk rages forth from SHOUTLESS SLOBSTER, PYROMANIACS, CREEPS, WAYWARD SOULS, and tons more as well as aforementioned forerunners, the NOMADS. Shiver me timbers, this is awesome.
An all-Belgium comp. featuring CAPITAL SCUM, KOYAANISQUATSI, WAR RISK 3, ZYKLOME A, VORTEX, and WULPSE VARKENS. This is also an all-hardcore comp, most of which is above average and well-worth obtaining.
Pretty plodding, sort of in a Britpunk style of a few years back. Not awful, but not very exciting, that’s for sure. Cosi-cosi.
Goofy punky rock new wave Á la ’77. Satirical lyrics combined with surfy/folky/jazzy music with an edge. Sort of like FRANK ZAPPA meets early MYSTIC KNIGHTS OF OINGO BOINGO.
Part of that unique mixture of rockabilly and ’60s punk that some modern bands are conjuring up, TALL BOYS’ blend renders a result that works. Purists of both genres might be unhappy, most rock’n’rollers will be mighty pleased. Interesting cover of “Action Woman.”
This is the last testament for the STALIN, a two-record live recording. Forsaking their earlier harder-edged punk and thrash, the preponderance of songs here are harder-edged post-punk/rock punk. While not a “weak” release by any means, I found myself bored at times with the long dirges, and not excited enough by the shorter slaps. I’m spoiled by their older records.
Excellent release that crosses post-punk with ’60s psych in a modern powerful way. Reminds a bit of fellow Australians LIME SPIDERS, and with this debut US release (this label will be presenting a lot of Aussie bands to the US) the SPIKES will make their mark.
Demented punk blues in the JESUS AND MARY CHAIN mold. Off-key, noise-laden feedback city, electric viola—a real painful mess that brings joy to one’s twisted heart. Good.
From the first blast out of your speakers, you know you’re in for a treat—wham!—out pours thrash ripper after ripper. Over a dozen raves in a straight-ahead style, much like the first DRI release. Wicked!
Well done punk in a more British style. There’s mostly fast punk (as opposed to thrash), with a couple of slower tunes to break the tempo. I can’t say I jumped up and down listening to this record, but fans of the Britpunk genre will be able to pogo.
A cockney accent set to an older style punk that’s got a slight bit too much rock guitar to it. Otherwise, it’s an OK release. Just don’t like that guitar much. However, it is, as advertised on the jacket, a “synthesizer-free product.”
Very good pop/punk with ’60s undertones, not unlike the SAINTS’ second LP, occasional horns and all. Rocks pretty good, as do most Australian bands in this genre.
Industrial post-punk hardcore? Whatever it is, it’s done with gusto and power rare for most post-punk bands. Also rare is the band’s imagination. Sort of like SONIC YOUTH meets the BUTTHOLES meets some nightmare you had after eating meat and taking acid for the first time in ten years (Ray Farrell, take note). Not noise!
Three of the four songs are mid- to slow-tempo hardcore, at times verging on FLIPPERISH drones. The remaining song is a thrasher, and all the tunes are powerful and gnarly. Good production, good record.
Probably the only English band to truly understand American garage trash, that wonderful mixture of R’n’B and white teen angst. These incredibly prolific guys couldn’t care less that it’s not 1963, whirling on in a world of their own fueled by surf, Mersey, DIDDLEY, KINK-dom, and KINGSMEN. Boss.
Both sides are up to the METEORS’ best standards. The A-side combines crypto-surf guitar and psychobilly, while the flip is an eerie cover of SAM THE SHAM’s hit. Echoes galore!
Back on the HC team, Vinyl Boogie has released a sizzling EP by this Berlin band. They play ultra-tight thrash with lots of melody and no fat. Four songs, all excellent.
It’s difficult to tell who’s doing what here, but both sides are powerfully done post-punk for the most part with song titles that describe both the lyrics and mood of the music: “Holocauste,” “1944,” “La Petite Horreur.”
Scott says they sound like a cross between psychedelia and a trebly FLIPPER. Dogtowne says they’re pretentious pretenders to the VELVET UNDERGROUND’s second LP. Whatever, they do combine pop tunes with incredibly abrasive guitar noise and feedback to produce a highly listenable product.
Kinda folk-punk with catchy electric songs, not unlike a slightly less crazy SOFT BOYS. Poppy, but good guitar sound and not at all wimpy.
Containing some ex-members of STRES D.A., this band plays semi-tuneful thrash, unrelenting in pace and featuring raw and rapid lead guitar, hoarse vocals, and pounding toms. Well done.
Very English sounding, very female vocal sounding, very punk meets post-punk sounding. Seven songs, all chunky boppers with perky-jerky lyrics.
Thrashin’ Oi sounds from Germany. These tuneful tunes are delivered competently and powerfully, although there is definitely an amateurish garage quality to the playing, too. Can’t say anything about the lyrics, but I can say they’re definitely into their boots and rolled-up jeans.
Wall-to-wall, highly produced, powerfully delivered, and tightly played stop-and-go thrash. That sound generic enough? Nonetheless, these guys are good, do feature almost post-punk guitar work at times plus the tape comes with mini-zine Rancid Humanity.
Aaagh! It’s t-h-r-a-s-h, not t-r-a-s-h! Okay, now that that’s clear, onto the music. Most of the songs here are really well recorded, though there’s a few live ones with a slightly tinny sound. But all the songs shred—very powerful thrash!
The A-side is a pretty catchy, almost MOTÖRHEAD-type rockin’ metalish number with excellent lyrics. The flip is too plodding for my tastes, but again with good lyrics. While I don’t enjoy this brand of DISCHARGE as much as their earlier incarnation, at least the integrity of the thoughts is maintained.
Three post-punk tunes from this English band, all of which are fairly driving. I like “Ritual,” the best as it delivers the most oomph. For those into “death.”
An organ-dominated ’60s punk sound in the Pacific Northwest tradition. Harmonies are okay, so’s the beat, but a bit more guitar is definitely called for. Too poppy.
Two of Brazil’s frontline HC bands share this live recording. CÓLERA are medium-to-fast-paced, while RATOS are more frantic. Both are tight but raw, in the music and vocals. Okay, if you’re into live recordings.
A very hot three-song release. “Seeing Through My Eyes” and “The Point of Agony” are especially good, capitalizing on metal punk with maxi-power and mini-solos plus sharp lyrics.
They weren’t kidding, cuz this is a garage special. Kind of like a HALF JAPANESE goes punk. Enjoyable eleven tunes.
Somewhat garagy production, but still listenable. Features eight fast thrash tunes, pretty tight and melodic to boot. I think if they got into a decent studio they’d turn out something above average.
More tuneful than most Finnish thrash, this band employs melody, and clean production and playing; because of this, there’s more of a British feel to this six-song release. But by no means is this a sterile, plodding record; quite the contrary, it’s pretty strong medium-paced thrash and good listening.
A rockin’ minimalist guitar-oriented band here, who on the A-side sound like the BYRDS meet the FALL, and who are a bit less distinctive on the flip. Interesting.
Nine Garden State beauties (A.O.D., STETZ, CHILDREN IN ADULT JAILS, SACRED DENIAL, MY 3 SONGS, CYANAMID, PLEASED YOUTH, BODIES IN PANIC, BEDLAM) blossom forth in a well-cultivated comp. No rotten tomatoes here—just plump pickins. Jersey’s finest.
This third Throbbing Lobster comp again contains mostly pop or garage bands with some noteworthy moments—being the PRIME MOVERS, and the re-emergence of CLASSIC RUINS and WILLIE LOCO ALEXANDER, and a good track from LAST STAND. Humor Dep’t: MIGHTY IONS’ “Pedro Morales” to the tune of “California Uber Alles.” Band to watch for according to Dave Scott, who says “VOLCANO SUNS will be the next HÜSKER DÜ.”
Excellent hardcore with melody. Powerfully delivered in both slower and faster songs, the band provides great lyrics and sentiments as well. A bit of reggae is mixed in, breaking up things nicely. Good debut, and a credit to their genre.
This is a live recording, and the songs are versions of material that has appeared on all previous 12″-size WIPERS releases, as well as a few newies. WIPERS are a straightforward, driving rock’n’roll band with punk overtones and attitudes. And like a previous straightforward band, CREEDENCE CLEARWATER, WIPERS sound very much alike both live and in the studio.
This three-song release, their second, again combines PRETENDERS-like vocals and pop/punk arrangements, but is a bit more punk in style. Excellent recording.
Very intelligent and cynically optimistic lyrics are combined with intense slow and fast HC to produce another excellent NY release. (For more info see article this issue.) Right up there with REAGAN YOUTH, this one should be gotten.
The A-side sounds like ’76 power-pop, not unlike the FAST or FURYS. The flip is much more interesting, combining original vocal tricks with more modern pop/punk Á la early BOW WOW WOW. Not bad.
The kind of record Jello would appreciate—really quirky, jazzy, thrashy, experimental punk. While not imitative of MINUTEMEN in any way, said band’s fans should be able to relate to this.
I thought that SOCIAL UNREST had lost that special spark in recent times, but lately, both live and on this new vinyl, they’re back in fine form. This slab contains HC of all tempos, and with their new personnel and Jason on vocals finally gelling, they’re a force to be reckoned with again. Excellent release.
S.F.N. “Stands For Nothing,” but their music is definitely a cut above. Very tight playing and excellent production bring out some of the subtleties in their complex power-thrash approach. Bits of jazz thrown in here and there break the uniformity, as do the intelligent lyrics. Lotsa songs.
One of D.C.’s most touted younger bands comes across with a melodic punk style that combines older-style punk and rock into a powerful force. With ringing guitars, chunky rhythms, and ruff vocals, they come across not unlike area-mates SCREAM in toughs but pop appeal.
The parting shot from one of the great punk experimenting bands. REALLY RED combined awesome power with intelligence (lyrically and musically) to produce both pop/punk and experimental punk of the highest calibre. This record displays both, in a mix of live and studio tracks. Great cover of RED CRAYOLA’s “War Sucks.” We’ll miss em.
Some speedcore, some even more metal damage than that. Those songs that are really uptempo are pretty good (“Fooled Again”), but I just cannot hack the more-metal-than-punk tunes at all.
The A-side is a bit too country new wavish at times for my taste, but the flip rocks along pretty good with more of an early punkish approach. There’s still something early ’70s-ish about it, but the pace overrides whatever depression that tinge was about to bring on.
A new singer has joined the former merely MORTALS, adding some really gruff punky vocals. This is added to their garage Midwestern rock’n’roll sound and clean playing, for a pop/punk record that REPLACEMENTS fans should enjoy.
Maybe a tad slower than their debut album, this release retains MARGINAL MAN’s melodic approach to punk without losing too much of an edge. The vocals continue to snarl despite the melodic guitar and almost rock-structured songs. Controlled but not wimpy.
Sounds like the bad side of UXA. Lots of rock instrumentation with an okay, but too “tryin’-to-be-Siouxsie” singer. Dog likes it, though (says she’s better than Penelope), but Spinali says she’s off-key (and he normally likes any band with a female singer, regardless of quality).
Garage punk with a country twist and wise-guy lyrics. Very well done.
Yet another “power” HC band, combining heavy chords with punk and thrash structures. Nine “grinding” tunes for you crossover freaks.
Metal, punk, pop-punk, SoCal sound, DK’s—all mixed together in a powerful way. Despite the obvious influences, the results weren’t that imitative. Enjoyable.
The A-side “Destroyers of Fun,” is excellent powerful older-style punk rock with smart lyrics. The flip is not DC’s G.I., and features “The Sellout,” a more uptempo punk tune that’s also quite intelligent lyrically. I suspect some of the same people are involved in both projects. Thoroughly enjoyable.
With more of a recognizable “D.C.” sound and a lot less metalish or rockish material than their previous release, this album rates highly with me. Although it’s supposedly a “live” recording, you’d never know it by the excellent sound quality, with all the detail there, cumulatively adding up to one powerful piece of vinyl.
This trio cranks out some cool ’60s punk, especially on the instrumental side. At times, they remind me of SYNDICATE OF SOUND, maybe even a bit tougher. But the singer tries to “sing” too much, instead of snarl, and I found that a bit annoying. Otherwise, cool band and record.
This release is their third, and continues along in the advanced stages of psychedelic damage. Combining psychedelia, progressive rock, metal, ’60s punk, and bad singing, this outfit is adventurous to say the least. The guitarist is the strong point, whipping out some occasionally gnarly runs (Á la ’69), but the singing makes me take the needle off.
Powerful dronola in the NO TREND/FLIPPER tradition. Gruff vocals and garage aesthetic combine to give a KILSLUG feel, or so says Jeff. Interesting at both 33 and 45.
Sounds like a less thrashy and slightly more serious VANDALS. There’s lots of catchy punk songs with lots of humor or satire, plenty of melody, tight playing, and even tinges of country. Good but not startling.
I believe this is what Jeff calls “funnypunk.” These 20 satire-laced songs are real crack-ups, and backed up by tight playing that incorporates funk, country, and lots of other styles Into their punk approach. Let’s go to the shore!
The ADOLESCENTS are often used as a milestone in describing the SoCal thrash sound, and this band with two ex-members of the ADOLESCENTS is the heir-apparent. They pump out nine tunes fast and slow, which epitomize the H.B. sound: clean production, melodic thrash, surf HC guitar, and nasal vocals. Some real classics here.
Really enjoyable pop/punk in an older punk style, not unlike the path STRANGLEHOLD took. Roughly translated, that means lotsa hooks, pop structures, clean production, pounding drums, vocal back-ups, and tough guitar. Good.
The “music” herein definitely falls without our normal range of coverage, but as its done by a person (playing all instruments, singing, artwork) involved in the scene who also has an ad in this issue, I thought I’d take a stab: surrealistic experimental, overdubbed, mellow weirdness, special effects, poetic print and lyrics—outside.
This mostly female combo pounds out garage punk. Vocalist sounds a bit like TEDDY of FRAT GIRLS fame, and the music is classic anyone-can-do-it stuff with personality and vim. Enjoyable, with serious subject lyrics.
Definitely the punk equivalent of middle period JEFFERSON AIRPLANE. The “punk” side comes from the PATTI SMITH-ish vocalist, though both sides she and the male vocalist hit higher notes. Musically, it’s a jazzy/folky rockish band with tough, punkish power (at times).
Set to folk music anarchist punk, or weird post-punk, we’re assaulted with pleas, information, and harangues about the abuses to both the human species and animalkind. Can’t say I’m attracted to the tunes but those who are adventurous musically or inquisitive/passionate about the subject matter will be rewarded.
I’m a bit confused by the sentiments of the title, but not by the music that appears here. It’s had to go wrong with the likes of DRI, MDC, INFERNO, MANIACS, CCM, PORNO PATROL, ZERSTORTE JUGEND, etc. Lots of powerhouse punk and thrash here. It’s a good one!
A thrash extravaganza from stem to stern. An international comp, this includes ANTI-DOGMATIKSS, LÄRM, MOB 47, CERESIT 81, CÁ”LERA, CHRONIC SUBMISSION, NEGAZIONE, BURNING WITCHES, KROMOZOM 4, DECLINO, BRISTLES, SKULLDIGGERS, NIKOTEENS, and more. Quite powerful, excellent production, and high fucking energy.
Most of the bands here pump out pretty decent mid-tempo punk, but there are a few real gems interposed. KIDNAP turns in a wonderful sing-along, L’INFANTERIE SAUVAGE hits with a real up-tempo Oi number, and LES PORTE-MENTAUX turns in a really great pop-punk number that combines HEARTBREAKERS guitar riffs with a classic ’77 English punk-style tune. A good release from a new label.
A benefit tape comp for the Animal Liberation Front, this is a co-release from Bluurg and Sabotage tapes. Artists contributing are the SUBHUMANS, ATROX, INSTIGATORS, REALITY CONTROL, PSYCHO FACTION, POLITICAL ASYLUM, KULTURKAMPF, and several others. Good sound quality and good music and information.
Pretty decent but somewhat stilted thrash. I say stilted in that the drumming is so repressed in a chunky kind of way that the real power here doesn’t quite come across. Otherwise, it’s quite all right with excellent lyrics and some occasionally interesting changes.
Containing all the good characteristics of Finnish hardcore, this young band is coming into its own. Powerful and tight, this release has fine production that accentuates their wild vocals with neat echoes and underscores the fine guitar work. Excellent, with both thrash and slower tunes.
Despite Gerard’s rave about them in this issue, I find this tape good, but not overwhelming. Since I can’t understand the French lyrics, which admittedly would have a lot to do with a true appreciation of VERDUN’s impact, I can only comment on the music, which is power punk with buzzsaw guitars, mid-tempo speed, and good female vocals. Sound quality is OK.
Rockabilly in the GENE VINCENT & BLUE CAPS tradition. What separates this from psychobilly is it’s more traditional, except for the lyrics which on two of the four tracks deal with more contemporary themes.
Even though I find the drumming a bit distracting, the great guitar work and vocals make up for it. There’s TK’s usual short blasts of thrash, as well as some metal-influenced slower tunes and even a cover of the STOOGES’ “Search and Destroy.” Go see em this summer in the US.
Both tunes are organ-dominated pop-punk, not my fave type of ’60s rehash. The B-side is a bit snappier, sort of CASTAWAYS meets B-52’S.
While both tracks here are fine examples of fuzzed-out ’60s punk, “Make You Mine” is the real stand-out. With strong influences by raw R&B rockers like THEM, this one totally wails. Excellent.
Well-done but uninventive on their four thrash tracks here, but get a little more adventurous on a long droner. Also try their hand at a more melodic fast punk tune. Okay.
Six screams of revulsion make up this debut, and welcome shouts of frustration they are. Most are poppy thrash tunes, straightforward in delivery, and done with lots of energy and commitment. While the songs do tend to run on a bit long, they are still quite enjoyable.
Totally tuneless noise thrashing. I think that even if I could hear what was going on through the raw, unmixed recording, I’d think the same thing.
’60s punk meets wah-wah and early punk snarls. Both sides pound away at you, though the B-side is a bit more ripping, with a rave-y ending. Only detraction is the bass-heavy production.
Quite a turnaround from this band’s earlier flaccid release. Don’t be fooled by the rockabilly image of the cover or title; this baby’s got some classic Australian R’n’R, containing elements of ’60s punk, BIRTHDAY PARTY, RADIO BIRDMAN, etc. Rocks out, and comes with a free 12″. Cool, and right up there with the NOMADS. Coming out soon in the US on Sounds Good.
While the tape quality is decent, the music is more than that. The 14 or so songs are killer thrash, on the noisy side, but tight at the same time. Hope they do vinyl.
Definitely on the KILLING JOKE side of life, this band’s forte is driving, pounding, straightforward rhythms and agonized vocals. For this genre, they do it well.
The vocals are on the ghoulish side, deep and echoey. The music is slow- to mid-tempo punk and relatively uninspiring, but not incompetent by any means. Better at droners than punkers.
Hard-driving pop-punk strikes again via KENJI. Two of the four tunes are too lightweight ’78 for me, but the two others rip pretty good, in, say, the tradition of CH3. Better than their first release.
If you haven’t heard this band by now, where have you been? KAAOS has lots of vinyl and tape out, and now add yet another quality release. Powerful HC.
Mid-tempo English “peace punk” sound, heavy on slick production and cockney accent. Lyrics are tough, but the music rolls off the turntable too well-mixed and without any roughness to match. Good, but not great.
A pretty unexciting debut, with an unenergetic ’78-’79 punk and post-punk sound. Perhaps some of that might be made up for lyrically, as they are quite prominent, but alas, it’s all Greek to me. Then, inexplicably, there’s one thrash song that leaps out at you, breaking through the doldrums. Hopefully, their upcoming LP will be more challenging.
This collection of classic ’77 UK punk is not to be missed by those who were too young by accident of fate to enjoy such classics as “Thinkin’ of the USA,” “Outside View,” and tons more. Get this!
Interesting. Like early PINK FLOYD meets middle ELECTRIC PRUNES meets late YARDBIRDS. In other words, highly produced but still abrasive pop/psychedelia. Other influences are BEATLES (Revolver), EASYBEATS, BEATLES again (“I Am the Eggman”). Okay, ’67 was a pretty good year, but ’68 blew, guys. Head back towards ’66.
Powerful sounding but emotionally unstimulating mid-tempo UK punk. It’s all quite competent, but there’s little gusto to separate DEMENTIA from the pack. I’d like to feel their anger through the music as well as hear it in the words.
More post-punk from the ADK label, this time in a KILLING JOKE vein. It’s well-done, but ultimately unexciting.
For the most part, this is a pretty unaccomplished outfit, ragged around the edges. But on two of the four tracks, especially on “Fuck the Clumsy Metal,” their charm (and special effects) come through.
The fifth incredible barrage of music and ideas from at least some of the APOSTLES. Public airings of internal splits, extreme swings of hate and love, self-pity and vicious projections, diatribes against Left and Right, phony anarchists, women who’ve hurt them, drugs—you name it, it’s written about at length and in depth. Schizophrenic—maybe too sane—maybe…whatever it is, it’s one intelligently and intensely.
Both sides of this EP are excellent sounding punk rock reminding me of classic NO ALTERNATIVE stuff. Lyrically, these guys are no geniuses. On the A-side, for example, they seem to be advocating capital punishment with a chorus of “Kill the killers”…I think. I say “I think” because it could be (no lyric sheet) “Kill the coloreds.” Hard to really tell. That wouldn’t be on purpose, would it…guys?
Every now and then over the last seven years, the TWEEDS have re-emerged with a tasty slab of pop vinyl. This latest release features an A-side that incorporates snarly ’60s punk vocals and sentiments with a pop-punk structure and harmonica wailing. The flip is more pop, but still okay.
There’s a fair amount of goofing off here, but when these guys get serious they turn out some great Texas-style ’60s punk like “You Need Love,” “Every Night,” and “Mad” with a great psych feel. Their cover of “Brand New Cadillac” shreds, too.
Folky-sounding rock that reminds me of YO a bit. I figured with a name like the SUBSTITUTES they’d have a WHO influence, but they’re more on the melodic side. Good sound quality.
Hmmm…they remind me of a slightly rougher ADOLESCENTS—definitely that SoCal thrash with shredding music, teen snotty vocals, and melody, too. If they keep working at it, they’ll put out some wonderful vinyl.
An interesting eight-song tape that combines political consciousness with a VELVET UNDERGROUND perverse attitude. Musically, it’s quirky pop meets early V.U. (pre-first LP) meets no wave. Intelligent all the way around.
I thought these guys broke up, but here they are again with six tunes. Four are rippin’, two are slower punk, and all are snarled out with heavy doses of satire. Enjoyable.
Very aggressive post-punk might be the best way to describe this four-song release. These medium-paced songs are driven by punk singing, backed up by a melodic yet ravish guitar-oriented band. The lyrics are pretty cryptic/bleak, but the music is a bit less depressing especially due to the sometimes snappy drumming and ringing guitar.
Two of the four tracks here are pretty eclectic, utilizing jazzy and rock structures, and punctuated by occasionally tough female vocals and sudden up-tempo punk surges. The other two are a lot more ballsy, especially “You Should Read More Books.” The super-clean production turns me off a bit, but the singer’s snarls and intelligently cryptic lyrics save it a bit.
Ripping! These RICH KIDS ON LSD whip out thrash with some slight metal tinges, lots of changes, and tight musicianship. The production is excellent, too, which along with the occasionally special effects really helps out matters. Great live band, too.
Good production really helps sometimes, and it’s nice to finally really hear this band. All four songs, whether thrash or punk, feature plenty of melody and musicianship, making for hot listening. Really like “Sad.”
Really quite good for a debut. Their sound is charging hardcore, but with plenty of melody and full guitars, not unlike fellow Midwesterners HÜSKER DÜ. That touch of psychedelic/metal adds a lot to thrash when it’s not overbearing.
With a title like that, I was expecting to end up on Jupiter after listening, but instead ended up asleep in bed by 10 P.M. Must be weak acid cuz I didn’t hardly get a buzz. Very tame shit, cut thin. Gonna complain to my dealer… Gimme Swedish or Australian for a real flash… this ain’t pure ’60s Owsley!
MIHR means “peace” in Russian and that’s what preoccupies this intense thrash band. Both subject matter and music are delivered with lots of energy and commitment. Kicks ass!
Outflanked by G.G. ALLIN on the outright perv side of punk, Tesco and co. uphold the intelligent irreverent side of the genre. And even if musically they venture into metal, flamenco, and other forms, this is really humorous/satirical punk (attitude) at its incisive best, although there are some pretty dark overtones and self-indulgent meanderings (musically and lyrically). Wish I could play most of this on the radio.
One of the more accessible releases Happy Squid has put out in a long time, this band existed briefly in early ’83, then they went the way of the buffalo. Musically, and even lyrically, they are so close to early GANG OF FOUR that it’s not funny. I doubt it was meant to be, though.
For a band that claims to be “from nowhere,” they certainly are “somewhere.” There’s a lot of accomplished and powerful HC on this tape, and while most is fairly generic, there is ample evidence of future distinctiveness.
A different kind of thrash band, consisting of vocals, drums, and… lead synth and bass synth. Does it work? Almost. It’s an interesting change, but the power just isn’t there. Synth worked great in some early punk (SCREAMERS), because the tempo was slower and the power came across better. In this case, perhaps better equipment and recording would enhance their impact. Hope they keep experimenting.
Imagine Doc Dart of the CRUCIFUCKS (his sharp wit and bizarre voice) singing for the VANDALS with a ’60s punk guitarist and a little ANEMIC BOYFRIENDS thrown in for good measure. The result: totally enjoyable punk and thrash, with intelligent and satirical lyrics.
A very hot tape, this one features 18 mostly mid-tempo hardcore assaults on all things evil. There’s a lot of power here, delivered with authority. The vocal sound is scary and raspy, adding to the overall atmosphere. Very well done and well recorded.
A comp that features many cuts each by the likes of LEGION OF PARASITES (UK), EX-HUMANS (Greece), DETONATORS (US), ANEEB (Germany), and many more newcomers like NEGATIVZ, OBSCENE FEMALES, etc. Okay.
An all-Vancouver tape, this baby contains mostly live recordings of varying quality (mostly decent to good). Includes BILL OF RIGHTS, IMMORAL MINORITY, A.O.T., UNKNOWN FIBRES, DEATH SENTENCE, FITZ, SPORES, and more.
An all-Eurpoe compilation that features, surprise, RAW POWER, along with HEIMAT-LOS, MOB 47, SUBHUMANS, WUT, GEPÁ˜PEL, BOIKOTTZ, CAPITAL SCUM, and more. Good sound quality, and there are 30 songs.
An all-Yugoslavian compilation featuring a shitload of HC bands, most of whom you’ve probably read about in reports here before. Sound quality is okay, but not great due to difficult circumstances, but there’s still lots of noise to enjoy—both studio and live.
Decent-to-excellent sound quality, this tape is an area compilation (see German scene report for listing of bands). 90% thrash, lots of energy, and a welcome sign of a thriving small scene.
Very strange. This package is incredibly elaborate: sturdy box enclosure, 84-page book detailing the history and discography of Japanese punk/hardcore in color, and typically wonderful Japanese punk graphics—all leading up to…a six-band cassette? Yep. Two songs each by LAUGHIN’ NOSE, GAS, GISM, WILLARD, LIP CREAM, and COBRA. Not that the music is bad (it’s not), but somehow I’d have expected the tape itself to be as comprehensive as the literature. Still, a collector’s item.
On first listening, I didn’t think that many covers on this neo-’60s garage collection cut it, but I’m changing my mind right now. Classy acts like the CANNIBALS, X-MEN, and MILKSHAKES are joined by equally raw outfits like KILLED IN ACTION, VERTEX, and BAD KARMA BECKONS. How could a record with a band called LEGENDARY VEGETARIANS on it be bad?
