Abeyance The Return of Abeyance cassette
Some great melodic SoCal-ish punk from this talented bunch. Songs are dramatic, a bit long, but someone sign these guys. Great Damned cover, too.
Some great melodic SoCal-ish punk from this talented bunch. Songs are dramatic, a bit long, but someone sign these guys. Great Damned cover, too.
ANOTHER DESTRUCTIVE SYSTEM bases their intense diverse sound around their even more intense message; speaking out against governments, war, and human exploitation. Dedicated.
Actually, this is a re-issue, one side containing their first EP Lungs, and the other presenting their Bulldozer 12″, both of which came out in 1982. Lots of driving darkness here, though the Bulldozer side has a lot more power to it.
Varied female vocals are featured on these seven songs, most of which plumb a poppish vein with the hooks on the subtle side. Moments of rockin’ energy emerge from time to time, but the predominant style is soft and mid-tempo. Adequate, but I’m not convinced.
Here’s a furious little album, this time exploiting the studio more to bring out a swirling tight-fisted sound that’s not punk and not metal but something in the middle and very cool.
A little bit of punk, folk, dance, and pop appears here, but the message remains the main interest. A combination of thought-provoking lyrics, written information, tape commercials, and acted-out situations has been done before, but there is still a need for this type of effort and this band is doing their part.
This strong three-tracker exploits a riffy, rock’n’rolly approach to the kind of music perfected by bands like the LIME SPIDERS and CELIBATE RIFLES. “Action,” with its rambunctious energy, rates as the standout here. A very good showing.
This German garage band has crunchy guitar and a frantic rhythm section from the start, but after the singer kicked in, it became painfully obvious where the weak link was. If you can stomach the “soulful” NANCY SINATRA vocals, you’ll still get groovy psych in the vein of TELLTALE HEARTS or CHESTERFIELD KINGS.
A speedcore instrumental edge, featuring hard, fast guitarwork, underlies the three songs here, which operate in a faster HC vein. Powerful, but lead breaks and lackluster songwriting detract from this effort.
Jesus… noisy little thing. Try to imagine the CRAMPS on speed. The music here is a pretty wild trashy guitar romp but the best thing is the pretty irreverent humor in the same vein as the ANGRY SAMOANS, MENTORS, and DICKIES.
Highly political melodic punk. A three-song giveaway that comes with the equally political World War 3 comic (#7). Both are well worth checking out.
A dressed-up KILLING JOKE? Poppish, driving rhythms with a basic pop-punk mood. Lots of hooks, but the relatively unchanging medium tempo does leave you wandering at times.
Mix GUN CLUB, BUTTHOLES, and THE WALL, and you get a pretty cool down and dirty bastard blues/punk mix that is modern as hell and timeless at the same time. Excellent.
This is the new group arising from the untimely death of D. Boon, and MINUTEMEN fans will be neither too surprised nor disappointed. The music is softer in places, and even though the guitarist only picked up an electric guitar a year ago, this is a good start.
The instrumental work on this EP, which sounds the work of an undisciplined MINUTEMEN, tends to lack focus and drive. While “Sunburn” sustains energy, the other four tunes use more complex, “funk” guitar figures that left me unexcited.
Their last record was notable because half of it was great aggressive post-punk. But this second one is very mellow, comparable to the quietest JOY DIVISION or SAVAGE REPUBLIC. There’s definite musicianship, but it’s pretty boring.
GASH turn in four songs here, showcasing a mid- to fast-tempo hardcore format with excellent lyrics and strong female wailing. A real progression from their debut LP, sacrificing nothing in the way of power or drive.
One side of this fan club record has five unreleased GERMS tracks recorded in 1981, none frankly up to their highest standards, while the flip contains a number of songs from their last show at the Starwood in L.A. A good memento for fans of this once great band.
Was expecting gloom and doom, but got some varied innovative thrash with funny lyrics, one song being a gloom satire. Contains live and studio material.
