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.