No name to this Japanese collection, but at least the bands are identifiable : the SEXUAL, CONFUSE, JIGA, and M78 (actually a “fuck” band with members of GAS, GASTUNK, GHOUL, and SYSTEMATIC DEATH). All the tracks on this EP shred, with noise thrash and DISORDER-type thrash prevailing. Great!
Mostly high-quality recordings of high-quality bands, like UPRIGHT CITIZENS, BEDRÖVLERZ, DEPRESSION, CHRONIC SUBMISSION, AOD, EXECUTE, DEZERTER, HEIMAT-LOS, SOLUCION MORTAL, OFFENDERS, SVART FRAMTID, etc. Good collection.
Three bands share this effort. RIP from Spain, HERESIE from France, and VI from Denmark. The sound quality is okay but not excellent, but the music still shreds.
Quite an international line-up, starring UNDERAGE, DEZERTER, KROMOSOM 4, SCAPEGOATS, UNNATURAL SILENCE, FOAD, NEON CHRIST, BLOEDBAD, PROTEST!, INFERNO, and more. It’s non-stop thrash, for the hyper among us.
Competent, but ultimately unexciting post-punk. Sparse, GANG OF FOUR-ish tunes, but nothing that catches fire. But then, maybe it’s not supposed to—after all, it’s from Iceland. Shut up, Tim.
Punk with a rockabilly twist, or visa versa—it’s hard to tell. In any case, it’s a modern, yet old sound—something the French are apparently the best at, these days.
Great rocked-out pop-punk. Very straightforward, driving, fuzzed-out R’n’R… catchy and powerful. B-side is not the VELVET UNDERGROUND song.
A six-song mid-tempo punk effort that’s unmistakably British. While it’s a change of pace from thrash, it’s about as “progressive” and “new direction-y” as metal thrash claims to be. Enjoyable, but definitely older-sounding.
Both of these 4+ minute sides are definitely in the BIRTHDAY PARTY post-punk vein—screaming vocals, punchy but varying sparse rhythms, etc., etc. “Modern” but abrasive.
Great psychedelic touches add a lot to this release. Abrupt intervention and special effects turn good raw, mid-tempo punk into something special. Neat female (I think) harmonies remind me a bit of SIOUXSIE or S.F.’s MUTANTS, but this goes beyond.
Mid-tempo Brit-punk that’s fairly energetic, though not thoroughly tight. Somewhat hindered by mediocre musical production, the lyrics do come across here—and they’re basically personal/political. Decent.
More “uncompromising” noise from this gang. Uncompromising can mean “they suck musically and don’t give a shit because they just wanna make annoying sounds and get their highly intelligent and political message across.” Repetitive, but intense.
The A-side is a steady but slow rockin’ moody tune with full vocal choruses, echoey vocals, and powerful back-up. Definitely catchy and non-wimpy. The flip blasts out a sorta R’n’B-based rocker with cool hiccup-y vocals and singin’ guitar, much in the vein of the early FLAMIN GROOVIES.
Some of the CRASS-releated people return to short songs. Lots of emotions penetrate these fifty minute-or-under tunes. These short, snappy numbers, though, depart from, say, earlier CRASS or the MINUTEMEN in that they’re…classical music. Not classical punk, but the Real McCoy. Well, if you saw Amadeus, you know the music biz really hasn’t changed all that much in the last several hundred years. Right?
Snappy post-punk sounding like BIRTHDAY PARTY or PREFIX on speed with vocals like SKREWDRIVER. Weird, huh? They’d go over big in the NY art-damage scene.
Most of the six songs included here are a bit annoying. While the instrumentation is of a ’60s derivation—kind of more flaccid EASYBEATS—the vocals are too “clean” for my taste. But on one song, “Car Crash,” it all works together, producing one eerie classic. Worth the price alone.
There’s a lot of jazz and metal influences in PEGGIO PUNX’s approach to punk, something that doesn’t excite me too much. If you’re into fancy bass picking and jazzy riffs, though, you’ll go nuts. Otherwise…
Strongly political (see interview this issue), OI POLLOI are a punks/skins unity band that pound out medium- to fast-paced punk that’s heavily bass-oriented, has lots of great screaming, and some nasty guitar noise. Uncompromising.
Rapid-paced Oi-type hardcore, complete with catchy sing-along chorus, ripping guitars and drums, and the inevitable Japanese gruff vocals. Good.
Sort of like a CRAMPS-gone-funk meets JESUS AND MARY CHAIN. Lots of thumping beats, gruff vocals, and noise galore.
Have they heard FLIPPER in Japan? Actually, that’s not really fair or accurate, as this band has a lot more elements of punk, metal, and melody in their dissecting approach. But there’s something in the intentionally sluggish approach to warrant the comparison.
While at times the synth can overwhelm, there are several tracks that really drive hard. This is art-damaged punk in the tradition of early TUXEDOMOON, with a dash of METAL URBAIN thrown in. Rockin’ weird.
The majority of the tunes here are just that—mid-tempo and pretty powerful older-syle punk. Every now and then they launch into, and prove they can play, faster stuff too. Excellent production and good listening, and comes with a bonus flexi, too.
More straightforward fast punk than their debut EP, this one rips. The addition (I believe) of the COMES vocalist adds some real punch to the singing attack (lots of back-up choruses, too), and this all-female combo has left the ranks of the amateurs. Hot, from Japan.
Unrelenting and hammering, these three songs combine power with an intensive mood of uptempo gloom. The title song is my fave, with its repetitive guitar refrain. Great production, and as Pus says, great cover art by Naomi.
Pure second album CLASH-type melodic politico-punk. I think you know that I’m describing. They do the genre well.
The production on this classic transforms a garage thrash band into a psychotic mess. Atonal thrash with inhuman vocals put through some kind of mixing madness, producing totally crazed rock’n’noise. Twisted!
Great name for a French band, but the music doesn’t measure up as well. For the most part, they’re a poor-man’s RAMONES, delving into ’78 pop-punk. It’s tight and well-produced, but not really exciting. A couple of covers (MC5, KINKS), but the best track, “In Case of Sunrise,” has a BO DIDDLEY beat with lotsa raving.
Some intense, tuneful crazed thrash. Hot production and tight command are very important in this effort, but as with most Swedish thrash, it’s the melodic songs that make it all really stick. A good one.
Translating as “Poison Pig,” I expected a bit more weirdness than supplied, but this slab of plastic contains some neat tracks. They can do thrash, punk, proto-punk—all with verve and gnarly-ass vocals and guitar. Reminds me a bit of early PERE UBU.
Most of the “tunes” here are in the ultra-fast DRI-type thrash style, although there are slower, more powerful cuts as well. Very tight, with a heavy rhythm and bass sound. Hot! Watch for them next year in the US.
Three melodic but bouncy “girl-group” (yes, this is a sub-genre, as best epitomized by GIRLS AT OUR BEST, KLEENEX, etc.) pop-punk tunes. Catchy as hell, and uplifting.
More ’60s-ish garage raves from Mike Spencer and Co. No wimpoid stuff here—it’s all raw, raging real rock’n’roll, with lots of ripping guitars, feedback, screaming vocals, and lots of noise. Like the NOMADS, these guys got the spirit, not just the form.
ABADDON is good (decent live recording), but REJESTRACJA positively shreds! They are as hot a US-style thrash band as you’ll find anywhere—killer! And their recording is a pro job. Get this!
Four-track sound quality and a bit ragged around the edges, but otherwise it’s straightforward thrash. No real surprises, but it rocks.
One side is entirely US up-and-coming outfits, with the likes of PUNKS, KNOCKABOUTS, CAPITLE, PSYCHO, NO IDENTITY, ART THIEVES, JERK WARD, and TOE JAM. The other is an all-German line-up, starring R.A.F. GIER, RANOLA, RAZZIA, MOTTEK, EA80, BLUTTAT, and a few others. Sound quality is usually good.
A NY-Metropolitan Area compilation featuring the UNJUST, ARMED CITIZENS, ULTRA VIOLENCE, SHEER TERROR, PSYCHOS, SHOK, KRIEGKOPF, PLEASED YOUTH, SACRED DENIAL, BODIES IN PANIC, BEDLAM, A.O.D., 76% UNCERTAIN, VATICAN COMMANDOS, CHRONIC DISORDER, VIOLENT CHILDREN, and more. With a line-up like that, I’m sure you know what you’re getting—no saxophones!
Once again Crypt has come up with an above-average selection of snotty ’60s obscurities for our listening pleasure. Most all of the tunes are punk with that mid-’60s English R’n’B influence—guitar-oriented with snarling vocals. Bands such as the KEGGS, FEW, NOBLES, ILLUSIONS, and lots more deliver that real “intellectual” stuff that makes the EXPLOITED look like real geniuses.
Ambient semi-industrial pop music? Jazzy folk travelogue? Too many drugs?
A three-song release displaying WHITE PIGS’ newer “metal” direction. This is more apparent lyrically than musically, with lots of Satanic B.S.; but the music still kicks ass, with minimal lead guitar damage and lots of power. “Satan’s Sparrows” is a psychedelic thrashorama.
There’s a decided MINOR THREAT/7 SECONDS influence here, which is, I’m sure, not accidental, given VERBAL ASSAULT’s straight-edge bent (unbent?). The comparison doesn’t end there, though, as the music is as tight, crisp, and committed as the aforementioned mentors, though not quite as assured. Good.
Most all the songs here are “first takes,” unrehearsed three-minute jams. Considering that, it is remarkable that the tunes do indeed resemble songs—structures, beginnings, endings, etc. A bit of FLIPPER influence, PiL, etc.—an artistic nightmare.
A professional job here that doesn’t lose its bite. They thrash hard, rock hard, and hit you on the rebound with reggae and other changes-of-pace. The lyrics didn’t hit me too hard this go round, though, as their obliqueness left me wondering what exactly are they singing about. Nonetheless, they are delivered with passion, and that’s what’s important.
Quite an attack. This is noise thrash—not cleaned up or pretty—but really effective and pounding. There’s a lot of spirit here, as well as good punk rock. I like it.
“Power” is a good word for this band to have in their title. “Spoken word” also applies, as many of the vocals are more like spoken raves. Metal influences galore, on both slower tunes and thrashers, as well as those ultra-gruff vocals.
In the Boston tradition of DMZ, LYRES, REAL KIDS, etc., this band combines snappy poppy tunes and a ’60s-ish rock’n’roll instrumentation to produce listenable music. While not as dynamic as the first two aforementioned bands, there is still something here to listen to, though the lyrics are purely passé.
Three heavily jazz-influenced hardcore raves. Usually, I find jazz detracts from the impact of HC, but in this case, as with some of the MINUTEMEN’s material, it enhances.
One of the seemingly few Boston-area bands doing out-and-out hardcore, this young combo does it right. It’s got that “Bosstown” HC sound, with all seven tunes totally ripping. Good one.
This garagy recording is devoted to the glorification of pop-tarts. And though they don’t want to be known as purely “funnypunk,” it’s hard to take this five-songer seriously.
Extremely herky-jerky HC, but they pull it off with tight as hell playing, intense thrashing, and an absolutely crazed vocal sound. Killer drumming and weird arrangements add distinction. More!
Down and dirty slow garage blues, sorta like the NEW YORK DOLLS meets GUN CLUB. Unfortunately, my copy was warped (I hope that’s what accounted for that sound), but if you like raunch, this’ll do ya.
A high-quality studio tape from this funnypunk HC band. No accompanying info, so all I can say is that they play tight, fast, clean thrash/punk with good melodies and dopey lyrics. OK?
More competent but not truly inspired ’60s psych/punk. Lots of covers again (SONICS, KENNY & KASUALS, HAUNTED, and the great “I’m a Living Sickness” by CALICO WALL). While the choice of covers is excellent, and the originals are sturdy tunes, they never quite “break plain,” making it transcend. Maybe next time they’ll truly psych out.
Somewhat reminiscent of the CLASH at their rockin’ best. More like if they had maintained their early zest and knack for pop/punk catchiness and merged it with an ’80s thrash attack. Good and powerful.
Fast-ass thrash, tight and powerful. The studio tracks shred, and the live are not really recorded well. Hope they get a record out.
An eight-song venture that showcases well this band’s older-style raw punk and the singer’s Johnny Rotten fixation. Live, I’ve gotten a bit bored, but this tape is quite well done and a good change of pace.
A six-song demo that shows potential in the power-thrash dep’t., but is lacking in the tightness dep’t. I’ve certainly heard worse, and these guys will get it together in time.
Psych weirdness, ranging from musical treats in the line of TRUE WEST or PLASTICLAND to more “out there” experimentation. Sound quality is passable, but doesn’t allow for the best listening with this sort of group.
One of the tightest, more accomplished tapes I’ve received from a new band. This is stop-and-go thrash at its best. Excellent production to boot. Hot.
Sounds more like a ’76-era proto-punk band from Clevo. It’s hard-edged rock that slowly builds momentum, rocking in a VELVETS Loaded LP type of style meets the BIZARROS or something.
Medium-to-fast snarling punk in a sort of SAMOANS style, without the thrash. And along with the older style punk comes older style punk lyrics. Can’t have everything, right? Good production; fun.
My turn to do a BLACK FLAG review already? Uh-oh. OK, Side one has a couple of tunes that grab me, full of power and with a full sound. The rest of the slower numbers, and most all of Side two, leave me cold. I think it’s got something to do with the thinness and cleanness of the sound, making me focus in on the jazzy aspects and lyrics, which don’t do much for me. Seems like those memorable, catchy, sing-along noise days are history, except for pale imitations like “Modern Man” or “Best One Yet.”
A ’60s-type punk band from Minnesota—and what better place to hail from…the home of such greats as the LITTER and CASTAWAYS. Mostly covers here, in a NOMADS vein. Could this be the HÜSKERS playing a weird joke? Nah…
Mostly medium-tempo hardcore, this band utilizes both melodic structures and FLIPPER-ish noise to equal advantage. While raw and powerful, there are catchy tunes galore. Excellent.
Nothing especially mandatory here, although it’s not a poor collection either, with tracks from the QUID, SHAG, SATAN & THE D-MEN, and others. In 20 years, will Greg Shaw be documenting the current punk scenes as methodically? Will kids in 2005 even care what’s happening now?
Most of the bands here are from Scandinavia, with a smattering from the UK, Germany, and Belgium. There are anywhere from one to nine tracks each by such manic luminaries as MOB 47, EXISTENZ, ANTI-CIMEX, MODERAT LIKVIDATION, MOTTEK, ENOLA GAY, AKUTT INNLEGGELSE, and several more.
A European sampler featuring XPOZEZ, ANTI-DOGMATIKKS, KINA, WRETCHED, VARUKERS, UPRIGHT CITIZENS, MG 15, NEGAZIONE, and more. Sometimes rough sound quality, but comes with a neat magazine.
Their best release to date, as far as I’m concerned. Tez and the guys are really re-energized, pounding out five really memorable fast and snappy punk tunes. Where ya been, Tez?
Some classic thrash, stop-and-go variety, done well and powerfully, although the overall impact is diminished a bit by songs that are almost too fast for maximum effect, and by the limitations of production. Excellent lyrics.
Like most Italian HC bands, UPSET NOISE is stronger on manic attack and noise than they are on melody (although this doesn’t hold true on all eight tracks). Lots of speed riffs, raging vocals, and ultra-fast snare drumming. They live up to their name.
Although the guitars are blazing fast, the rhythm tends to be slower, creating a mid/fast-tempo punk sound with aspects of thrash and even metal (especially on the ultra-gruff vocals and some guitar licks). Powerful overall, but that dichotomy creates a weird feeling.
The female singer of SPERMA has quite a sex-bomb reputation, but her singing doesn’t come across that way. She sounds like a weaker Poly Styrene, and even the band sounds a bit like X-RAY SPEX (minus the sax). Good older-style punk from Japan.
Six shows from RAW POWER’s first US tour last year. Needless to say, it’s another excellent representation of this powerful Italian metal/thrash outfit. Watch for ’em on tour again.
Good mid/fast-tempo punk, albeit the noisy variety. Decent recording quality, but it does diminish their impact somewhat. Imagine they’re fun live.
Both sides of this flexi contain songs from a live show, with no separating grooves, and a fade-out on one side and fade-in on the other. It’s frantically-paced thrash here, which comes across OK “live,” but would be more cohesive in the studio. From Japan.
A three-song effort that’s really impressive. Really tight, assured hardcore with lots of tempo changes, but which doesn’t detract from the impact. Even the guitar solo is OK. Driving stuff—great thrash from Australia.
Pretty decent older, fuzzed-out English-style punk in the slow- to mid-tempo vein. Good production, especially on the guitar and vocals. Basic but substantial.
A live EP that’s a bit of a letdown from their awesome Outburst. Four songs that are rockin’ R’n’B, but nothing to write Sweden about. “ESP” is the hottest track of the lot here.
Pretty English-sounding Japanese hardcore. Three tunes. Not really strong lyrically, but the production and musicianship are excellent.
Quite melodic and catchy folk punk (guitar and drums) that reminds me of the pleasing simplicity of NEWTOWN NEUROTICS. And like NEWTOWN NEUROTICS, Andy T. presents material (new on side one, retro on side two) that is intelligent and caring.
This Japanese trio wails. The strong bass playing, tight drumming, and powerful guitar pull together into a hardcore experience that’s quite noteworthy. On both fast and slow songs, they grab your attention.
The first track is in Tesco-territory, if you know what I mean—industrial “music.” Second track is a little more musical, and mercifully short. From Japan.
A very hot thrash band with lots of energy, some good production, and lots to sing about (in Spanish). Recommended.
One of the hardest thrashing Italian combos are highlighted here, with tons of raging songs. The sound quality is good, and if you aren’t yet familiar with INDIGESTI’s material, don’t pass up the opportunity.
Predictable but competent skinhead anthems and lyrics. One ska tune, one faster punky tune, and a couple of Oi-ers. I guess “Oi Oi Oi” means “Oi Oi Oi” everywhere.
Powerful post-punk for the most part, but occasionally wimping out. The material that’s most gripping is in the JOY DIVISION tradition.
This Japanese quartet starts off from almost a ’77 punk base, but sometimes gets a bit more adventurous, adding in discordant bits and gruffer vocals. All of it is pretty well-done, though—even the standard punk tunes.
Sometimes sounding like BIRTHDAY PARTY, sometimes CRAMPS-ish, sometimes like early punk, sometimes all the above at one—they can be interesting and annoying. The vocals are too “clean” for me, and the band’s restraint is frustrating, but those into less crazed stuff may appreciate them. (Not to be confused with the UK MAU MAUS.)
Another hot-sounding release from the EXPLOITED (most all their records have gotten good reviews in MRR—can’t say the same about Wattle’s mentality), with both thrash and slightly post-punk rhythmic tracks really ripping. Oh, and thanks, EXPLOITED, for the “fuck off” on the back cover; coming from you, it’s a real compliment.
Although the thrash here is not anything new (admittedly, it is quite good and powerful, though), the lyrics are outstanding. It’s great to see a band sing about battered wives, on sex and morality. Intelligent and angry! Good sound quality, too.
One studio and one live side, this tape is better than most all this English band’s recordings. Side one has some great covers, such as “I Wanna Be Your Dog,” “Wild Thing,” “Sonic Reducer,” and “Lexicon Devil,” all done with some amazing power and clarity. Cool.
The A-side is sort of like METAL URBAINE meets ’60s pop-punk. The flip is snappier, and both sides combine cool rhythmic, pulsating, noisy rants with neat pop guitar licks. Very good, from France.
There’s some really hot-sounding material on this live recording—lots of excitement and energy. But the recording is such that it renders a lot of that power defused, not unlike many bootlegs. For fans.
A female-fronted, slow-mid tempo punk combo, featuring melodic tunes and echoey singing (as opposed to screaming). Reminds me a bit of PENETRATION.
A three-song noise-thrash bonanza. Completely retarded-sounding vocals combine with repetitive, relentless, pounding thrash of the most garage-y kind to give you a few precious moments of pleasure. Fun.
Mid- to fast-paced punk tunes. While not thrash, they are really driving with lots of hooks and guitar power. Excellent production as well.
Ranging from CRASS-type minimalist punk rants with male and female vocals, to out-and-out pro noise, this is one of those bands that makes the metal-punk argument of “we’re just trying to do something different” look like the weak statement it is.
Psych of a lighter variety—nice touches here and there—a bit of surf, tempting little riffs, but ultimately a tease and no real satisfaction.
There’s not a band on Australia’s Big Time label I haven’t found worthwhile. As they’re really bluesy and slow-paced, these guys are a little hard to get into. Still, this is some of the coolest garage rock-blues around, and even a bit psychedelic at times. Not as psycho as SHOCKABILLY or as rockin’ as PANTHER BURNS, but still good if you’re in the right mood.
This four-song Japanese release is in the mid-fast paced HC vein, and although it’s pretty heavy-handed at times, there’s plenty of hooks, too. At times, there are too many metal leads for me, but overall they’re pretty punchy.
Starts off slow and raunchy, but works its way up to a frenzy. Lots of controlled noise and feedback, but not “noise” at all. Excellent hardcore from Japan.
Full of speedy, noisy thrash. High-quality sound and recording make this highly listenable. Of course, it doesn’t hurt that the band throws in nice little touches here and there, making them one of the better “unrecognized” bands around.
A garagy and nifty area collection of some of SoCal’s thrashing young outfits. There are tracks by FATAL ERROR, MAD PARADE, CHAOTIC NOISE, S.O.S., ARTISTIC DECLINE, BAD INFLUENCE, MOX NIX, BLACK LABEL, PLAIN WRAP, LOVE CANAL…22 groups in all. Put out by FFF fanzine, and comes with mag insert.
I’ll skip the one track each by EXPERIMENTAL PRODUCTS (funky weirdness) and TIMI (reggae), and flip to side two, which contains a track each by RAT AT RAT R and LIVE SKULL. The former delivers a brutal blow of semi-noise music, NY art style. LIVE SKULL take that genre a bit further, less noisy but more depressing.
A 7″ sampler of the best of Mystic’s recent 7″ series. Features RKL, ILL REPUTE, SCARED STRAIGHT, FLOWER LEPERDS, MANIFEST DESTINY, FALSE CONFESSIONS, and DON’T NO.
An international compilation cassette put out by Brian Walsby. Such luminaries as C.O.C., NO POLICY, UGLY AMERICANS, SLUGGO, ACCÜSED, UNIFORM CHOICE, VICIOUS CIRCLE, SCARED STRAIGHT, UNACCEPTED, etc. present anywhere from one to seven songs each, and there’s lots of raving thrash.
The latest sampler LP from the most prolific sampler label, this one contains tracks from some previous records (GRIM, DR. KNOW, Nardcore, Slimey Valley, Party Animal, SUBTERFUGE, etc.) and some future releases (AGGRESSION, HOLLYWOOD NOISE, Let’s Die, Cop II, Return to Slimey Valley). Can anyone keep track of all this?
Some names on this comp you’ll immediately recognize as quality acts, like HOMO PICNIC, CHRONIC DISORDER, DEAD MILKMEN, DROOLING IDIOTS, CANCEROUS GROWTH, ASBESTOS ROCKPYLE, etc. And many others are relative newies, such as STATE OF THE UNION, PUBLIC ENEMA, etc. Lots of variety of punk sounds, and lots of intelligent lyrics.
A Chicago-area comp, this features CERTAIN DEATH, GROUP OF INDIVIDUALS, TORPEDOS, SPRAY PAINT, UNINVITED, RING 13, NO MORE WARS, BLATANT DISSENT, and GARAGE BODIES. Quite good sound quality, and varied but strong material. Good.
Neat idea, not-so-neat results. Cover songs are a tricky business—you either gotta change and update ’em (like the MEMBRANES’ “Super Freak”), or out-energize the original (SWA’s “100 Bottles of Beer”). But most of the others, turned in by the likes of SCARED STRAIGHT, RKL, FALSE CONFESSIONS, ILL REPUTE, SADO-NATION, DON’T NO, NOFX, VOA, PLAINWRAP, G.I., etc, etc., don’t make you forget the originals. They should.
Somehow omitting Vol. 14, this series of ’60s obscurities lurches on to Wisconsin, Part 2. While mainly on the softer, poppier folk-rock side, many of these tunes are pretty cool, with lots of vocal harmonies and an occasional freakout. Decent.
This band hits with both well-performed older style punk and with thrash, and hits hard. The band is tight and powerful, and while not extraordinary, they are better than most. The female singer, Helen, reminds me of De De Troit a bit, or maybe SIN 34 or LEGAL WEAPON (thanks Martin). Good sound.
Tried listening to this while depressed—I broke into hysterical laughter. Tried listening while in a good mood—I whipped off the needle. But it’s “hip” to like this kind of painfully slow, “wrenching” post-punk noise, right? Guess I’m uncool.
Although largely generic thrash, there are moments when STATE OF CONFUSION show that if they stick with it, they could develop their own sound. This is not to say that this tape isn’t tight or powerful (which it is), but it’ll take awhile for such a young band to develop their “personality.” (This applies to 90% of today’s new HC bands.) Overall, a good start.
This album represents the best of a great band—the SONICS, who boomed out the hottest garage punk of their day. Out of the Northwest, these guys cranked out classics like “Psycho,” “Strychnine,” “He’s Waiting,” and “Witch”—tunes that bands like the CRAMPS, NOMADS, etc. revere today. Awesome.
The A-side is a new-wavey cover of the EXCITERS’ hit of the early ’60s, and the B is a ska cover. Not really happening, unfortunately, as this band helps their local scene a lot.
More than adequate NY hardcore, with mostly fast songs. While not especially distinctive, it is punchy and tight. Good anti-authoritarian lyrics.
Quite a good six-song demo, they bring home important topics and intelligent perspectives with powerful melodic punk/thrash. Hope to hear more from and about this young band who, though a bit CLASH-like, aren’t too much so.
Kinda folk rock meets minimalist meets mid-’70s singer/songwriter twisted balladeer. Definite VELVETS influence, and some good rockers.
Ah yes, more of that seductive psych sound. While it’s usually on the quieter side of things, the jangly guitars and great tunes remind me a lot of the legendary BIG STAR. Some repeats from earlier releases, but a great album overall.
Sometimes jazzy, sometimes experimental, sometimes straight-ahead, this punk band presents very intelligent lyrics out front so you can hear them. The music is almost secondary, but not quite, as the band does add some drama and is far from incompetent. Good debut.
Brave, pissed-off souls from upstate NY come together and release some raving yet melodic hardcore garage material. Totally unpretentious, energetic, and enjoyable.
The second flexi put out by this group of challenging folks. This is a rap vocal accompanied by a funk rhythm and punk fuzz guitar. It comes with an informational book and lyrics—another excellent job from committed punks.
Fairy standard thrash fare for the most part, but occasional use of effects on the guitar add a distinctive touch. Should improve with age.
Excellent, powerful, and tight thrash. While this is just a four-track demo, it bodes well for future recordings. The material, while straight-ahead, is done with zest and excitement.
Very powerful thrash—lost of slow/fast changes, good noisy guitar chords, tight as hell playing, and excellent vocals. One of the best production jobs Mystic has done. Hot!
Children from hell, it must be. Please note: this ain’t music, per se. I can hear a guitar, etc., but it’s your basic noise/industrial freakout. A nasty business.
A totally excellent thrasharama. This band is tight as hell, delivers powerful music and lyrics, and seems really dedicated.
The singer has a definite Jello Biafra intonation, but that’s where the comparison ends. Both tunes are straight out of ’78, with very basic but produced punk. Non-inventive, and anachronistic.
Slowing down the pace, five of the six tracks here are mid-tempo punk. While they maintain their overall California HC sound despite the change of pace, the FACTION do throw in bits of funk, etc., too. Personal-type lyrics.
