A.O.T. Music to Eat Light Bulbs By cassette
Four-track sound quality and a bit ragged around the edges, but otherwise it’s straightforward thrash. No real surprises, but it rocks.
Four-track sound quality and a bit ragged around the edges, but otherwise it’s straightforward thrash. No real surprises, but it rocks.
Mostly medium-tempo hardcore, this band utilizes both melodic structures and FLIPPER-ish noise to equal advantage. While raw and powerful, there are catchy tunes galore. Excellent.
This band plays hard country rock with a touch of swing, and writes some occasionally funny lyrics. When the CATTLE really let loose, as on “4WDORV” and the instrumentals “Finland” and “El Con Maio,” this outfit grooves with class. Unfortunately, only about half of this album has the kind of energy this style of music requires. An adequate LP.
This competent, yet uninventive band strives for a brisk pop-punk style; for me, the hooks didn’t entice me to bite, and most of the five tunes here even induced a bit of monotony. “M” has an adequate melody, buoyed by novel guitar riffing. A fairly uninvolving outing.
Gut-piercing guitar ferocity drives this excellent release by A.O.A. to the limit, zooming mayhem with shouts of vocal bellowing. Five songs that deliver well-organized rhythms and arrangements with grinding speed and velocity. Another UK release to capture your mind and hold you captive in sonic ecstasy. Tim, where do you find these excellent bands? On C.O.R., of course!
A ’60s-type punk band from Minnesota—and what better place to hail from…the home of such greats as the LITTER and CASTAWAYS. Mostly covers here, in a NOMADS vein. Could this be the HÜSKERS playing a weird joke? Nah…
My turn to do a BLACK FLAG review already? Uh-oh. OK, Side one has a couple of tunes that grab me, full of power and with a full sound. The rest of the slower numbers, and most all of Side two, leave me cold. I think it’s got something to do with the thinness and cleanness of the sound, making me focus in on the jazzy aspects and lyrics, which don’t do much for me. Seems like those memorable, catchy, sing-along noise days are history, except for pale imitations like “Modern Man” or “Best One Yet.”
Medium-to-fast snarling punk in a sort of SAMOANS style, without the thrash. And along with the older style punk comes older style punk lyrics. Can’t have everything, right? Good production; fun.
It’s ironic that BRUNFUSS caricatured blacks on their album cover, because they themselves are a stereotypical ’80s New Jersey bar band. Aside from an occasional punk (“B.A.D.”) or “humor” song (“Brunfuss”), this record is filled with basic garage rock and metal leads, not to mention seemingly inane lyrics. I think it’s meant to be funny, but I wouldn’t bet on it.
CHAIN REACTION really pushes it to be rapid, which is happening a lot with the Italian releases and with good results. Wild vocals and quick drum blasts are really prominent here, similarities to RAW POWER, yet lightning-paced and abrasive. Recording is off a bit, which hurts, but the energy is right on. Craveable.
Yet another band named CHAOS hits vinyl, this one hailing from England (though it’s not CHAOS U.K., whom we know and love). This outfit delves into a mid-tempo Brit-punk approach with good production and terminally uninteresting songs; all three songs seem to be mired in musical ennui.
CCM’s second release lays in with some intense energy; slow, pulsating openings that explode into raw uncompromising power. Sometimes fast, sometimes driving, still holding a biting edge. A very strong Italian release, one of the finer ones on the new Belfagor label.
Three melodic but bouncy “girl-group” (yes, this is a sub-genre, as best epitomized by GIRLS AT OUR BEST, KLEENEX, etc.) pop-punk tunes. Catchy as hell, and uplifting.
This is the new band formed by ex-BLACK FLAG singer Dez Cadena; it also includes the rhythm section from the STAINS and Paul Roessler of TWISTED ROOTS on keyboards. This is really Dez’s baby, as he really stretches out into his roots and experiments. No thrash—just a big power trio sound from the ’70s with fuzzed guitar, ethereal keyboards, and rapid time changes. For fans of BLUE ÖYSTER CULT, HAWKWIND, VAN DER GRAFF, and KING CRIMSON.
Sounds more like a ’76-era proto-punk band from Clevo. It’s hard-edged rock that slowly builds momentum, rocking in a VELVETS Loaded LP type of style meets the BIZARROS or something.
