The Membranes Songs of Love and Fury LP
UK pop stuff in a FALL-ish mode — meaning sometimes driving music and incomprehensible lyrics. For the desperate looking for trends.
MAXIMUM ROCKNROLL
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UK pop stuff in a FALL-ish mode — meaning sometimes driving music and incomprehensible lyrics. For the desperate looking for trends.
The best thing about all the MEATMEN recordings were the sharp, bullseye humor. Here, the MEN skimp on the humor in favor of the hard-fought macho-metal sound, and it just doesn’t sound like parody anymore. I’m sure if someone offered the spot between ACCEPT and TWISTED SISTER on the HM hierarchy, he’d jump. Me, I’m bailin’.
A groovy little neo-’60s psych band from Arizona that sports some great fuzz guitar. The A-side has a slight plodding feel to it but both tracks are redeemed by the anxious, crusty sound of their vocalist. Should be another 7″ out by this group.
Don’t know much about this except that it’s produced by Tom Lyle (GI), that it has the classic D.C. sound — driving punk with powerful guitarwork and clear, expressive vocals. Great.
Not sure what this band is about, but they’ve got sex stuff all over their graphics. Musically, both slow and fast hardcore, live and studio, well recorded and raw.
Half studio and half live material, this above average band rages, has fun and executes a powerful but non-generic thrash/punk style that hits the spot. Enjoyable.
Sort of a lighter version of the PISTOLS sound meets mediocre Oi! sound. Certainly not his most exciting material.
This posthumous live recording of the KELPIES, a Sydney punk/rock outfit, shows real songwriting quality and makes me hungry for more. The inventive guitarwork recalls CHELSEA, and the tunes are subtly crafted pop-punk. Sound quality is respectable; this one definitely grows on you. Recommended.
Three of the four tracks here adopt an upbeat pop-punky style with good energy, little discernible melody, and somewhat undisciplined vocals. The other song is a lilting reggae-tinged number that segues into ska. Adequate, but it doesn’t quite hit the mark.
Six finely crafted pop-punk tunes. Sounds like ’78, but not in a nostalgic way—just powerful but tuneful material. Despite signing to a major, they remain political (title tune, plus “El Salvador”), though there is perhaps a bit of overproduction.
Thrash with very little in the way of melody but massive amounts of speed. As repetitive as this music might sound, this band seems to do it very straightforwardly.
Quirky punk here — the vocals being the most abrasive aspect, though the music is pretty uptempo at times, too. Older punk styles predominate, often varying towards obnoxious pop, but veering away at the last second.
HONOR ROLE has devolved since their highly distinctive debut. Time seems to have eroded the vocal uniqueness and punky tightness of the past; while there’s good, hard guitarwork and some interesting ideas, not one song really stands out from the pack.
One serious and one fun band share this slab, and will share an LP early next year. HEIMAT-LOS have a modern thrash sound that is powerful but relatively uneventful musically. KROMOZOM 4 employs more imagination musically, making this more palatable for non-French speakers. Sounds good.
COC-like hardcore from Belgium. At times, the drumming seems to lag a bit, but overall, you’ll find some pretty inspired and aggressive power thrash. There are more weird guitar bits thrown in than you’d find on most such records, and the production is top notch.
Despite the rough sound, there are two classic tunes here. The HARD-ONS style mixes 60’s punk with a great pop-punk ’77 sound, and especially on the second track, really hits home (a cover of the LEGENDS). Available on Livin’ End zine #6, a mag dedicated to 60’s Aussie bands.
A two-song, one-sided job, both tunes featuring driving rhythm and noisy guitar, though the overall effect is not too powerful.
From Maryland, this nice little surprise carries an interesting and slightly mysterious sound. Some of their slower, more plodding tunes recall JOY DIVISION and DIE KREUZEN, and faster material has that murky, bewildered sound like DAS DAMEN. Very groovy.
The homemade production sounds full and rockin’ just like all the good Aussie releases, especially on the powerful A-side. The flip has less punch, and frankly, neither track is particularly noticeable aside from the occasional instrumental punchiness.
So-so Oi here. Okay buzzsaw guitar, but not very inspiring tunes. But hey, if you’re into off-key choruses, this is it.
The four tracks on this, FUZZBOX’s second record, demonstrates that this band has more in the way of a distinctive sound than great material. Cool synth bass with instrumental intrusions (sax, rhythm box, but no guitar I could hear) provide spare backdrops for vocals reminiscent of HAGAR THE WOMB. Nothing special.
FULL FATHOM FIVE sounds like the better Homestead bands, with their powerful guitar sound, varied arrangements, and abstract vocal concerns. I liked their HUSKER-ish changes on “Why Their Faces Are So Worn,” and the other tracks are quite respectable.
Recorded (I believe) during a recent incarnation of San Francisco’s GROOVIES when they played Australia, these two songs extend their folk pop direction even farther. Both tunes hold back, threaten to burst out, and never do. For collectors only.