Interspersed between their wise-guy hardcore songs are wise-guy comments and witticisms. I’d assume this is a wise-guy intellectual punk band, somewhat reminiscent of the CRUCIFUCKS. Interesting.
One of the more animated and fun bands around, this EP captures both their ridiculous and serious side. The Leading Edge crew sings “They Rock.” Good production, too.
DIRT HEROES’ sound is best characterized by very hard-driving but simple drumming and rhythms. This puts them in a V.U. vein, with occasional ripping guitar solos and chanting vocals. Good rock with punk influences.
A much-improved and thrashed-out line-up of AGENT 86 here. Mike Briggs and Co. maintain their dedication to rebellion and the scene, delivering eight ripping tunes. Thin production does detract a bit, but it’s still worth it.
Two to five songs each by ten intense hardcore bands. ACTIVE INGREDIENTS, UNEXPECTED, PSYCHO, RED BERET, U.S. DISTRESS, URBICIDE, WHITE PIGS, KNOCKABOUTS, HOMO PICNIC, and DEFORMED (the only non-US band, being from the UK). Excellent.
All the tracks here contain one Frank Kogan, whether singing with his guitar, or in accompaniment by bands (that include former Cleveland weirdos associated with X BLANK X and PRESSLER/MORGAN). Results: singer/songwriter goes VELVETS meets JAMES BROWN in the garage singing those “Subterranean Homesick Blues.”
Many well-knowns and lesser-knowns of various punk styles are combined for stimulating listening. CHRONIC DISORDER, HOMO PICNIC, ASBESTOS ROCKPYLE, DEAD MILKMEN, DROOLING IDIOTS, and tons more appear on this one. Worth checking out.
The cassette equivalent of Voxx’s Battle of the Garages, this collection put together by Goldmine magazine lures such contemporary garage groups as the VIPERS, GRAVEDIGGERS V, TELL-TALE HEARTS, PANDORAS, FUZZTONES, CHEEPSKATES, UNCLAIMED, and more. Can’t really go wrong there. Gnarly.
Put out by Metrozine, this compilation contains mostly DC area bands like MISSION IMPOSSIBLE, JET BOYS, GRAY MATTER, GREY MARCH, ASYLUM, B.M.O., UNITED MUTATION, G.I., REPTILE HOUSE, VELVET MONKEYS, NIKE CHIX, PUDWAK, and one one-of-a-kind group, CERTAIN DEATH of Illinois. A tunefully varied musical earful. Solid effort.
This over-the-edge zine presents one side of garage weirdness (ERIC HYSTERIC, SNOIDS, and BROKEN LIMBZ); and a more accessible side (SAVAGE REPUBLIC and RUGGEDY ANNES). Varied and interesting, it’s worth it for RUGGEDY ANNES’ pop/punk track alone.
Aha, the first of hopefully many exciting flexis containing some of the up-and-coming bands around the world. Dig and Kalv have initiated this project with CIVIL DISSIDENT from Australia, SEPTIC DEATH from the US (both hot!), and several tracks by the STUPIDS from England, who bring GANG GREEN-type attack to the Isles. Snap it up!
An international thrasher with VORKRIEGSPHASE, SP CAOS, HEIMLAT LOS. EU’S ARSE, SIEGE, WRETCHED, RAZOR BLADES, STRESS DA, and much more; 15 bands, 48 tracks. Good sound quality overall, and intense material.
Nine bands and 29 tracks, including some hot bands like MURDER INC. III, INDIREKT, GEPÁ˜PEL, M.O.G., the FILTH. Most of it is live, though, and not the best way to hear these Dutch groups.
An excellent compilation, featuring six Greek punk bands in a variety of sub-styles. Not only are the bands more that competent, but the recording quality is surprisingly good, too. Besides EX-HUMANS, PANX ROMANA, and STRESS, there’s no other information in English as to who the other bands might be. As you might guess, it’s all Greek to me.
I think it was a prerequisite for all twelve bands on this Melbourne comp to have two words in their titles, like CORPSE GRINDERS, CRUSHED BUZZARDS, TOMBSTONE HANDS, HAREM SCAREM, etc. It’s a mixed bag of neo-’60s, neo-blues, neo new wave, neo-billy, etc., etc., etc. My fave though is a catchy pop/punk song, “Mohawk Baby” by PAINTERS & DOCKERS.
Varied in sound, from classic VICE SQUAD to SUZIE QUATRO to punk lounge music to PAULINE MURRAY-esque material. Some songs are totally great, with neat choruses and subtle touches upon pounding rhythms, and others are doggie-doo. Better than not, overall, and sometimes it’s pretty funny.
Both sides contain that old VARUKERS power, although a bit tighter but more restrained before. A good comparison of past and present comes by playing the B-side back-to-back with “Never Again” from their 1981 EP. Something’s gained, something’s lost.
Quite a good-sounding recording for a live show tape, and this band takes advantage of it to deliver some very tight and powerful thrash. Tuneful, too.
Three powerful young Swedish thrashers share this tape. While I’ve heard MOB 47 sound more powerful than this before, they are still a plus here. And so are CRUDITY (more fast thrash) and AGONI, who are along the lines of DISORDER.
Both sides of this 45 contain slowish but powerful poppy punk, with solid rhythm, jangly guitars, and somewhat menacing vocals. There’s a ’60s feel to it, but it’s not overwhelmingly so. Haunting.
For such outrageous-looking guys (mohawks and spike city) and such a sharp-looking cover, their music is relatively tame. For the most part, it’s uneventful poppy punk. Only on one song, “No Man’s Land,” do they exhibit any real creativity or zip. Too little too late? Let ya know next record. From Japan.
Definitely on the experimental side. After listening to this, you’ll know what it’d be like to be stuck overnight inside a Japanese robot factory with CHROME or something. Lemme out!
A powerful punk band here! They deal in mid-tempo punk with some post-punk overtones, but always maintaining their power and rawness. Quite professional and tight, but not “slick.” Excellent recording.
Four very primitive and basic slow punk songs by this all-female aggregation. Sort of interesting, but not really as stimulating as I had hoped. They’re in-between the thrash of the early SLITS and the catchiness of GIRLS AT OUR BEST. I’d rather see one or the other. From Japan.
Weird. These are lyrically “sensitive” songs about animal torture or human ignorance, and then a “skinheads rule” song. Perhaps it’s a satire of that mentality, but if not, this Oi/thrash band is quite schizophrenic.
This thrasher contains some great songs, good hooks, cool harmonies, and excellent lyrics. In many ways, they remind me of 7 SECONDS, which is nothing but a compliment. Give ’em a listen.
Don’t ask me what language the titles are supposed to be in, but this band hails from Japan. The A-side is a quirky, slightly ambient number that sounds like Jello somehow got his ass down to Asia. The B-side sounds like BIRTHDAY PARTY got their butts there.
Quite politically aware lyrics, stop-and-go thrash, and melodic songs are combined here for your listening enjoyment. Good sound quality, and neat guitar sound.
The singer reminds me of a bizarre cross between IGGY, Gary Floyd of the DICKS, and Fritz of the MUTANTS. The band itself is a bit of all those, too, but more in the line of ’60s punk done with ’77 verve. Good Australian rockers.
Yet two more ferocious Dutch HC bands. MURDER INC. is powerful as hell, combining a thrash attack with a destructo FLIPPER-ish noise sound. M.O.G. are a speedy, manic, and tight screaming assault, not unlike TERVEET KÄDET, but even faster. Cool.
Highly produced, neo-? music, not unlike early PSYCHEDELIC FURS. It’s OK, but I like PSYCHEDELIC FURS’ initial material much better. This one has a terrible country-ish rendition of “96 Tears.”
33 or 45? At either speed it sounds wrong. Ambient/industrial weirdness from Japan.
As you might be able to tell from the title, this is a snappy thrash/funnypunk outfit. I imagine that they’re even more fun if you can speak French. Fun.
Poppy rock ’n’ roll/early punk that sounds like a lot of bands that appeared on ’75-’77 compilations. There’s a slight NEW YORK DOLLS influence, though they’re less snotty-sounding.
This band combines many different influences into a semi-original and interesting sound. I hear traces of skunk, rock ’n’ roll, rockabilly, ’77 punk, and weirdopunk at various times on these six tracks. These recordings have a live feel to them, but that doesn’t detract from their listenability. Fun and crazy.
This is post-punk with an abrasive punk edge. The A-side changes pace several times, making it more interesting than the more repetitive flip. Neat psychedelic touches here and there.
Some very enjoyable pop/punk with biting lyrics. With the femme vocals and tight, upbeat instrumentation, they remind me of early GIRLS AT OUR BEST—a nice remembrance indeed.
An all-female combo from Switzerland, playing some pretty upbeat old-fashioned punk rock. It’s more than competent musically, and very peppy/poppy/punk. Enjoyable.
This five-song release is in an early punk mold, with tuneful tracks done in a very basic, slow/medium-tempo style. At times, it reminds me of TELEVISION, though not as arty. Decent.
Medium-paced thrash in a sort of English style, with those gruff Japanese growls attached. Most of the Japanese bands that play whatever type of punk do seem to add some complexity to them, making for some gripping tunes; plus, as with this band, they’re good musicians.
Slow-paced punk/post-punk whose most imaginative aspect seems to be the vocals—both in range and lyrical content. (Not that I can understand Japanese, but if the song titles on this EP are any indication, this must be a treat.)
Four tracks, a couple of which have appeared elsewhere, but these versions done a year ago really burn. “Race Riot” is in the vein of Hardcore 81, while “A Season in Hell” and “Burn it Down” also cook. “General Strike,” which appeared on DOA’s “limited edition” 45, is the most “rock ” of all tracks, but its sentiments, along with all the other cuts, are DOA at their political best.
A cool four-song old-fashioned punk release, featuring fuzzed-out guitar, snarling vocals, tight relentless mid-tempo rhythm, and catchy tunes and choruses. Believable.
Hey, a good sounding recording from Brazil! Ataque Frontal Records is kicking off their label with 20 hot, tuneful thrash and fast punk numbers by this excellent band. Really cool bass and tight instrumental playing are prime features here, so pick this one up. From the makers of Alerta Punk zine.
Just when I thought we’d never have to hear the CLASH again, we get hit with this. Sounds like studio outtakes from the CLASH’s second or third LPs, but no—it’s the CLOX from Germany, whoever they are.
There’s a decidedly ’77 feel to this (they cite the LURKERS as an influence), but it’s not plodding at all, delivered in a snappy, fast way (perhaps due to their liking of MDC, MINOR THREAT, etc.). Enjoyable, old-fashioned punk with verve.
Absolutely demented vocals appear on two of the three tracks here. It’s again that metal-punk style of GISM, but lighter in the guitar work. Complex and evil-sounding.
A half-dozen tracks of this British-based band are highlighted here, and they’re a lighter-weight CREATION or EASYBEATS. Of historical interest is the presence of Ron Wood, who later went on to JEFF BECK GROUP, FACES, and STONES fame. OK, but if you’ve got a chance, try to find CREATION re-releases.
I reviewed their split cassette a while back and loved it. This is pretty cool fun, full of powerful speed thrash. While it’s generic to a degree, it’s really slammed home. Pretty hot, with really good translated lyrics to boot.
This is the great “lost” VELVET UNDERGROUND album, tapes of which have circulated since 1969. Finally, a major label has done something right, “seen the light,” and released this brilliant, clean classic. Many of these tunes were later redone by LOU REED when he went solo, but these original versions shut his down. Whether rockers, ballads, country…all are delivered with the VELVETS’ magic and verve. The only band that can make me cry.
Some thoughtful reflection set to some powerful hardcore styles—thrashin’ excellent, and showing lots of potential.
A rather ironic name for this band, as most all the lyrics reflect someone desperately fighting their own growing disillusionment with the punk scene and its competition, peer pressure, etc. as it replaces the initial enthusiasm and collective struggle. Musically, it’s mostly mid-tempo thrash, with some instrumentals and touches of not unpleasant pop sensibilities thrown in. Hope, for all our sakes, that the songwriter wins his struggle.
Some very classy hard-ass punk on these here six tracks. Fronted by a tough-sounding femme vocalist, I am most reminded of UXA at their old hottest. Metal damage is kept at a minimum, power is upped, and off they rock. The female equivalent of G.G. ALLIN?
There’s a decidedly jazzy feel to the thrash this band delivers. I can’t really put my finger on it, but it does set them apart in a way. No, it’s the guitar and drumming; though they’re both frenetically fast, it is jazzy as well. Hear it for yourself, because this is something of a breakthrough, different from the MINUTEMEN.
Three of these four tracks really make it, as they are strongly laced with power. Two are slow/medium paced, but deliver a great dose of punk, musically and lyrically. “Whose Power” is a faster cut, but still maintains that depth of strength. Good job.
Admittedly recorded on a shitty four-track, you can still get a decent feel for this band, and their zeal comes through. They’re into powerful thrash, and I hope that they soon do some better recordings.
Former BROWNSVILLE STATION-er supposedly recorded this prior to his stint with that band. It’s pure rockabilly and rockin’ R’n’B done in that mid-’60s interpretation style, similar to, say, JOHN HAMMOND (but not quite as exciting). Better than most of the current rehashes.
Instrumentally they remind me of a cross between SACCHARINE TRUST and perhaps CORROSION OF CONFORMITY. Vocally, I hear D. Boon of the MINUTEMEN. There’s lots of slower modes, then lurching faster parts. Fine, if you like that quirky genre.
Featuring a real live Iranian on vocals, this live tape gives the listener an echoey idea of what power thrash FEARLESS IRANIANS FROM HELL can deliver. And judging by the lyrics I could discern, they’ve got a lot to say, as well. FEARLESS IRANIANS FROM HELL, get thee to a studio, or off with your hands!
A rather scathing look at American society performed by three young fellows. Musically, it’s pre-garage electric guitar and vocals, reminding me of an even more minimal MANIAX (Fresno variety). Teen charm.
Some very tight, fuzzed-out thrash with some pretty pessimistic lyrics. Excellent sound quality to boot.
Three very long songs of the rhythmic, depressing post-punk variety. These guys have been around for quite a while, so they pre-date many bands doing this genre, but I have to say I like others who aren’t quite as jazzy, such as BIG BLACK. From Seattle.
Do you think that if I give this a bad review, G.G. ALLIN will stop sending me something new to review every issue? Probably not, but it’s worth a try. Here goes: The only thing smaller than this guy’s brain is his dick, which he tries to overcompensate for by writing pathetic songs (four of ’em here) of sexual degeneration. Wishes he were IGGY, but his ego’s too big to accept such “small-time” status. Okay, G.G., send the next one…
I hear this is the first of many politically oriented “unity” HC compilations to come out of Mortarhate. (I think it’s Mortarhate; it’s hard to tell from the disc and cover.) It’s an admirable sentiment, unifying activist punks with other movements, but it’s not the sentiment alone that’s good here. The tracks shred. Excellent, it includes BROKEN BONES, POTENTIAL THREAT, INSTIGATORS, VARUKERS, LOST CHERREES, MALINHEADS, DEZERTER, and lost more, many previously unreleased.
Some very poor recording mars what were probably some very exciting live moments for the four bands that appear on here; SYSTEMATIC DEATH, GHOUL, GASTUNK, and the CLAY turn in several tracks each, but…too bad.
It’s that punk/Oi (skunk) sound that’s so popular in France. Here we have a muddily recorded indie release with four bands, two of which produce mediocre examples of the genre (DISTURB and TOXIK), one a good example (OFFENSIVE), and the other an excellent example (KIDNAP). The song by the latter is “1984,” the song Jeff wanted to put on our Welcome to 1984 LP.
Some extremely fast-paced punk here that’s both tuneful and rips. Worth checking out—I hope they do a record.
Both sides have their catchy, drawing aspects—slow, grinding, powerful, dark tunes, skillfully and menacingly done. At times, the female vocals get a bit too “pretty” for me, but overall, for this kind of material, it’s good.
Another “unity” appeal from AFRIKA BOMBAATAA, this time in conjunction with John Lydon. The result is a rap/punk modern-day “Eve of Destruction.” Infectious, but Mr. Rotten doesn’t seem quite believable to me.
Sort of jaunty early punk sounding. These three songs sort of remind me of RADIO STARS or something like that. Lyrics are simply fun-oriented. From Japan.
A bad ’77-sounding band from Japan. Bad Johnny Rotten vocals, bad reggae. Nice cover, though.
Some very fast-paced punk with good tunes, plenty of back-up vocals and choruses, and driving but simple guitar. Sounds like the BRISTLES, in that there’s a heavy UK influence.
A very hot performance from their US tour of last year, but unfortunately the sound quality makes you feel like you’re in the bathroom at the On Broadway instead of up front. Actually, it’s not quite that bad, but it isn’t good enough to do this band justice.
Decent but unspectacular ’77 UK-style punk. I’ve come to expect specialness from Japanese releases, but there’s no imagination here.
Putting off their venture into haiku til the next release, this eight-song job is more like their slower previous material, but more sparse and less powerful. There are even funk rhythms mixed in here, and overall, I’d have to say that the “magic” seems to be gone from this particular outing. (Comes with a flexi that sounds better than the album.)
There’s a decided ’50s rockabilly meets ’60s punk meets ’70s punk here; the hottest track is a cover of the BEACHNUTS’ (early REED and CALE) “Drivin’ Me Insane.”
A very hot little tape, showcasing this Mexican HC outfit in a live show. The sound quality is just OK, but good enough to give you an idea of how tight and powerful they can be. People who’ve seen them live certainly concur.
Mod to the max. OK, but nothing new (surprise!). Do I have to go on?
Sparse punk, done at slow-to-medium pace, verging on atmospheric post-punk. Sounds a bit like early SIOUXSIE and many successive imitators. I imagine the lyrics are all-important here, knowing the label, but I’ve got no inkling as to their meaning.
Containing a good many of the songs from their under-produced Italian LP, these new recordings are a whole lot better done, and should help these lads out a lot when they return to tour North America this summer. There’s an increasingly heavy metal guitar influence, but the pounding thrash still predominates.
Three pretty uninspiring skunk tunes. “Danse” is the catchiest of the lot, but overall it’s pretty limp stuff.
PÖBEL MÖBEL is a very gruff-vocaled thrash band—sort of a less-metal GISM. AHM are similar in approach, though less nasty vocally, and a bit more melodic—but still quite on the powerful HC side of things—and also sounding a bit German to me. Both groups are tight!
One side has three excellently produced and delivered, driving thrash numbers with a hot female vocalist. The B-side, “Wounded Knee,” is a more percussive, slower, but tough song with some really gruff male vocals. A good one. (N.J.F. stands for NEGRO JAZZ FUNERAL, not NEW JERSEY’S FINEST.)
Most of the nine songs are very long, garage-production, older-style punk. I can’t understand German, but if the accompanying letter was any indication of the intelligence of lyrics, then they’re quite well thought out.
A tough-sounding rhythm-box punk record, harkening back to a more diverse era. In fact, these guys do date back to ’79 (though they admit they didn’t learn to play till ’81). Interesting. (Usually, this is a code-word for “bad, but they tried to be different.” In this case, it’s genuinely cool.)
Fuckin A (pardon my German), these guys shred! All four songs are rip-snortin’ and nasty-ass. A cut above.
Mod revival time (?). Even a cover of “I Fought the Law.” Why not cover the fucking JOLT?? Aaagh!
A four-song, all-female release. The songs are in a snappy pop/punk mode with hyper vocals (the COMES vocalist is soon to join the band). When I say pop/punk, I don’t mean in a light sense like, say, TOY DOLLS; these songs are more complex and jazzy, yet maintain a pop structure.
Quite an unusual record. While it’s definitely got its punk and hardcore aspects, there’s a lot of originality in rhythms and structure. Apparently, these guys shun the local scene, and it shows in their lack of imitation—the best Japanese record I’ve heard in awhile.
Self-examination and resulting rebellion are the lyrical themes of this Down Under band, delivered in a punk/Oi style that’s simple but effective. Then, suddenly they leap into a thrasher with a female screamer. Then back to older, traditional punk sounds. I liked the exception the best, but maybe they need the slow curves to set up the fastball.
These songs are in a very fast jazz-meets-hardcore vein: quite an unusual combo, and one that probably requires an appreciation of both genres. Musically adept and quirky as all get out. For the adventurous.
Hey, Tesco, heard any good “industrial” stuff lately? Well, you’re missing out on this one! HIJOKAIDAN (ESCAPE EXIT) is absolutely bizarre, distortion gone mad. Wild little noises playing havoc with your ears as sometimes frenzied vocals splurt out psycho noise. Has the makings of a great soundtrack recording. You know, this went into Tim’s trade pile, so you better call fast; it’s from Japan to boot!
GAS is sort of a Japanese SIOUXSIE-in-more-pain-than-usual, with an accompanying hard post-punk backup. But watch out for those rock guitar solos and wah-wah pedals! NIKU-DAN (MEAT HUNTER) is heavy on complex structures, high production, and atmospheric hard post-punk. All you “hardcore is passé” BIRTHDAY PARTY freaks will like it. I don’t.
Some pretty neat, catchy punk from England. It’s medium-tempo stuff, though snappily and uniquely done. The A-side is particularly grabbing, with the rhythms really having a big effect on the toes. I like it.
Could be CHAOTIC DISCHORD doing a scam of some kind. The cover says “Recorded in 1976,” and sounds like an outtake from the PISTOLS’ movie. Who knows? Who cares? It blows.
Liner notes say these three lasses are backed instrumentally by the MILKSHAKES, though on their Vol. 2 EP (nearly the same front cover as Vol. 1), it shows them posing with their instruments. Anyway, both 7″ers are chock full of great girl-group trash…without sounding self-conscious or too pop. A delight!
This is like tons of early ’60s bands that re-discovered ’50s rock ’n’ roll. And like the majority of that era’s bands, this one is pretty blah—rehearsed rockabilly riffs, with REB flavoring—but not hot. From France.
Some records are pretty unmemorable. In fact, I just played this one and can’t remember shit about it. No, actually there were a few pretty rockin’ moments for this ’60s-influenced-yet-more-’77-style band. Pretty poppy though, with the accent on rhythm guitar.
Could any band intentionally be this, bad? On first listening, I thought it was unintentional—that they’re just plain bad. But now I don’t know. It’s so offbeat, even on the simplest of punk beats, that they’ve got to be trying to be this bad. Does anybody out there know the answer? Good lyrics, though.
One live and one studio side are revealed by this band of four years age. And quite good, powerful thrash they display. I wonder how many thousands of little-known bands this good exist across the globe. It’s a shame.
There’s a bit too much CLASH in this band for my taste. Two songs are straight-ahead early-CLASH pop/punk numbers, one is a ska-oriented tune, and another is a punk/dub trip. Remember that stuff?
One side sounds like METAL URBAIN gone beatnik with bongos. The flip is an unidentified live recording that’s really primitively done and recorded. French weirdness.
Super-gnarly growling and rapid thrash make for a more Japanese-sounding band than a Swedish one. There’s even special effects on the guitars, as well as leads. Noisecore.
Two Finnish bands of very different styles share this one. ABORTTI 13 is a slower, grinding guitar band, although they do play one faster punk song here. PYHAKOULU, on the other hand, is a manic thrash outfit, heavy on shredding vocals. They will be one to watch.
Yet another eclectic punk band signs on to Mutha Records. This one has an older style US garage/punk sound, but with elements of metal, pop, etc., weaving their way in. Sometimes it works, sometimes not (especially the electronic keyboards). Different.
While this is undoubtedly ’60s punk revival time, this particular approach leaves me somewhat unexcited. It’s on the pop/folk-rock side of the genre, with a little too much cuteness and too many “girl” songs. There are some rough edges (good!), but they’re few and far between.
Brian Edge sez “soothing after a hard day’s thrash,” “eclectic.” This band has a ’75-era garage sound—audible lyrics, driving rock, pre-punk feel. Can you judge a band by its covers? VELVET’s “Pale Blue Eyes” and BYRDS’ “Rock ’n’ Roll Star.”
We received three tapes simultaneously from these guys, two of which were released last year. This one, though, is typical of their sound, which is driving, melodic punk done at a rapid-fire pace—it’s really tight and catchy. Lyrics are sort of in a sicko BRUCE SPRINGSTEEN mold. Professional sound.
Jeff Bale threatened to do this review himself unless I gave this a rave review. So I guess I better…. It’s excellent ’77-style punk with SoCal ’81 tinges, making for some hot, melodic, and tuneful pop-punk. (Jeff…good enough?)
Rockabilly, surf, SLIM HARPO, and more roots music are combined in a pop metaphor. It’s fun, just slightly manic at times. Basic rock ’n’ roll.
Yet another installment in this band’s slug-fest, wherein we’re slugged and sludged with a half-dozen oozing, sleazy, garage noise compositions. I think they’re pissed about something.
Claiming to be Orange County’s “second worst band,” this outfit really is pretty good. While the tape recording quality is garage, they’re obviously a pretty tight unit. However, they are a bunch of goofs, with songs like “Killer Pigeons.”
Thrash garage music (?), cheaply recorded with some bitter-ass lyrics. It’s a nasty business, this punk rock, and I think this is the end result.
Misleading title, as they put out three 7″ers and have tracks on compilations, too (Deaf Club, etc.). Early OFFS were the raunchiest band in SF, heavy into VELVET’s white noise. They later got “funky,” and ska predominated. This LP represents their latter period (disappointingly), where slick production and saxophones are up front. Find the 45s.
This band churns out some tuneful SoCal thrash/punk with clear vocals. Yet another unheard-of combo with something to say and a good way of doing it.
A six-song job that’s quite enjoyable. Since the vocals are largely female harmonies (two of three band members are femmes), there is a pop “girl group” sound of sorts. But the instrumentation, while still pop R’n’R, has more of a ’77-’79 bite, which makes for a pretty neat combo.
Medium-tempo hardcore, launching into fast. Plenty of melody, like early SOCIAL DISTORTION. Catchy songs don’t hurt either. I like it.
A lot of one-take, ad-libbed lyrics and a variety of musical combinations, too. Wise-guy garage stuff.
A decidedly ’60s raunch sound—’60s punk with organ, rock ’n’ roll drive, and pop melodies—all toughened up by strong rhythm guitar work. Live tape, and unfortunately not really mixed. EXOTIC HIPSTERS spinoff.
Let’s be charitable here. The best thing this dark, keyboardy band has going for them is that their bass player used to be in NO ALTERNATIVE.
This is their third tape, and no let-down; the first six songs are fine studio stuff, followed by what sounds like a bunch of four-track and live material. Catchy songs, all punchy, and tightly honed. They should tour.
Very impressive political thrash Á la CRUCIFIX, but with other cool influences too. Powerful as shit, this band has been working at it. Recommended.
What’s this? A new Australian discovery? A mid-’70s guitar band? A neo-Mod outfit? Actually, it’s our buddy Lyle Hysen (ex-MISGUIDED) and friends turning in a pretty neat, rockin’ set of three songs, except for the offbeat drumming. (No, no—just kidding, Lyle!) Fun.
This label, Mutant Baby, is obviously heavily into garage satire. Raunchy music and equally nasty lyrics are the vehicle for anyone to say anything musically—a truly democratic form. And BUDCORE certainly exercise their rights. But as the CRUCIFUCKS have suggested, “Democracy Spawns Bad Taste.”
The B-side is forgettable. The A-side would be, too, except the vocals sound like Jello meets Beefheart at the Grand Ol’ Opry.
Never thought from the cover that I’d like this…but life is full of surprises. It’s rhythm-machine-driven, but has plenty of chutzpah—sort of like SUICIDE meets PEARLS BEFORE SWINE.
