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!
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.
Quick, hyper, melodic punk with animated vocals and silly lyrics, which brings the DICKIES to mind. Super-energetic and tuneful fun.
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.
Six songs that musically have a lot of roots in simple funk/dance punk, yet stick to a fast tempo and catchy rhythms. Lyrically, the band words itself very well when dealing with political subjects from a good common sense point of view mixed with pro-awareness emotion. Fun and serious at the same time. Too bad this debut vinyl comes out several months after the breakup of this Fresno band (includes an ex-MANIAC and ex-Stop Skate Harassment publisher.
Sloppy hardcore cum metal, reflecting an admirable and sincere (I think) concern for the dangers of toxic waste disposal, and more generally for all society’s ills. The record has its humorous moments, many of them unintentional. But you gotta give these guys credit for trying: to quote the ‘ZOMBIES, “punk is great, punk is cool.”
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.
Five powerful songs in the vein of CRUCIFIX or early RAW POWER with intelligent words questioning rape, vivisection, religion, governments, etc. Solid music and thoughtful lyrics. A great job!
Straight HC with words concerning personal issues such as equality, insincerity, and straight edge, a tad more original than the average “positive” act.
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.
Hot uptempo punk with other influences creeping in. Powerful production; reminds me a bit of TOXIC REASONS. Good.
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.”
Noisy Australian guitar-oriented pop, kind of like a punchier JESUS AND MARY CHAIN. What saves this 12” from predictability is the unexpected sick humor in the midst of the pop tunes. “She’s Gone” is a plaintive lament about a dead cat, and “Car Crash” with the immortal line “Sorry about the car crash / I hope you don’t mind / We’ve killed your family and loved ones… hope you’ve got insurance” is notable for its catchy tune and hilariously deadpan vocals.
On Side A, B.S.L. have a fast, energetic punk sound with truly progressive lyrics. FLECKS OF DROOL suffer from rather noisy sound quality, but their thrash (with good words) is pretty god. Overall, not bad.
Above-average Aussie rock’n’roll, fast and energetic. The B-side, an instrumental ode to the rubber-suited star of the movie Basket Case, wins this month’s award for the best screams on vinyl.
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 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.