One of the tightest, more accomplished tapes I’ve received from a new band. This is stop-and-go thrash at its best. Excellent production to boot. Hot.
Most of the “tunes” here are in the ultra-fast DRI-type thrash style, although there are slower, more powerful cuts as well. Very tight, with a heavy rhythm and bass sound. Hot! Watch for them next year in the US.
From what I can make out, they’re basically the same band comprised of three female German punks. Music is in that “sort-of-not-playing-their-instruments” style like the SLITS. The production is quite freaky with a spooky mix of echoed vocals and drums mixed way up front and guitars way in the back. I like it and I’m not sure why.
A good example of flexible energy without the thrash appeal. Nifty, grinding guitar work pulsates with each number as Gary’s vocals are polished and creatively sung. The DICKS are seasoned veterans, and show the maturity of the band with an overall fine performation. This LP does the DICKS justice.
A six-song demo that shows potential in the power-thrash dep’t., but is lacking in the tightness dep’t. I’ve certainly heard worse, and these guys will get it together in time.
Sometimes when you go after a certain thing, you have to sacrifice something else along the way. DOA may be sacrificing a few of their earlier fans who don’t care or understand their new, cleaner sound. Or the sax. Or the keyboards. But they have a much more powerful sound than on their earlier records, and it is more of a “rock” sound. included: their cover of “Singin’ in the Rain” and “General Strike.”
Translating as “Poison Pig,” I expected a bit more weirdness than supplied, but this slab of plastic contains some neat tracks. They can do thrash, punk, proto-punk—all with verve and gnarly-ass vocals and guitar. Reminds me a bit of early PERE UBU.
Some intense, tuneful crazed thrash. Hot production and tight command are very important in this effort, but as with most Swedish thrash, it’s the melodic songs that make it all really stick. A good one.
MANKEY is the hotshot producer who did the last THREE O’CLOCK LP. Yawn…he’s heavily into pop and electronics, so you get quirky songs similar to early SPARKS stuff. One track, “Close Shave in Burma,” has a nice late-’60s English pop single sound, but one track doesn’t make an album.
Fast-ass thrash, tight and powerful. The studio tracks shred, and the live are not really recorded well. Hope they get a record out.
Nice pulsating beats in a haunting post-punk harmony with eerie sax effects. Female vocals sounding like SIOUXSIE or Anja of X-MAL that creep along with the flowing rhythms. Sharp, distorted guitar sound with a powerful drum mix. Interesting but jazzy goodies from Italy, with similarities to early X-MAL DEUTSCHLAND.
This band has, with some justification, been labeled an all-girl FLIPPER. And FRIGHTWIG does have rather loose arrangements, but their sensibilities are more rock’n’rolly than arty, and there are some good songs on this LP (especially “The Wanque Off Song” and “I’ll Talk to You and Smile”). There are also some awful songs. Still, this record is recommendable through the sheer force of the band’s personality.
Well, GG has once again risen to a new low… “I Wanna Fuck Your Brains Out”? “I’m Gonna Rape You”? I dunno, he might be able to get away with that shit if there was any streak of humor in there but instead there’s a really nasty streak of misogyny here. I’m not sure which is more disgusting, the songs or the pictures of ALLIN masturbating and shooting up. It’s not even intelligent enough to offend. Just pitiful.
The production on this classic transforms a garage thrash band into a psychotic mess. Atonal thrash with inhuman vocals put through some kind of mixing madness, producing totally crazed rock’n’noise. Twisted!
A high-quality studio tape from this funnypunk HC band. No accompanying info, so all I can say is that they play tight, fast, clean thrash/punk with good melodies and dopey lyrics. OK?
Pure second album CLASH-type melodic politico-punk. I think you know that I’m describing. They do the genre well.
Unrelenting and hammering, these three songs combine power with an intensive mood of uptempo gloom. The title song is my fave, with its repetitive guitar refrain. Great production, and as Pus says, great cover art by Naomi.
KILLDOZER 85 opt for a gritty, rock’n’roll approach with a sandpapery instrumental sound, complete with the obligatory lead breaks. Disciplined rockers like “Hatbox Matinee” and “More Thanks” show a feeling for good, rootsy rock; a number of their other tunes seem atonal and monochromatic. With more consistency, this outfit could be a contender.