With lines like, “It don’t matter how we win, even murder is no sin” and “Nigger nigger, go back home,” the National Front promotes their nationalist and racist ideology through 4 bands they’ve signed to their label : SKREWDRIVER, DIEHARDS, BRUTAL ATTACK, and ABH. Sad, and dangerous…
KAAOS and TERVEET KÄDET split this German release. While most tracks are available elsewhere, the materal is very hot, and at least available to more people in the world. TK is in fine form, although their new drummer (replacing Walde, who died) is not quite as tight. KAAOS is consistently powerful and productive.
A compilation of Finnish hardcore on Germany’s Rock-O-Rama label. The music is generally strong (though some is overly generic), but there is a problem raised by this album—the appearance of so many tracks that have already been released on earlier Finnish (or even German) records. Although it’s great to witness the “internationalization” of the punk scene on vinyl, I wish that the organizers of these projects would try harder to get only unreleased cuts or songs on records that are out-of-print or otherwise impossible to get ahold of. Here, the ratio of easily-available material is close to 50%, and that’s too much.
An excellent follow-up, this compilation features some of the hot current crop of young German hardcore bands, with some great tracks by TORPEDO MOSKAU, AGEN 53, PORNO PATROL, EA 80, CHOAS Z, NEUROTIC ARSEHOLES, TIN CAN ARMY, CRETINS, and VOLXFRONT. A fine recording, on colored vinyl.
CCM and I REFUSE IT from Italy; FARTZ and SOLGER (R.I.P.) and REJECTERS from the Northwest; MEAT PUPPETS, PART-TIME CHRISTIANS, and MAGGOT BRAINS from all around. Lots of live tracks and decent sound quality, but what’s most unusual about this release is…no accompanying booklet with lyrics, addresses, etc., a rarity these days.
Reminds me a bit of early SHATTERED FAITH, with its tuneful hardcore approach, yet there is a more heavy-handed European thrash influence at work, too. While not startling, the record is engaging and listenable. Do I sound like Steve Spinali yet?
TOLBIAC’S TOADS present two cool tracks, one in a more melodic and catchy Britpunk style, the other in a thrash-meets-13TH FLOOR ELEVATORS-meets-BLURT style that’s quite unusual. SNIX’s pair are more predictable, but also well done, in an Oi style. Two up-and-coming French bands.
Around for five years, they finally broke up due to lack of a strong local scene. This posthumous release contains live and studio tracks, both fast punk and thrash, which shows these TERMINALS to have been a highly committed, powerful outfit. Could they be persuaded to re-group? Ask ’em.
The A-side is the title track of the latest STAR CLUB LP, reviewed last issue. Needless to say, this band is still enamored with ’77, as their cover of the PISTOLS’ “Bodies” attests to. If that era’s punk musical style is your cup of sake, check this out.
This six-song job contains a bunch of their ’77 recordings, some previously released and others not. All the tracks contain their quirky pop/punk classic qualities, with genuinely psychotic lyrics. Catchy and wonderfully weird.
Five songs recorded in both ’82 and ’84, and are well done trash and punk with good melodies and execution. It’s either a live or garage tape, but quality is pretty decent. Catchy tunes, with a slight NEW YORK DOLLS influence on the slow numbers.
NEOS fans take note! Some former NEOS and JERK WARDs team up to unleash those short, sweet, psychotic blasts of sub-one-minute rage we’ve been missing. Noisy and nasty.
While the cover of the JOHN LENNON classic is pretty unexciting, the two flipside tracks are pretty neat. One is a surfish instrumental, powerfully done, and the other, “F for Fake,” is in a ’77 style that’s pretty neat. Decent.
This comp represents past and present bands from the North Bay of the SF area. Side one, the “well-recorded side,” is somewhat within that definition, and contains some cool tracks by LUDAVICHO TECHNIQUE, CRYPT, UXB, PUKES, and SACRIPOLITICAL. The “not-so-well-recorded side” is “live” mateial, with a track each by 13 bands. Kent likes all this “warped stuff.”
Produced by Student Action Corp for Animals, this 7″er comes with a fold-out sleeve that contains all sorts of animal justice information and addresses. The disc itself contains a spoken word track, one musical track by D.C.’s SUBTLE OPPRESSION, and two songs by the Bay Area’s late ATROCITY. Those two tunes, highlighted by twin female vocals and atmospheric but driving punk instrumentation, are the musical treats here, and, unfortunately, are the only released testimony to that great band.
An international compilation of the known and a few newcomers—BORN WITHOUT A FACE, ARHIVISKA ZABAVA, DICTATRISTA, BRAVE NEW WORLD, UNIFORM CHOICE, CRASH BOX, ASBESTOS ROCKPYLE are among the former, while GLORIOUS DIN, BABY ASTRONAUTS (hilarious), ST-37, FAITH NO MORE, DOC WOR MIRRAN, and ARCATA BOYS CHOIR head up the latter. Enjoyable listening.
This German band has quite an “Americanized” thrash sound, not unlike the FREEZE, SOCIAL DISTORTION, and others that utilize a melodic yet driving thrash approach. All the tunes are excellent, tight, and powerful. Watch for vinyl soon; I know I will.
Both sides are “live” recordings from mid-’84, and while the sound quality is decent, there certainly has been plenty of other material (both live and studio) by both bands. In fact, I’d say that they’ve glutted the market—between tapes, Finnish releases, German releases, US releases, etc. I certainly can’t keep track any more of what’s what.
This debut US release of Swedish veterans the NOMADS contains four tracks from their recent Where the Wolfbane Blooms 12″, but don’t let that stop you from picking this one up. The NOMADS are without a doubt the best of the neo-’60s punkers today, with some of the nastiest guitar licks going. Killer!
This three-piece band deals us a three-song EP, and a weird hand it is: there’s some really fuzzed-out guitar, crazed ranting vocals, and almost jazzy, snappy rhythms. It’s a little arty, but most definitely punk. Different…from Germany.
Very percussion-heavy post-punk meets pre-punk. In other words, there are elements of the VELVETS, ’50s R’n’R, Chinn/Chapman, all blown to hell in a ’80s noise blast that recalls no nostalgia—only perplexion.
I believe this tape is several months old and has now gone into a second edition. It’s melodic but abrasive thrash and punk—very appealing. I just realized that I like most all of the Spanish thrash bands. There is something very believable about their message, and the urgency of the performance.
One of the most politically aware and intelligent bands to spring forth in a while. They aren’t slouches musically either; there is a strong UK/CRASS influence at work, but they are their own band, with songs addressing many local issues, as well as international ones. Comes with posters, a zine, and other info—all of which is comprehensive and inspiring. A good job.
The second tape release from this hot Danish band, and it’s no let-down. Although it’s of the tuneless thrash variety, it’s pretty rugged stuff, with buzzsaw guitar and unrelenting energy. Contains both studio and practice tracks.
EA80 delivers melodic punk and post-punk. It’s really clean stuff, super-produced, and that sterilization process detracts in a way from the overall effect. This is especially true with the vocals, which seem so separate and almost operatic that it’s annoying. So-so.
While the drumming is a bit sloppy, the rest of the band churns on. I like the other aspects well enough, but I keep hearing the drumming; sounds like it’s from someone else’s record…maybe some jazz track mixed in for kicks. Unfortunate for me—maybe it won’t irritate you as much, because the rest is cool.
It would be unfair to characterize this band as something between DISCHARGE, DOA, and MDC—because although there are some tinges of each influence, DIRECT ACTION is their own band, slashing out with one intense song after another, all of which are powerful, intelligent, and well done. Get this tape, and their hopefully upcoming 12″, but they have had some problems with the mail (it’s the name), and many sent out never arrived. They’ll send you the tape and cover in separate packages to avoid such problems.
Six totally gnarly, noisy thrashers. There’s no let-up at all—just one blast after another. Yet, beneath the fuzz and snarl, there’s plenty of melody. Yet another Swedish classic….
I’d say they were the heirs to the early COCKNEY REJECTS and other “working class” “football chant” UK bands, but this band actually predates most of them. I don’t know how long they disappeared, but their return is most welcome, especially on this disc. All the tracks are catchy, exuberant, and powerful. A good one.
The CRETINS’ track, “Dachau Disco,” is a snappy punk number, well-produced, in a manner somewhat reminiscent of the VIBRATORS. BLUT+EISEN chip in with “Summa Summarum,” a trashed and thrashed-out version of “Teach Your Children Well.”
Mike Spencer is the only original member left of this R’n’B-oriented, rocked-out group (they date back to the late ’70s, and their cover of “Good Guys Don’t Wear White” on a single back then still rules!). While BO DIDDLEY or rockabilly riffs may be cliché today, they deliver with such verve that it becomes fun—especially the live side, which is much more crazy than the rather staid studio tracks.
Bone-crunching punk (without being metal), these guys deliver intelligent lyrics to boot. This, their second 7″, is produced by Dave Gregg of DOA, and there are some slight similarities in their punk “rock” approach. Powerful.
Boomba! This is a pretty terrific debut. While the drummer seems to lag at times from sheer exhaustion, this band blazes from beginning to end, delivering not just wicked blasts of thrash, but tuneful, catchy, and intelligent songs as well. Hot!
This latest Greg Shaw reliving-his-teens comp contains all contemporary SoCal neo-’60s bands. The accent is on punk here, with just a dash of folk-rock, psych, and Mersey. And a good one it is—solid rockin’ from beginning to end by all 16 bands (most previously unreleased). Recommended.
Oh, no! Yet another STANDELLS cover—and a pretty decent one at that. The flip is a ’60s fuzzed “tribute” to the holiday season; pretty imitative-sounding, but still OK.
There are three tracks here, all in the “angry young singer-songwriter vein.” It’s sort of a pissed, poetic stream-of-consciousness rap laid over driving rhythms, not unlike early LOU REED or JIM CARROLL (but with better lyrics). They’re an enjoyable (though sometimes both tedious and thrilling) live act, too.
One of a seeming million early-’60s garage bands from the Northwest that paved the way for mid-’60s punk. This LP traces their progress from an only slightly more interesting later reincarnation as a pop/rock R’n’B-sounding band (while going from name to name). It’s a classic story, but not necessarily that interesting, musically.
Heard this was a truly rockin’ ’50s-ish band (maybe the LYRES?), with a front-man and honkin’ sax added. It’s OK, but not the rip-snortin’ thing I was expecting. The exception to the rule was their cover of MICKEY HAWKS AND THE NIGHTMARES’ “Cotton Pickin’.”
Hailing from Smalltown, Michigan, there is something almost comical and naïve about this EP. It’s hard to pinpoint exactly; the music is punk/thrash, but it’s delivered in such a garagy, under-produced manner that it seems almost Quincy-inspired. But there are some serious lyrics, and although I don’t mean to be condescending, it’s just that I feel I’m back in ’78 again.
SWEET, MOTT THE HOOPLE, etc. While this outfit is more garagy than their influences, they do seem a bit out of place today (which “All the Young Dudes Are Dead” testifies to). “Prison Rape” is the most intense of the four songs, at least lyrically.
A new Huntington Beach band that’s got powerful, but not especially original songs and delivery. Their most charming aspect is the nasally teen vocals. This band should improve with age.
A match made in hell? Actually, this single is pretty enjoyable. While I haven’t really liked LYDIA LUNCH since TEENAGE JESUS & THE JERKS, the focus of SONIC YOUTH forces her into a structure that makes the result a lot more accessible. Almost sounds like PATTI SMITH.
If you were never lucky enough to pick up the SOLGER EP (one of the earliest NW thrash bands), then pick up this tape. It contains 15 tracks, down and dirty, recorded in 1980, that make the FARTZ sound pop. Well, not really, but you get the idea.
A horror-filled tape (lyrics only, folks), full of guts and gore. This mood is enhanced by echoey, mysterious vocals, and slightly psyched instrumentation, some punk and some post-punk. Buy and die.
A three-song goodie. The production on these rockers is really fine, calling attention to this band’s musical expertise and attention to arrangements. Although there are tinges of “rock” guitar, it’s kept to a minimum, making way for the powerful overall effect. Their version of the AIRPLANE classic is totally enjoyable.
Where does one draw the line between cute and dreadful? This is one of those judgement calls, being just guitar and vocals, punk singer/songwriter stuff. I dunno.
A young Berkeley thrash outfit that sports some keen bass playing and guitar work that are sometimes disconcerting (it’s the weird tone, which is both good and bad). Good vocals, too, but they have a propensity to break into rock ’n’ roll/R’n’B riffs in the middle of songs.
A current band with a ’60s fixation, copping their name from the SDS 1962 statement of purpose, and a cover of BOB DYLAN’s classic. Actually, I’m surprised that no British band has done this (have they?), because Maggie Thatcher is plastered across the record sleeve. The music itself is a slightly more bluesy version; the B-side is a funky throwaway.
Seems like I’ve heard more and more new bands lately that are borrowing heavily from the early ’70s proto-punks like the STOOGES, HEARTBREAKERS, etc. This band is in that vein, although other less appealing aspects of ’70s rock creep in, too. Overall, a nice nostalgic departure.
A musical departure of sorts for PAINTED WILLIE, this topical release incorporates aspects of rap, funk, and slower rhythmic forms. But the accent here is on lyrics, with title track zeroing in on Reagan’s “We begin bombing Russia…” “joke,” and going on from there. It’d be nice to see more bands using vinyl as “current events” ways of communicating opposition.
You can hear garage, pre-’77 types of punk, SoCal thrash, etc. in this band. I’m not too partial to the singing, though he does have some distinctiveness. Covers of “New Race” and “Can’t Explain,” too.
This live tape is characterized by long songs, with somewhat of a slow STOOGES influence, and perhaps a bit of early TELEVISION mixed in. The sound quality is decent for a live recording, but some of the wanking and effects get a bit obscured, as this is moody stuff.
Semi-psychedelic funk rock? A wimpier URBAN VERBS? A decent idea overpolished? A reviewer who’s just not into it? Should I take some acid?
These guys hit you with power and drive that falls somewhere between HÜSKER DÜ and NAKED RAYGUN. Their sound is continually driven like fellow Minnesotans the HÜSKERS, but their rhythmic pulse is more akin to N.R.
A self-admitted silly name, but the music and lyrics aren’t. While sometimes metallic, they are pretty energetic and straightforward instrumentally, with lyrics that are well thought out and somewhat political, though not dogmatic.
Yep, here they are, performing their generic hits like, “Nuclear War Is Awful,” “Peace Is Where It’s At,” “Slam, Slam, Slam,” “Government Is Lame.” Actually, the only way I can tell it’s really them is from the flyer, because musically it’s all just one big “live” blur, making them sound like countless other generic YOUTH imitators.
Maybe if you’re from the Midwest you might relate to this record, with its geographical themes (there’s even a song about Woody Hayes) and garagy appeal. But it’s pretty folky overall. Erikka says it sounds like “bad NEIL YOUNG.”
Culled from demos left behind after his death in 1966 (he was rumored to have been killed by the mob—gasoline poured down his throat and lit!), most of these tracks are tame compared to his classic “I Fought the Law,” but do convey his evolution from the heir to BUDDY HOLLY to a ’60s rocker. Surprisingly, I like his version of “Miserlou” the best here, as surf music wasn’t what he was noted for. For fanatic collectors only.
After reading some articles and reviews that this first release in years by the former CREEDENCE CLEARWATER REVIVAL frontman was the “real McCoy,” I was psyched for some great straightforward rock ’n’ roll. What I got was some so-so straightforward R’n’R, more reminiscent of CCR’s dying days or their BLUE RIDGE RANGERS incarnation. Shit! I’m disappointed.
Probably the first of the neo-psych and neo-’60s bands (they were putting out indie 7″-ers back in ’75), they haven’t lost their feel for the genre at all. The great production by Earle Mankey doesn’t hurt either; they churn out nine songs that are more on the psych side than punk (though not always), but are packed with plenty of punch nonetheless. The title cut is excellent!
Boston garage rock in the tradition of the REAL KIDS. Those who enjoy the REPLACEMENTS will probably take to this, though I found it a bit too slick and poppish and not rockin’ enough. There are a couple of kickers, but the ballad-y side (augmented by the dreaded sax) is more than I can take. Also, “Hardcore Rules” is a backhanded slap at the scene.
I guess what’s “underground” is relative to where you’re from. For these guys from Central Illinois, this form of pop/punk/funk they practice is pretty radical. For me, though, it’s a bit too close to much “new wave,” although there are moments that attract me. Needs more edge.
While this new band hasn’t developed any new style yet, they are enjoyable and inspiring for a couple of reasons. First, at least two are women (we need more in bands!), they play a good, intelligent brand of garage thrash, and finally, hail from East Oakland, where no punk bands had hitherto come from. Keep it up.
Sounding more than a little like SSD (their admitted heroes), this thrash/metal five-song slab is quite a strong debut from this now-veteran band (see article this issue). If you like “power” punk, then hunt this one down.
If you liked the original line-up of the band, or if you’ve ever liked the CIRCLE JERKS, then rest assured you’re going to like this one. While there’s a bit of tedium in the uniformity of their thrash, it’s more than compensated for by the overall power and tightness. Good.
Touch & Go is on a real winning streak here, what with the DIE KREUZEN LP, and now this. By now, most people know how dynamically weird the BUTTHOLES are, so I’ll skip the intros and just say check these walking, talking Texas nightmares out…dudes.
Two recently deceased bands share this memorial release. While INCEST were just so-so, ZWAAR KLOTE were quite awesome. They are as tight, fast, and powerful as you’ll find around Europe, and not prone to too much sloppiness.
The hardcore played by these guys is on one hand melodic (a bit reminiscent of the DKs) and yet also somewhat heavy-handed (mainly in the vocal delivery, which is quite “Germanic,” and in the rhythm section’s “heavy” sound). Good, but not great.
Both of these tracks are in the highly-produced, powerful punk/post-punk vein, reminding me of some of the slower material on the STALIN’s picture disc LP. Good traditional stuff from Japan.
Japan’s longest surviving punk band has a new LP, and it sounds like it could’ve been recorded back in ’77 when they began. It’s got that “classical punk” sound, thoroughly produced by a major label, power chords and all. Now that Johnny Rotten is doing SEX PISTOLS material again, I guess it’s OK. First 500 come with a flexi, too.
This four-song job has a heavy PISTOLS influence—almost embarrassingly so. They do, however, perform the style diligently. This 6″ record comes in an 8″ sleeve, which folds out into a glossy full-color poster.
This six-song Japanese release is pretty Britpunk in sound, with high-quality production, clean execution, catchy songs and hooks, etc. They even have the Union Jack as a backdrop in their photos.
These guys mine a ’60s type of lode (not load), but instead of the punk/psych vein of fellow Swedes the NOMADS, this is more on the pop side. There are some Mersey influences, early ’70s pop influences, even ROMANTIC influences. Actually, they go way too far in this direction for me. Maybe that wimp Jeff would like it.
I think this is what RIISTETYT evolved into. Both tracks are on the power/pop/rock side, yet are pretty catchy. This especially pertains to the A-side, which sounds like a Russian (Finnish?) folk tune rocked out. Sort of older-style punk-sounding, too.
Claiming to be the fastest band around, they’d like us to tell them who’s faster. That might be difficult, as they do totally shred on their recent tracks here. And even at such speed, they manage to hold it together musically, and even inject a bit of melody, too. Looking for a US label.
With thanks given to DISORDER and CHAOS UK, and an attitude lyrically not unlike CHAOTIC DISCHORD, you can get the general idea of where they’re coming from. Their punk and thrash is tight, well-produced, but not especially dynamic.
The second Sydney compilation from that hard-working Bruce Griffiths (Trousers in Action zine), and it’s full of good material. While there is only one semi-thrasher (VIGIL-ANTI), there’s lots of garagy stuff (ROCKS, WRONG KIND OF STONE AGE) and other classic punk styles performed by SUICIDE SQUAD, EXSERTS, HAPPY HATE ME NOTS. But the most zapping tracks belong to ITCHY RATS, who’ll really grow on you. Super book-type cover, too.
This is a surprisingly strong representation of several Yugoslavian hardcore bands. While it’s hard to tell who’s who, nearly all of the material (tape EPs) by U.B.R., NECROPHILIA, SOLUNSKI FRONT, QUOD MASAKA, DVA MINUTA MRZNJE, and DISTRESS is a cut above the norm. There’s some real originality and flair here, along with lots of power. Excellent.
This is pretty much of a rave. All the bands thrash out wildly, with most of the bands turning in those noisy live tracks that remind me of S.U.M. In this category goes PUINHOOP, LAITZ, M.O.G., CHLORIX, ECHTE BOTER, G.V.D., ORGASM, and A. RELAXT. Top honors on this regional Dutch comp go to GEPÁ˜PEL, who present two studio tracks that remind me of 7 SECONDS more than a little. Keep it up, all of you!
This all-thrash comp is yet another international effort, and despite some relative unknowns here, it’s pretty consistently powerful. There’s EXTERMINO (Brazil), RÖVSVETT and MOB 47 (Sweden), BLANK SS (Heimat), and HERESIE (France), SAUKERLE (E. Germany), ONSLAUGHT (UK), THELLAY (Japan), END RESULT (Australia), SCAPEGOATS (W. Germany), and MELLAKKA (Finland). The compiler will take money ($2.60), but prefers a C-60 tape of bands from your country in trade.
This Party Animal follow-up is not quite as overpowering as the initial installment, but it’s still an excellent sampler. You get 41 bands from all over the US, with SoCal being predominant. Too many bands to even begin to list (see ad this issue), but there are lots of debuts here, as well as other recently recorded up-and-comers. And, there are grooves between the songs this time!
Fairly evenly split between US and UK outfits, between live and studio, between good and inaudible. Faves: SEARS, RON CREATE, CHUMBAWAMBA, BODY COUNT.
Frantic and jazzy, while unrelentingly pounding, this is yet another recent attractive entry to the hardcore world from Italy. The songs tend to be longish (and remind me ever-so-slightly of REALLY RED), but there’s enough melody to sustain that, especially given the power with which they hammer home the material. Good.
Don’t ask me what that means! The seven tracks here are in an early (’76-’77) punk vein, with elements of the STOOGES and pre-punk pop/rock thrown in. Not great/not bad, and from Japan.
Quite a noisy thrash/punk band. The overall sound seems a bit early English, but a lot of the hooks seem more late-US. Very enjoyable, and the rock hard.
This band reminds me most of the earliest incarnation of the FLAMIN’ GROOVIES (circa 1967-’71), with their rockin’ R’n’B. The singer has a definite ROY LONEY feel to his voice, which has to be more than a coincidence. OK, but not as cool as the originators.
These folks are among the world’s leading proponents of industrial noise, utilizing instruments, jackhammers, concrete mixers, etc. But somehow, these live recordings didn’t shake me up. ZEV makes better rhythms beating on his springs, SPK used to make more intense, demonic sounds, and ENO makes better ambient music. Not that I’m any expert on this stuff, but after reading Tesco’s article, I thought this genre would change my life. Guess I’m too weird already, ’cause it seems tame.
Records from Japan seem to come in all sizes, shapes, and degrees of elasticity. This 7-song, one-sided job is a tough bit of thrash, combined with ultra-gruff, throaty vocals that make it quite good. A political theme record.
Very fast and very noisy! If it weren’t for the ultra-repetitive drumming, this would be pretty snappy; but somehow, it doesn’t hold together this way. Excellent lyrics.
Both of these tracks are on the rock’n’roll side of punk, not unlike the quasi-rockabilly approach of NO ALTERNATIVE several years ago. The A-side rocks harder, but neither track is really that gripping.
Yowl This one blisters! From start to finish, this is one long string of Pushead adjectives. Check it out!
Your basic stop-and-go thrash with gruff-as-hell vocals. It’s tightly done, and there is definitely a spark of potential specialness in the guitarist’s work, so given time they could be hot.
Outside of some weak Britpunk material from BLABOIZ, we’re presented with some excellent tracks (studio and live) from the VANDALS (not the US band), INTENSIFIED CHAOS (again, not the US combo), and SABOTEUR. Vigorous stuff!
The up-and-coming Rot Records label presents largely unreleased tracks for your holiday “enjoyment.” Good, strong material from ANIMAL FARM, VARUKERS, NO CHOICE, SKEPTIX, RESISTANCE 77, ENEMY, PARANOIA, and RIOT SQUAD. What, no BOBBY HELMS?
One cut each by four excellent rock ’n’ roll (in the good, teen rave-up sense) combos. The MILKSHAKES, PRISONERS, STING-RAYS, and TALLBOYS all turn in crisp, up-tempo rockers with varying influences (R’n’B, psych, mod). So don’t be no “skwayer,” and pick it up.
A dozen very, very powerful and desperate thrash tunes out of the studio. These guys are “newcomers,” yet they deliver like old pros—tight, and with confidence. This band, among a few others, bodes well for Britain’s HC future.
A four-song mid-tempo Brit-punk style tape. It’s OK, but not very inspiring. I think this style reflects too closely the depressed nature of the English working class. Their lackluster, unimaginative lives come across, not so much lyrically, but in the dull repetitiveness and unexciting music. Somehow, punk should attack that existence with hope and verve. I dunno, maybe I have no right to say this from afar.
While the two B-side tracks are nothing special, it’s the A-side’s “Why Do You Have to Eat Me?” that grabs me. It’s about one-half spoken word (a woman reciting various facts about edible animals’ unhappy encounters with mankind, set to eerie sci-fi-like music), and then breaks into a classic punk chant song.
A better release than I expected. While there’s some so-so stuff, many of the tracks have that “something special” that makes them jump out at you, and stick, too. Catchy tunes, powerfully delivered, and with zip!
NO ONE’S PROPERTY is an undeniably English band, sporting mid-tempo songs with both a male and female vocalist. Well-done, well-produced, and to-the-point lyrics. BOMB CULTURE is a vocalist and rhythm machine combo, also with intelligent words. Both outfits are now, unfortunately, kaput.
A three-song UK mod release with all the prerequisites: vocal harmonies, R’n’B guitar licks, up-tempo beat. There’s just a hint of the unusual on “A Shot in the Dark,” but otherwise they’re just a pale version of the JOLT.
Can this be the same band that put out that drone-like EP a while back? Yes, it is, but they’ve improved about 1000%, and return to blast our ears with some powerful noise and tune-laden thrash. Another excellent young UK outfit to watch for.
This is their third 12″/mini-LP (hard to tell which these days), and probably their best yet. By no means generic punk, there are all sorts of strange noises and various counter-rhythms running throughout, keeping the listener just a bit off-balance. And just when you think it just might be a bit too eccentric, they come back with their powerful sound. There is one self-indulgent klunker on the studio side, though, and the live side isn’t quite as neat as the studio. Still, it’s interesting.
Band #1 is BROKEN TALENT, who, after the pornographic intro (Mykel Board, get this one!), indulge us with some classic garage punk. #2 is VERBAL CIRCUS, and they deliver some really weird shit (again M.B., take note). POP CRUDS bring us back to reality (ha!) with more garage retardedness. And that leaves it all up to FONZIE’S NEPHEWS, who polish us off in a demented fit of idiocy. “Weird shit,” as the liner notes say.
Supposedly a return to the “punk” side of Texas ’60s music, it’s not quite the wailer I had hoped for. While there’s some killer stuff by the BRIKS, FANATICS, and BARONS (MOUSE AND THE TRAPS rip-off), there’s also an awful lot of filler here. Hope that’s it for the Texas series.
Part two of the Texas retrospective in this on-going series has dug up a mixed bag. Side one is the ” acid-punk” side, and it’s a 50/50 proposition: highlights are by the REMAINING FEW and STEREO SHOESTRING, the rest being too far gone on the lighter weight psych side. Side two is the “pop” side, and it’s less than a 50/50 deal.
The soundtrack to We Got Power‘s video extravaganza, there’s lots of great rock ’n’ roll. REDD KROSS appropriately dominates this disc, not only with their own tunes, but with members sitting in with WHITE FLAG as well. They are joined by BLACK FLAG, SIN 34 (WGP’s “house band”), NIP DRIVERS, and DARKSIDE(?). Cool teen stuff!
