Mecca Normal Oh Yes You Can! EP
David Lester (guitar) and Jean Smith (vocals) team up for some neo-early PATTI SMITH rock’n’roll poetry. One track, “Strong White Male”, really stands out—very haunting.
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David Lester (guitar) and Jean Smith (vocals) team up for some neo-early PATTI SMITH rock’n’roll poetry. One track, “Strong White Male”, really stands out—very haunting.
A one-sided, two-song pop punk release. One is punkier, one is busier, neither necessary.
A very well-rounded, powerful, humorous yet political release, much improved over the last one. Dave is really out there, and his character really comes across here, Experimentation usually works on this release, the lyrics are sharp, the cover art is a treat. Side Two lags at times, but I think the guts and sentiments come across really well. MDC is one of the few HC bands to really cut across time and cultures.
Kind of a hard one to peg—their next record after this one will be on the CYNICS’ Get Hip label, which would give you the drift that they’re somewhat based in a tough garage sound. But actually there’s a more nice folk-rock influence with a touch of violin that reminds me in a good way of the MEKONS, VAN MORRISON and the POGUES.
The first East German punk band to release vinyl, and decent it is. Much of the material is typically German older-style punk, while there are a few thrashers as well. Lyrics are translated into four languages and give a good insight into life in East Berlin, showing differences and similarities. A brave band.
He’s Dee Dee Ramone and he’s soundin’ funky, havin’ some fun but he’s still bein’ punky, rappin’ down his philosophy, out right now on this maxi EP, don’t know if you dig it cuz it ain’t fast, but that DD man he had a blast.
Although I love stupid humor, these guys go a bit too far with their anal/penile humor which gets annoying and, at times, insulting to certain people. Hey, they said it was shit, not me.
Decent but relatively unvaried hardcore here. The songs do indeed have melody to them, but the overriding impact is from the metal-heavy rhythms, the similarity of tempos, the gruff vocals. This LP is much like their previous EP, though not quite as clear in production.
Pretty inspired and raging hardcore here. Lots of different tempos, all delivered with an edge that makes you take notice, tunes that are distinct, and lyrics that usually hit home. Very good effort.
Very speedy yet noisy California thrash, recorded in a way that leaves the rough edges but the charm as well. Nothing original, but lotsa fun.
Musically, these guys totally blaze: intense, ripping thrash and speedcore. Lyrically they are hurtin’, lots of sexist bullshit, etc. Does the band outweigh the good? You decide.
Hard to say exactly what this band is, but there’s a picture of a bedraggled IGGY-like character on the back cover, and in many ways the six songs here relate back to early ’70s rock as well as ’76-’77 type garage. Basic.
These HICKS belch out their country roots, and though only on one track (a cover of “Take it Easy”) do they hit it punk style musically, they manage to mangle the genre lyrically on all four cuts. For cowpunks.
Hank and Co. pound out a half dozen bone-breakers, and then Holland’s GORE return the compliments with their monotonous post-metal instrumental sound. Lots of crunch on both sides, but there’s an oppressive feel to the whole slab, a tedium to the non-melodic attack.
HALF JAPANESE meets BUTTHOLES? Quirky post-something-or-other? The FALL on DMT? It’s hell being a cow.
The A-side is a cool James Bond-ish-type instrumental, while the flip is a foot-stompin’, CRAMPS-like rocker. A good second effort.
FOETUS is continuing the greatest blues/punk/industrial mania around.. Really crunch and powerful stuff as well as musically interesting and varied in influence. The title track is a demented big band number and the rest is big build-ups, and noise abounds. A really good one (no disco).
A plethora of ’60s styles can be found on this new FOURGIVEN release. Although there’s an occasional fast punker (“Call Me Animal”), most of the material is in the atmospheric mid-tempo vein. Nothing is really wrong with the songs, but in general they lack sufficient wild abandon, guitar power, or hooks to really hold my attention. Note: the MIRACLE WORKERS represent the definitive ’60s punk standard nowadays.
Driving mid-tempo punk crossed with that later period BLACK FLAG psychotic sound. Lyrics are mostly in the twisted personal vein. Overall, a rather interesting combination, pretty good.
Finally, the long-awaited album by this Venice band. Basically, this hot LP showcases EXCEL’s intense HC/metal sound in a good light: very powerful tunes with personal/anti-conformity themes. A really intense album from perhaps the only Venice act who reveals some intelligence.
The long awaited album by this now defunct band and after listening to this record it’s a sad fact the band was so short-lived. They strike a lot of mid-tempo similarities with a clean, complex RITES OF SPRING sound and when combined with the diversely intense vocals, a lot of interesting sincere music is created. The lyrics are thoughtful, critical, concerned and right on! Overall, a great record that has a lot to offer!
A generally energetic pop band, though not all the songs here are really revved up. At times it’s like the REPLACEMENTS meet DOA, meaning lots of bounce and guitar/rhythm crunch. Lyrically romantic, and with an unusual cover of the BEATLES’ “Norwegian Wood”. Recorded in 1985!