I guess these are early and unreleased CANNIBALS cuts — who knows, who cares — it’s just so-so but fun garage R’n’B based trash. Okay.
Noisy meets early CURE here for three grinding tunes. Lots of guitar from this three-piece on all three tracks, including a slide sound.
Another in CBGB’s live series, this one being a relentless barrage of fast punk and thrash with singalong choruses. Fucking intense!
Do you like the pop HUSKERS sound?
When I first heard this, I thought it was a great mix of Chris D’s tough-as-nails lyrics with a good, classy production. But as I play it more and more, I’m afraid he must have left a lot of drive and fire of the early FLESH EATERS music for smoother production. Really commercial stuff.
I admire this band for their hilarious lyrics and rich, hard guitar sound, and there’s certainly cause for interest in their punkish, rockin’ tunes. The problem is that the goofy vocals don’t hold down melodic interest, making the songs run into one another. Still, there’s talent and drive here; I want to hear more.
Citing the SAINTS and TELEVISION among their influences, one can hear it a bit. But those groups, despite sometimes extended length songs, always made them memorable, whereas DOS seldom leave traces of tunes re-emerging through the mind rubble. Undelivered promise.
Well, here it is 1986 and I finally discovered why people used to rave about DMZ. After hearing their other releases and being sorely disappointed, I thought the hype was underserved. But now that a tasteful purveyor of primitive raunch has managed to unearth a live DMZ recording that frankly blows away everything else they’ve put out, I’m convinced.
These guys call themselves a HC ska band and that’s pretty accurate: upbeat jangly ska tunes with Oi choruses. Mostly energetic stuff here, lotsa fun.
A four-song old Britpunk style release, simple on the beat, fast punk and growled political lyrics.
Probably the most intense, tight, ripping act from SoCal since EXCEL, who seem to be a big influence. In fact, I’d say a number of “metalphobes” could get into these guys because of their sheer intensity. Wild.
I guess if Joe POP-O-PIE could build a career on just one song (GRATEFUL DEAD’s “Truckin”), then the COOLIES certainly can with just one artist (PAUL SIMON…well, actually it’s SIMON & GARFUNKEL). Yep, most of the tunes here are rocked versions of S&G hits (“Scarborough Fare,” “I Am A Rock”, etc., etc.). Gets old fast.
Strange fuzz fusion metal core. All the typical metal speed changes are here and mixed in with high speed thrash that is accompanied by snarling vocals. The production helps create a spooky, dark sound that is too forced.
This exceptional album features a load of dynamic uptempo thrash by two accomplished outfits. CHAOS UK, in possibly their best work to date, wins by a length for their thick vocals and layered guitar attack, but ENT have fascinating arrangements to recommend their side of the LP. A thunderous, exciting release.
If debauchery, sexual domination, or being a MENTORS fan is your trip, you might check this out. Six live songs of pure auditory copulation, for the truly hard-up.
Cool guitar sound and an almost rockabilly beat are offset by slick singing and pop structures. Tight and shows promise, but they gotta cut the cutesy crap.
I would’ve reviewed this, but after hearing two songs we winged it across the room in disgust, smashing it to fifty pieces. Unadulterated dance music bites the dust!
Not quite up to the standards of their exceptional debut 45, the A-side still manages to cough up the requisite rockin’ 60’s punk energy to keep the toes tapping, though the melodic punch is largely absent. The flip is more poppish and less enjoyable. Pretty good.
Disjointed, dissonant punk which reminds me a little of DIE KREUZEN’s recent material. This has some rockin’ energy, and is more interesting to listen to than a lot of other bands.
Highly produced yet still garage-based R’n’R, both songs have a CRAMPS-like feel though the B-side is much more basic.
This one sounds more Swedish than Finnish, with an accent on well-constructed thrash with great tunes, melodies, and a variety of paces. Like it very much.
An over-the-edge group with a lot to say. This is not rock and roll, but is a pop form of experimental music, largely instrumental, but with thought-provoking printed accompaniment. Not too pretentious.
Atmospheric post-punk with novel studio effects and original song structures. None of the music stands out in the way that top-notch SPK or EINSTURZENDE NEUBAUTEN does, but it’s okay for its genre.
Two uneventful covers of ’50’s tunes. For a good update of the B-side, check out the KINKS’ cover of this CHUCK BERRY obscurity on their debut You Really Got Me LP.
This Danish outfit plays rock in a darker, discordant vein which tries to maintain power through atmosphere. “Who Is the Man…” almost pulls it off, but the overall effect of this EP is nondescript — as if the band were purposely trying to distance you from the music.
An interesting mix of ’60’s pop, late-’70’s Boston rock’n’roll, country, MINUTEMEN, and REPLACEMENTS. All the recent Midnight releases seem to be less raw and aimed at a “broader audience.” This might be the one to attain that.
Folky-rocky with a decent beat, but a bit lacking in energy on the A-side. Nothing special, from New Zealand.