No headbangin’ ’60s punk here, with most of this anthology concentrating on the Mersey/folk rock side of things (WHAT-NOTS, FRIEDLES, YOUNG MONKEY MEN)—but CALLIOPE and LOVED ONES do turn in an excellent rocker each. I suspect most of these bands hailed from South Jersey, hung out at “the Shore,” and would love to be BRUCE STINKBEAN.
This duo of Jake Whipp and Mr. Ott dates back to around 1976 when they emerged with their pre-punk classic, “I Could Puke. ” And here they are again. While neither side is as great as that debut, both sides exhibit their weird, punchy music that combines a rhythm machine, eerie vocals, and occasional wicked guitar outbursts.
A pretty intense but standard thrash tape. The sound quality is decent, and there’s lots of power to their blasts. Nothing new, but they’ll be a force if they stick with it.
Bizarre—could’ve sworn this would be metal, judging by the cover. But as the ol’ expression goes, “You can’t judge a…” You want punk, you got it. You want country, you got it. You want garage, you got it. You want metal, you got it. You want experimental, you got it. And all done weirdly!
A lot of this band’s material is on the softer side, not unlike some of the REPLACEMENTS’ current material. There’s some freak-out jazzy punk, too, and even some thrash that’s twinged with country, reminding me of MDC’s “Chicken Squawk” or something.
Another in the “Nardcore” series (although RKL recently moved to SF) of mini-LPs, and they kick. As with many of the younger bands these days, there’s a decidedly metal guitar influence. I choose to not hear it.
A ridiculous name and a ridiculous band. It’s that ol’ youthful attack, folks: slash and crash and make fun of everything, and “who gives a shit if it sounds horrible ’cause we’re havin’ fun!” Garage: love it or leave it.
Ever wonder what happened to Jennifer Miro, singer of the late SF NUNS? Well, she now fronts MARLENE (or is she MARLENE?), who produces one slow BLONDIE-ish side and one cabaret-ish side. Can’t really recommend this musically, but the lyrics are intelligent. And, of course, it’s historically relevant. Right?
Hey, it’s only been five years since their previous EP, and somehow several of the original members have regrouped with others for this reemergence. While I don’t believe they are a functioning unit (they haven’t played here where they live and recorded this), this is pretty tight. Description: punk rock, with the “rock” as stressed as the “punk.”
Uh oh. More sun-damaged crazies have invaded our area from the desert. Sure this is difficult music; imagine a hybrid of the SEX PISTOLS and KING CRIMSON. What lifts these weeds into a high-energy bracket is their fat, metallic guitar crunch, and a warped sense of humor. Check it out.
A pretty nifty rock ’n’ roll tape with garage appeal. There are some ’60s influences here, but it’s rocked out in a ’76-’77 manner. Unpretentious, fun, and intelligent stuff.
Yet another in the “Nardcore” series, and this one has a definite “live” garage feel to it (might be because there were about 100 kids in the studio at the time of the recording). Actually, it’s being remixed, so it may sound cleaner when it’s released, but even this version is fun. Couple of covers, too.
Billed as a mini-LP on 7 inches, this is the first of the “Nardcore” (Oxnard area) series, with plenty more to come. The idea is to beat the “high cost of albums, with these six or seven song jobs.” FALSE CONFESSION comes off on some tracks as America’s answer to the current DISCHARGE sound. On others, there’s less metal damage, and more of an amalgam of US and UK thrash. Powerful.
An excellently recorded tape, FVK came on with superior political lyrics (I say “came” on, because they lasted only during last summer). The first few tracks are fairly “heavy,” but after those they launch into a series of thrash stop-and-go killers. Fine.
Both sides are highlighted by great punk vocals, and semi-punk/garage/rock instrumentation. Sometimes the rock side (chunky rhythms and guitar solos) gets a bit much, especially on the B-side, but the A-side is an unqualified rocker.
What it is is good NJ thrash ’n’ roll. They rock hard and tight, with lots of stop-and-go songs, neat guitar sounds, etc. I say NJ because they have a lyrical fascination with guts, gore, and death, as many other local bands do. Quite a few anti-war songs, too. Good buy.
While most of the songs on this tape are a bit too much on the melodic side for my taste, fans of more pop-punk (Á la SoCal sound, like aspects of SOCIAL DISTORTION, TSOL) will appreciate their approach. Well-produced.
The same BLIGHT as before, with Scott (ex-CRUCIFUCKS?) singing/chanting/growling instead of Tesco. Long, slow, painful dirges are their forte, and they deliver with all the ugliness of an extreme downer overdose. Watch out—they’re on tour now!
A four-song demo in the old no wave punk-funk tradition. Actually, it sounds somewhat refreshing now, though it sure got to be stale back then…
Quite a neat ten-song tape that really should’ve come out on vinyl. It’s classic SoCal thrash, reminding me a bit of what the MIDDLE CLASS might have sounded like had they continued from their thrash roots. It kicks!
Claiming influences that “range from BUZZCOCKS to DIE KREUZEN to early STONES to IGGY to MINOR THREAT,” it’d be hard to really go wrong. While by no means as singularly excellent as any one of these bands, they do indeed display a blended “punk/pop/with power” that all said influences have/had, and all without being obvious imitators.
Weird-ass rockin’ C&W-flavored punk. I hear LINK WRAY, BUTTHOLES, VELVET UNDERGOUND, and all kinds of stuff in here. Unfortunately, it’s only six songs long, but it’s still pretty neat.
Ah! The garage aesthetic—you either like it, or you puke. Now Jeff, he likes it (the aesthetic, that is). The Pus, it’s not his cup of disease. Me, some’s got charm, but in small doses, unless it’s pure rockin’ noise. This particular manifestation of the genre has its moments (more than not) but it does wear thin after a while.
Two regional English bands split a tape here, and they couldn’t be more different. DEFORMED’s recording is a studio demo, and their sound is “death punk,” cleanly executed (get it?), and effective. NO BRAIN CELLS do 30-second thrash numbers, and it’s a live tape that fades in and out (at least on my cheapo machine). It’s good to see such varied punk bands be able to cooperate though.
Another excellent 7″ (their third) from this Swedish unit. They play very fast punk with catchy tunes, cool singing, and hooks galore. While their style is not unlike some of the better Brit-punk bands, they deliver it with zest and feeling.
Although there’s a light post-punk atmospheric guitar touch to these three tracks, this is overshadowed by the driving beat and tough vocals (at least on two of the songs). Previously though, their approach had been more “punk,” but the results here are OK, too. Fine instrumentation.
When I think of modern Icelandic music, I think of moody post-punk and some experimental stuff. That’s exactly what we get on this tape. Only one or two groups (VONBRIGDI, for example) really play driving punk.
Quite a strong trash-oriented tape, with the likes of Germany’s MANIACS, UK’s THE FIEND, and Italy’s MONOPOLIO MENTALE. No let-up or let-down.
A split EP, on white vinyl no less. ENOLA GAY and WAR OF DESTRUCTION share this effort. E.G. are good, gruff fast punk (two songs), while W.O.D. are DISCHARGE-like on their one entry. The flip features LE CRAP, who are abrasive post-punk. The real surprise, though, is VI, who shred on their two tracks, sort of GISM meets CAPITOL PUNISHMENT. Good release.
An historical document of sorts, this live tape is dedicated to those courageous and dedicated punks of Milan, who managed the Virus collective (now defunct by force). Besides the many bands (ALTERNATIVA, KOBRA, F.D.M., WRETCHED, STRAGE, M.A.F., RAPPRESAGLIA), there are interviews with various people (in Italian), speaking about an action of occupation they did (where this was recorded) to protest, where eventually they were dislodged by ten tanks! Raw as reality, but the fight goes on.
An international collection starring PLAIN WRAP, SVART FRAMTID, PANDEMONIUM, MOB 47, WRETCHED, TIN CAN ARMY, SIEGE, CRASH BOX, INFERNO, and several newcomers. It’s a solid thrash release—you know what you’re getting.
A whole lot of current UK bands (eleven to be exact), each with a track or so, and bizarrely, one US band (KILLROY). We get some mid-tempo tracks from ANIMAL FARM, SICK VICARS, ENEMY, RESISTANCE 77, THOSE OBNOXIOUS TYPES, and PARANOIA. Not earth-shaking, but solid Brit-punk.
The follow-up to Blood on the Cats, this comp again features trash/garage/rockabilly/R’n’R. There are a few well-known bands (METEORS, SIC KIDZ, MILKSHAKES), a few up-and-comers (KING KURT, STINGRAYS, TURKEY BONES AND WILD DOGS), and absolutely no manic psychobilly. Just OK.
A real gnarly, kick-ass compilation consisting of such luminaries as PUNK FLAMINGOS, PRENATAL LUST, BILLY BOB FAGGOTS, FEARLESS IRANIANS FROM HELL, TOEJAM, and three others. It has good sound quality, too. More than decent.
Other than a few too-pop or rockabilly clunkers on side one, we are left with an excellent ’60s-punk-type compilation of various contemporary groups. There’s killer stuff from YARD TRAUMA, NADROJ & THE WOLRATS (doing the SONICS’ “She’s Waiting” with new lyrics), CHEEPSKATES, among others. There’s even Midnight owner, JD, doing his tribute, Á la Phil Spector’s Xmas LP, to the season.
Eight songs (five bands) from upper NY State. The WRONG CROWD are like late-period VELVET UNDERGROUND, the PLAGUE are garage, RELIGIOUS INSANITY are mercifully short-song oriented, SUICIDE POETS are mysterious, and THRASH HAPPY are the furthest thing from thrash imaginable.
OK, this is more like it. After all that clean-cut stuff I get stuck reviewing, this is “reality”—totally garaged-out, fuzzed-out, raw-as-shit production, noise central. Love it.
The CHANNEL RATS’ side displays a “funnypunk” approach, though the music is more “down and dirty” serious-sounding slow than most in this genre. R.A.F. GIER is the real surprise, however, with great and unusual thrash, showing both imagination and power. Cool.
Who are these guys? Well, whoever they are, they really shred. TMA play totally fast, gnarly thrash with lots of hooks ’n’ tunes. Tight and clean, too. The lyrics are typical “punk rock,” bitchin’ ’n’ moanin’ ’bout everythin’.
Well, “anarchy” about describes it. Beyond that, it’s a noise/free-form/HALF JAPANESE freak-out. Actually, there are distinct tunes, but it is rather too unique to describe. Oh yeah, it’s not wimpy! Creative.
Intelligent, but somewhat heavy-handed political thrash. Reminds me of MDC meets Jeff Bale’s old band, WARZONE. The drumming and singing are a bit too stolid for my tastes, but if primitive is your bag, this thrash is for you.
Totally hot HC-type tape, folks. No let-up, meat and potatoes thrash, delivered with commitment. Lest you howl “generic,” go to a new wave show, then go home and play this. It’ll be a breath of fresh air.
We’re talking high-class stuff here. The second TARGETS EP affirms that their debut was no fluke, as they deliver very powerful punk/thrash with pop sensibilities, great hooks, and choruses. I’d compare them to an English equivalent of the DKs, combining the finest aspects of both influences.
A three-song Japanese Oi record. Musically, it’s pretty good, with power and lost of catchiness. But to really appreciate this disc, you’d have to read the lyric sheet; the most bizarre translation to English I’ve seen yet.
Great! All four tracks here have a different sound, and all are cool. It’s punk/post-punk/ska/power rock/psychotic wailing, all in one. Very special.
A “live” recording that does have a “Western” feel to it in the rhythms. Don’t like this as much as their Government Don’t Care single, but it’s still pretty rockin’.
A bizarre mixture of five tracks appears here. There’s one experimental, a thrash instrumental, a cover of “Green Acres,” and two stop-and-go thrash songs. All are well done, especially the title track. Interesting.
Not to be confused with the English band, this Memphis outfit is a punk/metal/rock amalgam. The overriding emphasis is on the punk side, but there’s a lot of guitar wanking and soloing, and you know how excited I get about that. But find out for yourself.
A very noisy but interesting tape. While punk to the max, this garage outfit employs some “special effects,” making this effort varied and enjoyable. Hope they make a record.
Crypto-cowboy music, maybe? Bizarre guitar playing meets poppy no wave? Not exactly pop; not exactly punk. You tell me.
While in the psychobilly vein that’s becoming more and more popular, these guys kick ass a bit more than most of their contemporaries. Even the slowest number, “Mini-Skirt Blues,” has got good power. Plus, they do a great cover of the COUNT FIVE’s “Double Decker Bus.”
Another more-than-competent release from these lads. For your money, you get three medium-fast punk tunes, and one thrasher. They handle both styles well, though seem better suited to punk, making them sing-along-simple.
Sorry kids, but I could only make it through one and a half sides of this “rock ’n’ roll” record. Not my cup of tea. Amazingly, though, Jeff actually liked it (I worry about that boy sometimes) saying it was “funny” and had “some OK music.”
“Boneshaker Baby” is a real neat CRAMPS-type rave, rockabilly beat and echoes to the max. Boss. But the A-side is that post-punk dreck that I can’t handle at all.
It’s touching to see old bands hang in there, although I’m not too ecstatic about this case. Maybe I’d like a slightly less-produced version of some of the songs (way too clean and sparse for such slow-tempo stuff), but some of the songs are just plain lame. Splodge does a good job on the vocals though.
Three former members of Houston’s PISSED YOUTH moved to NY, joined with a fourth party, and put out a real gem of a thrash record. If you love fellow former Houstonites DRI, then you know what you’re in for here. Short, sweet, and vicious blitz attacks are the vehicle for their assault on hypocrisy, apathy, and fascist behavior. Get it!
Norb reminded me that on an earlier review of one of S.U.M.’s gnarly tapes, I said “I fear the day they get into a studio and we get to find out what is underneath all that noise”. Well, that time has come, and according to Norb, it’s “more noise.” Not quite. S.U.M. has managed to maintain their “noise” on this studio LP, but we also discover some great, frantic, crazed thrash “music.” No let down at all.
They look punk, but sound more rock. There is some early punk-sounding stuff, but about half the material is sort of pre-punk or else has a lot of wanking guitar solos. Those songs that are “punk” are pretty good (and powerful), and those that aren’t are pretty bad. Note: not too enlightened (as in sexist).
The impression this music gives off is one of being on the “dark side”—whether by more traditional classic punk sounds or post-punk, the depressing element comes through. It’s all well done (tight and powerful), but it does leave me “cold” emotionally. Hmmm…who’s this Jack Rabid on drums?
Hey, buy this gnarly thrash record and find out everything these guys hate: anarchy punks, speed punks, Henry Rollins, frat boys, rabbits, moms, commies, Reagan, and probably themselves. However, they do love “Kate,” the lucky girl. Music’s pretty cool.
These ORANGE DOE-NUTS from Kansas City present us with almost two separate bands. One side is pretty much an excellent thrash record, with snappy, rapid-fire clear-cut songs. But flip it over, and suddenly we’re hearing reggae, jazz, and experimental stuff. I realize we’re all a bit schizophrenic, but….
A new band that contains Tim and Chris (BIG BOYS), Mike Carroll, Bill (ex-HAPPY DEATH), and Jim (ex-EL B J). There’s a mixture of some of the best elements of ’60s punk (especially the vocals), ’70s punk (a cover of RICHARD HELL’s “Blank Generation”), and blues rock (Á la GUN CLUB meets CREAM). The beat is pounding, the guitars are powerful (slide guitar even!), and the production and execution are tight. They rock.
Somewhat disappointing, especially after such a long wait for a REDD KROSS R’n’R fix. Mostly all covers (STONES, BOWIE, KISS, etc., etc.), the only real killer for me, the only composition with that ol’ RK pizazz, is the only original, “Linda Blair.” Hey guys, don’t wait so long for the next record—and get back in your groove. Pin-Ups this ain’t!
There’s some fine rocking stuff on this five-song release; it’s consistently great garage R’n’R with plenty of power, great snarly vocals, and fine production. Especially liked “Cleo,” which brought images of the BAD BRAINS to mind.
Very bizarre. A reissue of a ’60s punk band made up of G.I.s stationed in Germany during the Vietnam era. Besides their unusual haircuts (bald spots dead on top of their heads), their music was quite experimental for a pop/punk band. They utilized a banjo, among other weird sounds, incorporating them into tough, rhythmic R&B rockers. Worth looking for.
They sound like they come from Ireland (S.L.F., UNDERTONES), but actually it’s Covina, California (they appeared on Barricaded Suspects comp). Lots of excellent pop/punk with good hooks and choruses, with more of a SoCal not-quite-thrash rush. They look like poseurs, though, and while they might give SOCIAL DISTORTION a run for their money in that field, I hope they don’t end up like the RED ROCKERS (you gotta check the cover of their latest LP!)
Travel back with me, if you will, to the boring ass days of the late ’60s-early ’70s. These were the days of laid-back, countrified rock music and self-conscious “me” lyrics. You want outta there, you say… then take the needle off this record, fart!
Sounds like ’70s Irish rock cum folk. Cum whatever, this is lightweight, jaunty stuff that we wouldn’t ordinarily review, cept it’s on the HÜSKERS label. But not even Bob Mould’s magic can bolster this one.
Rhythmic pop/garage straightforward ditties. It’s all very clean and well-produced and new wavish and I think I can’t handle this anymore. It’s for mildly mild mildewed kids.
Don’t let them fool you: beneath those goofy faces, beneath their copycat music (YOUTH BRIGADE), beneath their imitative cover (U.S. CHAOS), and beneath their lame lyrics (Alan King?), lies some real intelligence. How can I tell? Well, if you play this record backwards, you can barely make out the following: “Lone Live Proletarian Internationalism!” and “All Power to the Soviets!” I just knew they weren’t as lame as they acted.
Mostly guitar and synthesizer dementia from one Terry Snider, done over the course of years. It’s sort of folk/pop/industrial trash (again Europeans, not thrash), some of which is listenable but painful, some of which is actually enjoyable. One person’s expression.
A very powerful blast here. Who are these guys/gals and why doesn’t everybody know about them? This 14-song thrash rave comes incomplete without vocals, but who cares? Killer.
On their slower material, these guys remind me of the FUCK-UPS, with their older-style, bone-crunching punk attack. Most of the songs here follow in that mold, with a couple of thrashers, or at least with thrash breaks. Their lyrics tend to dwell pretty much on the negative, making the FUCK-UPS comparison even more valid.
Yet another ’60s punk compilation, this one primarily dealing with the pre-psych influence on the genre. What this means is a lot of ’64 or so sounding stuff, with an accent on surf, R&B, and British Invasion garage sounds. Not as wild as I’d hoped.
No “theme” or “geographic” orientation here—just a smattering of more obscurities from the seemingly endless ’60s archives. No real losers here, and the highlight for me was the GOLDEN CUPS cover of “Hey Joe.” Just what we need, right? But this has gotta be the ’60s equivalent of a thrash version!
The two latest volumes of this ’60s punk series contain largely good stuff and little wimp-rock. While the sound quality isn’t as good as some series, the material is still of the impossible-to-find type, making them indispensable for collectors. Volume 10 contains a purported Jerry Mathers (the Beaver) punk release—bizarre.
Some finger-snapping garagey weirdness here—at times it reminds me of the RESIDENTS. As the enclosed note said, it might be “too intense for our fragile HC tastes.” Correct.
This is a live recording of this new outfit. Their sound is a metal/punk amalgam, with some thrash thrown in for good measure. Nothing new happening here, as can be judged by their one cover (WIRE’s “12XU”), but it’s done with some degree of authority and power.
A straight edge band from Orange County, these guys belt ’em out short, melodic, and sweet. They immediately remind me of M.I.A., 7 SECONDS, and MINOR THREAT. Cool.
Ugh! White honkin’ and blues with a sax. After all the good/great releases on Mutha, this one is a real letdown. It’s not bad for the genre, it’s just that the genre is so “old.”
A garage/noise/punk amalgam that combines some thrash with pet rock and general aggression that lashes out at everything. Fun and annoying.
Pushead says they sound “BGK-influenced, but they don’t finish their songs,” and that they have “full Tesco lyrics.” Jeff says the vocals “don’t mesh too well,” and that they’re “like MDC.” with better recording, which they hope to do, we’ll know more about these guys. “Come to the Phone” is a classic.
Various thoughts that came to mind while listening: I’d like this a lot more if all the squiggly rock guitar solos were half as long / The lyrics are still good / There’s “power” here, but where’s the spark? / The band really likes the record / “Musicianization” (thanks, Ken Lester) will kill punk rock / This is a short album, but looong / The cover says it all (who’s Alan Barile, David Spring? / This isn’t fun, but would it be better at 45 RPM? / There—I did this without once saying “heavy metal.”
While eclectic musically, the various melodic styles on this tape still maintain a “punkness” to them. This is not only in its edge and aggressiveness, but also in the lyrics—so there’s lots of potential with this band, as long as they keep their sense of outrage.
This tape contains four long, slow, and rather dreary songs. It’s intentionally that way, but this doesn’t necessarily help the situation. While melodic and tight, the overall mood is of depression. I get enough of that in real life.
While not the “thrash” LP I had heard rumored (there is one thrasher), it is definitely more of a rocker than their previous outing. What’s even more interesting is the fact that the RAMONES now have a few “political” songs; actual “peace” songs. Take that, you wimps!
A very abrasive one-man punk band with a rhythm machine that strongly advocates a political pacifist course of thought and action. Both the lyrics and music are intense and non-wimpy, with good guitar. No trendy politics here at all, and John Dwyer backs up his intelligent lyrics with an extensive reading list and the addresses of many organizations. Recommended.
Recorded in ’81, we find ourselves in an Orange County invasion of Mexico. While the sound quality is not so hot, the burritos were. The music, on the other hand, maybe should have not made the trip. “Meester, you wanna buy my tape?”
Billed as “the wildest rock ’n’ roll song ever,” the title track of this 1959 release is pretty wild R’n’R, but doesn’t really hold up with today’s frantic HC. I’ve also heard some wilder ’50s stuff, but this ’50s bar band (not unlike the Northwest’s WAILERS) does kick ass. The two B-side tracks are more rockabilly/R’n’R, a bit like the EVERLY BROS.
Not sure if they’re a “fuck” band (hee-hee), but supposedly they’ve been around since ’78 (no, not ’69). Recorded both in studios and live, this is “LA sleaze punk” at its best (?). A collectible period piece.
Try to imagine a sort of early HALF JAPANESE garage style meeting in the real teen world—this totally destroys! A well done bit of trash. (Not thrash, you Europeans!!)
They describe themselves as playing “somewhere between metal and punk.” Yes, it’s true. They do. Honest. Sort of a MISFITS on downers. Actually, it’s more melodic metal than punk.
Never known for being a great live act (too drunk to rock), this line-up of GUN CLUB (same as on the first LP) must’ve had an “off night,” cause they hold it together pretty good. While not nearly as great as that classic debut album, this ’uns perty gud.
An excellent tape that combines short, crisp, and punchy thrash with biting, satirical lyrics. Although the sound is not perfect, it’s of decent quality, and these guys rip with enthusiasm. Tight, too.
A whole LP’s worth of Doc Dart’s “Jerry Lewis” vocals, spitting out all their satirical, biting songs, is a real treat. Not only are all their classics here from their earlier tapes, but the “recordings” interjected between songs are worth the price alone. Hot, weird, and intense political punk!
A four-song “live” release out of Australia that may or may not be a boot. It’s typically raunchy CRAMPS material, and finally contains a recorded version of “Five Years Ahead of My Time,” which they’ve been covering for years.
This release doesn’t come off as well as the band does live. Somehow here, the vocals seem almost annoying, and the instrumentation lacks the power they can display. Still, it’s not horrible by any means—just not as good as it could have been.
A four-band comp of current NZ bands, one (FIVE YEAR MISSION) that goes as far back as ’79. K-4 are pretty experimental, Á la PREFIX, CORRECTIVE TRAINING are fairly standard ’78 punk, REX THE FISH have a female vocalist and a moody post-punk sound, and the aforementioned FYM, who are the speediest, but are still within a traditional punk beat.
Some pretty well-known bands from around Europe are featured here: INFERNO, NEUROTIC ARSEHOLES, NUCLEAR, M.A.F., RAZZIA, and J.R.’s MOTHERFUCKERS AND THE HOLY GHOST from Germany; PANDEMONIUM from Holland; DESTRUCKTIONS and RATTUS from Finland; ANTI-CIMEX from Sweden. There’s some live, some studio—my faves are RATTUS and PANDEMONIUM.
This one concentrates on the Dutch scene (’65-’68). Just as today there is great punk in Holland (BGK, PANDEMONIUM, etc.), there was a flourishing scene back then, too. We’re given some hot tracks by the OUTSIDERS, MOTIONS, JAY-JAYS, etc., and a few klunkers, but it’s overall a worthwhile addition for collectors.
45 bands? From all over the world? This is one of the better thrash-attack tapes I’ve heard. While the sound quality is decent-to-good, the energy level is good-to-great. Powerful.
An international comp with MENTAL CRISIS (US), ATROX (UK), CAPSILTA, KIELLETTY, KLIMAX, and CHINAPPI (Finland). This tape rocks hard and long.
An intense thrash tape, with mostly German bands (TODISCHER, M.A.F., SCAPEGOATS, SYPHILIS, LOBOTOMY, SAOBOYS, etc.), some from Holland (FUNERAL ORATION, M.O.G., MURDER INC. III, etc.), England (PANIC STRICKEN), US (DIET OF WORMS, SADISTIC EXPLOITS), and Sweden (CRUDE SS, AVSKUM, MOB 47). Sound quality is basically good.
This compilation is put out by a Swedish alternative studio that supplies free time for recording. This contains hot stuff by E.A.T.E.R., NYX NEGATIVE, BRISTLES, GUNNER ZIDE, AVSKUM, S.S.G., SIX-TEN REDLÖS, and SVEA SKANDAL. Some of it has been already released on vinyl, but it’s still a good representation of today’s powerful Swedish punk/HC.
A very lengthy compilation that alternates between studio demo tracks and barely recognizable live recordings. There are a few better-known bands (SUBHUMANS, DESTRUCTORS, BRISTLES, HATES, etc .), and a lot of younger outfits (DECEASED, ACID ATTACK, NO BRAIN CELLS, DEATH ZONE, and countless others). It’s a decent buy, if you can stand the changes.
This recent Danish compilation is a real letdown. While it does contain some hot tracks (one by WAR OF DESTRUCTION, another by ELECTRIC DEADS—same one as on MRR’s comp), a decent SODS cut, and one passable FRESHLY RIOTS track, the rest is post-punk/new wave drivel that’s unlistenable. Too bad.
On one track, they sound like NICO meets modern post-punk, while on another, they sound more like Aborigine tribesmen. My fave, though, is “Run Amok,” which sounds like a cross between SoCal femme thrash and powerful UK punk. A great track.
A driving two-song release that is basically thrash with some metal/rock guitar bits thrown in. Liked the thrash parts, loathed the leads—cant have everything.
Some well done and well produced pop/punk, with occasional gnarly thrash interspersed (like the title track). Some of their obvious influences are the RAMONES and UK SUBS, and maybe some of the ’77-ish Australian punk bands. This band rocks.
Dedicated to SKY SAXON, ROKY ERICKSON, etc., you may know what you’re getting into. Actually, while there is a definite ’60s punk sound here, there are aspects of more modern forms of punk too, making it interesting. It’s unfortunately not wildly psychedelic, the guitarist doing mainly some “mood” stuff with all his echoes. Gimme the real thing.
There’s more than a strong touch of early GBH/DISCHARGE-style vocals and sound on this EP, though the music is a bit more melodic in places. There’s good power on these three songs, but not the wall-of-sound of the aforementioned bands. Good debut.