They exaggerated straight edge to an absurd extreme, and it’s amazing how many people took them seriously, both pro and con. With songs against littering, in favor of rewinding video cassettes, and a “positive dental outlook”, all done in imitation of Ian, Kevin, Pat and Ray, you’ve gotta lighten up. Lots of fun.
Fun rock n roll, evolving out of paisley rockers THE MARSUPIALS. Not really too rocking, but jaunty garage stuff.
Hmm, “Ghost Riders in the Sky”-type “western” instrumental, pulsing fuzz-guitar industrial punk, 77-type dumbo punk, and yet another instrumental—all on one slab. The styles clash, but the music hangs.
A self-released 45 from NJ’s BURNT. “Social Disease” is a great garage punker with raunchy guitar, gruff but plaintive lead vocals, catchy melodies and entertaining serio-comic lyrics. The flipside is a faster anti-gurl rant with much less overall appeal. Good primitive sound.
They’re from Venice. Guess what they sound like? Right, metal/HC with not too much happening lyrically. Not the worst thing I’ve heard and not the best. Mediocre.
This is a document of one of two BIG STICK members’ tragic family separation, daughter’s death and is as anti-poverty, drug, and racism as conceivable. Musically rap, scratch, noise-a-rama (a la “Cookie Puss”) and great in its repetitiveness. But it is one of the most lyrically powerful pieces witnessed in a long time. Real and frightening.
Trendy title. And there is a song about fucking. (Plus a few anti-live ones too.) Meaning and trendiness…Oooh. Although they don’t instantly wow me this time, this LP is as demented, crunchy, and interesting as always. And the end. The end.
Great cover on this 45, with a CHEAP TRICK rip off tune/sleeve on one side and KRAFTWERK on the other. Musically, it’s crunching pop, whatever that is.
Like all spoken word records, it may be hard to listen more than once, but a good listen it will be. Jello’s in great form here, doing his satirical Lenny Bruce approach to politics, punk, culture, etc. A very scathing attack causes thought and quite a bit of laughter, and gives a really good insight into how the DK’s former guiding light views the world. A wealth of information on most of today’s attacks on freedom.
Straightforward thrash energy from these CT kids. Lyrics seem to fall in the “positive” category. Purdy good.
Hot metallic HC with topical lyrics covering apathy, self-indulgence, and oppression. Not much guitar wanking, just full-on power, a great tape.
As with their previous release, this one has some really excellent lyrics, but again fails to rise above the early 80’s UK plodpunk sound. Not that it doesn’t have power or guts, but if current bands are gonna play older styles, they should really present them with an approach that makes them sound fresh and exciting. Decent.
Simple pop punk with female vocals and sung in English and Italian. Amateurish and charming, like KLEENEX or something. Fun.
The package this band’s record comes in is actually a 36-page booklet, written in German, full of information on nukes, racism, censorship, etc. The songs are all mid-tempo punkers, most holding my interest. Obviously a committed band, definitely into it.
Good diverse punk that could use some tightening up. Lyrically, they stress intelligent themes while keeping a fun approach. Should turn into something good.
Pretty hot stuff here from this NY bunch: slow to fast HC with what sounds like good lyrics. Rather original, also worth looking into.
Hot, powerful thrash and punk with neat guitar gits from this Swedish act. Comes with a rad lyric book, but it’s in Swedish. Check this out.
You know what’s irresistible and charming about this record is that it reminds me of JOHN CALE during his best period, right down to the vocalist, and acoustic ballad and some of the crunchiest rock’n’roll with perceptive lyrics that I’ve heard since I bought Sabotage.
A six-song speedmetal release that is very well done. Will appeal to bangers, skaters, and crazy haircut freaks everywhere.
DAN is actually a four-piece band, and a good one at that. They play good mid-tempo pop punk with female vocals and a peace-punk edge. Well worth checking out.
Well-done and powerful, this EP has two speed tracks and two medium-paced punk tracks. Lots of oomph and good production make it stand out.
A four-song release with one ’77-type song, an upbeat pop punk tune, and two pop clunkers, not especially gripping.
Musically, this is a big change from their first LP. Their sound is now in a crunching METALLICA vein, heavy on the power, while still maintaining their intelligent lyrical outlook. Although I like this album, I was expecting a little more creativity from these guys and girl, rather than the pedestrian speedmetal fare.
A very hard-hitting release from this Australian combo. Other than the occasional wah-wah guitar, their sound hearkens back to ’70s rock and early punk. Very basic rock and roll with straightforward power and decent lyrics.
Very much in a CLASH vein without being directly imitative. They fuse early punk, pop, reggae and more into a 78 type lightweight sound. All songs in English, politically aware, comes with a free bonus single.
Not as much metal damage as I had expected, and though some of the songs are horror-oriented, the band says they’re phasing out of that towards political lyrics, which already show a strong anti-sexist, anti-fascist strain.
Sounds like an American influenced skate/slam band. Mostly quick, forceful stuff, with some “heavy” sounds thrown in. Good stuff.
BUTTHOLES-like in some ways, though mellower and artier at times.
