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!
Another in a series of ‘live’ 10’ers, this is one of the better ones sound-wise. Though the tracks chosen are mainly not their fastest material, they are powerful as hell—a modern STOOGES sound. Good one.
46 minutes of fast, energetic punk from this Czech band. Good production brings out the power of their 15 originals and 4 covers (DAMNED, RESIDENTS, etc.). Neat.
A potpourri of live recordings from between ’80-’85. The recording quality definitely varies, but it is truly a fan’s edition. There are a few songs that have never been available elsewhere and some rare early recordings. Most notable is the foldout and cut touring game/sleeve which is good for at least three plays. Not bad.
Hot upbeat melodic punk from this New England outfit. Live, but the good production brings out the power. Good up-and-coming band.
Two french bands of the HC variety. FINAL BLAST’s tunes are in a melodic vein with a somewhat English mid-tempo thrash feel, while RAPT are definitely on the noisy, raw production side of short-song thrash. As raw and “beginner” as this side is, I liked it better than all the pop shit I heard today.
A simple beat supplied by a drum machine, raunchy guitar chords, bass, and echoey vocals are the ingredients. Reminds me of some early punk bands that later went overboard on the art side of things. But the punk/art combo is something I’d like to hear more of.
A 4-song weirdo—they are more instrumental than not, a “Walk Don’t Run” sound meets garage punk. A Ray Farrell kinda band.
Melodic thrash with a dedicated Dischord influence (not only musically and lyrically, but with their cover art as well.) What makes this a bit different is their choruses, sometimes adding a UK feel (like, say, the THREATS — thanks for the hint, Achim!).
Every time these guys put out a record, which is quite regularly now, I really want to hate them. If I describe the mix of Euro-pop with electronic dance beats, it makes them sound awful and for the most part they are. But they also managed enough dementia, recording strangeness, and catchy pop numbers to be likeable.
Well, two of the songs here rock hard, though there’s a lot more guitar doodling than previously. On the flip we get one moody tune and a short reprise, both laced with malice. Don’t know.
This Michigan 5-piece has a song called “Spirit of ’76″ and that gives a good idea about their sound: garage-y pop-punk with jangly guitars and personal/political words. Pretty good.
A studio band with Jeff Nelson and Ian MacKaye who document two incredible songs. Simple, strong, straightforward structure with interesting, powerful music and very inspiring lyrics. A great amount of creativity mixed with sincere effort make this record highly recommended. Beautiful packaging.
Not as close to speedmetal as some might guess, this record has a good, steady rhythmic beat, interesting vocals, dark lyrics, and loud guitar that at times falls down towards wanking leads. When these pieces are put together, a rocking sound comes forth — but in many ways is too consistent and tiresome.
I think most people who read these pages know what Orange Co. straight edge bands sound like, and also know that despite their imitative streak, these bands usually have something to say and deliver that message with lots of great music. DON’T NO are not an exception to this.
Was this DOC OI before? Hmm…anyway, nothing too oi here, mainly early punk sounds. Actually, 3 of the songs are on a vinyl 7″, the 4th track being pressed on an accompanying flexi—oh, those Japanese.
Their second 7″, this one contains 4 tracks that all rage. Blazing hardcore, no let-up stuff, with tight turns and lots of fire. Nothing new, but excitingly done.
Twisted punk and thrash that reminds me of early DIE KREUZEN, but more tweaked out. Heavy power, original breaks. I like it.
I’ve always enjoyed this band, their exuberance, dedication, and insane stage performance. While live they create a wall of noise that’s virtually impenetrable, on record you can make out the tunes of a lot more, hear their early punk roots and still get off on their attitude. Punk lives here.
Tons of tunes here, though the monotony does finally get to you. There’s just a singer/guitarist and a drummer who blast out ultra-simple rock’n’roll a la CRAMPS, drawing on ’50’s R’n’B and rockabilly.
The vocals sound like Paul Weller (JAM), the songs are intricate and somewhat pop-punkish (but without very strong hooks), and the lyrics socially conscious. The overall effect doesn’t excite like the best French bands, but provides inoffensive listening.
You won’t see any band members or label name on this record because the whole thing is plagiarized by taking everyone else’s Top Ten hit and changing it radically (mostly lyrically). There are “covers” of “We Are the World” (“We Are the World”), “California Girls” (“California Punks”), “Break Dancing” (“Fake Dancing”) and more. Every piece of trash you ever wanted to change. Genius.
