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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!
Combining elements of punk, country, blues, rockabilly into something other than “spaghetti western” music is no easy feat for an Italian band, but they do it well. Fun, and not pretentious.
A marked improvement over their debut EP, SCREAMING BROCCOLI opt for a poppish rock approach to gently satirical material. The jaunty humor and poppish sensibilities of this record recall early ANGST, though this has a less aggressive sound.
I haven’t liked too many amelodic trash bands lately, but these guys attack their music with such enthusiasm it works. Raging vocals, pounding snappy drums, insane guitar noise, reminds me of early Brazilian HC. Definite.
This re-release of the band’s two EP’s on one record is a definite treat for those who missed out the first time around. Both sides are packed full of the intense, harsh sound that this English band was known for, as well as more of Nick Blink’s cover act. Not for tame ears or eyes.
This colorful outfit put out a couple of recent releases that we missed, this being the latest. As with their other material, this is well-crafted pop punk, accented by female vocals with somewhat feminist/radical lyrics. Underneath the colors and pretty music lies some disturbing realities worth checking out, especially for fans of X-RAY SPEX, SLITS, CRASS…
RIFLE SPORT had a record awhile back and it seemed that they had broken up. But now they’re back and while there’s still a nice, gruff Minneapolis punk sound in there, there’s also a new element. Probably due to producer Steve Albini (BIG BLACK), the sound is a little faster and more rhythmic, sort of a punkier BIG BLACK, okay?
Three songs here, exploring a faster paced punk sound with a certain lack of musical distinctiveness. I tried playing their first EP after hearing this, and the contrast is telling: the conciseness and good hooks of the old RHYTHM PIGS has been lost along the way.
Last time we saw RHINO on their own vinyl, Dangerhouse Records still existed and it was still the 70s. I guess they’ve reappeared just to prove that not every revival has to be lame. While not quite as exciting as that old single, this still cooks, though at times slumps back into rock tedium. Could have been a lot worse.
RESISTANCE can do many punk styles, and included herein one finds DOA-ish punk, 77 punk, post-punk, a punk ballad and hardcore. While none are overwhelmingly powerful or tight, with that variety they should mature into something to consider.
A powerful fast punk sound which reminds me a bit of a non-metallic MOTORHEAD. “No Time” and “These Days” are the standout cuts.
Well, Felix and company are back but there’ve been some changes. Side one if the more “punk” side, though only two of the tunes are really hardcore tunes, while the others are slower and go into metalish or post-punkish territory. Side two is decidedly lighter, sounding like a poor man’s LOVE. Lyrically there’s a lot of “regret” themes (mainly having to do with drugs), a few generally “outside view” tunes, and even two love songs. Glad Felix is turning it around, but I hope the next release shows more verve.
While not as melodic as most of their Swedish counterparts, this outfit plays excellent hardcore. And compared to most other bands of this ilk, they are way more melodic. Like their previous 7″ (we fucked up and didn’t review it last year – also available at this address) this disc has power, hooks, and depth. Check them out.
A diverse selection of noises from garage-y punk to speed metal to jazzy material all with a spacy guitar sound and personal lyrics.
Kind of a “history of…” tape consisting of material from 82-’87. Of course it’s obnoxious, snarly punk rock from these Canadian jokers.
Some good mid-tempo punk metal here. I hear traces of MOTORHEAD, ACCUSED, etc. Side one lacks in sound quality but side two captures their spontaneous intensity. 13 songs, 3 covers, and English lyrics.
Humorous themes abound on this one, a slab with the fast/slow. HC approach and vocals reminiscent of the CRUCIFUCKS. Basically raw and okay, but the ultra-fast version of the CURE’s “Killing an Arab” is priceless.
Hot metallic thrash with mostly gloomy lyrical themes. The vocals get a bit muffled at times, but tunes like “No Future” deserve to be heard.
The two songs by THE PAINKILLERS are like 60s punk blues meets PERE UBU and BIRTHDAY PARTY. The YETTIS “song” is like the BUTTHOLES meets PAINKILLERS. You figure it out.
Very powerful, drunken punk and thrash extremely similar to POISON IDEA. Heavy on the drive and power. Good job, dudes.
Here’s the dark and virtually unknown underlings of hip, European, noise-punk. OH’ DEV’s second one is all right. Lots of the ol’ dissonant, psycho guitar with poetic spoken style vocals and lyrics of the disquieted character. But they’re upbeat enough of the time to demand a few listens and the title track is great.
Very good, early-style LA punk with clean hooks and straightforward melody. I don’t think it’s an insult to say they’ve got a sound that’s like early TSOL. Could use a full LP of this.
Sort of a FLIPPER meets BIRTHDAY PARTY with the accent on the less pretentious noise side. Lots of grunge and painful guitar attack, some set to poetry. Pretty gripping.
I’ve always enjoyed stuff like this: tight, to-the-point thrash with basic production and snappy riffing. Although I can’t say this is remarkably original, it connects with charm, fun, and touches of songwriting quality. Very good!