This single bridges the gap between late-’70s power-pop and ’80s new wave—a marriage of styles with a potential for unbridled cuteness. KOO DAT TAH use the layered vocals of the SHOES with a U2-ish guitar sound, and the two songs here veer into wimpiness despite intelligent lyrics. This band needs more of an edge to their music.
KOTTGROTTORNA produces some respectable power-pop with this, their second EP, and this band’s hallmarks are unforgettable vocal harmonies and choruses. “TT Tass” is especially strong, though the two songs on the flip demonstrate this band’s consistency. Considerably “lighter” than their contemporaries, this record is still good in its own right.
More straightforward fast punk than their debut EP, this one rips. The addition (I believe) of the COMES vocalist adds some real punch to the singing attack (lots of back-up choruses, too), and this all-female combo has left the ranks of the amateurs. Hot, from Japan.
LEEWAY straddles what I hope will eventually be a Berlin Wall between hardcore and heavy metal, with mixed results. “Be Loud” is a nicely textured thrash number, but metal rot gnaws away at the edges of their other arrangements. Aggressive, though this variant of HC doesn’t suit me.
Great rocked-out pop-punk. Very straightforward, driving, fuzzed-out R’n’R… catchy and powerful. B-side is not the VELVET UNDERGROUND song.
Punk with a rockabilly twist, or visa versa—it’s hard to tell. In any case, it’s a modern, yet old sound—something the French are apparently the best at, these days.
Have they heard FLIPPER in Japan? Actually, that’s not really fair or accurate, as this band has a lot more elements of punk, metal, and melody in their dissecting approach. But there’s something in the intentionally sluggish approach to warrant the comparison.
Extremely herky-jerky HC, but they pull it off with tight as hell playing, intense thrashing, and an absolutely crazed vocal sound. Killer drumming and weird arrangements add distinction. More!
The singer from the STALIN’s new solo release is a diverse effort. While it certainly won’t appeal to the “hardcore or die” crowd, it may—or may not—be of interest to those with more catholic tastes. Featured are a “new wavey” remix of an earlier ENDO song (“School’s End”), an atmospheric post-punker (“Water Sister”), and two punkish cuts, the best of which is “The Stalin.”
This garagy recording is devoted to the glorification of pop-tarts. And though they don’t want to be known as purely “funnypunk,” it’s hard to take this five-songer seriously.
For some reason, listening to this record makes me feel like shit (though it has little or nothing to do with the music itself). It’s just that it reminds me of the not-so-old days when one could feel genuinely enthusiastic and positive about the hardcore scene. Ironically, Ian seems to be dealing with this very issue in the great title cut, which is as bittersweet as it is reflective. The flip songs seem pretty lackluster by comparison, but then screaming at a wall apparently isn’t going to bring the motherfucker down after all.
The MINUTEMEN are a superb live band, but the undistinguished recording values here detract from some fine songs performed with finesse. “The Red and the Black” is hot, though I’d prefer to hear an ace production of this outfit instead of the one we have here.
Following hot on the heels of their labelmates, DUMPTRUCK, this Connecticut band continues to breathe fresh air into a dormant pop scene. They mix jangly guitars, good, tight songs, and a singer who sounds like a cross between Michel Stipe R.E.M. and a young LOUDON WAINWRIGHT. Real charming.
While at times the synth can overwhelm, there are several tracks that really drive hard. This is art-damaged punk in the tradition of early TUXEDOMOON, with a dash of METAL URBAIN thrown in. Rockin’ weird.
The twisted musical hi-jinx of this tape recalls TIN HUEY, but this outfit has more of a garage sensibility. This is spare, arty rock with a rhythm-machine backdrop—and maybe I wasn’t particularly moved by the music on this cassette because this band isn’t excited by what they sing about.
Rapid-paced Oi-type hardcore, complete with catchy sing-along chorus, ripping guitars and drums, and the inevitable Japanese gruff vocals. Good.
Definitely the LP that should bring the OFFENDERS to the forefront. Strong and vibrant with a force that dominates each track as the music sharply drives a fast pace with rapid vocal spittings. At first listen, comparisons lead toward MDC and SUICIDAL TENDENCIES, but the OFFENDERS strike with some well-polished qualities that bring the potential way up. If you liked the first two releases, this one melts them to the ground.