Medium-speed thrash and fast punk are T.S.T.’s tempo territory; catchy sing-alongs are their lyrical lode. This eight-song job rocks steady—even their cover of DION’s “Teenager in Love.”
Since they’re not happy about their split LP, or the label, this band has put out their own tape. I imagine that they’re not really happy with this either, as it’s not a “garage” or “live” recording (which they feel is “real” punk), but is more studio stuff. Personally, even though the drum and bass could be fuller, it’s an excellent tape. Punk and thrash.
Quite a garagy-sounding tape, with the drums seeming pretty tinny. But the charge of the music tends to overcome that, with the vocals and guitar leading the way through. Energetic as hell!
Again, a New Zealand band with an older punk style. Nothing particularly memorable here, but the singer does, at times, sound a bit like he should’ve been in SOCIAL UNREST.
Some pretty powerful thrash that I bet Pus would like: sloppy, energetic, and echoey, with cool guitar and vocals. Good sound quality too.
This is more like Finland ’82, since it’s totally thrashed out. One side has a previous vocalist, who’s good, but can’t come close to the ragged edge their new one has. Quite intense.
Side one is a re-release of their Slow Death EP of ’79, with two experimental tracks (down and dirty), and two full-on punk tracks. The flip is a long version of the title track, from their Live at Scala record. The Swedish equivalent of early PERE UBU.
While their style is not my passion, they do ply their trade well. It’s in sort of a psychedelic-/pop-punk mode, and despite this, there’s still bite to it, well supplied by the pounding drums, aggressive guitar, and echoey vocals.
High quality post-punk on this one. It’s got a really good, driving, steady beat; neat whooshing guitars; and a lead singer who has a sort of FALL-type approach. Good job.
Somewhat brooding, lengthy punk songs typify this band. The tunes are mid-tempo, with somewhat of a “post-punk” feel, although they’re more properly “punk.” Decent, but somewhat dated in sound.
A very classy, powerful power thrash outfit that doesn’t resort to metal riffs. If anything, they owe more to earlier punk, but they’re firmly rooted in modern sounds, blasting it out with strong lyrics and hooks to boot—”live” proof that Vancouver is not dead. Hot!
A clutch of punk and thrash songs are delivered cleanly, tightly, and funnily (I presume). Sounds great to me.
This is a viciously intense and powerful tape—it’s a full-out, superbly recorded 18-song onslaught of thrash at its best.
With names like that, I frankly expected metalcore—but no, both bands are definitely on the lighter side. BITCH BOYS are post-punky, and remind me ever so slightly of TUXEDO MOON. DEATH FROM ABOVE is a bit more melodic, with a kind of surf guitar influence.
Another young Brit thrash outfit. Again, nothing dramatically new here, but their energy is a welcome relief to the “rock star” UK bands. Their female vocalist, Lorraine, belts ’em out in fine fashion. Keep growin’, kids.
While nothing brilliant or startling, it’s good to see some fresh blood on the UK indie scene. Most real “punk” seems to really have gone underground (in the face of commercial onslaught), and hopefully will now be reappearing on small label vinyl, as this young thrash combo here.
Don’t be fooled by the cartoon of the guy in a RAMONES T-shirt on the back cover, or the frantic maniac on the front cover: this is not wild shit. It’s more of a BIRTHDAY PARTY-type minimalist rock. Well done, but not crazed.
For the most part, three of the songs here fall into a CRAMPS/BIRTHDAY PARTY beat—sparse and rhythmic, but on “The Ballad of Vincent Croft,” they really take off, sounding very much like NAKED RAYGUN. All in all, it’s pretty rockin’ stuff.
The second 7″ by this band continues along with their accent on heavily rhythmic, rockin’ melodies. There are tinges of more “erratic” groups like the FALL or BIRTHDAY PARTY, but the approach here is more straightforward. B-side rocks hard.
Originally a lighter-weight RAMONES pop/punk band, they’ve gotten even lighter (BEATLES, STONES influence) with a folkish influence. Simultaneous with that though, is what I’d call a BUZZCOCKS influence of occasionally great hooks and melodies, and “noise” freak-outs. Bizarre.
Missed this one last issue. Maybe that had to do with the lame cover, but the contents aren’t bad at all. While they do sound like GBH-clones (early period), they do it well. Lots of power and drive, with lyrics that are more intelligent (or intelligible) than their mentors.
A four-song release that sounds more American in some ways than English. There’s a mixture of punk, post-punk, HEARTBREAKERS, etc. here that makes this an unusual release.
Many Swiss bands seem to be stuck in the punk past, and the VARWÄRTS are no exception with their ’78-’79 melodic punk rock sound. It’s cleanly produced and catchy, but there isn’t quite enough power to back up the prettiness of the tunes. Pretty good.
This five-song effort is both interesting and frustrating, especially for non-Italians. SOGLIA DEL DOLORE has a medium-speed approach with plenty of simple rhythm guitar, along with a couple of thrashers. What’s frustrating is that they rely a lot on the vocals, which are at times more like narratives. It’s our loss, though.
Pretty rockin’ Dutch punk and thrash that reminds me a bit of the MISFITS, especially the vocals. But the lyrics are quite political, and despite a few post-punk songs that Henk Smit hates, the rest kicks ass. Thanks to Henk!
More rockish than punkish, DURANGO 95 reminds me of various ’76-’77 crossover bands. While most of their songs don’t really catch fire, and too many are about girls, a couple manage to stand out (“What Should I Do” and “Sandra Sez”). So much for the good ol’ days.
This latest in a long series of so-called Oi compilations features some classic early punk sounds (which now often pass for “Oi”), folk rock, ska, and poetry. It’s all pretty progressive lyrically, accentuating the intelligent side of the perspective of working class youth. Among those featured are COCK SPARRER, the GONADS, NICK TOCZEK, PROLE, CROSSED HAMMERS, the BURIAL, ABH, and VICIOUS RUMOURS. Sounds good.
A combination of studio and live tracks. The songs are lonnnng, and I get bored pretty quickly due to the lack of invigorating, or even occasional jolting, musical aspects, If you’re into vocal/narrative primacy, this might be for you.
Five bands and six songs is what you get here. Most of the groups (ANGRY RED PLANET, the ENFORCERS, PRIVATE ANGST) turn in slower, heavier Michigan-style punk, while the GEMS and the FURY pick up the tempo with a bit of thrash. Nothing really stands out, though.
With its typical pop themes and music ranging from pop to pop-punk to ’60s punk, this anthology covers another side of the Boston scene. There are a couple of wimpy tracks, but most stand up pretty well if you like powerful guitar pop at all. My faves are by JOHNNY & THE JUMPER CABLES, CHAIN LINK FENCE, HOLY COW, the UNDERACHIEVERS, HOPELESSLY OBSCURE, CHRISTMAS, and 21-645.
This is a diverse DC-area compilation featuring bands from the ’81-’83 era, some of which are still around. You’ll get tracks from BLACK MARKET BABY, REPTILE HOUSE, 9353, LAST MINUTE, BRAILLE PARTY, VOID, G.I., DOVE, the CRIPPLED PILGRIMS, SCREAM, UNDERGROUND SOLDIER, and other lesser-knowns. My faves, other than SCREAM, are the mouldy oldies turned in by BEAVER, ASSAULT & BATTERY, and ARTIFICIAL PEACE.
Now history, but this tape is supposed to be a living memorial. There’s obviously a lot of tight, kick-ass thrash here, although it’s got that echoey kind of “live” sound, that unmixed quality, that I don’t really go for much. This relic is all that’s left of them, so you archaeologists out there shouldn’t be too choosey.
With the gruff vocals and rockish punk instrumentation, I’d have guessed that SCREAMING DOGS were a Canadian band. The songs are all medium speed or slower, and they have a “heavy” feel to them. There are some appealing moments, but overall this tape didn’t get me too inspired.
Here are five sparse, simple, slowish pop-rock numbers with somewhat appealing singing. My favorite track is “Abandoned by History,” which is snazzed up by some CRAMPS-ish psycho vocals; the rest isn’t too startling.
A noisy garage tape, in terms of both recording quality and musical proficiency. As with many bands in a hurry to make their mark on the world, POST MORTEM may have released this a bit prematurely, but there’s potential in their thrashing. Keep on annoying those Birchers!
A timely release, both thematically and musically. PEEL, a veteran of the New York street scene (dating back to the 1960s), has come up with a modern jazz-punk-rock sound with the help of GG ALLIN and WAYNE KRAMER (ex-MC5). Sound bizarre? Not as weird as the world we live in, as these lyrics certainly bring home.
Heading into “damage” from their original thrash roots (but not as far gone as SSD or COC), this departure hasn’t stripped them of all spontaneity. I usually dislike the “power-metal” sound because of the zip that is sacrificed in getting that “heaviness,” but even the 24-tracks here haven’t deadened this release too much.
From the band’s name, you can probably guess that these guys are post-punkers inspired by JOY DIVISION. Actually, it’s not bad for that overused genre… sparse music, medium-tempo rhythms, decent guitar work, echoey vocals, and even a sax. Now you know what you’re getting into.
Highly polished FLIPPER? Yup, their parting shot contains all the usual FLIPPER ingredients, but with a “clean” production that takes the heart out of their dire messages. “In Life My Friends” comes the closest to their previous approach, but most of the rest leaves me cold. Where’s the feedback, Ted?
In general, SUBTERFUGE plays mid- to fast-tempo British-style punk that’s cleanly produced and tightly delivered. The drums are way out in front of the vocals in the mix, which I think sounds good. Powerful punk with an undercurrent of humor.
Where does one draw the line between “different” and just plain “bad”? It’s subjective of course, and partially based on prior contact with a band’s music, which prejudices expectations to a degree. This new WHIPPING BOY album evidences a major departure from their previous ordinary thrash to a potpourri of post-punk, blues, ska, and droning. I can’t say that I like it, but I can’t say I’m being objective, either.
A nine-song collage-like effort. The sound quality is pretty high, and for a band with mid-tempo songs, clear but powerful, layered instrumentation, and critical narrative lyrics, that’s really important. At times it’s a bit too “mellow” for me, but other invigorating tunes make up for that.
Joseph at Systematic described SOUL ASYLUM’s sound as “thick,” and given that Bob Mould of the HÜSKERS did the production, I think you can figure out what that means. Most of the songs have a dense, rockin’, chunky sound with some power and gruffness behind them. They’ve got decent drive, but they’re more rockish than punky.
This Milwaukee-based band is sort of an Americanized equivalent of the BEATLES during their Revolution period. It’s filled with folky psychedelic pop, and the reason I say Americanized is because there’s a hint of punkiness in the vocals and the fuzzy guitars at times. Their pop sensibilities clearly prevail, but not quite to the point of wimpiness, so they still manage to leave us with some real classics (like “Elongations”).
With vocals reminiscent of early STIFF LITTLE FINGERS, tough, tight hardcore instrumentation in various styles, and intelligent lyrics, this band is a welcome addition to the scene. There’s plenty of power and commitment here too, making this a fine non-generic alternative to standard thrash and its far lamer cousin—metal punk.
A four-song job in a ’60s pop-punk vein. There are also hints of early TALKING HEADS (“How Long Have I Been Asleep?”) and even the ANIMALS (“Roar”). OK, but not too rippin’.
LOST GENERATION is back! These forerunners of the Connecticut hardcore scene totally kick ass and thereby prove that they’re still alive and well. There’s great, tough punk here—no frills, melodic but crunching tunes, and hot vocals. Don’t miss out.
A little of everything comes from this wise-guy garage punk outfit. They kind of epitomize the genre—you either like the charm or are put off by the unprofessionalism.
There is one song on this extremely hot-sounding thrash album that attacks in-scene violence and bashing as the Nazi activity it is (“Fascist Attitudes”). Great! But unfortunately, much of the narrow-mindedness, fanatical nationalism, and violence that has destroyed the New York punk scene seems to have revolved around AGNOSTIC FRONT. Is it too little, too late? I hope not, but I’m approaching this band with caution.
An excellent debut. The band is tight, their thrashers are not at all mundane, and their singer spits out searing lyrics like a younger Doc Dart (CRUCIFUCKS). Hot!
“Attempting to extract the wickedness from society without crushing that society” is ARTACUS EAGHT’s credo. They do this by thrashing and noising their way through a variety of subjects. This mission isn’t too melodic or artistic, but then these demons need a good whuppin’ anyway.
A variety of modern bands and styles can be heard here. Denmark is amply represented by CRAP (post-punk), the RAZOR BLADES (thrash), the DEFORMED (punk), ENOLA GAY (thrash), WAR OF DESTRUCTION (thrash), and DIE KAPELLE (noisy post-punk); Finland showcases the thrash of the BASTARDS and RATTUS; Germany contributes GORILLA ACTIV (post-punk) and DER MODERNE MAN (jazz-punk); then there’s England’s DESTRUCTORS V with some punk. The sound is OK for a live effort.
A shitload of German bands (HAWAII 5-O, ENOLA GAY, SICK PLEASURE, INFERNO, the NEUROTIC ARSEHOLES, PORNO PATROL, the UPRIGHT CITIZENS, BLUTTAT, and others), along with Italy’s WRETCHED, recorded at the AJZ. The sound isn’t great, which is too bad, because most of these groups are. The project itself is of an admirable non-profit nature.
A fun-loving bunch of drunkards from Holland. A lot of these 29 short tunes extol the virtues of getting fucked up on various substances. DE BOEGIES mostly thrash out, but they also do a number of slower, pub-style songs. Down the hatch!
A rough-quality four-song demo that contains some excellent material. It’s tight, with intensely gruff vocals and a great, almost BUZZCOCKS-like poppy thrash attack. HOMO PICNIC contains a kernel of ex-KREMLIN KORPS personnel.
Slightly quirky thrash and pop that’s .:. .:.. .. . ….:.. .:. … ::. ..::. .:.. So check it out.
A very powerfully recorded album that’s got plenty of that CHAOTIC DISCHORD zip to it. It features still more of the humorous, idiotic subject matter we’ve come to expect form this send-up thrash band, and they leave us with these pearls of wisdom: “You’ve Got to Be Obscene to Be Heard.” Slap those knees!
One of Ray Farrell’s faves. These jokers perform a kind of demented R&B on one side, and funky cajun music on the flip. Neither is done with the certified psychosis of the BUTTHOLES, or the sparkling pop sensibilities of the CRAMPS, and therefore don’t really grab me, but lovers of those genres might be enthused.
Some ex-members of Switzerland’s TNT come up with a totally unique and powerful sound. It’s mainly just a couple of raw guitars and female vocal harmonies, interspersed with weird and abrasive breaks, eruptions, and outbursts. One song runs through both sides, and it represents punk at its most innovative.
I’m not sure if this is actually the name of the band, since most of the writing is in Japanese, but they really fucking shred—wildly and adventurously. The tape comes with a sleeve appropriate for a 7″ EP, making it even more confusing. World class.
It sounds like these guys recorded pretty early on in their existence, since the drumming is way repetitious and the sound is primitive and sloppy. But as with many Swedish bands, the guitar is gnarly and the vocals are raw and powerful, which provides a glimpse of their future.
Several German, Austrians, and Swiss bands appear here and, like those on many of the sampler tapes I’ve heard lately, most are releasing material prematurely. The exceptions are MOTTEK (again) and the NEW BORN BABIES. Other groups include KNALLSCHOTEN, A-GEN 53, DIE REGEL, VOLKERMORD, etc.
Most of the bands herein are at an early stage of development… too early to be recording, I think. The exceptions are HALSABSCHNEIDER (appearing before on one side of a split EP) and the FUCKERS, both of who come up with some cool blasts.
Seven bands (the DESTRUCKTIONS, TUOMITTUJEN JUHLA, KIIMA, W.D.M., KESKILUOKKA, P.C.B., and KÄYTTÖOHJE) share time on this tape. The first have already released a great album, but the others are younger whippersnappers. Some still have a way to go, although KESKILUOKKA has an outstanding screamer going for them.
This “live” quality tape gives you a decent idea of what this band is capable of—a lot. Their melodic material has good hooks and vocals, whether delivered fast or slow. Wait until they get into a studio.
This tape isn’t up to the quality of their Don’t Give Up EP, since it lacks a bit in the production power and the vocal choruses aren’t quite as tight. They do a strangely British form of thrash with lyrics in English and cool chants. A new EP is on the way.
This is mostly very intensely delivered thrash with sharp lyrics. Yet there are some experimental diversions that sound like they were produced by a different band altogether. Bizarre.
A whole host of young bands debut here (PRIMITIVE, VICIOUS HAMPSTERS, ACID ATTACK, OI POLLOI, DEVOID, ABDUCTORS, CATCH 22, CRIMINAL JUSTICE, FUNGUS, 4 MINUTE WARNING, CLERGY, DEAD ON ARRIVAL, OBSCENE FEMALES, and ROUGH JUSTICE). The hottest, most powerful tracks belong to OI POLLOI, DEVOID, and CRIMINAL JUSTICE, while the rest are not great/not bad. This label, Sane Records, is a non-profit, dedicated to releasing unrecorded bands.
There’s one live and one studio side here, neither of which display any great excitement. Although there are some catchy moments, it’s your basic ’78-style plodding punk.
Only contemporary Clevo bands are featured here. Many have appeared before on other compilations on their own releases (the PAGANS, the AGITATED, PARIS IN THE SPRING, the OFFBEATS, and the PINK HOLES), so I’ll just say a few words about the rest. ONE MAN’S HEAD has a female screamer, and she sounds good on the two faster songs; FAITH FACTOR plays garagy post-punk; and JUNGLE PARTY are a fun garage pop-punk band with potential.
A six-song release that emphasizes poppy punk with lots of guitar and vocals, the sort of thing that was popular five or so years ago. At times it’s a bit too rockish for me, or maybe too laid-back, but on several tracks they really cut loose.
Totally drunken, power-chord punk rock, folks. It’s straight out of the DEAD BOYS/STOOGES school of intense, fuck-it-all snarl and self-destruct. These Sacramento are good at it too. Recommended.
A four-song tape that delivers punky/moddish pop music. I found the vocals a bit too falsetto, and the songs run on a bit, but there’s some decent music here.
SPIKE HAYTRID hailed from ’81 or so, and were pretty trashy. SHADES OF GREY are much tighter, more powerful, and less poppy—but still trashy (in the good sense of the term). Both are the products of one Matt Burnett.
A.O.D.’s drummer, members of NEW JERSEY’S FINEST, and other point some fingers at various outrages perpetrated on us all, ranging from New York’s “Lunkheads” to the corporatization of a town (Johnson & Johnson’s takeover of New Brunswick). Thrash that’s not generic, and delivered with oomph and wit. Excellent recording, too.
Heavy power-chord punk—without the metal. Some of this has a gloomy edge, but not the self-conscious JOY DIVISION type. Ultimately, they do rock hard, and the lyrics seem to be quite intelligent.
These here PEASANTS remind me somewhat of a more metallish version of DIE KREUZEN, with scratched-to-hell vocals and a fairly musical back-up. But the chunky rhythm detracts from their overall power.
Yep, live it is, as well as one intense noise rush for us lovers of pure electricity. The MUTES have that manic S.U.M. feel to them. They might suck with a clear recording, but this way it’s great.
Help these guys put out an LP by buying their tape! It’s not like you’ll be a martyr, because there is lots of great hard-edged, intelligent punk and thrash out there. I can’t wait to hear their projected album!
A live recording with ten songs. It’s somewhat garagy in terms of sound quality, and since it’s live there’s a lot of wanking going on. The music is sort of jazzy, metallish thrash, with quirky parts and post-punky vocals that remind me a bit of SF’s old WOUNDZ.
Put out by Spamm fanzine, these are two of the current crop of Sacramento hardcore bands. FORCED TRADITION weighs in with their sarcastic, FLIPPER-metal “fuck you” approach; good noise. The LAMOS thrash out more, but the recording isn’t as clear. A pretty enjoyable excursion.
This four-song release came with the June/July issue of The B.O.B. The material is reminiscent of LOU REED’s early solo efforts—restrained, melodic rock ’n’ roll with lyrics that are on the esoteric side.
Paul Mahern (ex-ZERO BOYS) comes forth with something completely different. It’s funky, poppy, jazzy, psych, and not too punky, but with just a taste of the old snarl in the vocals. For the eclectic-minded.
On BRAVE NEW WORLD’s tape, uplifting and intelligent lyrics about overcoming our societal problems are coupled with intense, driving, middle-paced music. The result is a punk/post-punk combo that hits home—they’re abrasive, musical, disturbing, and different.
These little imps from west of the swamplands have come up with a really dense, “live” two-guitar sound here. Recorded while the band was in their underwear, they still manage to thrash wildly, humorously, and sarcastically. In the process, they prove without a doubt that there are more great items than pizza in the Garden State.
This French sampler contains a wide variety of punk styles—classical, garage, thrash, skunk (big in France), and drum-machine/synth punk (which the French seem to have cornered the market on). HUMAN BEING and HEIMAT weigh in with some choice thrash, and there’s lots of other good stuff from R.A.S., ELECTRONAZE, LES CADAVRES, the SUB KIDS, and a dozen more. Tres bien!
This compilation tape features some fairly unknown bands (TIN CAN ARMY, KATAFALK, V.N.W., VOICES OF PROTEST, MILZBRAND, and the MANIACS) that predictably display varying degrees of competency and power. The MANIACS and KATAFALK really kick ass; the latter prove to be an especially fine thrash band with lots of zip.
Some of these German hardcore groups are already reasonably well-known (INFERNO, the MANIACS, M.A.F., the SCAPEGOATS), whereas others are more obscure (ABZESS, VOICES OF PROTEST, TCA). Inferno leads a pretty good pack in terms of tightness and power.
This New Zealand compilation consists mainly of live material by ’77-style punk bands. That’s not to say it’s bad, because there are some pretty cool tracks herein, especially by FINAL SOLUTION, RIOT III (who does some thrash), FLESH D-VICE, and ZYKLON-B.
Ten groups of varying punk styles and recording qualities appear on this compilation of South African bands. The most proficient and powerful are mid-tempo punkers POWER AGE, although the GAY MARINES, WILD YOUTH, and WILD JUSTICE also show promise. And, there’s an all-girl garage band called the LEOPARDS—Steve Spinali take note!
The cassette itself is only a small part of this package, which includes zines, literature, lyrics, pamphlets, addresses, etc., all relating to the horrors of animal slaughter. Even on the tape, all the tracks by the various bands (the INSTIGATORS, CHUMBAWAMBA, ANTIDOTE, ALTERNATIVE, ANDY T, and the LOST CHERREES, to name just a few) are interspersed with bits of information on this topic. Unfortunately, there’s very little punk music here; folkish and experimental stuff predominates.
This tape has a lot of hot material by the likes of MOX NIX, CANCEROUS GROWTH, ROSEMARYS BABIES, S.U.M., NERVE, N.O.T.A., the LEPERS, HUMAN SUFFERAGE, the CATATONICS, PSYCHO, and a half-dozen more. Some of it has been previously released, but it still adds up to fine listening.
Ian MacKaye-ish vocals, accompanied by crude, fairly standard buzzsaw thrash. CAPITLE play well, but they never really cut loose.
Two former members of thrashers STARVATION ARMY and another group called PARIS IN THE SPRING team up again (one on vocals, the other on all instruments), this time to produce some ominous, dirge-like STOOGES material. I found it somewhat less than moving, as is usually the case with studio projects.
Sort of a modern-day rhythm-machine version of a band one might have found on the bizarre ’60s label E.S.P., along with the FUGS, the GODZ, and especially PEARLS BEFORE SWINE. Rhythms and electronic organ dominate their garage-level instrumental attack, with lots of noticeable ’60s tinges. Actually, I think there are vocals, but just off-mike.
The ART THIEVES have quite a distinctive sound for a thrash band, due both to their raspy vocals (which remind me quite a bit of RIBZY’s) and their tasty, tight, and somewhat inventive song structures. Definitely a winner.
Galloping drums, weird structures, and snarly-ass vocals are the hallmarks of AEROBIC DEATH’s thrashy attack. They sound sort of like the early MEAT PUPPETS, right down to a slight GRATEFUL DEAD influence. “Ten Minute Fart” is the best song title.
Strange. The STING-RAYS look rockabilly, act punk, and sound more ’60s than anything else (note their covers of the REMAINS’ “Hard Time Comin’” and LOVE’s “My Flash on You”). Actually, they are a rockabilly band in the instrumental sense, with their slapped bass, snare drum, guitar, and echoey vocals, but the material is more modern. Totally ungeneric.
The drawbacks of a live release—low fidelity and unclear sound—come to the fore here, but DASH and company have lots of power, which will hopefully come to the fore if and when they go into a regular studio. They play snappy and sometimes creative thrash, with lyrics geared toward making the average coal miner as angry as he ought to be.
Living up to their name, the G.R.I.M. produce some very down and depressing stuff. Their dark outlook is projected by slowish metal-laden punk and an occasional thrasher, as well as negative-outlook lyrics. I guess they’re bummed out.
A historic retrospective of this band’s work, recorded between 6/81 and 1/82. The production is pretty crude, but their thrash is both fun and ahead of its time.
Most of the five songs here are well-produced C&W ditties with a good beat and punch, sort of like a combination of RANK & FILE and LOU REED. But one track (“Marlboro Country”) is more R&B-ish, with a great “Louie Louie” beat and some tough guitar, making the whole effort worthwhile.
A somewhat garagy production that, in this case, doesn’t add charm to the band’s sound. But in a studio, their sparse attack could be filled in nicely, and some of the tasty guitar and bass tricks would sound really cool (like those in “Resistance” and “Un-American”). There’s potential here.
A three-song demo. There are two lengthy sons (including a cover of the ZOMBIES’ “She’s Not There”) with funky rhythms, post-punk vocals, and instrumental overlays; the final track (“Lympdiccus”) is a rockabillyish thang with similar “cold wave” vocals.
OUTRAGE plays medium-tempo punk with quite a bit of punch. Their strong vocal and guitar work is highlighted by the powerful production here, so watch for them.
A tight new band that plays fairly unoriginal thrash. Give them a bit more time to develop.
This is the only Argentine punk record to date, and although it came out in 1983 and is definitely in the classical style, it’s a fine beginning. The production is of a very high quality, enabling LOS VIOLADORES to get across their anti-repression lyrics and guitar-heavy sound in the most powerful manner.
Formerly called SLIPS Y SPERMA (see interview elsewhere in this issue), these guys play a DISCHARGE-like form of thrash with few hooks, repetitive riffs, and growling vocals. You either like this form a lot, or you get bored fast.
Not the New York group, but an Italian outfit that handles more melodic forms of both fast and slow punk. The vocals are mixed way up front, but you can also hear the music, which sometimes reminds me of SoCal band AGENT ORANGE’s non-surf material.
SECOND AUSCHWITZ are self-admitted novices (they recorded one hundred songs in a studio, forty of which are here, without ever having played an instrument or practiced before) who produce five-to-ten-second “songs” that are crude and idealistic. Decidedly different.
A four-song job that highlights SINGLE TRACK’s now-antiquated mid-period CLASH sound. Not terribly exciting in this day and age.
PYHÄT NUKET is a second band for some of the guys in RIISTETYT, and it’s a real departure for them. This ensemble has a highly polished post-punk sound with strong guitars; I’d recommend it to fans of the early CURE.
The second album from this politically aware/personally oriented Australian band, which I’m not as fond of as other people I know. Their music tends toward a ’70s rock style, with some songs on the soft side and others on the tougher, guitar-heavy side, not unlike some “Detroit rock” bands of past days. Off and on.
Most of DEBAUCHE’s five songs are characterized by their length (long), tempo (medium), vocals (growly), style (metal punk), and innovation (synth). Not my main thing, but a welcome departure.
