The Dispossessed The Dispossessed cassette
Pretty “dark” stuff here; gloomy pop that comes across as pretentious and commercially-oriented. No thanks.
MAXIMUM ROCKNROLL
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Pretty “dark” stuff here; gloomy pop that comes across as pretentious and commercially-oriented. No thanks.
A young thrash act here, playing it garage-y and a bit sloppy. They should improve with time. Song titles sound positive except for “Pussy on the Line,” which could be un-positive.
We forgot this one last issue, but don’t you miss out. DESECRATION (AZ) hits hard with a dozen songs reminiscent of the new UK thrash acts (HERESY, RIPCORD, etc.), with excellent caring social/political words. Canada’s SUBVERSE keeps up the momentum with a harsh, abrasive thrash sound with hoarse vocals, also possessing good sentiments. A great introduction to two of the hottest up-and-coming HC acts.
This is the swan-song for the DESCENDENTS—without Milo again they’ll be called ALL and thankfully this live record isn’t an end-of-the-career-rock-bullshit move. It turns out to be an extremely tight “best of” set recorded in Minneapolis. A lot of the clunkers from previous albums sound incredibly gutsy with the in-yer-face production. A classic.
A really varied and pretty energizing comp. Hot tracks from MAA SEUDUN TULEVAISUUS, EUTHANASIA, and VALTIOKOLHOOSI put this above average, and other good tracks are supplied by MAHO NEITSYT, CMX, KUMIKRISTUS, and DORIAN GRAY. Get it.
In their never-ending series of comps, Mystic Moody presents fourteen tracks by fourteen bands. All of these tracks are taken from previous 7”-ers. Cool cover and some classic SoCal punk rock.
This flapper comes with issue #5 of said zine, and features neo-’60s pop punk by FIXED UP and STING RAYS, as well as some doom and gloom by CRASH.
Anywhere from three to five tracks each from Toulouse’s PIN PRICK, LE BLOB!, BLABLA SCHMURZ GROUP, JOZEFS ET LES PHILLES, and SWINGLE GARROTE. All the groups play various types of ’77 punk, most of which is infectious and peppy. JOZEFS and the band are an all-female group that shows its ’77 roots best, SWINGLE GARDEN are young and powerful, PIN PRICK rock quirky and French. Good stuff.
Well, it’s finally here and it’s actually pretty damn good. A lot of bigger names here like CORROSION OF CONFORMITY, ADOLESCENTS, DOGGY STYLE, D.I., RAW POWER, ADRENALINE O.D., RAW POWER, and WHITE FLAG. The cut from MOJO NIXON about drug testing was a surprise but a welcome one. Some of this is available on other things but this is a nice sampler.
This tape is #4 in a series from Bad News Cassette Zines. Some of the eleven underground acts featured are: the PARASITES, DREAM SMASHES, and BLOWFISH. An interesting mixed bag, you won’t be bored. Buy or fry!
A very solid HC comp featuring the MELVINS, DIDDLY SQUAT, MR.BUNGLE, FALSE LIBERTY, ACCUSED, and loads more. Good sound quality, lots of action here.
A pretty damn hot comp here featuring KAFKA PROCESS, VOMITO SOCIAL, NO FRAUD, and OODLES. Lots of intense tunes here, and all profits fo to Greenpeace. Neat.
Pretty much a novelty item, just two guys trying to play as fast as possible for short periods of time. Humorous.
Powerful tuneage here: grinding punk and HC of all speeds with lots of anger and momentum. Good tunes.
The DYLAN cover is OK, a bit too rock but pretty powerful and done with spirit—the flip is way rock Á la WARREN ZEVON.
Considerably better than the average “positive” act, these guys play mostly straight HC, but it’s got a good sense of personality. Honest, optimistic lyrics, also worth checking out.
More guitar raunch garage punk here, though it’s a bit more eclectic than in the past. Side one rocks hard with that “just a little off” quality that makes it special. Side Two is a bit too disjointed for me, but it’s still hot.
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.