Strongly political (see interview this issue), OI POLLOI are a punks/skins unity band that pound out medium- to fast-paced punk that’s heavily bass-oriented, has lots of great screaming, and some nasty guitar noise. Uncompromising.
There’s a lot of jazz and metal influences in PEGGIO PUNX’s approach to punk, something that doesn’t excite me too much. If you’re into fancy bass picking and jazzy riffs, though, you’ll go nuts. Otherwise…
Some of the CRASS-releated people return to short songs. Lots of emotions penetrate these fifty minute-or-under tunes. These short, snappy numbers, though, depart from, say, earlier CRASS or the MINUTEMEN in that they’re…classical music. Not classical punk, but the Real McCoy. Well, if you saw Amadeus, you know the music biz really hasn’t changed all that much in the last several hundred years. Right?
Three heavily jazz-influenced hardcore raves. Usually, I find jazz detracts from the impact of HC, but in this case, as with some of the MINUTEMEN’s material, it enhances.
I really like this Scottish outfit’s first vinyl offering. The title cut is sort of a folky, undistorted garage pop song with moody anti-war lyrics; “Do They Care” is a strong early CLASH-style punker; and “System of War” is a beautiful and melancholy mid-tempo chant. Varied and evocative.
POTENTIAL THREAT’s second release continues the aggressive thrash-paced mayhem with good female vocals. Storming music that is nice and fast, well-approached with strong lyric structure and verses. POTENTIAL THREAT is a tight outfit and should please many.
“Power” is a good word for this band to have in their title. “Spoken word” also applies, as many of the vocals are more like spoken raves. Metal influences galore, on both slower tunes and thrashers, as well as those ultra-gruff vocals.
PROFAN RELIK muster a sharp, buzzy guitar attack on this nifty three-tracker. The mid- to fast-tempo punk tunes here sustain their distinctiveness with a clever blend of offbeat guitar riffing and BUZZCOCKS-style guitar solo figures; in this vein, “Esam Kvar” is especially effective. This disc really grabbed my interest…recommended.
One of the seemingly few Boston-area bands doing out-and-out hardcore, this young combo does it right. It’s got that “Bosstown” HC sound, with all seven tunes totally ripping. Good one.
From Italy with the potential to be viciously insane, PUTRID FEVER storms with a good musical selection and sharp guitars, but the recording is so mix-matched, it loses the flavor of what should really occur. Get PUTRID FEVER a good recording and look out!
While “Lois” fails by virtue of its numbing repetitiveness, the flip is enjoyable fast punk—though rather inexpertly produced; if the recording had more punch, the song would be a memorable bit of ’77-ish punk. An okay single.
Snappy post-punk sounding like BIRTHDAY PARTY or PREFIX on speed with vocals like SKREWDRIVER. Weird, huh? They’d go over big in the NY art-damage scene.
ABADDON is good (decent live recording), but REJESTRACJA positively shreds! They are as hot a US-style thrash band as you’ll find anywhere—killer! And their recording is a pro job. Get this!
ROTA let loose with five thrashers on this one, and the songs are at their best when the band’s breakneck instrumentals are conjoined by real passion in the vocal department. “Hypocrite” in particular makes for riveting listening, but some of the other songs are more like garden-variety thrash. The lyrics deal with identity problems, school, ideals, etc.
The A-side is a steady but slow rockin’ moody tune with full vocal choruses, echoey vocals, and powerful back-up. Definitely catchy and non-wimpy. The flip blasts out a sorta R’n’B-based rocker with cool hiccup-y vocals and singin’ guitar, much in the vein of the early FLAMIN GROOVIES.
Quite an attack. This is noise thrash—not cleaned up or pretty—but really effective and pounding. There’s a lot of spirit here, as well as good punk rock. I like it.
A professional job here that doesn’t lose its bite. They thrash hard, rock hard, and hit you on the rebound with reggae and other changes-of-pace. The lyrics didn’t hit me too hard this go round, though, as their obliqueness left me wondering what exactly are they singing about. Nonetheless, they are delivered with passion, and that’s what’s important.
More “uncompromising” noise from this gang. Uncompromising can mean “they suck musically and don’t give a shit because they just wanna make annoying sounds and get their highly intelligent and political message across.” Repetitive, but intense.
