The Dragsters I’m Not an American / Land of the Giants 7″
Highly produced power pop that’s got a good beat, interesting lyrics, and a homogenized sound that removes any real guts.
MAXIMUM ROCKNROLL
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Highly produced power pop that’s got a good beat, interesting lyrics, and a homogenized sound that removes any real guts.
This album of gruff, terse hardcore contains more than a few moments of gritty diversity where DISTORTION X has a chance to demonstrate its wrenching, discordant style. Compositionally, this record lacks the good cuts it needs, but there’s good power and aggression here.
For years, after they evolved into RANK AND FILE, the DILS disavowed their punk roots as vehemently as they had previously espoused punk ideals. Either they’ve mellowed a lot, or times are hard for R&F, but in either case Chip and Tony Kinman have allowed these recordings to see the light of day. Most of this LP is circa 1980, and shows their country sound creeping into the raw punk. The remaining tracks are from 77, but the sound quality here is really bad. This is a collector’s package more than a listenable selection, harkening back to 330 Grove, Barrington Hall, and the Mab. Try to find the singles.
From the same folks that released the insane Mexican Rumble compilation, a collection of all-Mexican 60s garage bands. Now this slice of life — basically Nudelman is touted as a genius or a madman, probably a combination of the two, and has this suburban garage band backing his ranting. Try imagining WILDMAN FISHER trying to front the LYRES while both parties are out of their skulls on PCP. A stone gas.
Some pretty hot stuff here, about half thrash, half slower melodic punk with rich guitar work. Lyrical sentiments are mostly in the “peace and freedom” category. This is AOK.
Four rather ferocious tunes here, fast angry punk with spastic high pitched vocals. Pretty hot twisted material.
A really powerful mid-tempo cruncher on the A-side, heavy guitar and bass, a no-letup job. The flip is a slow droner that failed to hold my attention despite its occasional outbursts.
Their name is meant to reflect their music (not their political) views, meaning a basic guitar rock band. The tempo is mid, a bit of pop and country meets an early punk sound. More often than not, they sound too clean for me. If they were really contra, they’d be today’s RAMONES, not the REPLACEMENTS.
C.M. are from New Zealand, play fast punk a la 78 on three tunes, all of which are socio-political attacks. You probably are aware that POWERAGE comes from South Africa (4 EPs out), and play highly political punk. The new drummer here wasn’t broken in when the recording took place, and it shows painfully.
With their scary/humorous moniker, I was expecting metal, but these dudes play some cool straightforward mid-tempo to slow punk tunes. Strong material.
A very bassy instrumental sound with the occasional intrusion of synth underpins melodic female vocals on this three track flexi. One song is slow, moody, and long; the others completely forgettable.
The fast HC on this six track EP has all the energy, gruff vocals, and power you’d want. It’s also very repetitive and just on the verge of genericness — especially when those guitar leads kick in. “Lie & Truth” is hot, though.
Weird. After four obscure garage singles in the late 70s, these guys resurface with a video movie soundtrack LP. They do punk, garage, funk, blues, disco — one of those wonder mysteries.
DRI-ish approach, though sloppier and with trashier production. Little in the way of melody, long on raging noise and bitter political lyrics. French speakers by birth, the lyrics are in English. From Montreal, Canada.
Trash-a-mundo punk from CT. 23 tunes of good sound quality include “San Diego McMassacre,” “Shemp Conquered the World,” and “Get off the Stage.”
A seven song slab, very powerful sound, metalcore, etc. Can’t tell what they’re singing about and no lyric sheet. Professional hardcore, leaving little room for fun or humanity.
Fucking brutal! Totally aggro cutthroat NYHC with some metallic licks thrown in. Lyrics are in the pissed off/fed up vein. Ferocious shit!
Their second LP, this one moving away from more generic hardcore into experimentation with funk, rock, pop, but all with an edge, as well as more standard punk fare. Lyrics are again above average, a good effort.
The pop-punk on this 45 shows more of a vocal orientation in the melodies and background choruses, but the guitar sound is sharp and interesting. “Där Tiden Inte Stämmer,” a commentary on South Africa, is especially bracing. Fine record.
A one sided single, this track is sort of a mid-tempo garage-y rock tune, sounding like how a 1976 midwest pre-punk might do it, but it’s new and a rarity.
Side A is a quick, short thrasher with undecipherable screaming, while side B is an enjoyable mid-tempo basher. Not bad, but nothing overwhelming.
A pretty bleak picture painted here. On one hand, BL’AST demands we not be led, that we awaken and fight, yet on the other hand they inform us they’re withdrawing into solely self-oriented gratification. Hmmm. The music is in the FLAG-rhythm hardcore we’ve come to know, tight and powerful lurching stuff.
A bit disappointing. The singer has Jagger down to a tee, and the band has a mellow STONES bluesy sound like outtakes from the Rolling Stones Now LP. Live, they really rave, but here it’s pretty laid back. Roll over CHUCK BERRY.
I don’t know if it’s due to premature senility, living in Berkeley, or just plain spitefulness, but the older I get the more I find myself agreeing with Mykel Board’s views. Maybe it’s because the world sucks, and nothing the namby pamby peace punks do is going to change it. Anyway, here we have 6 raunchy but structurally diverse punkers and thrashers dealing with some of Mykel’s favorite themes, including self-righteous vegetarians and radfemme thought police. I almost died laughing when I first heard “Sisterhood is Powerful,” so I’d have to say this is a great mean-spirited record.
