For review and radio play consideration:
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!
Heavy on the twangy guitar and vocals lush with harmony, this group cuts a delicate balance between pretty pop songs and tougher guitar based garage sounds. Good songwriting, like softer tracks by the CELIBATE RIFLES, or the harder stuff by DIED PRETTY. Good, though.
This looks and sounds familiar to me, but I can’t place. It. Anyway, here we have 18 medium tempo garage-y punk tunes, with catchy lyrics. Reminds me of the early Los Angeles underground sound, very rocking with tasteful twists!
Fans of The Scream period SIOUXSIE will find favor with this excellent four-track release recorded in late 77. “Love in a Void” is as great as always, but “Mirage” and “Metal Postcard” also connect with a vengeance. Rawer than other versions of the same songs, and a real treat.
SINS specialize in solid mi-tempo punk with good instrumentals and vocals reminiscent of the early SAINTS. Aside from a few less interesting songs, what emerges here is an extremely promising effort, especially on rootsy punkers like “In the Red” and “Fair Share” which balance power with finesse.
This Texas band opts for a truly punk approach on this five-song effort, and the charm here is largely due to the hard guitar sound and the “fuck you” punk attitude. I liked the title song in particular, though the entire platter is filled with riffy, punchy, enjoyable punk rock. Good.
SCRATCH ACID is back with six demented, charging rockers, a nasty guitar attack, and vocals very reminiscent of NICK CAVE. While not as rootsy as their last LP, the band emphasizes power on this release, which rates as very good for its genre.
This record has more drive and power than a lot of post punk releases these days, but that energy is often sapped by annoying breaks, too many funky riffs (for my taste), and sometimes irritating vocals. Could be worse, though.
These mid-’79 tracks, five in all, show a fair diversity of punk styles and some rockin’ power, especially on “Society.” The RUTS were never a major force in British music, at least in my opinion; fans will find this an interesting document, nonetheless.
Japanese skate metal thrash— what’s next? Well done, but all four songs are devoid of personality. I think Roger really likes them so they must shred.
On the basis of their first two singles, I was expecting bouncy female vocal pop-punk with a great sense of personality. This set of tunes, however, veers into X-MAL DEUTSCHLAND territory with its sung vocals, slower tempos, and thinned out guitar sound. Too bad.
The RAID play basic but enjoyable garage punk with pop influence. Lyrics are in the rebellious vein. Pretty catchy stuff here.
A cassette-only release in a limited edition of 500, doing an entire and complete cover of the STONES’ heroin masterpiece. However, tongue is firmly in cheek as half the songs are done straight and half are completely trashed. Yes, a classic.
Another release in the spirit of early UK punk with just a tad of the old post-punk. Catchy (almost danceable in their B-side dub remixes), and raw enough to be interesting. “South Africa” sounds remarkably like the PISTOLS with effects and “Power for the Many” is a studio piss-about.
PSYCHO has released a full album’s worth of blazing thrash which is undeniably powerful, but some tempo variations would have helped. Lyrics cover conformity, society, Ed Gein, and more. A solid, vicious release.
This album provides a lot of mid-tempo melodic punk with strong rock’n’roll roots. The songs have a good mixture of humor and serious concerns brought out through the lyrics as well as the music. My only complaint: the songs tend to drag on too long.
Easily one of the coolest garage trashers from Australia for a while. Rough-edge vocals with a great hook and anthemic lyrics — a future classic. Just a true slide of sludge with a heart of gold.
Totally raging obnoxious adolescent thrash with some pretty good lyrics, and some pretty bad ones. Lots of spirit and energy in these guys.
POPTONTO utilizes a riffy, traditional approach to mid-tempo HC with an emphasis on power chords and serious lyrics. A very sincere bunch of tracks, but this band doesn’t stand out in the areas of songwriting, or overall personality. Okay.
A true cheese classic. Extolling the virtues of too much acid and hanging out in Haight-Ashbury complete with wah-wah pedal and go-go dancers singing backup. The flip is a little more serious but pleasant melodic pop song with just enough bite to keep you listening.
Here, we have coupled the previously available PHANTOM OPERA EP, a group that rose from the break-up of the criminally underrated SECRET HATE, whose EP is also featured here. Both bands combined heavy riffing punk with everything they could get their hands on, from metal to surf. Too cool.
If you don’t have a sensitivity to noise, this will sound like a self-indulgent instrumental mess. What we have here is an insane, grinding, industrial-strength set of “tunes” which purposely tries to disorient and infuriate. You know what? It works.
Here’s some solid garage punk with realistic lyrics covering starvation, war, the underprivileged, etc. Comes with a lyrics book with effective graphics. Great job (not the band from Pomona!)
This great new live album should dispel any ideas about this band being a wimpy, light pop band, and prove that they can hold their own with the likes of “Detroit-style” rock bands from Australia like the CELIBATE RIFLES or the SCIENTISTS.