The band’s name says it all: this is a series of demented versifications backed by a kind of improvisational MINUTEMEN style. An eccentric concept with interesting results, but not astounding.
One of the better sounding domestic HC releases in a while. Good power and production on all four tracks, and although it’s mainly generic metal-influenced hardcore, there’s a gripping urgency that carries it off. Lyrics are pretty bleak, although “Consider the Alternative” offers some hopeful thought.
Some serious noise with a beat here for the BIG BLACK/SONIC YOUTH fans, as well as those who like loud guitar/drum power. Thanks to Kent for making me aware of this.
Musically, this is fairly unimaginative Italian HC with four grinding mid-to-fast-tempo numbers, and one ripper, “Non Per Me.” Lackadaisical production and playing buries most of the material here.
Some pretty basic rhythmic punk rock here. The recording is well-done, and probably shows them at their best, but there’s no real imagination at work yet. This is a young band and there’s evidence of future specialness.
A very lively live recording that’s perhaps better on tape than vinyl. Actually, it’s hard to tell if this is a boot or legit as there’s no identification or label or other information. But it’s genuine, and sounded like a great show.
With an almost entirely new lineup, the music here is a mixture of their early sound with a “progressive” U2 feel which hangs some of the time, but I did find myself picking the needle up before a couple of songs ended. The vocals are also hard to deal with, carrying out each word with too much attention.
Mostly mellow, almost folky with occasional bursts of mania reminiscent of the Minnesota sound (HÜSKER DÜ or a soft SOUL ASYLUM). Admirable for this as the rockin’ parts are good and the mellow parts pretty but still a little too subtle.
Missed this one a while back. Apparently, this band is known as the GBH of Germany, but I hear that sound as well as a melodic SoCal sound, adding up to an excellent sounding, politically aware release. Good one.
That basic French pop-punk style, complete with those trademark vocal choruses, seems to be the order of the day on this release. Unfortunately, though, the songwriting is un-notable except for the catchy “Maurice,” which opens this seven-track 12″. The other songs have hooks that are predictable, and songs with little if any staying power.
The music here ranges from dirge thrash to pop noise, but the lyrics are the high point, raging on subjects like hair length and old people, with classic stupid humor. Much like early AOD but in a more seriously obnoxious manner. Worth a laugh.
Don’t know what the big deal is over this band, at least after listening to this three-song release. I found the tunes boring, lengthy, and exactly what I’ve been trying to avoid in music for a long time. Maybe live they make it.
The second cassette by these garage gods. This one boasts solid musicianship and thoughtful, sometimes humorous, lyrics. Quite a blast.
This four-tracker from the MALINHEADS has all the elements of great thrash: stop on a dime instrumentals, passionate, throaty vocals, ripping production, and roller coaster energy. The fact that nearly every song here is distinctive doesn’t hurt matters, either.
Definitely hardfuckingcore. Fast, slow, hard, gnarly, unrelenting, pounding…you get the idea. First rate in the genre.
This Dutch band seems to model itself after outfits like PANDEMONIUM, who specialize in ultra-fast thrash with political lyrics. The harsh, speedmetallish vocals are way in the front of the mix, which unfortunately pushes away the great instrumental sound here, but this is still a respectable debut.
MUSTA LAMMAS straddle that boundary between hardcore and thrash, adding a loose Finnish sound and ending up with nothing too grabbing. The songs mine a gritty, medium- to fast-tempo style, and it was difficult to remember much in the way of riffs, much less songs, when the EP ended.
Great garage-y punk and thrash that brings CODE OF HONOR to mind. Lyrics seem to be in the social/political vein. Good stuff, and a tasteful name, too.
A hot speedcore act mixing the sounds of METALLICA and the ACCUSED. Six songs and a funny interview, one darn impressive tape.
This LP has a mixture of tiresome mid-tempo punk and melodic hardcore. The music has potential, but this effort fails to create anything outstanding — the fair melodies lack force and the vocals seem to be very forced. The effort is there; maybe next time.
