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!
Strong punk and thrash with both melodic and metallic influences. Lyrically, they cover both personal and rebellious topics. Although the vocals get annoying at points, this is worth checking out.
The guitarist from GRONG GRONG has a new outlet for his noise, a crypto-blues outfit. I found it pretty monotonous and uninspirational, but I know that people who go in for Down Under rantings will like it.
Catchy, driving midtempo punk tunes with memorable choruses is what you’ll find here. Lyrics cover vivisection, freedom, and the mundanity of the “working life.” Pretty good stuff here.
Japan is notorious for husky-voiced yellers, so it had to happen…a band with a name like this – who don’t have a husky-voiced singer. What they do have is a tight, melodic hardcore band with a slight metal guitar. OK.
The English equivalent of the MENTORS?
The A-side has a slight ’60s feel, while the flip is more in a ’77 vein, both with a straightahead pounding beat, pop singing, upfront guitar. Decent, but not a rave.
Pop punk, but at least there’s flair here (as compared to most of the Japanese pop punk I’ve heard recently). There’s an edge, a bit of punch in the delivery, and nice changes. Not awesome, but fun.
Horrible metal with hardly any punk influences left. Comes with poster and plastic record-carrying bag – give me a fucking break.
This new one, with a new guitar player, has a rich, pop-ish feel that the last few missed. But this polish and melody doesn’t mask the catchy hooks and rhythms these guys are capable of. Maybe it is the vocalist, but this reminds me a little of early GANG OF FOUR.
Reworkings of their songs off the Why March When You Can Riot?! comp LP. The A-side rages, a powerful fast punk tune, while the flip is a mid-slow tempo tune with a sax that failed to move me.
A one-song effort, a garage-y catchy punk/funk tune that goes on and on, but you won’t mind. Fun.
With a title like that, no review is necessary. It’s all true, and live.
From Wales, this band handles both melodic thrash and various punk styles, the latter which predominates. Lyrics are all in Welsh, a very strange looking language, but the music speaks well for itself.
A comp (whose profits go to Jello and Co.) featuring WIDE AWAKE’s powerful HC sound, BLOOD IMPULSE ACTIVISTS’ creative punk, MALCOLM TENT’s ranting poetry and more. Definitely worth getting.
A varied punk thrash and post-punk collection contains tracks from many of the bands you’ve read about in these pages. Included are ARMIA, DEZERTER, REJESTRACJA, ZENNA, SIEKIERA, ABADDON, and PROCESS. This is out on the state label, Tonpress, but might be available through…
A benefit LP for the Anthrax, the club which gave these early Connecticut hardcore bands their starts. All the songs were originally released as EP’s (long out-of-print), and included are C.I.A., VATICAN COMMANDOS, REFLEX FROM PAIN, LOST GENERATION, and VIOLENT CHILDREN. A limited edition release, this is the first for this non-profit label. Great stuff!!
A terrific idea: Mystic has decided to chronicle a series of local punk scenes in a “Sound of USA Cities” LP series, this one centering on Portland, Oregon. RANCID VAT, ANATHEMA, N.R.A., and other bands share this album, which varies severely in sound and song quality. Still, an interesting document.
UPSET NOISE specializes in mid-tempo punk with distinct speedcore influences in most of the guitar riffing and some of the wanking. Good for the style, I don’t have much of a sensitivity for this kind of punk, though I have to compliment the fine acidy album cover.
A “history of” cassette, containing cuts off all their records, and a couple of live cuts. Great sounding punk and HC, well worth getting.
A pretty neat neo-’60s release. 4 songs in all, full production that makes the sound clear but not wimpified. Cool guitar, slightly echoey psych feel, and a good cover of the EYES’ (the 60’s UK band much like the early WHO) “When The Night Falls.”
Circa ’82 SUBS, some released before, some not — all studio. Classic punk sounds from a band that dates back to ’77 and who sport a singer older than me. While they’ve never grabbed me, the SUBS have been a perennial fave on the East Coast. Eight songs.
Innovative punk with attention keeping twists and turns, and neato guitar effects. A good mixture of power, originality, and momentum.
The reigning kings of booger-rock transplanted from Texas to San Francisco debut their first platter. (Their first release was a home-made eight track tape, and this disc lives up to its spastic reputation.) It’s almost as if retarded children, discovering Captain Beefheart, decide to play in a rock band. Music to wet your pants by.
Instead of the typical Finnish piledriving thrash, this superior EP contains four finely crafted classic punk tunes, all in an anthemic vein. “Shout,” in particular, reminds me of the kind of nostalgic, melodic punk we all used to live. Highly recommended.
Recorded a month after their final show, these 8 highly produced tracks are their last word. Many of their varied styles appear here: reggae punk, eclectic extended tunes, medium tempo punk, medium-fast tunes. While by no means throwaways, there are no immediate standout classics. And then came CULTURE SHOCK.
Five covers here: BEATLES, PINK FLOYD, etc. The originals may be sedate, but these guys totally rock out on “Ruby Tuesday” and “Comfortably Numb”. Pretty neat.
This band had a blazing HC EP out many years back, then did some recordings in ’83 and broke up before it was released. They’ve regrouped, I believe, and put out these sessions finally. While the new songs maintain their power, gone is the straight ahead approach, and instead they come on with a highly produced, sometimes post-punk approach, sometimes a bit MISFITS like. Very big departure.