NABAT, Italy’s longest running skinhead band, returns with their original and hard-hitting Oi, this time delving into reggae a bit as well. Consistent, diverse, and powerful stuff. This LP is dedicated to Nelson Mandela (among others), which sets NABAT prominently apart from the racist stupidity of most other bands. Good.
With a name like this, I expected an early THEM raunchy R’n’B sound (band name is a great THEM song), but it’s pretty lightweight 60s pop with only a lilt of “G-L-O-R-I-A” in it.
Imagine SCRATCH ACID meets THE CRAMPS meets LIME SPIDERS with a straight ahead approach but without much of the neo-’60s feel at all. Pretty damn fun, trashy and demented with two grindy guitars.
More grungy street punk from these jokers. Some catchy tunes here, and “We Rule the World” is damn rockin’. Cool Stuff.
Some fast, juvenile sounding punk here with personal lyrics. Good stuff here and they have a totally cool logo: a sleeping cat!
Both sides of his German band’s latest are excellent pop punk. Well produced, catchy tunes and lots of guitar and vocal choruses. Classic punk.
Is there such a thing as getting “BYOed”? While their latest release is pretty decent pop punk (at best they sounds like an American NEUROTICS), it’s a bit weak compared to the previous 7″. All the tunes are mid-to-slow paced, have very good lyrics, and I bet they really rock live. But at this point, they seem to be going the way of the RED ROCKERS.
Chicago’s LOST CAUSE performs HC with a melodic punk edge, always aiming to kick ass in energy and drive. Echoey vocals got in the way of my full enjoyment, but there’s undeniable potential evidenced in some of these songs. Above average.
Done in the early 70’s before he gained fame with Ohio’s PERE UBU, the A-side is a DYLAN-like acoustic ballad and the B-side is a very garage-y cover of the VELVET UNDERGROUND classic, done as if Lou and company took downers instead of speed one night.
Three cuts here: the title track being the best of the cuts, an impassioned, melodic, mid-tempo punk number with some acoustic guitar work. On the flip are two powerful, speedcore bashers with complex structures. A good 7″.
Pretty powerful stuff here, a forceful collection of hard thrash (the non-metallic variety), and slower, punk-influenced tunes. Good show, boys.
Title track is one of their haunting and beautiful ballads, while the flip features a nasty cover of BO DIDDLEY’s “Who Do You Love” and an awesome song, “Kill Surf City,” that sounds like a SUICIDE gone apeshit. Hot.
Aargh! Brutal stuff here: abrasive thrash with a chainsaw sound. Eight tunes, all gnarly. Insane shit here, dude.
Mostly basic, ripping thrash which is undeniable tight and powerful, though a bit lacking in the innovation department.
At first listen this band seems like another gothic throwback but their upbeat punch mixed with powerful rhythms and a psychedelic/blues style proves they can take off where LEATHER NUN left off. Hooray for a fine Swedish tradition.
The A-side has a definite STOOGES feel to it, a medium paced song with mysterious undertones. The flip conveys the same mood, taking the DYLAN classic and taking it as far from the TURTLES’ version as possible within a pop reference, sorta like BRYAN FERRY might have done.
I remember the first record by these guys as being real tough in the vein of the LIME SPIDERS or the NOMADS and while there are a few all-out screamers here, most of the songs on their second album are more somber, and maybe a little bit more bluesy. Not a bad thing, but if you believe a band is not as good when they get technically proficient you might want to pass on this cause they can play now.
Still more rock’n’roll fun with Australia’s irrepressible goofball punkers. Both sides pummel in the fast, snotty punk vein; while the hooks are kept way in the back, the energy and speed here almost compensate for it. “Ferdi’s Song” has some good choruses. Pretty good.
Mix that trademark Aussie rock sound with a dose of the Liverpool pop sound (TEARDROP EXPLODES), and you end up with a very accessible, textured sound which boasts a real distinctiveness. Good on melody, but doesn’t really connect with any discernible punch.
Well done pop-punk, but the vocals are mixed way up front (and are a bit annoying), and the music itself is so produced that it loses a lot of bite.
The instrumental sound is basic French punk/HC with loads of instrumental punch. The songs emphasize a hard sound over melody, although the real weakness of this album stems from the out-of-tune female vocals which alternate with the male singing. Adequate.
This solo artist plays industrial dance music (synth, rhythm machine), and the result is much more likeable than PHIL COLLINS, so I thought I might let you know.
This rocks! 13 live cuts from their 1985 tour of Europe, including great covers of “Human Fly” and “I’m Loose.” Expensive but great sound quality, a nice gatefold sleeve and additional flexi make it all worth it; get it and get crazy.
A speedcore group whose three tunes all thrash hard and have “horror” lyrics. Oooh, I’m scared.
The singing sounds like TELEVISION and so does the music, but at almost schizophrenic “extremes.” The A side is way clean sounding and the flip contains some noise guitar and could be right off Tom Verlaine and Co’s first LP.
Wow! This is neat! Powerful energetic pop punk with a drum machine. In general, I don’t like “non-human instruments” but this is darn good!
Noise with an edge, and occasionally some recognizable melodies, too. No wave meets beatnik jazz meets the modern “Chicago sound,” from whence they hail. Arty, but not too pretentious.