Mid-tempo Brit-punk that’s fairly energetic, though not thoroughly tight. Somewhat hindered by mediocre musical production, the lyrics do come across here—and they’re basically personal/political. Decent.
These two refreshing slices of Swedish punk revive a ’77 sensibility without losing a mite of the hard-driving energy needed to excite in the ’80s. “Ni Ska Få Ångra” in particular maintains an invigorating pace and style that updates the work of older Swedish outfits like EBBA GRON. A fine single.
Most all the songs here are “first takes,” unrehearsed three-minute jams. Considering that, it is remarkable that the tunes do indeed resemble songs—structures, beginnings, endings, etc. A bit of FLIPPER influence, PiL, etc.—an artistic nightmare.
Great psychedelic touches add a lot to this release. Abrupt intervention and special effects turn good raw, mid-tempo punk into something special. Neat female (I think) harmonies remind me a bit of SIOUXSIE or S.F.’s MUTANTS, but this goes beyond.
Both of these 4+ minute sides are definitely in the BIRTHDAY PARTY post-punk vein—screaming vocals, punchy but varying sparse rhythms, etc., etc. “Modern” but abrasive.
A six-song mid-tempo punk effort that’s unmistakably British. While it’s a change of pace from thrash, it’s about as “progressive” and “new direction-y” as metal thrash claims to be. Enjoyable, but definitely older-sounding.
SVEA SKANDAL contributes four adequate compositions on this EP, and despite some good musicianship and vocal choruses, it doesn’t quite connect. “Nar Solen Gatt Ner” comes close to a spirit of aggressive catchiness, but this record basically contains medium- and fast-tempo punk with the vocals imitating the chord changes. Okay.
This is the second release by the TAR BABIES and although you could compare them to the BUTTHOLE SURFERS because of their spazz quality, they seem to be drawing more from the early MINUTEMEN style. They’re all really good players and even though they drift into—gulp!—acid/burn jazz, it’s got a really cool sound. Nice tag-team production by Spot and Bob Mould.
I like this record…a lot. This German outfit comes blazing out with great stuttering thrash guitar. Their overall sound is rough and raspy but still manages to keep a controlled fury. They sing most of the songs in English so that you can sing along.
This five-songer rips the hair outta your scalp. Intense, bloodthirsty, and fast. The ACCÜSED have added Blaine (ex-FARTZ) to vocal duties, and kicked in some speed metallic riffs, making this pure speedcore. I was so totally surprised at how good this came out—and they only made 500! This could sell much more.
More ’60s-ish garage raves from Mike Spencer and Co. No wimpoid stuff here—it’s all raw, raging real rock’n’roll, with lots of ripping guitars, feedback, screaming vocals, and lots of noise. Like the NOMADS, these guys got the spirit, not just the form.
DECAY explores the grungy edges of messy, chaotic thrash in a way that makes most Italian thrash outfits sound disciplined. Tim says this record sounds like it was recorded on their third rehearsal, and that may not be too far from the real truth.
Psych weirdness, ranging from musical treats in the line of TRUE WEST or PLASTICLAND to more “out there” experimentation. Sound quality is passable, but doesn’t allow for the best listening with this sort of group.
An eight-song venture that showcases well this band’s older-style raw punk and the singer’s Johnny Rotten fixation. Live, I’ve gotten a bit bored, but this tape is quite well done and a good change of pace.
Great name for a French band, but the music doesn’t measure up as well. For the most part, they’re a poor-man’s RAMONES, delving into ’78 pop-punk. It’s tight and well-produced, but not really exciting. A couple of covers (MC5, KINKS), but the best track, “In Case of Sunrise,” has a BO DIDDLEY beat with lotsa raving.
Somewhat reminiscent of the CLASH at their rockin’ best. More like if they had maintained their early zest and knack for pop/punk catchiness and merged it with an ’80s thrash attack. Good and powerful.
More competent but not truly inspired ’60s psych/punk. Lots of covers again (SONICS, KENNY & KASUALS, HAUNTED, and the great “I’m a Living Sickness” by CALICO WALL). While the choice of covers is excellent, and the originals are sturdy tunes, they never quite “break plain,” making it transcend. Maybe next time they’ll truly psych out.