Fairly decent thrash, though a bit herky jerky at times. It’s tight, but the construction and lack of tunefulness make it seem fairly generic. One tune, though, “Self Destruct,” does stand out in its forcefulness.
Around since 82, this is AGEN’s first solo vinyl, and their sound harkens back to pre-hardcore days while there’s plenty of power here, there are plenty of tempo changes, hard post-punk sounds interspersed between the punkier parts.
Yet another positive/straight-edge act from the SoCal area. You’ve probably heard something like this before, but it still sounds darn good, even to jaded ol’ me.
One of the best EPs I’ve heard in awhile. Raging and enraged UK political thrash on one side, like CRASS meets old DISORDER and DRI. Side one consists of about a half-dozen rippers and rants, while the flip is one long song that goes through many changes/styles. Comes with insert and record want list!
Mixed with the gore tunes, there’s a surprising amount of thoughtful tunes, though the onslaught of music doesn’t seem incongruous with sensitivity. Subjects include anti-pope, nuclear power, child abuse, religion. Musically, it’s standard Combat fare, tuneless speedmetal.
A calypso/noise song and a rock send-up are latest releases from MYKEL BOARD, that little daredevil himself. Otto Control and Zeppo Ramone team up for some fun at your expense.
Yet another band that mines the 60s punk meets ’77 punk vein. Slow-to-mid tempo STOOGES-like rock, the only cover being The GROOVIES’ “Slow Death”
Okay, these dorks have been around for a bit and it’s time you heard their innovative raging thrash with silly but thoughtful words. With tunes like “Senator Hart Humped a Dumpling,” “Pollution Rules,” and “Buttman,” how can you go wrong? You can’t, get this.
Between bands like the MELVINS, U-MEN, GREEN RIVER, and now these guys, Washington is developing a “sound.” So if you’re into LED ZEP retreaded for the 80s, check into this.
From the ashes of LUNCHMEAT, this band kicks out a strong melodic hardcore sound much like that of early SCREAM. Catchy riffs, clear vocals, pounding bass and personally political lyrics create memorable music backed up with true feelings. Good stuff!
Hey, there’s one song on this LP I like, a cover of CRIME’s “Hot Wire My Heart”. The rest is just too oozingly cool for me, though there are VELVET-y moments that appeal.
These Detroit guys have been around forever, and now finally get their grunge down on vinyl. This is a decidedly garage release, with three medium-beat crunches and one fast one. Lots of distortion, popping vocals, and a FLIPPER-ish trash feel adds up to…punk rock.
Pretty solid punk and thrash here with Al Quint (of Suburban Voice zine) being the mouth at the mike spitting out the personal and social commentary. Not bad at all.
For a band that hasn’t been active in years, they do get an amazing amount of vinyl out. This is a Japanese release of great sounding material. Which includes a MINOR THREAT/SSD medley cover.
What we have here is lots of wailing guitar, really catchy rhythm section, zany and creative vocals, humorous yet pointed lyrics, and effects galore. It’s all been done before, but not quite like this. Highly recommended.
A solid third LP by this overlooked and recently reformed Jersey outfit. This is a very consistent effort: loads of driving punk with HÜSKER DÜ-ish tinges. Plenty of power, personal lyrics, well worth looking into.
The instrumental sound is not unlike REBEL TRUTH (remember them?) with its inventive guitar riffing, and this band excels when the tempos are fast indeed. While the songs could be a bit faster, there’s a good “fuck you” attitude here, despite the rock trappings of some songs.
Pretty accessible stuff for this label, as the music is punkish eclectic pop with a dash of straightforward R’n’B based rock. Lyrics are L.A. bleak but more political than most emanating from the sun-fried zone. Pretty cool.
Their “unreleased” second LP, this, like the debut, is more of a mini-LP with seven tracks. And like the original there’s a definite STANDELLS influence — guitar, organ, clean — production, proto-punk. Several covers from this defunct band, whose singer is now in the RAUNCH HANDS.
NEIGHBORHOOD WATCH (not the old L.A. band), on their second release, comes off with some unique punk which boasts some real uniqueness. The cool use of keyboards helps: an utterly scratchy guitar sound, played with restraint, makes for some good moments; and the rampant sarcasm pushes this into the black. An interesting record well worth checking out.
Now, this is a “punk rock”, no doubt about it. While the band is not quite as tight here as they are live, this still rips. Mike’s retardo lyrics are at full tilt here, and this self-produced/distributed product is proof that some people are still into the whole punk idea.
Not exactly a group, but the second LP by Mark Edwards of Pollution Control mag, and this release has the uncanny ability to sound like a real band—in fact, sounds a lot like some real cool outtakes of 100 FLOWERS with its finely directed and passionate post-punk sounds.
This platter of HC/thrash has that tinny, garage-laden sound that I’ve always loved, and the good news is that MSI has a good command of their style. Not remarkably original, but the three all-out thrashers make for an entertaining ride.
This is righteous shit: rad rockin’ garage punk with lyrics about Ronnie, dumpster diving, and personal topics. There dudes blow doors, so get this!
A really surprisingly varied pop punk LP. At times they sound like STIFF LITTLE FINGERS, delivering really gutsy raunch. At other moments, it’s excellent Boston rockin’ pop. And then suddenly, they’re more to the pop a la HÜSKERs, but still maintaining their edge. Good job.
Bringing Fowl Records out of the closet is San Francisco’s longest lived and, as far as I know, only punk piano player. A fine novelty record if only for his covers of “Racism Sucks,” “Holidays in Cambodia,” and “Judy is a Punk.” He also plays lots of originals with vocals that are quite the goof.