The RUTS were one of the early, and best, of the English punk bands. These five tracks, although recorded in a bland studio atmosphere, still have the bite and punch of that era. Nice little document of punk from 1979.
A quality Finnish hardcore release. Great at both thrash and slower grunge, a genuinely hot first release. More!
SEMINAL RATS owe some of their stylistic nuances to fellow Aussies the CELIBATE RIFLES; this seven-track EP rocks hard, especially on standouts like “Rat Race” and “Change.” While none of these tracks will revolutionize rock’n’roll, this release is solid. Very decent, and very Aussie, if you know what I mean.
This is yet another “Best of…” compilation, and a fine one it is. SHAM 69 were the original singalong Oi style band and they pounded out lots of catchy, memorable rockers, most of which are captured here. If you don’t have this stuff yet, get it now.
It’s taken quite a while, but they finally got their LP out. Though both the music and lyrics tend to be unexceptional hardcore, SHELL SHOCK is to be congratulated for sticking with it, especially as they hail from the heart of Klan Kountry.
This French band shows a real skill at fast-tempo thrash with punk overtones. Guitars are in the front where they belong, leading a ferocious instrumental attack, and the vocals are extremely strong and characteristically French. A fine effort, and very recommendable.
An excellent pop-punk LP. This band combines great female unison singing with ultra-catchy pop tunes and driving delivery. Lots of guitar and pounding drums — sort of a VELVETS/JESUS AND MARY CHAIN approach.
Forceful hardcore, but not as metallic as other recent NY acts, instead relying on powerthrash and grinding most breaks. Hot.
Industrial punk set to a rhythm machine, reminding me a bit of early TG or TUXEDOMOON. Plenty of guitar-like feedback and distorted vocals set the mood for this NJ combo.
Possibly the fastest band in the world, playing blazing thrash with off the wall disjointed breaks. Lyrics seem to be appropriately silly. Crazy.
This band used to be the X-MEN… the Chicago ones. I’m glad they changed their name, too. They are an eclectic group showing diversity in their mix of aggressive and twisted pop songs that range from frenetic pop punk to bare and goofy melodies. A weird band.
They list DESCENDENTS, RAMONES, DEAD BOYS, MOTORHEAD, and early SAINTS as their main influences, but these two songs here lean more on speedmetal and MOTORHEAD than on the more melodic punk genre. Decent, but nowhere with lyrics.
An unexpected pleasure, this debut vents out a demented, ugly vertigo that uses LIVE SKULL and RAT AT RAT R as a starting point but along the way still spits out an excited hardcore industrial din.
Quite a versatile band. On this meager EP, we get high class pop thrash, metallish punk, and what sounds to be ethnic beer drinking music put into Oi-ish form. Very good.
An anti-Nazi skin band is always a pleasure to see, let alone an anti-nationalist skin band. Delivering their message in a slow/medium Oi style, most of the songs are adequate, with one that’s more catchy. From Germany, but available from…
An early 70’s rock’n’roll sound here. Not on the slick side at all, but much more of a rough guitar sound.
After several 7″s, we get eight songs together finally. HARD-ONS combine punk, HC, metal, and 70’s rock and roll into a hard-driving, energetic blend with geeky lyrics.
The JONESES seem to have glammed out, judging by the cover pics, and their music has definitely veered even more into a slicker, more generic rock direction. To wit, compare “Ms. 714″ and “Crocodile Rock” to the versions on their first 12″ — the rawness and immediacy are gone. Nice guitar mix, though.
A three-song release in the pop genre. One song is fairly straight pop, one sounds like the late Mod band the JOLT, and one’s a real good rocker.
TUPELO CHAIN SEX are sort of a novelty rock’n’roll/horn ensemble that use a lot of cover material and are pretty goofy for the most part. And if that isn’t enough, this is a rare, collectible 10″ blue vinyl, limited edition that’s one of the worst recordings, quality-wise, ever. For fans and collectors only.
