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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. We reserve the right to reject releases on the basis of content. Music without vocals or drums will not be considered. All music submitted for review must have been released (or reissued) within the last two years. Please include contact information and let us know where your band is from!
MUSTA LAMMAS straddle that boundary between hardcore and thrash, adding a loose Finnish sound and ending up with nothing too grabbing. The songs mine a gritty, medium- to fast-tempo style, and it was difficult to remember much in the way of riffs, much less songs, when the EP ended.
A three-song release in the pop genre. One song is fairly straight pop, one sounds like the late Mod band the JOLT, and one’s a real good rocker.
This Dutch band seems to model itself after outfits like PANDEMONIUM, who specialize in ultra-fast thrash with political lyrics. The harsh, speedmetallish vocals are way in the front of the mix, which unfortunately pushes away the great instrumental sound here, but this is still a respectable debut.
The second cassette by these garage gods. This one boasts solid musicianship and thoughtful, sometimes humorous, lyrics. Quite a blast.
Definitely hardfuckingcore. Fast, slow, hard, gnarly, unrelenting, pounding…you get the idea. First rate in the genre.
This four-tracker from the MALINHEADS has all the elements of great thrash: stop on a dime instrumentals, passionate, throaty vocals, ripping production, and roller coaster energy. The fact that nearly every song here is distinctive doesn’t hurt matters, either.
Don’t know what the big deal is over this band, at least after listening to this three-song release. I found the tunes boring, lengthy, and exactly what I’ve been trying to avoid in music for a long time. Maybe live they make it.
The music here ranges from dirge thrash to pop noise, but the lyrics are the high point, raging on subjects like hair length and old people, with classic stupid humor. Much like early AOD but in a more seriously obnoxious manner. Worth a laugh.
That basic French pop-punk style, complete with those trademark vocal choruses, seems to be the order of the day on this release. Unfortunately, though, the songwriting is un-notable except for the catchy “Maurice,” which opens this seven-track 12″. The other songs have hooks that are predictable, and songs with little if any staying power.
The JONESES seem to have glammed out, judging by the cover pics, and their music has definitely veered even more into a slicker, more generic rock direction. To wit, compare “Ms. 714″ and “Crocodile Rock” to the versions on their first 12″ — the rawness and immediacy are gone. Nice guitar mix, though.
Missed this one a while back. Apparently, this band is known as the GBH of Germany, but I hear that sound as well as a melodic SoCal sound, adding up to an excellent sounding, politically aware release. Good one.
Mostly mellow, almost folky with occasional bursts of mania reminiscent of the Minnesota sound (HÜSKER DÜ or a soft SOUL ASYLUM). Admirable for this as the rockin’ parts are good and the mellow parts pretty but still a little too subtle.
With an almost entirely new lineup, the music here is a mixture of their early sound with a “progressive” U2 feel which hangs some of the time, but I did find myself picking the needle up before a couple of songs ended. The vocals are also hard to deal with, carrying out each word with too much attention.
A very lively live recording that’s perhaps better on tape than vinyl. Actually, it’s hard to tell if this is a boot or legit as there’s no identification or label or other information. But it’s genuine, and sounded like a great show.
Musically, this is fairly unimaginative Italian HC with four grinding mid-to-fast-tempo numbers, and one ripper, “Non Per Me.” Lackadaisical production and playing buries most of the material here.
HUNGER ARTIST has a great non-metallic hardcore sound with personal lyrics. N.O.D.R. remind me of a less polished SUICIDAL TENDENCIES with political and socially oriented lyrics.
Some serious noise with a beat here for the BIG BLACK/SONIC YOUTH fans, as well as those who like loud guitar/drum power. Thanks to Kent for making me aware of this.
After several 7″s, we get eight songs together finally. HARD-ONS combine punk, HC, metal, and 70’s rock and roll into a hard-driving, energetic blend with geeky lyrics.
One of the better sounding domestic HC releases in a while. Good power and production on all four tracks, and although it’s mainly generic metal-influenced hardcore, there’s a gripping urgency that carries it off. Lyrics are pretty bleak, although “Consider the Alternative” offers some hopeful thought.
The band’s name says it all: this is a series of demented versifications backed by a kind of improvisational MINUTEMEN style. An eccentric concept with interesting results, but not astounding.
Was expecting gloom and doom, but got some varied innovative thrash with funny lyrics, one song being a gloom satire. Contains live and studio material.
One side of this fan club record has five unreleased GERMS tracks recorded in 1981, none frankly up to their highest standards, while the flip contains a number of songs from their last show at the Starwood in L.A. A good memento for fans of this once great band.
GASH turn in four songs here, showcasing a mid- to fast-tempo hardcore format with excellent lyrics and strong female wailing. A real progression from their debut LP, sacrificing nothing in the way of power or drive.
VIIMEINEN RAKKAUS, with their emphasis of funk and post-punk influences, spread their ingenuity a bit too thin on their two tracks, but one song by FSF — a punkish treat with a “beat” intro, has personality and flair. Decent.
The instrumental work on this EP, which sounds the work of an undisciplined MINUTEMEN, tends to lack focus and drive. While “Sunburn” sustains energy, the other four tunes use more complex, “funk” guitar figures that left me unexcited.