Down and dirty slow garage blues, sorta like the NEW YORK DOLLS meets GUN CLUB. Unfortunately, my copy was warped (I hope that’s what accounted for that sound), but if you like raunch, this’ll do ya.
The majority of the tunes here are just that—mid-tempo and pretty powerful older-syle punk. Every now and then they launch into, and prove they can play, faster stuff too. Excellent production and good listening, and comes with a bonus flexi, too.
Sort of like a CRAMPS-gone-funk meets JESUS AND MARY CHAIN. Lots of thumping beats, gruff vocals, and noise galore.
An anomalous debut, in that it mixes ’70s garage punk rhythms, quasi-psychedelic ’60s-style leads, and ROTTEN-esque vocals. At first, the effect is unsettling, but their originality and punch become more impressive with each listening.
Most of the six songs included here are a bit annoying. While the instrumentation is of a ’60s derivation—kind of more flaccid EASYBEATS—the vocals are too “clean” for my taste. But on one song, “Car Crash,” it all works together, producing one eerie classic. Worth the price alone.
In the Boston tradition of DMZ, LYRES, REAL KIDS, etc., this band combines snappy poppy tunes and a ’60s-ish rock’n’roll instrumentation to produce listenable music. While not as dynamic as the first two aforementioned bands, there is still something here to listen to, though the lyrics are purely passé.
These guys are still pretty diverse in their own weird way. Part 1 of the song is an eerie psych-pop number, plodding but catchy and likable. Part 2 is off the deep end, using a drum machine which makes it eve eerier—with no vocals and added studio effects. It’s a little repetitive, but I like it. Too bad it’s so short.
Crisp, tuneful rockabilly (invested with a rich musical and lyric sense of humor) melds with punk on this bright four-tracker. It’s such infectious, hysteric, clever fun that I defy anyone to keep their feet from tapping during their three upbeat originals, or their delightful rockabilly reworking of the RAMONES’ “Blitzkrieg Bop.” A must-get.
This is the second release from an English band that has superb garagability. Both sides here have great hooks with the A-side being slower and starker; it’s the poppier number here. The flip is faster, more upbeat, and has a great grinding guitar break. A must for psych-pop garage fans.
This one didn’t really set me on fire. Fast with crusty production, they trade vocalists with each song and one of the singers manages to sound a little like Joey Shithead. Could be compared to BGK or the OFFENDERS if their stuff were a little more catchy.
Once again Crypt has come up with an above-average selection of snotty ’60s obscurities for our listening pleasure. Most all of the tunes are punk with that mid-’60s English R’n’B influence—guitar-oriented with snarling vocals. Bands such as the KEGGS, FEW, NOBLES, ILLUSIONS, and lots more deliver that real “intellectual” stuff that makes the EXPLOITED look like real geniuses.
A NY-Metropolitan Area compilation featuring the UNJUST, ARMED CITIZENS, ULTRA VIOLENCE, SHEER TERROR, PSYCHOS, SHOK, KRIEGKOPF, PLEASED YOUTH, SACRED DENIAL, BODIES IN PANIC, BEDLAM, A.O.D., 76% UNCERTAIN, VATICAN COMMANDOS, CHRONIC DISORDER, VIOLENT CHILDREN, and more. With a line-up like that, I’m sure you know what you’re getting—no saxophones!
One side is entirely US up-and-coming outfits, with the likes of PUNKS, KNOCKABOUTS, CAPITLE, PSYCHO, NO IDENTITY, ART THIEVES, JERK WARD, and TOE JAM. The other is an all-German line-up, starring R.A.F. GIER, RANOLA, RAZZIA, MOTTEK, EA80, BLUTTAT, and a few others. Sound quality is usually good.
This collection of early recordings (1955-’61) presents a clutch of wild rockers plunging into the roots of the genre. ROY CAINES, TONY CASANOVA, MEL MCGONNIGLE, RHYTHM ROCKERS, and CRAZY TEENS provide raunchy, rockin’ fun in a distinctly ’50s style, though some of the other tracks are less impressive. A treasure trove of obscurities.
Quite an international line-up, starring UNDERAGE, DEZERTER, KROMOSOM 4, SCAPEGOATS, UNNATURAL SILENCE, FOAD, NEON CHRIST, BLOEDBAD, PROTEST!, INFERNO, and more. It’s non-stop thrash, for the hyper among us.