Four bands, one song each, in a 60’s vein. Hottest track is from SPECTRE’S REVENGE, a tough rocker. Lighter material from BO WEEVILS, NO MAN’S LAND, and GAS BABIES. Comes with issue #2 of Foreign Object mag out of Australia, but I don’t have an address for them.
This benefit for animal rights features ten UK punk and hardcore bands. Some great tunes from the likes of REPRISAL, DESECRATORS, and the STUPIDS. Band info included.
A double LP comp with a really wide mix of mostly known bands doing cover songs. And a lot of them are 60’s covers to make it even more fun. The highlight is the DK’s doing “I Fought the Law.” There’s also ALEX CHILTON, SKY SAXON, PANTHER BURNS, SLICKE BOYS, and 20 others. Pretty great!
A consistent collection of recent Hungarian hardcore outfits. Most notable are the KRETENS and MARINA REVUE. Good stuff.
With such groups as DEPRAVED, INSTIGATORS, CULTURE SHOCK, SCREAM, CIVILIZED SOCIETY, and more, there’s a great variety of music on this worldwide sampler. Ranges from folk to punk, but there’s a nice edge to all tracks, and political lyrics. Recommended.
This label really puts out the material these days, and most of the bands here have their own separate new release as well. Included are HARD-ONS, VULTEES, MASSAPPEAL, SPUNK BUBBLES, HEADSTONES, and a number of others. Good effort.
A nine-band benefit cassette for the famine victims in Ethiopia, all artists being from the UK. Fair to good live and studio recordings from such notables as OI POLLOI, BROKEN BONES, and the INSTIGATORS. Band info included.
Yet another Xmas comp of neo-60s bands, and this one is pretty decent. Tracks by the SLICKEE BOYS, VIPERS, PSYCHO DAISIES, IGUANAS, CHEEPSKATES, and more.
One dozen European acts are represented here, blaring out their own brands of ’77 punk and thrash noise. Among the best are RAPED TEENAGERS and INFERNO. Hot stuff.
A five band benefit for the No More Censorship Defense Fund. Most of the bands here take the hard and fast approach, so why not help out Jello and the gang?
This EP is out of Germany and contains one track each by Germany’s STROMBERG POLKA (Oi), TIN CAN ARMY (punk), and the UK’s UPROAR (melodic punk) and CIVILIZED SOCIETY (thrash). Liked the latter the best by far, but overall a worthy effort.
From the land of AOD, here comes 16 more acts for you to sink your teeth into. Prime cuts are by DIRGE, X-MEN, HOGAN’S HEROES, and V.I. Great Joisy hardcore.
This band must-foots it down the metal and punk border while singing some pretty good lyrics and some pretty goofy ones. Nothing really startling, but they do what they do well.
More country-ish than their previous grunge, they sound like a lightweight CCR now. Best song is a cover of ROY ORBISON’s “Rock House.”
Over two albums, WHIPPING BOY has moved from straightforward punk into something a little less defined. Their latest has an air of mystery about it. The vocals have a number of influences, including BIRTHDAY PARTY, VIRGIN PRUNES, and PSYCHIC TV, but these don’t get in the way of the band’s changing progressions.
Too many years have elapsed since WIRE’s prime to make this record an event. The four songs here seem more like a rock-ier extension of DOME than the kind of dense, rich songs WIRE and COLIN NEWMAN used to do. Nonetheless, “Drill” has a nice beat and interesting vocal rhythms.
I’ve always been a great fan of WRETCHED’s loose, powerful brand of hardcore, but I’m not as impressed by this release. Much of the manic energy is still there; yet, the “live” feel of this disc gives the production less density than usual, and the guitar wanking was a real annoyance. Still, “La Tua Morte…” is a powerhouse track.
Sounds like LINK WRAY meets funk meets your average rock’n’roll bar band. Sometimes it’s fun, sometimes dreadful. A little of both here.