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!
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.
Sing-along thrash not unlike early 7 SECONDS. Good personal lyrics and lots of raw energy. A band to watch for.
A pretty energetic release that ranges from CRAMPS-type trash to punkability to Robert Gordon/Jack Scott deep-throated ballads to classic punk. All songs are crazed in some way, be it by voice or instrument distortion, speed-crazed pacing, or just enthusiastic x 10 playing. Boss.
This record comes with a free condom to promote “safe listening,” and the material on this EP is fairly infectious, with some hard, up-front guitar work. The style, however, is distinctly ’79 flailin’, rockin’ new wave—the lead vocalist even has an English accent. Fairly good, I guess, but it definitely grows on you.
Inside this very elaborate package (full color jacket and comic book) comes a very hot album. Cross BLACK FLAG with VICTIMS FAMILY and toss in some BEEFEATER for spice and you have an idea of what this is like. Very strong.
Out of the Basque region comes this hot release. R.I.P. produce melodic thrash and punk with lots of catchiness, and, as might be expected from a band out of this controversial area, highly political lyrics. Comes with a huge foldout insert, translated lyrics, and lots of good music. Get this!
Thrash, punk and post-punk all rolled up in one band. Gruff female vocals are the unifying factor, as well as good production. Their third release.
Retardo punk rock from SoCal. In the tradition of ROACH MOTEL, ANGRY SAMOANS, MENTALLY ILL and others with an “I don’t give a fuck” freewheeling attitude. Their second EP, no progress, and that’s good.
Not to be confused with the NY band of recent vinyl, this band’s 7″ comes in a 10″ sleeve. And now…wow! This is a hot-shit rager, sort of along the lines of CAPITOL PUNISHMENT. Highly recommended!
Lame “deathrock” lyrics, but the music and female vocals work well on most of Side One. On the flip it’s pretty SIOUXSIE-ish, but on the A-side there’s plenty of punk power that cuts through the crap.
A German two-man band (drums, guitar, mouth) bashing out some fun, garage-y, sing-along punk rock. Sounds like some rad drinkin’ tunes to me.
Jangling pop-punk, which is a little on the “smooth” side—acoustic guitars, etc. Not bad, but could use a bit more grit and grind.
Some moderately powerful punk and thrash, nothing too out of the ordinary. Comes with a mini-lyric book. Words in German.
Unmistakably Ian MacKaye on vocals, teaming up with a member of industrial/dance band MINISTRY. Both tunes combine elements of each person’s forté, and it works. Post-EGG HUNT industrifunk punk. Lyrics seem interesting, but no sheet to clarify.
Yeah! Imagine early 7 SECONDS with a slight metallic tinge, add some well-thought-out positive and political words, and you got these guys: one fucking hot band!!
Very fast, tuneless ultra thrash like the first DRI LP. The slow parts are catchy, the thrash stuff is pointless. Sure, it’s really fast, but so is a blender.
These S.F. homeboys are akin to the CAMPER school by using acoustic instruments and a soft approach. Each of these three songs is different. The title track is an eerie, partially acoustic, witch thing. Then there’s a beer barrel polka song, and a psychedelic T. REX imitation. Almost interesting.
Two of the four tunes are too far on the pop ballad side for me, but the cover of LOVE’s “7+7 Is” is decent (a bit too clean), as is the atmospheric but rockin’ “13th Floor.” From Australia.
Musically, this is hot Oi!-ish punk with loads of power. Lyrically, they appear confused. They seem to have a leftist/anarchist viewpoint, but also a sexist and homophobic attitude. No one rules? Duh.
This latest ’77 re-release showcases Shane MacGowan’s (way pre-POGUES) early punk and punkabilly sound. Contains the NIPPLE ERECTORS first 45 and two excellent unreleased tracks, as well as the later NIPS’ two singles. Basic and fun.
Chunky garage punk with that charming raw quality. Lyrics run the gamut from personal stuff to silly sarcasm. Purdy good.
This second release heads more in the direction of BIRTHDAY PARTY blues. Both songs are okay, but fail to deliver anything memorable.
Pretty hot straightforward punk from this Bay Area act that no one hears about much. Includes some neat covers and nine originals. Fun stuff.
Pretty good mid-tempo punk with positive, optimistic words. A little similar to early DAG NASTY, but not as catchy. Worth a listen.
A lot more pop than in the past (at times even power pop), this release puts the accent on harmony and melody. Sounds like the BEATLES meet early punk with some thrashy energy. Lots of short, goofing around tracks, as well as their usual good production sound. Guess this signals the end of this label as an indie.
