Maniacs Chainsaw Blues / New Morning 7″
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.
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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.
Wow! Incredible stuff here! Metallic thrash (but not generic speedcore) with pretty good lyrics and powerful production. Get this.
The end product of the DOGGY ROCK Project (not the Flipside DOGGY STYLE) leaves me laughing not with but at this band. A weak BEASTIE BOYS meets Top 40 radio is what comes to my mind. The only useful part of this record is the free rubber which comes inside.
Surf, 60s pop, psyche, all rear their ugly heads here. It’s OK, inoffensive stuff but nothing to do a double-take over. If you’re gonna go back to the past for inspiration at least re-emerge with some idea of what decade we so live in. These guys coulda done for BRENDA LEE’s “Sweet Nothings” what THE SAINTS did for CONNIE FRANCIS’ “Lipstick on Your Collar.”
I gotta fess up—I’m really a sucker for the FLESH EATERS sound and any related project but I was a little disappointed with the last LP by the DIVINE HORSEMEN, a little too clean sounding. On their latest record they’ve coupled four new tunes with some pretty respectable covers by DAVID ALLAN COE, the CRAMPS, ELVIS PRESLEY, and THE ROLLING STONES. This might actually be the right place to start with this group.
A pretty good but not amazing mixture of 77ish punk and thrash tunes with both serious and silly lyrics. Most effective are “Song are Rudi,” “Punx Not Allowed,” and “Remember Auschwitz.”
Sometimes surprising in its variety and energy, sometimes overdone and too long–a mixed effort. While their 7″ was funnier, this LP goes for production and power, sometimes obtaining a good cross of both, but not frequently enough for me. Lots of metal for the bangers though.
Straightforward punk and hardcore with well-thought-out, intelligent, caring lyrics dealing with ignorance, oppression, and the destruction of various subcultures. Their honesty and sincerity, as shown by their cool lyric book, makes this worthwhile.
Some things are better left alone, like certain memories…or bands reforming. All the original members here, Stiv, Cheetah, etc…but this sounds like the LORDS OF THE NEW BOYS, not the snarling, twisted, classic shit on their first LP back in 77.
After a couple wimpy singles these guys come through with a bang. Neo-psyche, yeah, but they really rock out. Only one previously released song and all-in-all a hot LP beginning to end.
Not quite as manic as they’ve been in the past but still buckets of charm here. Doc’s vocals still sound like a cheese grater although when he slows down and just sings normal they sound like a slowed-down BUZZCOCKS. Still really cool, pointed lyrics and a lot of really good playing, nice to have these boys back.
This is a 9-song demo, featuring some great sounding punk. CRIMPSHRINE have a 77 sound, somewhat along the lines of SLF. Besides their material, this tape features 2 songs each of some recent Berkeley bands like SOUP, BASIC RADIO, SWEET BABY JESUS, KWIK WAY, and DISTORTED TRUTH. Well worth picking up.
A whole new band (except for vocals) since their 7″, this one will delight speedcore and metal-influenced punk fans. Lots of production, big guitar sound, and even colored vinyl copies. Classic TVOR inner sleeve layout, but the outer cover? Stiv?
JESUS AND MARY CHAIN meets DREAM SYNDICATE. Can they be sued for this?
COC seems to be sidestepping the whole speedmetal/crossover scene with this new release. Their sound now takes influences from mid-period DISCHARGE and early BLACK SABBATH, but COC still has the two things most other punk/metal bands lack: originality and intelligence. Thumbs up.
Quintessential British Oi! with all the melodic aspects melded to the street lyric themes. A powerful guitar emphasis makes some of these tracks quite enjoyable from a musical point of view, but this is not OI POLLOI.
Pretty good RAMONES-y punk with a hard to hear organ. Fairly enjoyable tunes but something sounds a little out of sync.
Vicious, ultra-fast thrash not unlike early D.R.I. If you’re an insane mega-thrasher, this tape is definitely for you.
Yeah! These guys are right on target; ferocious punk and thrash with angry lyrics slagging sexist goons, vigilantes, homophobes, and other lamos. Cool stuff, keep it up! Booklet enclosed.
One raunchy LINK WRAY-ish tune, one world beat-ish tune a la the BEATLES “She Said,” one ballad and one college FM-sounding instrumental. For a band that can rock, they sure seem shy to do it on vinyl, opting instead for a commercial sound.
Following in CAMPER VAN BEETHOVEN’S footsteps, these SF kids rock only slightly more garage-y than their forerunners but they still have one too many folk ballads. A couple cute songs like “Golden Gate Park ” are good fun, but otherwise it makes me feel like moving off Haight St. and soon.
I sure don’t remember the first EP by this Swedish garage group being as tough as this. They start off with angry fury like the early NOMADS and finish it off with some great abrasive harmonic playing to prove they deserve their foothold as an international psychedelic punk band to watch.
Excerpts taken from this East Coast outfit’s four year existence. Contains live and studio material with varying sound quality, but all is powerful thrashy stuff.
Pretty enjoyable 77 punk with good energy and tunes. Not as tight as I’d hoped, but at least on one song, “Jo Dassin,” they sound almost like SOCIAL DISTORTION.
A decent retrospective of one of early punk’s finest bands. Pop punk that lasts, mostly dealing with the insanity of love. Their catchy tunes, great harmonies, and hard drive are virtually unmatched (the punk BEATLES?). Still, you should try to pick up all the original releases as this retro just scratched the surface.
A fine, star-studded, post-mortem release, rich with vocal and instrumental interludes, the classic dissonant balls-out rockin’ and the words…are inspirational. It’s a composition that’s well conceived, executed, and received. Too bad it’s the last.
A self-produced EP is an admirable effort and these two bands pull it off in a good spirit. Both bands utilize an early punk sound. Switzerland’s GNA GNA take influences from the RED CRAYOLA school but here they rock harder than their first single. W. Germany’s BAD ATTITUDE combine hardcore and punk styles into two catchy songs. A good EP.
French Oi! with a fast crunching sound quite unusual for this style of music. “Oi” is my favorite track here, with its haunting vocal choruses, though the other two tracks have power to spare.
Spotness, you bet. Produced, paid for, played, written, sung, and art by the almighty Spot. And although it’s a little self-indulgent at times, it’s also a masterpiece of composition in both silly ditties, calculated garageness, and elaborate, intense, rockin’ instrumentals. Pretty damn weird but pretty damn good too.
