Angry Ducks We Are Far East Skinheads flexi 7″
“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.
MAXIMUM ROCKNROLL
For review and radio play consideration:
Please send vinyl (preferred), CD, or cassette releases to MRR, PO Box 3852, Oakland, CA 94609, USA. Maximum Rocknroll wants to review everything that comes out in the world of underground punk rock, hardcore, garage, post-punk, thrash, etc.—no major labels or labels exclusively distributed by major-owned distributors, no reviews of test pressings or promo CDs without final artwork. Please include contact information and let us know where your band is from!
“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 is an all-girl metal band from New York, featuring a zillion guitar solos and a screeching vocalist trying to sound like Satan. If this sort of thing is your cup of tea, then this record fills the bill, though it sometimes tends to sound a bit mainstream. Lyrics range from slightly dogmatic political/social commentary to “Midnight Rambler”-type axe-murderer nightstalker “gonna getcha” biker-style tunes.
Soaring thrash with some tinges of innovation. Plenty of power, personal words, and comes with a mini-booklet. Good.
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.
Full-on punk meets ska! Six great songs that get their influences from early punk, non-wimp ska and high energy hardcore—the best of three worlds. Your ears will quickly become addicted to the rockin’ riffs, catchy song-a-longs and righteous raw vocals. Lyrically, the band deals with day-to-day life in a way that most of us can relate to. Straight up—this is a must!
Two songs created by DANBERT of CHUMBAWAMBA that simply communicate an intelligent view of being male yet being a victim of needless, painful stereotypes and expectations. Instead of merely complaining, DANBERT offers several great insights and thoughts concerning the subject. The music is heavily folk-influenced with the main instrument being an acoustic guitar. A lot rougher than any BILLY BRAGG song yet just as capturing, but a little more honest.
This NEIGHBOURHOOD WATCH Is from Canada and they’re pretty good, alternating between powerful thrash numbers and slower punk tunes which have a DR. KNOW feel. Lyrically, they attack porno, religion, etc. A worthwhile release.
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.
Rockin’ ’60s garage-grunge in the PANDORAS vein. A competent example of the genre with some satisfying vocal yowls.
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!
Totally insane searing thrash with metal influences and thoughtful words which reveal intelligence and integrity, rejecting rockstar-ism, competition, mindless stupidity, etc. An incredible EP by one of Britain’s finest bands. Thank you, HERESY!!
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.
Pretty hot straightforward HC with good lyrics concerning individuality, oppression, etc. Quite enjoyable.
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.
Garage-y but varied songs from this bunch; from improvisational jamming to chunky punky numbers. Fair.
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.
These guys have a garage ’77-ish toe-tappin’, finger snappin’ sound which will make you hum along happily. Four fun tunes, all energetic yet melodic, and very catchy.
Of all the Australian bands trying to be mistaken for the STOOGES these days, the COSMIC PSYCHOS perhaps come closest to achieving the goal. A few of these songs actually sound like they might be rediscovered STOOGES classics, and the overall feeling of this LP recalls the Funhouse era of everyone’s favorite band. Noisy, nostalgic fun.
After releasing a couple demos, these dudes put out a righteous slab o’ wax: probably one of the best thrash acts in the Bay Area, with good social words. A swell debut.
A pretty well-developed band, mixing punk and HC with some slow doomy breaks, metallish licks, a fair amount of innovation, and lyrics dealing with ignorance, the arms race, and personal subjects. Good stuff.
Garage-y punk with enough variation and intelligence to set it apart from the pack. Good sentiments and catchy tunes.
It seems like 7” EPs are a dying breed and it’s ones like these that remind me how good they can be: hot, tight, straightforward HC that sounds like early ’80s US thrash. Intense stuff.
This is the American issue of their first three singles. Predictable, as one side has A-sides and the other the B-sides. The band’s debut single is so far above anything else they’ve done that the rest, especially the B-sides, are really slow, tired, and pale in comparison. Still worth it for “Bamp Bamp” (great garage mania) if you don’t have it.
Garage-y, rebellious punk & HC with youthful energy & sloppiness. Sound quality gets odd at points, but this is moderately enjoyable.
Straightforward, tight thrash and ’77-ish with male and female vocals, lyrics tackle vegetarianism, nuclear way, oppression, etc. Good.
A crack-up. I assume these guys are satirizing stupid metal bands, cuz with songs like “Shit on Your Mother’s Ass” (song title of the year, hands down!) and “I’ll Pulverize You,” they just can’t be serious. Stupidly hilarious!!
GISM-like growls set to punk and post-punk arrangements. Nothing special, but competent.
Hot uptempo melodic punk with personal lyrics. Catchy, memorable, mid-paced fun tunes with good energy. Neato.
Fun, chunky mid-tempo punk with humorous lyrics concerning the dating game, organized religion, food and more. Good production, hot material.
This Philly conglomeration featuring ex-members of MCRAD and AUTISTIC BEHAVIOR is pretty rockin’ on all six songs. They’re fast, catchy, and even though they sing mostly about girls and booze, they’re pretty fun. Who’s to knock these guys’ tradition? Pretty hot.
With the music being a mixture of speeded-up quality FLIPPER and early MINOR THREAT, this record kicks it with HC anthems that cover such topics as love, Gilman St. Project, anarchy, and all-out wackiness. The band’s smart-ass sense of humor is in abundance throughout the lyrics, packaging, and general concept. Equally abundant is the band’s “we can do whatever we want” attitude, which is a pleasant relief in these days of professionalism. This be great!
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).