A garagy tape from a garagy band. There are a couple of instrumentals in the surf style, two other tunes that borrow heavily from ’60s garage pop, and a bizarre cover of NO ALTERNATIVE’s “Johnny Got His Gun,” which they make almost unrecognizable.
They claim to be some former GRIM REALITY members, but I’m pretty sure Jello slipped in some rare early HALF JAPANESE tape to fool me. It has that totally primitive, raw, and untogether feel… that “we suck and we don’t care” attitude. Bonkers.
From a vocal standpoint, this is like a rawer version of early PERE UBU…or maybe CAPTAIN BEEFHEART. Otherwise, IDLE WORKSHIP has a goofy sort of straight-ahead garage attack.
Another very hot tape from this fine SoCal band. Intelligent lyrics and blazingly fast thrash that’s tight, cleanly recorded, and filled with good hooks and some neat vocal work. Some of these songs are new, while others are re-done versions of material from their earlier cassette. These guys should put out a record as soon as possible.
An extremely hot “live” tape that demonstrates why so many people have raved about these guys. It’s highly energized and even thrashy at times, but always innovative, tight, and powerful. And they found a good use for Falwell’s propaganda tapes!
Some real trashy garage punk can be found here, the musical equivalent of the tape’s title, but the themes are somewhat serious. Need I go on?
It could be a hell of a lot worse than this! Side 1 contains a dozen thrashers by ASOCIAL that absolutely rip. Then Side 2 kicks in with the BEDRÖVLERS who, if anything, are even more intense. Killer Swedish hardcore!
A folk-rocky pop-punk group from France with cutesy female vocals. The CALAMITIES are competent enough, but not really exciting or emotionally gripping. They do covers of songs by the TROGGS, the WHO, and the DOVELLS, and wish they could be the GO-GO’S.
Some well-intentioned and intelligent slow-to-medium-tempo punk that doesn’t quite spur my interest. While consciously striving to stay away from predictable three-chord thrash, they haven’t really created something in its place that generates comparable excitement. They do perform a cool version of ALBERTO Y LOS TRIOS PARANOIAS’ “Kill,” though.
The A-side is smashing—full of power, anger, and determination. Excellent stuff that’s superbly produced! The flipside is taken from a live performance; I have a general dislike for live recordings, and this one is no exception.
The EYES are a British ’60s group along the lines of the early WHO—mod to the max—who never did manage to put out an album back then. And now the reason becomes clearer, as this one contains too much filler. But there are a few killers, including the haunting “When the Night Falls” and the hilarious “My Degeneration.”
A pretty snappy release with lots of tuneful thrash. This Scottish aggregation has some of the drive of early DISCHARGE (especially in the guitar sound), and some of the hooks of, say, SOCIAL UNREST. In my book, that’s a damn good combination.
“Respectable” is just that—melodic and well-executed mid-tempo pop-punk stuff; the flip is a bit catchier and zippier. Pretty decent.
There’s quite a lot of variety to this garage band (outside of the overused name). The songs sometimes have real neat hooks, and are enhanced by quirky things like harmonicas! Interesting topics, too.
Sixteen classy ZERO BOYS songs. A few have already appeared on their superb album, but the rest are hitherto unreleased gems that reveal why this band should be rated right up there with the CIRCLE JERKS as prime exponents of brisk, hook-laden thrash and punk. Excellent.
Former members of CIA and REFLEX FROM PAIN combine to form a new band with a sound that reminds me somewhat of DIE KREUZEN. Bones’ vocals are intense and backed up by a very tight sort of medium-paced thrash that’s delivered with power and hooks. Definitely recommended.
A long overdue vinyl release from these Sooners, one that fully demonstrates their power and punch. This is a four-songer with fast and medium thrash, all of which hits you right in the gut. Let there be more!
A six-song effort that reminds me somewhat of ’78-era stuff, in that it incorporates funk and pop elements into a punky aesthetic. It’s fairly aggressive, with biting social commentary and a female vocalist on some tracks.
Garage-quality noise meets folk-rock meets older-style punk meets experimentation. For the adventurous or simply disturbed.
The SMASHCHORDS are an unusual instrumental combo—just two guitars—who knock out some basic rock ’n’ roll tunes. While this tape is certainly unique, it’s also a bit frustrating, since their catchy rhythms make you hope they’ll cut loose in a real savage way. But they can’t, because they’ve got to keep providing the rhythm section—the Pete Townsend syndrome.
After their great debut EP, I was afraid the ensuing album would wimp out, as often happens with this ’60s “teen punk” genre. No way! What we get are twelve killer songs, ranging from folk-rock to snarling ’67-era punk, all delivered with guts and drive. The music is tight and raunchy like that of their heroes the SHADOWS OF KNIGHT, and it’s hard to believe that all the members are female, because the vocals have such a deep, gruff sneer. Fucking excellent.
A totally impressive release! Most bands have a hard enough time putting out a single album without filler, but these guys have managed to fill all four sides here with catchy, powerful, and musical songs… real songs. The singing wails, the Oriental psych guitars shine, and the rhythm crunches. It also sounds as if they’ve been listening to the psychedelic-period BYRDS lately, because there are a few reversed tracks for instrumental background included. Tremendous!
This is fucking great! This is fucking great! This is fucking great! This is fucking great! This is fucking great! This is fucking great! This is fucking great! This is fucking great! This is fucking great! This is fucking great! This is fucking great! This is fucking great!
Was it worth the wait? Fuck yes, says I! Song after song kicks ass with a metal-punk sound that doesn’t teeter over too far into lame guitar sololand. Lots of power, a tight delivery, and especially intense vocals add to a great release from the BATS.
A collective effort by eight bands (CCM, the WARDOGS, I REFUSE IT, the USELESS BOYS, STATO DI POLIZIA, JUGERNAUT, TRAUMATIC, and PUTRID FEVER) from Tuscano, otherwise known as Gran Ducato—ergo GDHC. I’d lave to say that CCM sounds the hottest to me, with their outrageously distinctive vocals and unusual arrangements, but there’s plenty more to enjoy.
This tape is produced by Art Nouveau, an indie label/record store that specializes in distributing international punk in Greece. Side A contains tracks by GENIA TOU XAOUS (Chaos Generation), who have more of an older punk style and really garagy guitar work; They also do a couple of cleanly produced post-punk gems and one spychotic screamer. The B-side is by ADIEXODO, who’ve also adopted a late-’70s punk sound, but are younger and less proficient. Write to Art Nouveau for further information.
Eight Japanese bands, all recorded live, appear in various states of sound quality here. Side one consists of older-style punk and some noise damage (MASTURBATION, FULLX, ROUTE 66, MADAME EDWARDA), while side two blasts forth with a more modern metal/thrash approach (GISM, the COMES, LAUGHIN’ NOSE, GAUZE). GISM is hot, but the COMES come off the best with their killer thrash. The cover is a CRASS-style package.
On side one of this compilation, GISM lashes out with their metallic thrash attack—with the accent on metal—and nasty vocals, EXECUTE do ripping thrash, and ABURADAKO cross thrash with the POISON GIRLS’ quirkiness. On the flipside, LAUGHIN’ NOSE have one Britskunk song and one that sounds Finnish, while the CLAY adapt the early DISCHARGE style, and G-ZET close out with a slightly more melodic and metallic UK assault. All in all, this album has excellent sound quality and some songs that’ll knock you out.
Outside of HUVUDTVÄTT, the BRISTLES, ZYNTHSLAKT, and E.A.T.E.R., all of the other bands featured on this collection (SNUE-SLAPP HJÄRNA, SVEA-SKANDAL, FAXE, PÖBEL-MÖBEL, SS PLEKTRUM, and ANTI HUND-MINA) are new to us. Most of these younger bands do standard punk (though some do thrash), but none seem that memorable, especially considering the high standards set by the likes of E.A.T.E.R.
A pretty rip-roaring demo, mixing thrash with a few slow, powerful songs. Not much is new, but for some reason KLIMAX sounds more like and English thrash outfit than a Finnish band.
The lead singer of Japan’s the STALIN has put out a very well-produced nine-song tape that comes with a high-quality book that includes multi-colored photos. He does many ’60s songs here (like “Born To Be Wild,” “I Wanna Be Your Dog,” etc.), along with original compositions in styles ranging from intense thrash to straight metal to almost BEATLE-esque material, and the band (who sounds like the STALIN) really crank it out. Excellent.
The recording quality here isn’t so hot—it’s like “live” from the garage—so I hesitate to judge this new thrash band. They say that there’s a better-quality cassette to come, though.
This new DROOLING IDIOTS tape doesn’t sound as melodic as their first thrash-oriented demo, and the production isn’t especially hot. But their lyrical content has really come on strong, with both “personal” and “political” themes that do beneath the surface.
BYRDS-style neo-psychedelia—minus the 12-string guitar—meets DUANE EDDY-ish twanginess. Despite the singer’s sometimes annoying vocals, there’s interesting stuff on this half-sided picture disc, especially “Sniper on the Rooftop.”
CANCEROUS GROWTH deliver fairly unoriginal thrash and slower hardcore with quite a bit of gusto. They’re pretty tight, but more of their own personality needs to evolve. I especially like the guitar work.
Very minimalist rockabilly/R’n’B with just drums, guitar, and voice. It never gets crazy like, say, Suicide, and with a derivative genre like this, that’s a real necessity. Still, it’s fun.
These guys started out doing bad covers of good English ’77 punk songs, but now they’re doing bad covers of bad songs, including their own. Here, they mix older-style punk material with awful rock compositions, and the gutlessly produced results are boring as hell. Please don’t judge Japanese punk on the basis of ANARCHY’s releases.
The WARDS maintain their politically oriented garage approach on their second EP. Musically, it’s more punky than thrashy, with a dash of art damage thrown in. Well worth it.
A five-song demo of this young band’s crisp thrash style. OUT OF ORDER have both DC inflections and LA influences, and they play well, but without any special enthusiasm or uniqueness. Still, I expect that by the time they get vinyl out, they’ll have developed their particular peculiarities, so watch for them.
A four-song debut that exhibits a chunky thrash style. Stop/go parts, semi-jazzy drumming, and vocal harmonies are all prevalent, and it might come out on vinyl later.
This French record has exceptionally echoey, growling vocals and choruses, very engaging guitar work, and a crisp sound. Jeff thinks these guys are inept and annoying, but I particularly appreciate the strange song structures and the drumming, which seems totally out of it. Thrash that’s a bit “off.”
For such a young thrash band, POIKKEUSTILA are pretty good. The guitar work is hot, as is the singing—those Finns have some of the most ragged voices—but the drumming lags behind a bit. If they get that hurdle cleared, they’ll be excellent.
The poor quality recording here unfortunately obscures some decent ’79-style punk. It’s a bit passé, but the speeded-up tempo compensates for that.
A very roughly made tape that makes it difficult to appreciate the music. What I can hear is a fairly musical post-punk style, or maybe even pre-punk STOOGE-ish sounding rock. On the eerie side.
Some really garagy stuff can be found here, both in terms of production and style. PUBLIC HUMILIATION mainly offers punk rock with a simplistic beat, fun retardo lyrics, and an occasional freak-out (that they advertise on the lyric sheet as “wild solo”).
Hmmm. Early LA-style art damage meets jazz-pop meets death rock, with a dash of thrash thrown in. Happy Squid label fans will be happy, as will THROBBING GRISTLE fans. FALL fans might. I’m not too excited.
The NEW MR. ORRS are a bunch of weirdos! There’s a lot of experimentation here, and when they do launch into “songs” per se, it reminds me of a jazzier MEAT PUPPETS.
Hmm. This tape has sort of a LYDIA LUNCH, “No Wave”-type of vocal quality and overall feel, combined with an amateurish CRAMPS-ish rock ’n’ roll garage feel. Interesting and enjoyable.
A six-song debut by a local band that contains at least one former member of INTENSIFIED CHAOS. The music is in the classical punk style, with both English ’78 influences and US surf sounds. It won’t set the world on fire, but it’s good clean fun.
“Bad trip” music in a noise/psych/jazzy vein, designed to put you in a very unpleasant mood. If you were already there in the first place, put CHOIR OF PAIN on and you won’t feel alone anymore.
Poppy rock-cum-punk. Sometimes it clicks well, as in the great garage punk title track, but more often it leans too much towards commerciality. It’ll be interesting to see which direction they more in.
Jazzy-metal instrumentation, extremely gruff vocals, and smart-ass lyrics are the hallmarks of this debut from KILLDOZER. A lot of weirdness seems to emanate from up Wisconsin way, and this interesting release on the TAR BABIES’ label keeps with that tradition.
Almost every time I go into a record store, they’ve got a new MILKSHAKES record in stock. Amazing! This, their first American release, has tracks from several of their earlier UK platters, and “showcases” their early ’60s R&B/instrumental/KINKS/Merseybeat sound at its best. Despite their self-imposed limitations, these ex-POP RIVETS are undeniably fun.
The recording quality here is pretty poor, so the potential of bands like CHUMBAWAMBA, the PASSION KILLERS, KULTUREKAMPF, the CHOIRBOYS, etc. is barely discernible. I know that a lot of the punks who put out such tapes are skint, but is it really worth the effort for anyone but fanatical fans? Maybe. I did like what I could hear of the INSTIGATORS, though.
Three bands appear on this flexi accompanying a recent issue of the ’60s-oriented 99th Floor fanzine. PLASTICLAND produce their delightful psychedelic pop, and the FUZZTONES do a more-than-adequate cover of the MOVING SIDEWALKS’ song “99th Floor,” but it’s the VIPERS that deliver the coup de grace with a wonderfully fuzzed-out ’60s punk rave-up.
From that blast furnace they call the “Central Valley” comes this collection of bands on CAPITOL PUNISHMENT’s label. Besides them, the bands that appear here are THINK TANK, the PROBLEM FISH, PRIMER GREY, the PTL CLUB, HARSH REALITY, the SUBTRACTIONS, BURNIN’ BOB, DEATH CAMP, the MERE MORTALS, ASSAULT, KAOS, NO LABEL, the DIRT HEADS, and the WAWONA BOYS CHOIR. It mainly features modern hardcore sounds, but also includes some unusual stuff.
A compilation put out by Last Rites fanzine that includes several Chicago-area bands (the NADSAT REBELS, R.O.T.A., A.O.F., OUT OF ORDER, NAKED RAYGUN, BIG BLACK), other Midwest acts (NO RESPONSE, S.U.M., DIE KREUZEN, SACRED ORDER, the FLESH COLUMNS, HÜSKER DÜ), and a couple of extraneous coastal bands. The NADSAT REBELS turn out some excellent songs, and are a new group to watch. About half of the tracks on this tape are live, so the sound quality varies accordingly.
The latest collection of neo-’60s bands to hit the record stores in recent months, and the second in a series. It’s about 50% lighter psychedelia and 50% punkoid stuff, with the gnarliest material emanating from the MIRACLE WORKERS, MYSTIC EYES, the ODDS, OUTNUMBERED, the FEZMEN, and the SHARP TURNS.
Garage band fanatics will love this. Yup, it’s another trashy outfit that’s emerged from the psycho ward called the Midwest. Watch for these cool cats in your town—then run!
Live, they come out dressed in Indian madras bedspreads and masked faces like fundamentalist Islamic women, and launch into what sounds like the DOORS meeting SYD BARRETT. Unfortunately, this album lacks the charm of their visual presentation, and the “songs” are largely unstructured, like jazz or avant-garde stuff. For the way-out only.
This amazingly great ’60s album has been reissued as a bootleg, and it’s well worth seeking out. It’s rare when a band does cover versions better than the originals (like the WHO’s “Legal Matter,” to name just one), and then manages to come up with their own teen punk classics (“Action Woman”). One of the best ever ’60s punk releases.
The best thing I’ve heard in a while! This tape has tremendous ferocity and boundless energy, delivered in an almost psychotic and wreckless manner, but without any loss of tightness. Siege has a nasty thrash attack with insane vocals and intelligent lyrics, captured perfectly by Radiobeat’s Lou Giordano. Get it—it’s great!
Abrasive yet rhythmic post-punk with herky-jerky structures that are somewhat funky. Snarling vocals are the U-MEN’s most interesting facet from my prospective. For BIRTHDAY PARTY fans.
Musically, this debut is prime-sounding ’77 punk, well played and well produced. Lyrically, it would make Reagan blush with pride about the great job he’s done brainwashing today’s youth. They’ve got jingoistic lines like “I’m an American—I stand tall and I’m proud / I’m an American—and I’ll shout it out loud,” and unfortunately they’re not kidding. Duh! Maybe they’ll do everyone a favor and join the Marines.
Totally intense! This band hits hard with a modern thrash style not unlike that of certain DC bands, in the sense that they are very tight and write songs with good hooks. (Jeff thinks they sound more like Holland’s AGENT ORANGE). Their powerful music is capped by great guitar work and the most aggressive, psychotic, ragged female screamer yet to appear on a punk record. Phew!
Fusing punk with noise damage, this release is much more accessible than I would have predicted, based on their earlier album. It features older-style punk riffs that sound nice and out-front, with really clear vocals, simple beats, and dissonance coming from somewhere. As the title might indicate, the songs focus on some of the nastier disappointments in life.
Jeff says this is great garage punk that’s gonna end up on his Top 20 this issue. Jeff also says that BORN WITHOUT A FACE is a politicized version of the MEATMEN, and he loves their horror-movie moniker. So why the hell isn’t he writing this review?
Like label-mates CHOIR OF PAIN, EXTREME HATE makes for uncomfortable listening—noise, distortion, the wrong speed…in other words, “pet rock” at its most annoying. Buy and die.
A live recording that mostly consists of long, extended jam-type songs. They integrate jazz and funk rhythms into a sort of cockeyed bluesy rock ’n’ roll format. Although they’ve come a long way from their charmingly psychotic teen-torture years, I personally wish they’d go back. Then again, most of us “grow up” sometime, for better or worse.
The B-side cover is a bit light for me, but the original on the flip is real good. Even though there might be too much of that trebly ’60s Farfisa organ sound, it still manages to snarl its way through to a cool BLUES MAGOOS-type rave-up at the end. Great!
A five-song statement on the drawbacks of participating in what they consider to be the farce of electoral politics. It includes chants, rap, funk, poetry, and thrash, all performed with gusto by a variety of shifting personnel, an arrangement which epitomizes their anarchist approach. Unique and timely.
Eight Swedish bands appear on this compilation. Most of them play thrash, but some traditional punk and industrial-type outfits are also included. MOB 47, the BRISTLES, and P-NISSARNA come off particularly well here.
This tape features nine Sao Paulo-area bands—PSYKOZE, ULSTER, OLHO SECO, RATOS DE PORÁO, 365, HINO MORTAL, ETC, SP CAOS, and RUIDOS ABSURDOS—who do some proverbial ass-kicking. These recordings were done live and, unfortunately, the sound quality isn’t really very good (lots of vocals, but little clarity of instrumentation). As a result, it’s mostly the excitement and emotion that’s conveyed here.
Three lesser-known Finnish bands share this tape. I’m tempted to say they are less well-known for good reasons, but I’ve been spoiled by the likes of TERVEET KÄDET. These bands—NUSSIVAT NUNNAT, LAPSILTA KIELLETTY, and KAUNEUS & TERVEYS—seem to be newly formed, as the predominant sound here is garagey. There are moments of experimentation amidst the punk and thrash mash, and given the price ($1 and I.R.C.), it’s a bargain.
There are tracks here by nine excellent Italian bands, including CHELSEA HOTEL, SHOCKIN’ TV, TIRATURA LIMITATA, EU’S ARSE, NABAT, DARK RIDE, PEGGIO PUNKS, CCM, and ROUGH. Hey, pasta punx rule!
An older-style punk band from Canada, complete with wonderful fuzzed-out guitars and lyrics you can actually hear. I didn’t like it as much at first, but now I think both sides are good. Hey, they even have guitar solos!
This young Italian band presents highly dissonant, disjointed, and unmelodic thrash that is very well produced. The guitar seems totally weird, as it is so clean and smooth in contrast to the rest of the music, not to mention most punk guitar sounds.
Holland’s VANALLES & NOGWATT have sort of an English skunk sound. The chunky drumming keeps the mid-tempo songs from really springing out at you, and adds restraint to a guitar that seems to want to fly.
Hmmm! Garage/folk rock/industrial music. Well, if it’s not that, what is it? You can find out for a mere 60¢.
A very “noisy” tape, as production facilities in the Third World appear to suffer as much as the people. CÁ”LERA are a very bass-heavy band with lots of buzzing guitar and clear vocals—even I can understand some of the Portuguese. Most tracks here are in the mid- to fast-paced punk style, and they have strong political lyrics.
This tape represents DC’s funky/arty/noise/psychedelic garage groups. The bands include HATE FROM IGNORANCE, BLOODY MANNEQUIN ORCHESTRA, CHALK CIRCLE, GREY MATTER, BLUE CROSS, the PSYCHODELIC TRASHCAN, etc. There’s a little something for almost everyone here.
I can’t help but think that this is what Rod Stewart would have sounded like had he gone thrash. I’m referring specifically here to Will’s high, cracking vocal delivery. He combines with Phil and Dave from SIN 34 to produce some quirky, unusual modern thrash.
In about a year, these guys could put out a killer record. They’ve got their thrash licks down, but need to develop their distinctiveness a bit. Also, the lyrics, which seem highly satirical, are pretty ambiguous. On a few songs, though—like “Power Games”—you can see how intense they might become.
For a garage effort, this tape sounds pretty good. It’s a neat mixture of thrash, older powerchord punk, and rock’n’roll Á la HEARTBREAKERS.
Garage-quality recordings don’t really add much charm to post-punk bands, but this guitar-bass-drum trio still manages to carry their particular form of expression across. They fare best on the “rockier” numbers, which remind me of BLURT without a sax; the slow, “painful” songs are less appealing.
A not-too-exciting release. It’s fairly standard older-style punk, delivered rather listlessly. The only thing I know about this band is that they are from France.
Even though this tape was recorded before they had a drummer—his tracks were overdubbed—it shows potential. SQUIRT produces some of the best Swiss thrash I’ve heard. It’s not quite up to the Alpine levels attained by other European bands, but it’s definitely worth a yodel or two.
A German band that should not be confused with the Santa Cruz version that appeared on our Not So Quiet compilation. They have a total thrash attack with hot vocals, decent guitar work, and energy, but the drumming seems to be draggy or off a bit.
This new release on BCT contains the stuff from their Italian tape plus tons of live tracks. Together, they show why this band is awesome. Watch for their upcoming tour of the US.
This tape contains a lot of stuff off previous Finnish releases, plus other songs sung in English. Some of the cuts are in the funnypunk vein, but most have a truly killer thrash attack. These guys will be in the US soon, so find out why you’ll want to go see them. The incredible song translations are alone worth the price.
OK-sounding mid-tempo skunk from Germany, with an occasional speedy song. The MANIACS’ strong suit is a constant buzzsaw guitar that breaks loose with some exciting licks on a few numbers (like “Nazischweine”).
I’m not too hot on the B-side, but the A-side is killer. It’s got a real heavy guitar that wrenches its way across the slow, tortuous course of the song, spitting feedback every which way. Added to that are IGGY/BOWIE-type vocals, and production that mesmerizes and pulverizes your senses. This Swedish band has been around for years, and this is their first American release.
The sound quality isn’t the greatest, but the music more than compensates for that. F.P.E. are hard to describe—they’re thrashy, jazzy, damaged, crazed, and real intense. If the MEAT PUPPETS met MDC in a Chilean secret police torture chamber, the result might sound like this.
Some very original-sounding noises can be found here, with clean, snappy production to boot. It’s punk all right, but with so many quirky musical interjections that it seems surprisingly new. Great musicianship, with no loss of edge, musically or lyrically. Highly recommended.
The A-side contains bands that all, more or less, owe their chops to the NEW YORK DOLLS/HEARTBREAKERS school of rock ’n’ roll (except the BARRACUDAS). There are groups like the BAD DETECTIVES (a DOLLS song) and the BABYSITTERS (HEARTBREAKERS?), and songs like GENOCIDE’s “Private Hell,” which can be compared to the DOLLS’ “Private World.” The B-side slips into more mundane rock, and isn’t at all memorable save for the reemergence of former SWELL MAP NIKKI SUDDEN.
Another fine compilation contains fourteen bands of varying degrees of competency doing 22 songs of varying degrees of sound quality. You’ll find FLUX, POLITICAL ASYLUM, the BLOOD ROBOTS, LEGION OF PARASITES, IMPACT, and the ABDUCTORS, among others, most of which are mid-tempo punk bands. The best track is “The Race Is On” by CRIMINAL JUSTICE.
Another fine compilation with both English and American bands represented. POISON IDEA really rips out some incredible stuff, as do LEGION OF PARASITES, the most intense UK thrashers yet. Other tracks are by the INFECTED, CRIMINAL JUSTICE, the WARDS, XOSET UK, the OBSCENE FEMALES, and STAGNANT ERA.
This guy’s material sounds sort of like the FALL. Most of the tape consists of literate ranting poetry, but three of the tracks also have tough instrumentation and funky rhythms. Interesting listening that’s probably best appreciated by native Brits.
The A-side is totally great, full of that powerful, cleanly produced, uplifting, and distinctive SUBHUMANS sound. The B-side revolves around the theme of the album’s title, and runs through many musical styles from lyrical point to lyrical point. As with most such ambitious ideas, some of it works and some doesn’t, but the higher moments remind me of nothing so much as ATV or CRASS. I can’t wait to see them live!
Whoever these guys are—and they are reputed to be members of the DAMNED in disguise—they’ve captured the 1966 punk feel amazingly well, right down to the classic psychedelic “soundtrack” album concept. The numerous covers here are true to the originals (by groups like the ELECTRIC PRUNES, the HUMAN BEINZ, PAUL REVERE & THE RAIDERS, the LITTER, and the SEEDS), but generally not quite as good. It might prod you to pick up the real things, though.
Dave Edmunds got his hands on these guys and upped the ante plenty. From the rough weirdness of their debut EP, they’ve gravitated to a smooth big-time wall of sound. That’s both bad and good. The weirdness has been sacrificed, but their current variety of modern R&B/rockabilly is very powerful.
Both sides contain metallic-edged rhythmic punches Á la BIRTHDAY PARTY. The vocals evoke that band too, but it really doesn’t diminish the value and strength of these songs, as there are other influences here (the CRAMPS?) that make for fine listening.
On the charitable side, one could call this “adventurous industrial experimentation.” On the not-so-charitable side, it might be termed “eclectic self-indulgent crap,” similar to the terminal stages of ’70s “progressive” rock. Take your pick.
You’re probably already familiar with most of the sixteen bands collected here (including the OUTPATIENTS, N.O.T.A., NO LABELS, C.I.A., IMPACT UNIT, C.O.C., SEPTIC DEATH, R.O.T.A., and STALAG 13, among others. Each of them has donated two to four tracks which together add up to one fine tape.
First advertised here about a year ago, this Texas hardcore compilation has taken a long time to see the light of day. Was it worth it? Fuck yes—with tracks from REALLY RED, the OFFENDERS, D.R.I., MY DOLLS, the BIG BOYS, MARCHING PLAGUE, the BUTTHOLE SURFERS, BANG GANG, the DICKS, STICKMEN WITH RAYGUNS, the HUGH BEAUMONT EXPERIENCE, and others, it’s got lots of power and variety.
The revamped line-up of T.S.O.L. makes its debut on this highly-produced album. I was prepared to dislike this after seeing the rock-star atmosphere they projected live, but there’s a lot on here that’s likable. On about half of the songs, they pack a good punch and the new singer’s annoying Jim Morrison delivery is minimized, but others are less worthwhile. Although it’s better than expected, give me their first 12″ any day.
Some very hotly-produced and performed ultra-intense thrash, sort of like a combination of D.R.I. and the MEAT PUPPETS. Great.
