Rhythm Activism Live cassette
Socio-political renting poetry by Norman Nawrocki backed by the Dem Stink Rebel Orchestra. Good sarcasm captured live, comes with a great rant-along booklet. Fun, fun, fun.
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Socio-political renting poetry by Norman Nawrocki backed by the Dem Stink Rebel Orchestra. Good sarcasm captured live, comes with a great rant-along booklet. Fun, fun, fun.
Mania this ain’t. Decent pop rock ‘n’ roll it is, with early pop-punk influences. The A-side is pretty light, but the flip reminds me of 79 UK anthemic mod/punk stuff. Wish it were crazy.
On their third 12″, the PRIMITIVES show a slight decline. The title check, despite a nice chorus and good guitars, lacks the catchiness of their past pop-punk efforts; “Laughing…” is too wimpy for words, though the rockabilly bounce of “Buzz Buzz Buzz” is pleasantly bouncy.
It’s great to see this white South African anti-apartheid band still expressing themselves in the face of extreme repression. Both songs here are mid to slow-tempo jobs, one with a one-sided anti-Russian attack, the other dealing with the nuclear fear. Sad to see Rubin Rose out of the band.
I heard the first song of this LP, and I said to myself: “Eric Hysteric.” He produced this, and the same distorted, trebly punk you remember from DER DURSTIGE MANN appears here, complete with the nice vocal choruses. Nothing on this quite equals their hilarious cover of NENA’s song, converted into a beer song — “99 Kasten Bier.”
Wow! Hard-ass punk and thrash with unique twists and turns thrown in. Lyrics cover this crazy fucked up stuff. Check this puppy out.
If you’ve been trying to locate their previous and impossible to find vinyl — relax. Finally, this incredibly hot combo comes up with something to almost equal their live shows. Well, not quite, but people who love the BUTTHOLES, NEOS and No Wave clamor will all find something here.
I guess it had to happen, but the NOMADS have toned it down. Both sides lack the raucous, free-swingin’, guitar crazed rock ‘n’ roll that I loved em for. Instead, we get two medium paced, thick sound production tunes that are decent but pale in comparison to their early rave-ups. Alas.
One of those modern rarities, a truly self-produced UK release. This three-song job is very straightforward, mid-tempo, non-dogmatic political material. Though nothing new or special, there’s a basic honesty here that is refreshing, sort of like early NEWTOWN NEUROTICS.
One thrash tune, the rest being rock/metal at varying tempos. Lots of squeaky guitar bits, which we ruin otherwise almost palatable songs. Promo sheet contains a quote “…we didn’t want anything to do with punkers”. Do you want anything to do with them?
This is their most polished record yet and will probably be the place that their fans of crusty, wild desert punk stop listening and where college radio goes apeshit. Some of this sounds like FLEETWOOD MAC. You decide.
This retrospective release contains tracks from this band which was around during the No Wave scene, but the music is still pretty influential. By their slow churning sounds, you can hear where PUSSY GALORE, LIVE SKULL, and SWANS might be considered their offspring.
This surprisingly catchy twelve song record is a mixture of pop-punk and hyper-thrash, using mid- to fast-tempo songs with simple structures and memorable riffs. The vocals are straightforward and at times cuts through with some great lyrics. Good stuff be here.
A disappointment. MADNESS was the very best of the English ska bands, but this effort comes across as limp and unenergetic despite some pretty good material. “Bed and Breakfast” is the catchiest number here, but better versions of the songs are to be had elsewhere.
One this album, M.I.A. adopts more of a SoCal melodic punk approach (which is good), but grafts it onto the slick style of their last LP. “Beautiful World” is strong, and their cover of “California Dreaming” engaging, but this LP is not up to the standard of what used to be one of the best bands going.
Many of the tracks on this album are stylistically similar, but I enjoyed the grungy, basic production here, as well as the urgent songs and sarcastic lyrics. This is punky thrash with good velocity and an infectious spirit of fun. Good work! I liked this a lot. Filed under “Speedfolk.”
Now re-released as a 12″ EP with four live tracks on the flip, including LOVE’s “My Flash on You” and a cover of “Mr. Soul.” Pretty much what you’d expect from the best Australian garage punk band.
A great LP from this Chicago band, this is melodic hardcore at its best. Clear, straightforward, fast music that is anything but mundane and is enhanced by strong, catchy vocals much in the vein of early 7 SECONDS. This music is hot.
I think this is the first modern punk record Bomp’s put out since the ZEROS and WEIRDOS days, and this one is excellent. Really good, driving tunes, crunching guitars, and fun/tough vocals. Pick this up.
Two pop punk tunes, both with a big production sound, 60s sensibilities and modern punk drive. Like this stuff, but the lyrics are stone age, especially on the flip.
Some great 60s influenced garage rock here, 17 original tunes of great sound quality. Some of this has a taste of early CRAMPS, GUN CLUB, X, to add some modern flavor. Nice full-color package.
A nifty cover of the SWEET classic is augmented on the flip with more of KGB’s upbeat, guitar-oriented punk. Good power here, but the cover alone makes this worthwhile.
