Bring Home the Lobsters Bring Home the Lobsters cassette
An interesting mixture of thrash and melodic punk with topical lyrics. “McPunks” is the standout, musically and lyrically.
MAXIMUM ROCKNROLL
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An interesting mixture of thrash and melodic punk with topical lyrics. “McPunks” is the standout, musically and lyrically.
Aside from the excellent version of “Release the Bats,” the BIRTHDAY PARTY is not captured to their best advantage on this release. First rate production bolsters the mid-period output of this band moderately, but the material mostly doesn’t stand out.
A great tape divided into a “then” side, 77-ish punk with reggae and pop flavorings, and a “now” side with a more HC sound, with some thrash tunes reminiscent of SOA. Excellent.
Highly percussive punk/post-punk with hot guitar slashing in and out. Sounds like a cross between early punk and some current Chicago bands — meaning delivery, loud but clean and melodic punk.
Yahoo! Great HC in the Italian tradition: powerful thrash with metallic guitar work, but much tighter than many of their peers. Excellent.
A good sampling of tunes from the APOSTLES’ vinyl offerings. A swell introduction to this English outfit’s unique sound.
ANGRY RED PLANET has developed their own unique and accessible punk style, passionate and full of immediacy, and this LP is dynamite when it connects. “Mediocrity” and “Pasturetime”, in particular, show off this hand at their best, but even the less memorable cuts tend to grow on you. Very good!
Good obnoxious punk with sarcastic lyrics. Catchy choruses, adolescent rebellious attitude. Neat stuff.
A very high energy release — this is metal-heavy hardcore without the excesses and with intelligence. Though riffs do get repetitious, the overall power is intense enough to hold your attention. Should be popular.
I was pleasantly surprised to see this witty group making just good standard trash rock with funny and biting lyrics that ring a little bit like old DELTA 5 or TV PERSONALITIES. A lotta fun, but certainly not wimpy.
This album incorporates a variety of influences (punk, BIRTHDAY PARTY post-punk, and even industrial tinges), spreads its invention too thin over the ten tracks here. What results is a punk sound with wanky edges; I only wish the whole LP sounded like the terse, disciplined title track.
Ninety minutes of acts like MDC, STATE OF MIND, A.P.P.L.E., FINAL CONFLICT, etc. all spewing out their strong lyrical sentiments. Informative booklet enclosed. Cool stuff.
A solid comp of mid-tempo garage-y punk, many with a pop influence. Twenty-five acts, all from Delaware. Pretty good.
A really cool release with garage, punk and noise cuts by BIRDHOUSE, ULTIMA THULE, and SILVER CHAPTER. All three cuts have guts and character. Comes with issue #3 of…
This split LP contains OI POLLOI from Scotland and BETRAYED. The latter play pretty unexciting but competent Oi with lyrics that range from the standard working class oppression themes to dubious calls for skinhead unity. OI POLLOI, on the other hand, rip like crazy and have lyrics that rise above the norm.
An hour’s worth of blazing punk and thrash from the likes of FALSE LIBERTY, GUILT PARADE, and many others. Another great, consistent comp from this label.
A solid comp of recent Hungarian material: punk of all speeds with varied production and intensity. Good, but not amazing.
A sampler in the true sense of the word, with 19 NJ/NY outfits playing everything from psych to speedcore to melodic pop to 77-ish punk to comedy skits! For the diverse.
An international comp featuring BLUT+EISEN, ANGRY SAMOANS, SUBHUMANS, KTMK, COC, FANG, I SPIT ON YOUR GRAVY, and lots more. Hot tracks from the DEPRAVED, NEUROTIC ARSEHOLES, FALLOUT. Many tracks previously released, but now largely unavailable.
A regional comp featuring S.O.B., BRUTUS, OUTO, DITHER, RIOT, and DORORO. Mainly hardcore, with some pop-thrash and a bit of slower music. S.O.B., OUTO and RIOT are my faves.
A four-band project. LES GNOMES have a hard-hitting but quirky thrash/punk sound that’s distinctive without getting pretentious. DAMES are an all-femme band that have an English pop-punk sound with a slight post-punk flair. BARON ROUGE has a ’79 English arty punk sound that still has power. ZOI are a mid-temp band that occasionally lurch into thrash, all with SIOUXSIE-like vocals. Good variety on all tracks.
This 90-minute sampler of HC and noise punk from Wisconsin contains no less than 30 songs from the likes of CHARMING DEVIANTS, IDK, 10-96, U.S. DISTRESS, and JOHN ADRIAN. Lyric booklet included.
While this label put out the great Surfin’ in the Midwest compilation, this sampler suffers from a little too much of the “folk rock” sound and not enough of the great 60s garage fuzz. Still, some respectable tracks from UNCLE AND THE ANTEATERS and DAYBREAKERS.
Current garage sleaze from both the U.S. and Europe featuring LES THUGS, CANNIBALS, LEGENDARY GOLDEN VAMPIRES, SICK ROSE and much more. One of the best neo-60s series going.