Sounds like LINK WRAY meets funk meets your average rock’n’roll bar band. Sometimes it’s fun, sometimes dreadful. A little of both here.
An early 70’s rock’n’roll sound here. Not on the slick side at all, but much more of a rough guitar sound.
Their last record was notable because half of it was great aggressive post-punk. But this second one is very mellow, comparable to the quietest JOY DIVISION or SAVAGE REPUBLIC. There’s definite musicianship, but it’s pretty boring.
This is the new group arising from the untimely death of D. Boon, and MINUTEMEN fans will be neither too surprised nor disappointed. The music is softer in places, and even though the guitarist only picked up an electric guitar a year ago, this is a good start.
Mix GUN CLUB, BUTTHOLES, and THE WALL, and you get a pretty cool down and dirty bastard blues/punk mix that is modern as hell and timeless at the same time. Excellent.
A dressed-up KILLING JOKE? Poppish, driving rhythms with a basic pop-punk mood. Lots of hooks, but the relatively unchanging medium tempo does leave you wandering at times.
Highly political melodic punk. A three-song giveaway that comes with the equally political World War 3 comic (#7). Both are well worth checking out.
Jesus… noisy little thing. Try to imagine the CRAMPS on speed. The music here is a pretty wild trashy guitar romp but the best thing is the pretty irreverent humor in the same vein as the ANGRY SAMOANS, MENTORS, and DICKIES.
A speedcore instrumental edge, featuring hard, fast guitarwork, underlies the three songs here, which operate in a faster HC vein. Powerful, but lead breaks and lackluster songwriting detract from this effort.
This German garage band has crunchy guitar and a frantic rhythm section from the start, but after the singer kicked in, it became painfully obvious where the weak link was. If you can stomach the “soulful” NANCY SINATRA vocals, you’ll still get groovy psych in the vein of TELLTALE HEARTS or CHESTERFIELD KINGS.
This strong three-tracker exploits a riffy, rock’n’rolly approach to the kind of music perfected by bands like the LIME SPIDERS and CELIBATE RIFLES. “Action,” with its rambunctious energy, rates as the standout here. A very good showing.
A little bit of punk, folk, dance, and pop appears here, but the message remains the main interest. A combination of thought-provoking lyrics, written information, tape commercials, and acted-out situations has been done before, but there is still a need for this type of effort and this band is doing their part.
Here’s a furious little album, this time exploiting the studio more to bring out a swirling tight-fisted sound that’s not punk and not metal but something in the middle and very cool.
Varied female vocals are featured on these seven songs, most of which plumb a poppish vein with the hooks on the subtle side. Moments of rockin’ energy emerge from time to time, but the predominant style is soft and mid-tempo. Adequate, but I’m not convinced.
Actually, this is a re-issue, one side containing their first EP Lungs, and the other presenting their Bulldozer 12″, both of which came out in 1982. Lots of driving darkness here, though the Bulldozer side has a lot more power to it.
Some great melodic SoCal-ish punk from this talented bunch. Songs are dramatic, a bit long, but someone sign these guys. Great Damned cover, too.
ANOTHER DESTRUCTIVE SYSTEM bases their intense diverse sound around their even more intense message; speaking out against governments, war, and human exploitation. Dedicated.
WUT cruise with a basic HC style that’s either slow or moderate in pace, but spurt outbreaks of unbelievable fast thrash to add power and interest. This band only connects during these moments of instrumental fury; the reggae and mid-tempo HC doesn’t hit the spot. Uneven.
All 16 tracks were recorded from ’83-’85 and have finally made their way to vinyl. The music is hyper-melodic thrash that has the same roots as UK’s STUPIDS. A mixed bag of happy, silly, and serious lyrics only add to this record’s potential, making this a high energy surprise.
WCF play their thrashy punk very competently, with screamed vocals and an acceptably fast instrumental complement. Nothing stands out, however, and the DISCHARGE influences, both lyrically and musically, don’t show off WCF’s originality. Pretty good.
Eleven medium to fast paced hardcore numbers featuring exceptional recording quality. Lyrics deal with society, personal problems, and the military. Recommended if you’re into East Coast HC.
Great rocking punk from this new four-piece. I’m not sure about the lyrics on a couple of the songs since no lyric sheet was provided. But “Freaks” is a classic. Nice package.
The VARUKERS’ usual style varies from ultra-intense thrash that rips, to a metal-tinged HC approach with occasional guitar breaks. The latter style predominates here, and although powerful, the song structures tend to become repetitious. Not up to their standard, but it’s still respectable speedcore.
Six bands from around the world, one track each. AEMATRACK from New Zealand kicks it off with one of the better recordings, a slow/fast rocker. There are two GUERILLA URBANA’s here, one from the Canary Islands and one from Peru, both of whom turn in raw but exciting thrash. DOC WOR MIRRAN is from Germany, doing an experimental punk cut that works. NO LIP is from Japan with an okay tune albeit on the slick side, and BULK (Denmark) wraps it up with a post-punk CURE-ish song.
The soundtrack of a movie, I think, with six tunes, all in an older punk vein. All the bands were from Hamburg, including SPIEL 77, 100% DISKRETION and others. Liked MEINE SCHUPPEN the best.