A must for those NY DOLLS/HEARTBREAKERS fans, 21 live songs of fantastic sound quality, recorded in NYC in 1983 featuring other ex-DOLLS Lure and Nolan. This rocks! Anyone got a spoon?
Yet another insane Italian act blasting out lunatic heartfelt thrash. Lyrics seem to be of a political nature. A definite thumbs up.
Hard-ass thrash with a hefty supply of unique twists and turns. Hyperactive lunacy at its best. Quality stuff here.
Sixties-type pop rock ‘n’ roll, sort of in the “Hippy Hippy Shake” vein, the only one of three rocks that much.
HERESY’S side rips out six ultra-thrashers that have a slight metal edge to them, which is overpowered by the sheer force that each song holds. The flipside has five songs by CONCRETE SOX which have a way more metal feel to it due to the guitar riffs; it’s still powerful and rock, though.
Another slice of cosmic psych-sludge from this off-shoot of OTTO’S CHEMICAL LOUNGE. The A-side is fast and maniacal, while the flip is a slow, groovy CREATION cover.
Terse Greek hardcore is played tightly and with real passion on the six tracks. While the songs could have been more memorable and catchy, I liked the first song on this 12″ a great deal, and hope to hear more from this very promising outfit.
This six song EP tends to show off musicianship more than anything — some really good bass playing. Most of the songs are slower and come closest to HONOR ROLE or the RHYTHM PIGS in performance. Not thrash, but very good punk.
A song for each of these personalities. One song is a driving, punky tune by this duo, while the other is a catchy but quiet ethereal ditty. Weird.
Energetic country punk: fast and furious with bouncy bass lines. Hot stuff here.
GENERIC mines a punk vein with an informal style not unlike a thrashy APOSTLES, with occasional lapses into poetry and folk. ELECTRO-HIPPIES, however, deliver an ultra-distorted HC/thrash variant that hits and misses. Two interesting bands, both highly credible from a lyric point of view.
A four-song lightweight pop rock’n’roll. Could be a lot more garage-y, considering the neo-’60s R’n’B trash material.
Back again, and funny as ever, these original Canadian punks deliver their melodic PISTOLS-type rock’n’roll. Only real complaint — production does away with any real grunge, which this type of punk needs.
This spirited EP features female vocals over a nicely fleshed-out set of mid-to-fast tempo punk and thrash tunes. The playing is excellent and songs are well-arranged; one track, “Eins-Eins-Null,” even uses the violin to interesting effect. An excellent release!
Modern power and late 60s/early 70s influenced music and lyrics. Sort of a modern NAZARETH or something.
Raging distracted punk and thrash with metallic tinges and straightforward intelligent topical lyrics. Explosive stuff here.
The Boston EDGE have moved back to Ohio, and somewhere along the way picked up a banjo to augment the band. “Just An Illusion” is a poppish ditty with a good melody and nifty banjo pickin’, while the flip is slower but still pretty good. Takes getting used to, but I recommend it.
This import collects all six of the early DROOGS singles which were impossible to find when they came out. The sound here is rougher and tougher than their last album, and a great collection of trashy LA garage punk by one of the best. Lotsa covers.
The cover sticker bills them now as “metal,” and there is a lot of thrash in that, but overall it’s still D.R.I. — lyrically and musically (though weighted down at times). While C.O.C. has soured on this “crossover” business, D.R.I. seems to be making a blatant marketing approach — just catch the cover art.
A cover of BTO’s “Takin’ Care of Business” might tell you something about the rock approach of this new DOA platter, as many of the songs have that same heavy rock sound. A couple rage, though, “To Hell and Back” being one, as does the revised classic “Nazi Training Camp.” Mostly strong, political lyrics, however ironic that is for this label.
The slow, deadpan vocals remind me a whole lot of late 60s SF psych groups, but musically it’s in the same ballpark as a lot of Aussie garage music. This is even more amazing since this band is from Germany, which has a history of blowing it so far as garage/psych music is concerned.
The original D.I. 12″ is re-released here, along with 3 current tracks. Despite the fact that I dearly love their music, I’ve never seen a band with so many re-appearing tracks on their “new” vinyl. Should be a whole new LP’s worth soon. Dudecore — totally.
This album sees the DESCENDENTS with somewhat longer songs than usual, a more power-pop compositional style, and the hooks we’ve come to expect from these popsters. The problem is that their emotion of ’82 is largely gone, but this is listenable for those who value melody over crunch.
Features Marlene Dietrich singing semi-industrial pop music. No?
Very political, very basic, and very speedy thrash with both male and female vocals. Actually some songs slow down and break into pretty eclectic stuff. Interesting and sincere.
I liked their earlier EP, but I didn’t fall over myself like some people who thought their brand of scruffy 70s rock was manna from heaven. Basically, this is just some pretty cool rock sounds with a surprisingly flat production.
The killer title track is an uptempo 60s punk cut with loud fuzz guitar, maracas, and snot-nosed vocals. The flip is a bit slower, but has the same tough qualities. A real ass-kickin’ gem.
Yahoo!! Energetic reggae/ska based material with insightful, creative lyrics by Dick (ex-SUBHUMANS). Totally great enjoyable stuff here. Watch for vinyl.