A good follow-up to their 7″ featuring the same quirky yet melodic thrashers, funky moments, some good material, and lots of the ol’ saxophone. Their slower moments get dull and gothic sounding, but the fast ones are really fun.
The metal-punk on this release crosses the Offensive Barrier, at least for me. Basic speedcore riffs, crunching lead breaks, and sub-par songwriting combine to make for four songs distinguished only by their relative speed and energy.
Metalcore with songs like “Motor Maiden,” “I Hate the Bitch,” and “Kill em All,” etc. Draw your own conclusion.
One of the greatest of all UK bands is given another long-shot chance to become the next BEATLES on this 12″, which contains disciplined but enjoyable versions of four of their terrific songs. UNDERTONES fans (and I know there are lots of them) should snap this one up, and fast.
Garage-y punk and thrash from these USELESS PIECES OF SHIT. Lots of songs, grungy production, stupid punk at its best, or is that worst?
This is actually the domestic pressing of their latest EP. The import, reviewed in a previous issue, contained some tracks from the American release “Kill by Remote Control,” so they’ve replaced those tracks with the import 7″ “God Bless America.” If you don’t have the import EP or 7″, snap this up.
This has all the components of a great Aussie garage record. There’s a great underlying melody that never gets in the way, some tough guitar slashing, and everything moves along at a pace reminiscent of the FLAMIN’ GROOVIES and SCIENTISTS.
Mostly melodic punk and thrash with intricate guitar work here, save their MOTORHEAD cover. Neat lyrics book with intelligent lyrics. Swell job.
Pretty pedestrian thrash with a considerable amount of gusto. Lyrically, these guys possess a heavy anti-drug and alcohol slant. Pretty good.
I’ve always dismissed this band as a wimpy neo-’60s band, but not after listening to this. Anyone could be impressed with the hard-edged guitar sounds while maintaining a melodic pop charm. Sounds like a long-lost LP from the era that brought us the YARDBIRDS, ZOMBIES, and THEM.
A hot live set from the SUBHUMANS’ last show, with mucho songs including a great live version of “From the Cradle to the Grave.” Opening act STEVE L. plays melodic acoustic punk with smart lyrics. An excellent tape.
This release contains engaging change of pace thrash with solid performance and production, along with some very strange lyrics. Meets all the requirements for slamming along with it in your own bedroom. Nine songs, very good.
Resurrected from the depths of the early San Diego scene, these guys belt out 11 classic raw punk tunes plus three great covers. The demo side is clean with good production, but the live side gets berserk! Look out for vinyl soon.
If you feel the HÜSKERs have gone too far overboard into pop lately, then try this baby out. Same melodic din, but delivered with crunch. Poetic lyrics that don’t do much for me, though.
Powerhouse thrash with some cool melodic breaks. Only four songs, but a neat tape.
Another one of those strange post-punk releases that instantly reminds you of a thousand bands. Their taut, murky music and oblique lyrics reminded me of the MINUTEMEN, PHANTOM TOLLBOOTH, even the BLOODY MANNEQUIN ORCHESTRA.
SOB clearly take their nod from fellow Japanese thrashers the SWANKYS and CONFUSE; nine fast blasts here, exploiting an enormously energetic, basic HC style with loads of emotion and power. A total winner!
This band does a dark, rolling sound and also has a lot of instrumental finesse. Some of the guitar…uh..”hoodling” sounds a lot like GONE and the vocalist has a touch of NICK CAVE without being obnoxious about it.
Mostly mid-tempo, driving punk with occasional ventures into SEPTIC DEATH-ish thrash. Lyrics have a desperate personal edge to them. Cool.
In their latest effort, SEKAANNUS employs a mid-tempo HC approach that’s listenable, but fails to pick up enough energy or noise to make a definite impression. Three songs, all in a repetitious, riffy style.
Punk rock with a great obnoxious “punk rock” attitude. Lyrics range from rebellious to ridiculous. About 45 minutes worth of great tunes plus a funny interview. Too great for words.
The A-side from this veteran DC band at its best has strong MC5 influences: with the structure, leads, vocals, and riffs, it has a bit of a 70s rock feel, but it’s catchy and powerful. The flip is a folk/acoustic song that lacks power but has good lyric impact.
I don’t think fans of Southwest bizarro noise will be disappointed here. Six songs that loudly snake their way across your turntable, with a modern acid sickness in their trail. I guess this is art.
STATIONS OF THE CROSS are a new NC band who play punk and thrash with metallic tinges. Eleven songs, clean production, personal lyrics. Good job.
Superfast hyperthrash with fierce roaring vocals. Nothing too original, just 15 minutes of total insanity.
HENRY ROLLINS’ (ex-SOA/BLACK FLAG) first solo vinyl effort is not so solo. Backed on cuts by a hard-driving band (including ex-SOA/FAITH/EMBRACE member Mike Hampton), the musical tracks sound much better to my ear than anything the Four Towels did in recent years. Despite the cleanness of the production, there’s real structure and bite here, and Hank sounds in great form. Biggest surprise — no spoken word.
