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!
High quality live material from these two bands, thirteen songs with alternating tracks rather than sides. My faves are “She’s not a Girl” and “Communication Breakdown” by V.M.
Poppy punk with some rockin’ power and kinda annoying vocals. Watch for an upcoming LP with Bob Mould producing.
A very ’77 sounding four-song release—classic punk, reggae punk, noise punk, etc. Nothing spectacular, but it’s definitely enjoyable, especially “1 August.”
Metally HC, but often more metal than HC, with the cheesiest DEF LEPPARD/JUDAS PRIEST vocals I’ve heard in a while. Lyrically, “Nazi Baptist Commando” is good, but the rest blow. Lyric of the week: “I masturbate, ejaculate, and wipe it on the wall.”
I get the feeling of potential greatness here. Like the very first recordings by HÜSKER DÜ, this has a rigid, almost experimental guitar atmosphere. Mostly instrumentals and some of the driving guitar sounds grab at that amphetamine push of early URINALS.
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”.
Humorous chunky punk with metal influences (solos) which don’t fit with the music. Lots of “fuck you” attitude and lyrics, as shown by the song title of the month, “I Hate Everything.”
First off, these guys have the best logo—a rubber with a mohawk. Musically, they play thrashy punk with dumb but moderately humorous lyrics. Fun in a retarded way.
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.
Hot punk and thrash with sing-along choruses. Words cover personal and social issues. Good straightforward stuff.
Mid-tempo punk without too much to set it apart from the pack, save their sing-along choruses. “Bell and Dagger” is the standout.
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.
Rough and tumble old style punk rock here, very spirited, similar to the VANDALS, LOVE CANAL, etc. Slap in the face lyrics deal with religion, society’s problems, and some very backwards lyrics on “SLUT,” the title tells the story.
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.
Great, great, great catchy punk tunes, with an accent on energy and momentum. Cool youthful vocals, too. Damn good stuff.
Run-of-the-mill speedmetal without anything to set it apart from the pack. Lyrics seem to be good, but, overall, this is pretty lackluster.
Relatively solid metallic punk with intelligent anti-system words. Strong material and good sentiments. I dig it.
A shitload of short, raging garage thrash songs. There’s no danger of too much professionalism here, just plain ol’ retardo raves. Totally fun.
Now that 7 SECONDS has gone on to “other things,” these guys may be able to take their place, judging by their solid thrash energy with singalong choruses and words stressing equality and social change. Really good—now watch for vinyl. P.S. Some profits go to No More Censorship Defense Fund.
Well-produced punk & thrash with metal influence. Lyrics are in the “fuck you, eat shit” vein. Pretty hot stuff within.
Four tunes here, three thrashers & one ’77-ish song. The speedy ones are moderately catchy, as is the slower tune. Pretty good.
Bouncy pop with silly words about binging, Bedrock, teepees, and such. A little too cute, but it’s fairly enjoyable, especially their cover of “The Blob” theme.
This four song EP sung half in German and half in English leaves me wanting a translation, and the two English ones, “Remember Soweto,” and “Man vs Nature,” have simple but admirable lyrics. There’s one mid-tempo punk song, one slower ballad, and a couple catchy, crunchy songs with gnarly vocals and a stab at originality. Pretty good.
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.
Mediocre punk of all speeds. A couple catchy choruses here and there, but not much to set it apart from the rest. Not to be confused with the U.S. CRUCIFIX.
Some grunge-y thrash from this Portuguese act. Eighteen live tunes with pretty good sound, rebellious lyrics, and loads of spirit. Cool stuff.
A pretty good debut release by this new L.A. outfit (originally out of Hawaii), alternating between quick thrash tunes and melodic punk numbers with interesting guitar work, all with thoughtful, caring lyrics. Nice job.
Obnoxious grunged out garage punk with even more obnoxious lyrics. With titles like “Dumpster Babies,” “Shelly Winter’s Thighs,” and “Crib Death,” you know what you’re in for.
Took a little bit but I’m convinced that this noise/sludge band from Minneapolis will take their place alongside such dignitaries as KILLDOZER, SCRATCH ACID and even the BUTTHOLES in the ugly-noise heaven. Wild, frenzied cover of “Koyanasquattsi.”
This fourth record is more esoteric musically by being thematic blues in “White Boy Blues,” metallish in “Satan’s Buddies” (great song!), and funky in “Song with a Message.” But the jokes are just as poignant lyrically and musically as they’ve ever been. I’m glad the rumors of this band breaking up weren’t true. Their classic humor and skilled playing are as great as ever.
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.
Rap from hell? No pseudo-offensive BEASTIE crap rap, but harsh industrial rap with an annoying feel to it, which sounds fuckin’ great to me right now.
On their second album CHILD SUPPORT have pared down to a three piece and left behind their garage/punk sound for a more mature sound. There’s a stamp of later-period BEATLES experimental pop all over this but It’s not obnoxious like some pop bands. Still a few hard guitar numbers but mostly it’s relaxed, well thought-out pop.
Here, C.C. offers six powerful songs, most not really up to the standard of those on their split LP. Still, their crunching thrash is full of force, on clear vinyl.
Pretty good garage punk but, damn it, these guys just don’t really sound too inspiring. Let’s hear some total frenzied insanity next time, OK?
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.
Straightforward slow to mid-tempo punk with on-target political lyrics. Musically, this is nothing amazing, but the sentiments are appreciated.
Fairly strong punk & thrash without a lot of personality. Fun, but nothing amazing.
A dark pop single with semi-industrial overtones. The A-side is upbeat and more poppish, yet still has keyboard gloom. The flip is the real moody one, not as fun as the other side.
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.
Metallic HC without much to set it apart from the rest of the pack. The energy is here, they just have to forge out their own sound.
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.
ABOLISH AUTHORITY has a powerful sound comparable to a metal-influenced early DISCHARGE, and GENERALI continues the mania, but not as metal. Live and studio, strong material.
An OK tape by this band who mix a few different styles (post-punk, rap, thrash, etc). The tunes aren’t bad, the energy is there, but they need more personality.