This all-girl band from Japan specializes in upbeat, melodic pop with tight, clipped, melodic vocal harmonies and nifty songwriting. Bouncy and energetic. I like this a lot!
This release touches on that fringe where HC meets haunting, discordant post-punk. The shouted female vocals, rhythmic instrumentals, and loose, fragmented compositions were difficult for me to enjoy.
Somehow, Norb Ugly (ex-S.U.M., now of DEPO PROVERA) dug up quantities of two early Green Bay “punk” singles and now wants to foist them off on you. This one is from 81 and has that new wave punk sound of 79-’80 — okay beat, but with deep pop-rock roots.
Forget the MIQUEL CO. side (sounds like Irish folk meets bad 70s rock), and the MASSACRE side is a 50/50 proposition. One tune is a pretty driving yet tuneful thrasher, but the other is a miserable metal clunker. Why?
Three French acts here: MST (basic but hot thrash), MASK HAAGAZ (more basic but not thrash), and BUTCHER (noisy thrash). Pretty good.
This band manages to take up all the space they can with their mixture of JESUS AND MARY CHAIN dissonance and SONIC YOUTH meets BIG COUNTRY melody. The instrumental on the flip is one of the most incredible production jobs I’ve heard in a long time.
New York’s alright if you like saxophones.
This reissue (?) of an early 80’s Aussie punk single by the KELPIES shows a studio approach to the same restrained punk style that was showcased in their recent posthumous live LP. The guitar work is rather like CHELSEA, the two compositions here pleasant but not earthshaking.
This German band showcases a mid- to fast-tempo HC approach with somewhat engaging vocal choruses and a dynamic instrumental punch. While there were a few interesting moments here, the overall effect is aggressive but not gripping.
Another band that’s hard to peg. It’s a very lean sound, somewhat akin to early English bands like DR. FEEDGOOD. Quite a few slower, more somber tunes along with a good cover of JOHN CALE’s “Mercenaries.”
Both bands collaborated on this split EP which contains four tunes by a single band who shares members between them. One side has spare instrumentals, delicate female vocals, and a punk attitude, while the other contains a good APOSTLES-style tune in “The Wasteland.” Interesting.
Previously only available on costly bootlegs, these four tracks may not have the production crispness of “official” releases, but there’s still a brace of alternative versions that will please JD fans. “She’s Lost Control” is just as good as always. Recommended.
Basically, a descriptive monologue of the prison life from a first hand experienced source. For those who have never done time or directly know someone who has, give this a listen. It will amaze, shock, repulse, and educate you.
A great record that just pumps out of your speakers — full adrenalin charged rocker with no let up. Much more to the point than their earlier single; the flip shows down a little more for a more conventional rock-type song with cool saxophone breaks.
Yet another INSTIGATORS live tape, displaying their catchy melodic sound. There’s no doubt they’re a great band, but are all these cassettes really necessary?
This exceptional Dutch band comes back with a four-track EP even more impressive with their fine debut album. Passionate female vocals, a biting guitar attack, punchy mid- to fast-tempo punk compositions with melody…what more could you ask for? Great lyrics, too. Buy this now.
Some hot thrash an enjoyable 77-ish punk from these jokers. Lyrics are mostly serious, but inject some silliness in, along with sexist overtones. Pretty good.
All right! Hot mid-tempo punk with a 50s rock’n’roll sound to it. The only set back are the long leads; otherwise, this knocks down the walls!
Both bands (the former now defunct) do the same song. One version comes out like early new wave/pop punk, while the other comes off more 60s garage psych. Fun concept.
Yet another album full of grungy, usually driving noise. Most of this is listenable, a pretty fair reflection of modern, urban bullshit.
Finally some new material, but a letdown. They’ve always been pop, but with a lot of punk punch. In this case, three of four tunes never deliver that wallop, and the other does so sparingly. Boooo!
Totally ridiculous insanity from these dorks. With songs like “Cheddar Cheese Party” and “Annoy the Cat with a Maracca,” you just can’t go wrong. Gooncore rules!
Don’t expect a simple, straight ahead punk rock record here. From the brooding, dark passages that explore into full passioned screams to their mixture of psychedelic and metal, this debut comes across as a mature, well thought-out sound. You hear something new every time you hear it.
Strong musically with almost new wave meets punk meets Three Penny Opera vocals — a more new wave DK’s? Intelligent lyrics, very tight and driving pop punk music, but the singing, though gruff at times, does detract a bit. Different.
Melodic guitar pop abounds on this album, with 60’s pop edges which add a certain charm to the proceedings. Mostly, it’s effective, though all the best hooks seem to be concentrated on Side A. Above average.
There are a couple of really good songs that have the always great combo of heavy rhythm, and melodic craziness. They maintain their own definite originality. The other songs are more of a crooning dirge which is fine, but not as fun. Overall, recommended, though.
Japanese speedcore, complete with lead breaks, mosh breaks, and every manner of instrumental self-indulgence. Good energy, but this is too close to Rock for comfort.
Pee-pee.