Three bands share this effort. RIP from Spain, HERESIE from France, and VI from Denmark. The sound quality is okay but not excellent, but the music still shreds.
Mostly high-quality recordings of high-quality bands, like UPRIGHT CITIZENS, BEDRÖVLERZ, DEPRESSION, CHRONIC SUBMISSION, AOD, EXECUTE, DEZERTER, HEIMAT-LOS, SOLUCION MORTAL, OFFENDERS, SVART FRAMTID, etc. Good collection.
No name to this Japanese collection, but at least the bands are identifiable : the SEXUAL, CONFUSE, JIGA, and M78 (actually a “fuck” band with members of GAS, GASTUNK, GHOUL, and SYSTEMATIC DEATH). All the tracks on this EP shred, with noise thrash and DISORDER-type thrash prevailing. Great!
On first listening, I didn’t think that many covers on this neo-’60s garage collection cut it, but I’m changing my mind right now. Classy acts like the CANNIBALS, X-MEN, and MILKSHAKES are joined by equally raw outfits like KILLED IN ACTION, VERTEX, and BAD KARMA BECKONS. How could a record with a band called LEGENDARY VEGETARIANS on it be bad?
A variety of underground German HC bands share this tape, including TIN CAN ARMY, IDIOTS, ANI(X)VAX, and eleven others. The sound quality is adequate, the songs respectable, and the tape’s a good value for those curious about the prolific German hardcore scene.
Very strange. This package is incredibly elaborate: sturdy box enclosure, 84-page book detailing the history and discography of Japanese punk/hardcore in color, and typically wonderful Japanese punk graphics—all leading up to…a six-band cassette? Yep. Two songs each by LAUGHIN’ NOSE, GAS, GISM, WILLARD, LIP CREAM, and COBRA. Not that the music is bad (it’s not), but somehow I’d have expected the tape itself to be as comprehensive as the literature. Still, a collector’s item.
Decent-to-excellent sound quality, this tape is an area compilation (see German scene report for listing of bands). 90% thrash, lots of energy, and a welcome sign of a thriving small scene.
An all-Yugoslavian compilation featuring a shitload of HC bands, most of whom you’ve probably read about in reports here before. Sound quality is okay, but not great due to difficult circumstances, but there’s still lots of noise to enjoy—both studio and live.
An all-Eurpoe compilation that features, surprise, RAW POWER, along with HEIMAT-LOS, MOB 47, SUBHUMANS, WUT, GEPÁ˜PEL, BOIKOTTZ, CAPITAL SCUM, and more. Good sound quality, and there are 30 songs.
NIXKONNER, ANNEXION RUSKI, and SEX TEENS, and the recording is fairly good. Basic thrash and punk is featured on this one, nothing particularly astounding, though there is some up-and-coming underground talent evident on this cassette.
An all-Vancouver tape, this baby contains mostly live recordings of varying quality (mostly decent to good). Includes BILL OF RIGHTS, IMMORAL MINORITY, A.O.T., UNKNOWN FIBRES, DEATH SENTENCE, FITZ, SPORES, and more.
A comp that features many cuts each by the likes of LEGION OF PARASITES (UK), EX-HUMANS (Greece), DETONATORS (US), ANEEB (Germany), and many more newcomers like NEGATIVZ, OBSCENE FEMALES, etc. Okay.
There’s a decided MINOR THREAT/7 SECONDS influence here, which is, I’m sure, not accidental, given VERBAL ASSAULT’s straight-edge bent (unbent?). The comparison doesn’t end there, though, as the music is as tight, crisp, and committed as the aforementioned mentors, though not quite as assured. Good.
Competent, but ultimately unexciting post-punk. Sparse, GANG OF FOUR-ish tunes, but nothing that catches fire. But then, maybe it’s not supposed to—after all, it’s from Iceland. Shut up, Tim.
A three-song release displaying WHITE PIGS’ newer “metal” direction. This is more apparent lyrically than musically, with lots of Satanic B.S.; but the music still kicks ass, with minimal lead guitar damage and lots of power. “Satan’s Sparrows” is a psychedelic thrashorama.
Ambient semi-industrial pop music? Jazzy folk travelogue? Too many drugs?