I ordinarily wouldn’t review this kind of music, but because it’s on a “punk” label and looks like a “punk” package, I just thought I’d mention… it ain’t punk at all, it’s metal.
A really good hardcore EP, with a really energetic sound. Not generic, but not really new either, they do thrash right with zaniness and good lyrics. “Drugz” is a standout.
Four tracks here, all in a bouncy pop-punk style with those irresistible choruses you can’t help but sing along with. What’s more, the lyrics are extremely funny, showing a real satiric bite and flair. I have a feeling that punks everywhere are going to be singing these songs to themselves for a long time to come. Terrific record!!
Rampant sarcasm and a less than tight, ripping hardcore style are the trademarks on this debut LP by the SHAVED PIGS. The song structures are not always distinctive in these simple tunes, but their cover of the ISLEY BROTHERS’ “Shout” (here entitled “Slam”) is delightful. Good album cover, too.
The hardcore on this album goes in some original directions, especially in so far as the song arranging is concerned, but the ultimate effect is rather monochromatic and unappealing. Nonetheless, strong energy and power abounds here, and the lyrics are very strange.
The A-side of the 45 is a mid-tempo punk number boasting great hooks and lyrics in the best SS-20 style, with good arranging and even a nifty Beethoven guitar break(!). The two songs on the flip are faster and more powerful. Another excellent record from this consistent band.
Henry’s kinda joke, I guess, as the “concept” here is a bogus title, “Henrietta Collins and the Wifebeating Childhaters.” Ok. Musically, a new wave tune and a mandatory (he was from DC) WIRE cover on the A-side, and four tunes on the flip, which are more like what I thought would be on the LP, sorta rap/spoken word set to music, including a thrashing of “We Will Rock You” only it’s “I Have Come to Kill You.” Liked the LP better.
Posh Boy’s been re-releasing their early catalog in various shapes and forms, and this is one classic you should really pick up. Great garage punk from L.A.’s McDonald Bros. plus Ron Reyes (later to go on to BLACK FLAG) and Greg Hetson (of later CIRCLE JERKS fame). A real treat.
More early ’60s garage meets mid ’80s noise. Can’t say it’s the best of both worlds, but when they aren’t being too arty (a third of the time), they do rock out some grungy crud like CRAMPS meets BUTTHOLES on bad DMT.
Sixties punk done Á la ’76, meaning not enough mania and too much production and rock guitar. It’s not really bad, just not crazy enough to warrant the retreads, and there are plenty of them.
Older punk meets ’70s rock’n’roll with a lot of influence on the guitar power. Lyrics are above average for this genre but the music bogs down too often for me. When they rock though, it’s pretty strong stuff.
It took me a few songs before I recognized the godlike quality here. But after they really start cooking, the reformed PAGANS recorded at the 7th Street Entry in Minneapolis, has all the charm and quality of a garbage truck as it speeds around trying to kill everyone in its path. Massive, so snag this un and wait for the next studio album.
Their hottest release yet, at least for me. Many of the six tunes are slowed down, which results in more power and greater clarity of lyrics. Really basic punk and thrash, very well done.
This record is a re-release of NEGAZIONE’s classic Conannati a Morte… EP with an additional live track, and it displays this band’s absolute command of a fast, frenetic, thrashy, and memorable songwriting style. The live song is a tantalizing hint of how good this band must be live. Great record!
Despite their hokey name, these guys play some forceful metallic HC thrash, with anti-conformity and anti-government themes. Much better than their moniker would have you believe.
Yee…ouch! Totally searing punk and HC — sharp as hell, powerful, with a guitar sound that cuts steel! Blazing Midwest thrash.
A few of the ANGRY SAMOANS team up for this folk-rock seven-song release. This is really wimpy, self-indulgent material, a definite joke. Fortunately, the SAMOANS still kick ass live.
Less overtly “punk” than their debut 12″, this album contains ten pop-punky tunes with the emphasis on the pop, in a style reminiscent of the early SHOES. Undeniably catchy, this record is best when guitars take precedence, but there’s still a good deal here for fans of cool pop music — though the style does wear thin after a while.
Alright! I believe this is the first Mexican tape I’ve reviewed, and it’s great! Intense thrash similar to the Finnish ’83 style. Dirty production, but the anger, power, and energy shines through.
Their second release, this LP’s chock full of CRAMPS type garage rock and roll —pounding beat, raw guitar, and silly lyrics. From New Jersey, it rocks.
In case you’ve wondered what Matt and Chris of CRUCIFIX are up to these days, here’s what. They’re in a band that plays pounding, rhythmic dance music with political/ominous overtones along with members of FLUX, I believe. Soon we’ll be hearing from Sothira’s new band, an entirely different thing.
This live LP showcases LIVE SKULL’s guitar-laden, atmospheric post-punk sound. Obstinately non-melodic, the songs on this LP, although excellently recorded, don’t excite (they’re too slow) and don’t stick to the ribs (they’re not catchy enough). Fans of the band will like this, though.
Boy this one’s kinda hard to figure. The sound here is slow and grungy like some mutant of ST. VITUS, if you can put up with that they do it fairly well. But they do manage to pick up the pace during a number of songs. Plus a vocalist who sounds like he’s constipated and he’s doing his best to “force the issue”. Not incredible but worth a listen.