Buzzsaw guitars and garage punk are combined with some Midwestern alienation in this Cornhusker combo. The songs herk and jerk all over the place, as do the inner-directed lyrics.
A surf-folk-rockabilly-new wave-punk mixture that mostly comes off well. It’s not exactly my cup of tea, but it is lively and energetic.
Most of the material here is in a slow-to-medium-tempo post-punk vein, with the accent on eerie vocal and guitar tones. It’s a bit too polished for my taste, except for the occasional faster tracks that remind me of early PERE UBU.
“MESS” indeed! It’s supposed to have twelve songs on it, but my copy of this tape only had four and one half, with incredibly long gaps between songs. What there was of it sounded good, although the lyrics seem pretty confusing.
A three-song job that’s got the vocals clear and way up front, backed up by tight, cleanly produced thrash and punk. The intelligent lyrics are obviously being stressed here.
Basically, this is a one-man production with aspects of modern punk and lost of art-damage on top. It’s also a studio tracks tape that employs over-tracking and echoes in a way reminiscent of PRE FIX, especially in the rhythms and guitar noises.
The other side of Gary (from ANTI and MOOD OF DEFIANCE) emerges in this classical experimental “music.” Actually, only one “piece” approaches music, as the rest consists mainly of tape loops, extended notes, and noise. So drop that ol’ LSD, have that thorazine near at hand, and venture out into the stratosphere.
Seven well-produced, tight, and blazing fast songs appear on ICONOCLAST’s debut release. The lyrics put them decisively in the anti-war/”peace punk” camp, and as far as I’m concerned, there can’t be too many bands like this. Get it.
Some pretty melodic punk and thrash with gruff vocals and tight musicianship emerges from this tape. It proves that more than tomatoes can grow out of the dust of California’s Central Valley.
GRAVEN IMAGE’s thrash doesn’t always hang together, but when it does gel, they have a MINOR THREATish sound. Lyrically, the topics are interesting and, at times, more than a little confused. For example on “Nails and Thorns” they warn punks not to reject Jesus because one might need “Him” someday, and that being an atheist means paving the way for Communism. Huh?
Here they are again, this time with an LP’s worth of live material that sounds just like their studio stuff. A lot of their classic tracks are on here, sounding as good and raw and raucous as ever.
Back in the late ’60s and early ’70s, the GROOVIES were in my Top Five list of hard-edged rock ’n’ roll bands. Though not as generally acknowledged as the VELVET UNDERGROUND, CREEDENCE CLEARWATER REVIVAL, the MC5, or the STOOGES, their underground appeal led to an international cult following that still exists today, despite the many permutations they’ve since undergone. Here, they’ve been captured in their heyday in a live (and not so hot) recording, doing originals and covers. There are a few incredible moments, so if you love real rock ’n’ roll, give it a listen.
With a name like that, you know it’s got to be silly. Actually, it’s the Stepe brothers (ex-NEGATIVE ELEMENT) and company “Doin’ the Jerry Lewis” and other topical subjects in their basement. Thrash that’ll drive the cows crazy.
The A-side is kind of a teen rock-pop number in the old Boston tradition, with its jumpin’ rhythms, R&B beat, punchy guitar, and insipid lyrics; the flipside is a very uneventful cover of the EDDIE COCHRAN classic.
The DEPO-PROVERA side features some very catchy tunes, both slow and thrashed-out. They’re powerful, melodic, and intelligent, and worth the $1 price all by themselves. The TEMPERAMENTAL PSYCHOTICS, on the other hand, play slower, leaden punk that doesn’t do much for me.
Classic garage punk of varying goofy styles and descriptions. The music is simple, straightforward early-style punk, and the lyrics cover a whole range of teen topics. Fun.
These guys alternate viciously between FLIPPERish “pet rock” and all-out thrash—usually in the same song—to produce some fine noise. A good first demo.
The A-side is pretty tame, so let me rave about the flip for a minute. It’s classic psychobilly with lots of echo and oomph—the CRAMPS at their best.
A rough garage-quality tape of basic melodic thrash with fairly intelligent lyrics. Given time and decent production, these guys will be good.
A three-song tape that’s got those raspy, ragged Minnesota vocals, backed by some fairly standard but competent thrash. Good for a start.
Self-described “funny punk,” but it’s got more of a creepy-crawl feel to it. This slow, punchy, lurching rhythmic music, with the vocals mixed way clear, sounds like it should be from Texas or Louisiana. Maybe it’s the proximity of that hot Mexican sun.
BLACK FLAG have worked long and hard to break ground for punk, and weathered a lot of legal harassment in the process, so it’s impossible to casually dismiss them for putting out a bad record. But that temptation certainly exists with the release of this album. To me, it sounds like BLACK FLAG doing an imitation of IRON MAIDEN imitating BLACK FLAG on a bad day. The shorter songs are rarely exciting, and the three tracks on the B-side are sheer torture. I know depression and pain are hallmarks of BLACK FLAG’s delivery, but boredom too?
A totally fucking excellent release on A.O.D.’s label. BEDLAM display lots of energy and excitement here, with buzzsaw guitars blazing the way, and gruff vocals to boot. The lyrics are both serious and hilarious. Buy their records!
Nine songs in a melodic thrash mold that’s more reminiscent of certain SoCal bands like the ADOLESCENTS than the East Coast approach. Musically, it’s really tight and fairly zesty, and the lyrics are also generally coherent (though there are occasional examples of retardo stuff, both intentional and unintentional).
Nine somewhat sloppy thrash songs with a pretty decent recording quality, but the intelligent political lyrics, which go far beyond the superficial, are the highlights of this tape. Among the subjects discussed are women (“We Love Girls”) and Poland (“Poland Crisis”).
This young Norwegian band originally intended to put out an EP, but they weren’t completely satisfied with it. Here, they sound fine to me. The vocals and guitar kick, and the rhythm ain’t bad either. AKUTT INNLEGGELSE will soon become one of the many startlingly hot Scandinavian groups, in my opinion.
Some of the most intense yet catchy thrash to come out of Australia thus far. This well-produced tape bodes very well for the scene “down under,” even if it does have a heavily produced English accent.
An excellent long-player’s worth of British Columbia’s current crop of bands. The NEOS appear with some previously released material, but the rest (AUTOMATIC SHOCK, CHRONIC SUBMISSION, JERK WARD, LSD, HOUSE OF COMMONS, RED TIDE, the INFAMOUS SCIENTISTS, SS TOP, DA JEEP, and the cool DAYGLO ABORTIONS) all chip in with new material, most of which is fine. Very little filler.
Tight, hard-edged punk (and some thrash). WHITE NOISE has that full-sounding rock ’n’ roll attack Á la DOA or CH3, to which they add extremely gruff lead vocals and strong drumming. Don’t overlook these guys.
Three songs whose high points are often dissonant, fuzzy guitar leads. The rest is nothing new, just fairly fast-paced punk with good production. Like I said, the guitar work is the SOLDIER DOLLS’ strength, and hopefully they’ll accentuate it even more in future releases.
A 12-song studio demo that’s well-produced. It’s got that chunky drumming that I don’t go for too much, but the guitar sound and vocals are real good, and it’s real powerful overall. The main problem with ENOLA GAY is that they rely a bit too much on the basic repetitive thrash structure. More variation would help.
A “greatest hits” tape from a band previously known as CRIB DEATH. I think this is what Jeff could call “garage punk,” since it’s obviously a product of Midwestern winter shellshock and deprivation. They have a slower, ominous sound.
With a name like that, it’s gotta be “punk rock,” right? Right! It’s like a flashback to ’78 or something, which can be both fun and a bit tedious. The PUKES have an American style of early punk—slow, garagey, and sometimes silly. The cool part lies in being able to hear the snarly lyrics that jump all over jocks, patriots, and parents in a sarcastic manner.
A budding original approach from this new band (see Northern California scene report for more info). They combine certain aspects of the early Germs sound with garage and post-punk qualities, and have interesting lyrics. It should be fun to watch them grow.
PLAIN WRAP plays tight, trebly, frantic thrash and punk with melodies. They remind me a little of the DK’s, both musically and in the narratives, which sometimes are more like tales. An excellent beginning, so look out for them.
An eight-cut demo from still another young thrash outfit. It’s a bit generic and sloppy, as it seems to be a live recording, but remember that they’re from Bakersfield (home of MERLE HAGGARD), which is enough reason to support these lads. Actually, there are some sparks of originality—”Hey You” has a certain FEEDERZ feel—so give them time.
OUTERWEAR mainly presents slower, metallish thrash with lyrics that strain to cover the irrelevant. It looks as if these stimulus-starved Ohioans did too much LSD. Over the course of 24 songs, they scream and slither their way into the sicker corners of your heart. Outta sight.
Forty-five—count em—forty-five songs are on this tape, probably this Chicago band’s entire repertoire. Unfortunately, you can’t really hear too much because of the sound quality, mostly live and garage tracks that are almost buried beneath the rumble. You can barely hear some cool shit going on, but this one’s more of an artifact.
The KNUCKLEHEADS offer mostly mid-tempo thrash with metal influences. Again, there’s nothing new here—it’s well done but predictable, including the themes. But again, given where they come from, it’s probably not at all predictable and generic.
This is a pretty good thrash debut. While DON’T NO don’t break any new ground, they do have snap. The drumming and bass playing are hot, the vocals have back-ups, and the lyrics are pretty sharp, with a definite straight edge bent to them.
This is a well-produced demo by a group who were once called FUTURE RUIN. It’s no instant classic, but there are certain twists here that make for enjoyable listening. They’ve got potential, and the tape is well worth the “price” (S.A.S.E.).
A fairly original 15-song demo with some good musicianship, fairly non-standard structures, and really gruff vocals. Most of the tempos are medium to medium-fast.
We fucked up by not reviewing their recent US release, so here’s one of the European debut of this New York combo. They’re sort of a refreshing throwback to the “No Wave” era in NYC, especially in the singing and guitar parts, but they’ve infused it with certain English- or German-style post-punk constructions. It all adds up to “art with an edge.” Lyle H’s fave.
A seven-song treat from Spain. Most of it is medium to fast HC, but not your run-of-the-bull thrash. It’s got unique twists, insistent drumming and bass playing, fuzzy rhythm guitar leads, and vocals that remind me of Fabio from OLHO SECO—gruff but clear. Simple, yet appealingly distinct.
This compilation highlights some southern California bands (WHITE FLAG, KILLROY, and the WALLFLOWERS), and includes others from Tijuana, Mexico (SOLUCIÁ”N MORTAL), Seattle (DERANGED DICTION), and the Midwest (NO RESPONSE, CORRUPTED SERVICE). Most of this stuff gnaws your speakers apart, so eat this one up before it eats you.
This very young punk band—mostly 14-year olds—thrash and growl their way out of the garage. There are a whole slew of songs here, pretty roughly produced, and they have their say on a whole range of subjects. The guitar work shows promise, and there are some truly crazed items thrown in.
Two more high-quality cassettes from BCT that further their effort to give more exposure to international bands. These were recorded in Pisa, Italy, just prior to 1984. Tape #1 is a C90 with nine bands. Most of them thrash away in a frantic rage, with those classic demented Italian wails, but one band (the USELESS BOYS) are in a ’60s garage mold. Other groups include BRONTOSAURI, RAW POWER, the WAR DOGS, JUGGERNAUT, STATO DI POLIZIA, PUTRID FEVER, the DEMENTS, and AUSCHLAG. Tape #2, a C60, highlights the CHEETAH CHROME MOTHERFUCKERS, I REFUSE IT, and TRAUMATIC. A must for the international collector.
This compilation features six young Dutch punk and thrash bands (ANTIDOTE, BLITZKRIEG, GEPÁ˜PEL, KNAKKERBROT, INDIREKT, and the HAEMORRHOIDS) and one new wavey outfit (the NOUS). There are varying degrees of competency, sound quality—mostly live—and excitement here, which sometimes makes for an annoying experience, but INDIREKT positively shred!
A 26-song live collection that’s real nifty. Whether FLIPPER-ish noise stuff or MEATMEN-like garage semi-thrash, it’s all powerful, intelligent, and biting. The sound quality varies from track to track, but for lovers of feedback, it’s perfect. Recommended.
Some real silliness from this New York outfit. Musically, it consists of thrash, punk, metal, and reggae all thrown together in a humorous way. Lyrically, I wouldn’t want to think that these guys are serious, because the ideas are even more goofy than the musical arrangements.
Heh, heh. After Pushead’s wisecracks at the beginning of his column, I can’t wait to review his band’s record. Unfortunately, it’s good. Oh, well. Actually, it’s ferocious. It combines the manic attack of the Boston bands with the recklessness of the best Finnish and Swedish thrash groups. Being a perfectionist, the Pus has worked long and hard on his debut, with excellent results. It should serve as a lesson for many young bands—wait until you’ve got it together before going public. This shreds.
An excellent compilation tape that takes a hot cut or so from many bands we’ve reviewed separately in MRR. Included are the OUTPATIENTS, N.O.T.A., PSYCHO, ZERO DEFEX, C.O.C., the LEPERS, NO LABELS, N.J.F., MOX NIX, the NILS, S.U.M., VIOLATION, RIGHT GUARD, EAT THE RICH, the MONEY DOGS, YOUTH KORPS, and the ACCELERATORS.
A new release that exemplifies DOA’s movement toward traditional rock music (at least on record). The A-side is an appeal to people to stand up for their rights and join in a general strike, reflecting the mood in British Columbia in November of ’83. It’s set to music that “sounds like FOREIGNER,” according to a famous friend of ours. The B-side is that awful SINATRA song. Enough said.
PiL meets the SHAGGS, CRAMPS, and BUTTHOLE SURFERS on a bad ’60s acid trip, stumble over FLIPPER’s corpse, and rise (barely) above the basement. Enter the ghost of the 13TH FLOOR ELEVATORS, and you have it. These guys prove that SKY SAXON is dead!
On this Australian post-punk release, a noisy fuzz guitar overlays heavy bass and drum rhythms, thereby setting an ominous tone. While it may be a bit repetitious, there are definitely some original ideas here.
YOUTH BRIGADE pays some homage to their native land by including many excellent Canadian bands (the NILS, YYY, the UNWANTED, SNFU, PERSONALITY CRISIS, the YOUNG LIONS, ZEROPTION, the STRETCH MARKS, and DOA) on this collection, as well as some LA newcomers (RIGOR MORTIS, the TOURISTS) and veterans like the BIG BOYS, 7 SECONDS, KRAUT, CH3, and themselves. A good sampling.
Some classic SoCal sounds are captured on CONFEDERATE’s debut album. With its melodic guitars and songs, multi-tracked vocals, and fine production (courtesy of ex-ADOLESCENT Rikk Agnew), the listener is treated to a non-innovative but enjoyable release, not unlike the VANDALS’ debut.
“Underground” bands from Tucson, volume two. This runs the gamut from arty to wimpy, but has a healthy helping of neo-’60s psych and garage bands like the HECKLERS, ROTE KAPELLE, and YARD TRAUMA (yea!) to make it all worthwhile.
A mixed bag of punk (very little), rockabilly, post-punk, blues rock, etc. CRANK is the only real standout.
More older-style punk from Spain’s TNT “Guernika” isn’t too exciting, but “Gilmore 77″ has charm and drive. The bass playing is excellent.
Very militant, political punk and thrash that comes with a bilingual lyrics booklet. The A-side of this tape is a little tinny-sounding, but the other side has a full production sound and really blows out the windows. It’s like night and day—weird!
I missed this when it first came out a few months ago, but better late than never. Six of Toronto’s best bands contribute two-to-four songs each, and it’s well worth getting. The bands are APB, CHRONIC SUBMISSION, DEAD END, DIRECT ACTION, the YOUNG LIONS, YOUTH YOUTH YOUTH, and ZEROPTION. A real good sampler.
Frantically paced thrash, with traces of metal guitar and structures, and wild vocals. This band exhibits finely controlled madness, and will run you ragged. I don’t know what their message is, but SHOTGUN SOLUTION shred musically.
These two bands thrash to the max, although they are a bit ragged around the edges. But that sloppiness is more than made up for by their intensity and excitement. FLERE have a wailing female vocalist, the RAZOR BLADES a gruff male singer; both have hot guitarists and plenty of potential.
Ach du Lieber! This is a shredsational record that mixes some incredible thrash songs with punk and post-punk numbers, and manages to pull it off. Sometimes the guitar work gets a bit too cute for me, but normally their stuff is killer. I bet the NEUROTIC ARSEHOLES are a hell of a live band.
HOUSE OF COMMONS play a mixture of punk and thrash, and have great lyrics to boot. The echoey, gruff vocals, atypical guitar work, solid rhythm section, and powerful production make for a fine debut.
Retardo garage punk and thrash in the DAYGLO ABORTIONS tradition… that particular Canadian sense of humor. Unfortunately, the sound quality is not the greatest. Funny.
Another mostly mid-tempo punk band from Canada. DEAD END has more of a skunk sound. Some of the songs are quite long and rockish, which isn’t to my personal liking, but “No Rights” is totally great.
Now released in the U.S, these excellent Italian bands provide further proof that Italy is producing some of the most exciting and powerful hardcore bands around. The sound quality is excellent, so each group has the opportunity to really kick ass. C.C.M.F.’s “400 Fascists” is a minor classic.
A morbid, metallish melange meets a mental breakdown in a dark basement. Not unlike horror rock in sound and content (if the translated titles are accurate), it’s a bleak scene generated by Johnny Concrete and friends. If you like that genre, this is a well-done example.
There are some rippers on this tape, but CHRONIC SUBMISSION mainly produces mid-tempo punk. The high-quality recording highlights the guitarist’s fine licks.
Classic, well recorded thrash with excellent lyrics. The hallmarks here are the solid guitar work and the unusually gruff vocals. A good buy.
More funnypunk from these jokers. I don’t like this one quite as much as some of their previous records, though the vocal symphony on the A-side is delicious. The flip (not the TOMMY JAMES song) sounds like a JILTED JOHN outtake and is appropriately ridiculous.
This EP precedes the one reviewed in MRR #10, and, as stated then, the APOSTLES are a very interesting band. Musically, they play slower, powerful punk with some distinctive variations; lyrically, they ooze with radical commitment. But one track (“Fucking Queer”) displays some confusing contradictions—self-hate?—which fly in the face of their otherwise virulent progressive and anti-fascist stances.
A really powerful, exciting album. The ACTIVES have developed into a somewhat Americanized thrash-style band, and the results represent an improvement over their earlier EP. The guitars and drums are way up front in the mix, and if there’s any fault here, it’s that the agonized vocals are somewhat buried. Recommended.
Most of the current batch of younger Minnesota bands are represented here with a few tracks each. Burger Corpse contains garage punk, thrash, noise, and styles in between, and includes groups like GROUND ZERO, CHURCH PICNIC, the HYPSTERZ, BOY ELROY, and SKELTER HELTER. The sound quality is pretty good for this type of thing.
A shitload of bands from the far corners of the U.S. and Canada submitted their tapes, and these are the results—eighteen groups playing a variety of punkish styles (punk, garage, thrash, noise, post-punk). Some of the virgin-to-vinyl bands are RED TIDE, the KNOCKABOUTS, SEPTIC DEATH, DULL, the MASSACRE GUYS, B.I.U., DECRY, ABSCESS, and MAD PARADE. The album comes with a booklet and a Pushead cover.
The WIPERS have put out two other albums and several 7″ers since 1978, yet they continue to go largely unrecognized. I don’t know why, because they’ve always turned out great material straddling the fine line between punk and ’60s rock ’n’ roll (not unlike the REPLACEMENTS, the MICRONOTZ, and ARTICLES OF FAITH). Here, they again pound out tasteful guitar-oriented rockers that just grow and grow on you. Try it.
Some very intelligent and imaginative thrash from a band of Colorado college students. Named after that pathetic excuse for a national newspaper, these guys proved—they split up after graduating—that hardcore can be both incisive and energetic.
A seven-song demo with excellent lyrics. It’s on the raw side sound-wise, but otherwise it’s a fairly dynamic representation of this exciting new thrash combo. I hope they put out some vinyl soon.
Not your standard thrash fare by any means, but thrash nonetheless. Combining lightning fast and super-tight rhythms, vicious leads, and out-front singing (fine back-ups too), these SLUGS blaze their way onto the punk scene. Guitarist Steve DeMartis (ex-BAD POSTURE, and bass sub for a FLIPPER tour), a real vet of the scene, brings his metalish (but not grossly so) roots into play, which makes this debut both professional and distinctive. A good one.
These guys have been at it since at least ’76 (when they released their first EP), and they continue to produce some of the greatest garage/’60s punk/psychedelia ever. This latest effort contains a few tracks off recent compilations and EPs, but most are new and exhilarating. It may be too “pop” for some, but there’s a real bite underneath that format.
This five-song demo may eventually appear on vinyl. It’s got hardcore intensity, but slowed-down, ominous instrumentation. Paris is almost FLIPPER-ish, especially in the vocal sound and lyrical darkness.
These tapes have been rumored to exist (and been lost) for years, but, miracle of miracles, at last they’ve been located and pressed. The remains were perhaps the hottest US band of the British Invasion type in the ’60s, yet never got the recognition they deserved and split up. This album showcases their strong points—early Jaggeresque vocals, soaring punky guitar work, and an incredible rhythm section; only one track, the bluesy “Gonna Move,” is boring.
More weird punk rock from Western Massachusetts, where kids seem to be without a care in the world. Lyrics aside, this is mostly unstartling mid-tempo stuff, but they deliver one song (“The Last Angry Man”) which is quite unique and memorable.
A fun-oriented South Bay bunch emerge with a rough-sounding 14-song tape. Although there’s no new ground broken here—just some suburban kids thrashing about in their garage to things like “Gomer Pyle” and “Drunk Fight”—there’s a lot of cool guitar work.
I know it’s gonna be hard to keep track of another band named JERRY’S KIDZ, even though this one formed first and ends with the letter “z”. It’s doubly difficult since both are tight, ferocious thrash bands. Got the picture? Now get the record.
More warpo thrash and punk from this weird combo, featuring some bizarre arrangements, pianos, and synths. Musically, it all comes together rather than being disjointed and annoying, but the lyrics leave a lot to be desired. Their earlier humorous approach has given way to some downright reactionary sentiments in songs like “White, Straight, and Male.” Too bad.
If you ever heard their classic “Sex Orgy with the Brady Bunch” from an earlier EP, then you know what a great garage punk band the GYNECOLOGISTS are. On this tape, they crank out ten more growling, grungy slices of Midwest dementia.
The talk of Florida, these adolescent people come across in the funnypunk garage tradition. Their music is mostly in the PISTOLS and MODERN LOVERS vein, with dashes of Country & Western and thrash.
This tape features mostly mid-tempo melodic hardcore, not unlike the characteristic SoCal sound. The straight-ahead rhythms, hard-hitting drumming, and committed vocals make the DROOLING IDIOTS quite listenable.
Stop and go thrash with very good vocals from the foothills above Sacramento. They’ve got that early Greg Ginn guitar sound too, so a lot of this is pretty gnarly and distorted.
Some good psycho thrash noise with distinctive vocals, reminiscent of the MEAT PUPPETS, the BUTTHOLE SURFERS, and the CRUCIFUCKS. The recording is fine, and it makes for interesting listening, but the lyrics are as goofy as their band name indicates.
A fairly professional and distinctive effort for a band that just came out of nowhere. The CHAPPAQUIDDICK PLUS FIVE deliver very tight punky mod stuff with varying tempos, melodies, numerous subtleties, and an emphasis on singing. Depending on the cut, that approach can be a strength or a weakness.
These guys have a great crunching garage punk and thrash sound here, and they come down hard lyrically on middle class mores and problems ranging from the effects of Reaganomics to psychiatric conditioning. The production is hot, and the record comes with all sorts of weird inserts.
Buzzsaw fuzzed-out guitars, pounding tom-toms, nimble bass playing, echoey singing, slightly metallish arrangements, and “destroy the system” lyrics characterize the first release by this Windsor, Ontario band. Most of the songs are more punk than thrash, though the tempos do pick up at times. This record has a ’78 feel to it, which makes it a nice alternative.
Pop-punk cum rock from an old Florida band that has already released two 7″ records. There’s nothing too exciting here to my ears; get their vinyl if you can find it.
If the VOIDOIDS played noisy thrash, this is what they would have sounded like. DEATH ROW plays very intense music with unique vocals and lyrics. Recommended.
Some very intense metal/thrash in the fine Minnesota tradition of HÜSKER DÜ. BOY ELROY certainly aren’t imitative, but there are certain noticeable similarities, which is OK by me. This disc is quite well-recorded, original, and very powerful.
Spooky, sparse punk that’s only slightly marred by double-tracked vocal harmonies. The A-side is a hypnotic grabber; the flip is less exciting, but has really cool screeching guitar work. Interesting, especially for VELVET UNDERGROUND fans.
A five-song job that really does it! Most of AGENT 86’s material is raunchy garage punk, but there are also a couple of thrashers. This group has been struggling in the wilds of far northern California for a while now, and it’s gratifying to see that their efforts have finally paid off. Get their zine Counterpeace, too.
The first couple of tunes would lead one to believe this band is firmly rooted in the early ’70s sound of the STOOGES/DOLLS. But further on they display their punk and hardcore side. Since this is a garage quality tape, it’s hard to tell exactly how together they are, but I suspect they’re a good outfit live.
This mostly live tape was recorded in early ’82, and features PROGRESSION CULT, NO SANITY CLAUSE, POSITIVE HATRED, ANIMALS IN DISTRESS, FEED TIME, and ANTI-HIERARCHY. It consists mainly of older-style punk, with some “skunk” material by ANIMALS IN DISTRESS. The sound quality is so-so, so this tape should be regarded primarily as an historical artifact. You had to have been there.
On this 45, snarling, brooding vocals are spit out over fairly average punk instrumentation. This is medium/slow-tempo stuff, but it has some bit and excellent lyrics.
Fifteen songs are on this tape, but because of the poor sound quality, it’s hard to hear one of Australia’s best thrash outfits wail away. Despite this, DEPRESSION exhibit some real mania here. Fortunately, they’re about to release some vinyl, so hold tight.
Head-on thrash that reminds me of the LA style a couple of years ago. It’s fast, but not like the ultra-fast Boston-type thrash that predominates today. There’s also a trace of FLIPPER noise here. I hope they release something soon.
The A-side is OK power-pop in the better sense of the term, but the flip is more up-tempo and harder. Both are in a ’60s vein, with great choruses, sharp lead guitars, cool structures, and an occasional harmonica. Plus one of the members looks exactly like Brian Jones from the STONES. Unreal!
The most applicable adjectives here are rhythmic, savage, and raw. This is mainly fast-paced thrash that is driven by steady drumming, and topped off with a totally fuzzed-out guitar and insistent, intense singing. The UNDERAGE is an anarchist band and, judging from this, have an abundance of commitment. Excellent.
A three-song demo from Canada. It’s powerful, slower punk stuff with very strong vocals and intelligent lyrics. Even though S.C.U.M.’s music isn’t too contemporary-sounding, their commitment makes this tape sound very up-to-date.
More raving, unchecked psychosis from Hysteric Eric (of VOMIT VISIONS and ESOTERICS fame) and company. Here, completely garaged-out grunge meets thrash with that bathroom recording sound. “Hectic Epileptic” sums up this group’s approach.
LA BROMA DE SSATAN offer pretty well done punk, of both the ’77 and more contemporary varieties. The song titles, which include (in translation) “Pogo on a Nazi” and “You’re Gonna Die in El Salvador,” indicate their thematic concerns.
Working class punk rock, chants and all. The guitarwork is tasteful and melodic, sort of like the early CLASH, and the vocals also have some Strummerisms. It’s funny to hear a band with that style today, but I’ll bet they don’t think it’s particularly funny.
