Sticky Filth At Least Rock ‘N Roll Doesn’t Give You Aids EP
These Aussie dudes come off with pretty good RAMONES-ish sound. Nothing happening lyrically, and not enough catchiness or power to push it over the top.
MAXIMUM ROCKNROLL
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These Aussie dudes come off with pretty good RAMONES-ish sound. Nothing happening lyrically, and not enough catchiness or power to push it over the top.
Ah, finally a non-metal HC band out of Utah. Sounds like a great unknown band from ’82, but this is today and a welcome relief it is. Hot, inspired playing, tons of energy and hooks, catchy tunes and cool vocals. As you might guess, I like this a lot!
Really excellent lyrics addressing many of the problems within the whole scene, and doing it with insight and sensitivity. Musically, it’s older punk meets hardcore – very moshable.
Proving that skins anywhere are capable of making simple catchy songs and making the dumbest face poses ever. Four songs, three decent.
Good rockin’ stuff, a ’77 R&B/punk sound. Hard drivin’ pop with no let up. A good debut.
A really hot debut. Great pop hardcore, lots of punch, above average lyrics, memorable tunes. Kicks ass, so get this now.
This Ellensburg, WA band’s second LP is an exciting moment. They get more indulgent here, proving themselves a real ’80s psyche band. Intricate swooning and meaty jams with a few melodic ’60s influenced songs. But ravers like “The Pathway” make it worth living for.
Turn up the volume on this baby, and you won’t be sorry. Great production brings out the best here, and though the pace isn’t as frantic as before, the power is well directed, the hooks are there, and the energy flows hot. A welcome surprise.
Very basic hardcore that’s dominated by a crude, raw guitar. Everything else sits behind, setting forth short blasts of mayhem, not unlike the old NEOS. Enjoyable.
All the markings (long bowl-like hair, funny suits, fuzztone guitars) of a prime neo-’60s garage band. And here it’s less of the PLASTICLAND-type goofery more of slower CHOCOLATE WATCHBAND groove. No real “rave-ups,” but they’re rumoured to be a pretty hard-driving combo live so wise up, shorty.
Mid-to-fast tempo German punk abounds here, with catchy choruses (especially on “Your Escape”) and a powerful power chord guitar sound. The songs are pleasant, but there are no particular revelations here. Just good, basic, loud punk.
I made the big mistake of listening to a lot of old Ramones recently, which put this new release into perspective—a bad one. The edge is gone, the wackiness wants, and the singing normal. Outside of “I Lost My Mind” and “I’m Not Jesus,” this is really inferior material, and one can only wish they were halfway to insanity.
This is what suburbia does to people…forces them to form utterly psychotic thrash bands with totally deranged vocals. One question: why does the tape cover smell so fucking weird? On second thought, I don’t want to know.
This Irish band has been cranking out the records. Lucky for us too as even though they are kind ’60s-ish, they really rock out with a garage-y touch. Strong and slick with crunch, catchy hooks, a little of the ol reverb, and some incredible jams. This LP (and in fact the band) are a must for all garage enthusiasts.
Pretty basic thrash without much distinctiveness. Lyrically, they seem to dwell on depressing themes, judging by “Wanna Die” and “Self-Destruct”. Psychotic? Not really…
Other than the title track, this is a pretty toned-down release, offering little in the way of excitement. One neo-’60s tune, one pop rocker, and one folk tune.
A very polished very pop “progressive” post-punk band. Definitely college radio material with little bite.
“Attention young ladies. My favorite way of getting kicks—I go downtown, I hustle chicks. (Chorus) Beaver Patrol (Cruisin’ on my Beaver Patrol, I love that beaver). She’s trying to keep me happy with all her might – All you gotta do honey is make me feel alright. (Chorus) Beaver Patrol (Cruisin’ on my Beaver Patrol, I love that beaver).” Distributed by Rough Trade in the US, this is a four-song white rap/rock thing Á la BEASTIES. How embarrassing for them.
A split live EP from these two European acts. POLITICAL ASYLUM has a catchy, melodic punk sound with thoughtful lyrics, while the PISSED BOYS have a quick, tuneful style. Good stuff.
Let me guess—pop punk? Yup, five slow-medium tunes, one uptempo number. I can’t believe how many Japanese bands are going back to ’77 punk, but are showing no imagination or hindsight in how they regurgitate it.
A very solid album of thrash and speedcore sounds, similar to a cross between MOTORHEAD, a thrash metal band, and a contemporary HC act. Can’t say this hasn’t been done before, but these guys do it pretty well.
A non-stop barrage of HC thrash with some metallic riffs creeping around here and there. Really straightforward, ferocious, aggressive stuff, especially “Negative Man.”
Great young, eager group with energy and a very good sense of melody. Makes you pine for the days when “punk” wasn’t afraid to show a little melody in their songs. File this right along with the first of the REPLACEMENTS and GENERATION X and stuff like the TV PERSONALITIES, SWELL MAPS and the FRESHIES.
The A-side was too lightweight to cover, but the flip has a cool guitar sound, simple psych grunge Á la ’66. Fun from THE OUT.
Some serious Oi! produced by this dedicated Scottish band. Twelve great hard-edged melodic anthems backed by strong sing-a-longs and power production. The lyrics stick to an anti-government/pro-“skin and punk unity” stance and don’t even come close to right-wing bullshit. A good record by a band that keeps on going.
Fourth album by this very hard to describe East Bay group. Sound collection and sculpture at least gets you in the right neighborhood. Stellar line-up of guest stars includes the RESIDENTS, Garcia and Hart from the GRATEFUL DEAD and even JELLO BIAFRA. But the real stars are pieces which include an incredible punk tune, “Carbomb” and “Here.”
Some jangly pop-punk here, maybe sort of like the MONKEES. Real smooth and relaxing, but emotional. Pretty neat.
Sounds like BLONDIE or some other weak ’77 band with a “girl” singer. Get me outta here.
Pretty well crafted pop punk, though a bit too pop at times. Just when you say “no more”, they pull back from the edge and rock surprisingly.
Quick thrashed out punk with lyrics which cover racism, nuclear weapons, and personal issues. Catchy tunes, well thought-out words, overall, a great job.
Poor sound quality, not-so-hot performances, no liner notes, lyrics or info. Recorded in ’83, junked in ’87.
A re-issue with a few extras thrown in. Ooh, it’s scary.
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.