A great new demo from this Bay Area outfit. Blazing HC with a metallic tinge backed with intelligent personal lyrics make this a must. Great sound quality, a nice package, and lyrics included, for only…
The DISORDER sound is again successfully filtered through a uniquely Japanese sensibility on this energetic, crunching 4-tracker. Every track here is fueled by the same manic power, backed by raw guitars and vocals, making CONFUSE one of the best outfits in Japan. Total ace!!
A debut by this German garage band, new LP in the works, and while it’s not a blazing psych effort it does have a smooth charm to it. Similar in nature to the BACKDOOR MEN. Perhaps a little too much leaning on the Farfisa and maybe a little more guitar next time, okay?
A softer but more imaginative LYRES? Maybe that’s not really fair, ’cause there’s a lot more slow L.A.-type ’60’s pop-psych here, only occasionally getting to third gear. But they do have that bar band/grade B exploitation movie feel.
One-hundred-miles-an-hour thrash with 3 second leads. Okay! Very straightforward, lots of power, snotty vocals and decent lyrics. Your basic hardcore, but with lots of energy and enthusiasm. A pick-me-up.
Snappy shit here — driving drumming (a much updated rockabilly beat), hot guitars and lots of energy. Great pop-punk, on the NOMADS’ label.
Oh boy, genuine insanity. It starts with the wrong titles (“Anal Eat”, “God From Anal” and “Born to Anal”) and continues with wacko garage music punctuated by the most bonkers vocal ravings and production heard in quite a while.
A country-ish style slips into this album of accessible ditties, which is at its very best when an upbeat energy conjoins with solid power-chord punk. A few of the less disciplined and slower numbers miss the mark, but the rudiments of good songwriting with a great sense of humor make this band a potential contender.
Despite the lack of lyrics, pictures, etc. enclosed, this is one of the best speedcore releases to date. Not generic thrash-metal at all, this displays incredibly tight musicianship, innovative structures, and unexpected breaks which push this one over the top.
Contains many of the tracks off their EP’s, though it omits at least one track off each. Divided into a folk-punk side and a surfer side, this is highly enjoyable teen pop.
Hard-driving fast punk with a good bit of melody. Lyrics alternate between personal and silly. Lots of fun.
The original line-up is here, but the sound is quite subdued these days. There are one or two thrashers (even those are not the ravers of times gone past), while the rest of the songs are strongly based on various forms of ’70’s rock, most of which don’t really excite.
Nice to see these lads still at it, blasting out great pop-punk with continued enthusiasm and gusto. Catchy tunes, high speed playing, and great musicianship add up to songs that stick. Just about all new material here, but it sounds like a friend on first listening.
One for the collectors. A garage combo from Kansas City in 1966 — did a pretty good demo, a raving original and a smooth cover of the WILSON PICKETT classic, but only a few acetates. On white vinyl, and nifty, if you’re into ’60’s garage.
Wow, I’m impressed. A one-song, three mix record which is the catchiest, trashiest, most rockin’ song I’ve heard from this lot in a while. They do two electronic versions (1 dub) which are okay, but the “shit mix” rules. Hope the LP’s this good.
Very basic but driving punk on five of the six tracks. Lyrics are explicitly political a la DOA (Joey Shithead produced this disk), delivered with snarled vocals. Good to see this band back again.
The funniest thrash band from New Jersey have cooked up a sheer fireball of a second LP. Some of these tunes rip so fast I thought I was listening to some foreign release — couldn’t really make out the words, y’see. My only trouble is deciding which is funnier, the “traditional” song “Surfin’ Jew” or the blazin’ cover of the Masterpiece Theatre theme.
The folkish side of neo-’60’s pop emerges on this lilting EP, which reminds me for all the world of later-period BANGLES. The most energetic material here is recorded live, but that isn’t enough to revive this limp slab of wax.
This international demo cassette comp from Germany features DISACCORD, CHALLENGER CREW, and many others. Varied but good sound quality plus a listing of bands’ addresses and demo tape prices.
More, more, and even more HC for those thrash and burn addicts out there! Features STRES D.A., KZV, and PATARENI, to name a few, all of which deliver abrasive noisecore. Only for people with cast-iron eardrums!
This American release showcases the greatest hits, as it were, of the German Weird System label. BLUT & EISEN, NEUROTIC ARSEHOLES, RAZZIA, CRETINS, and others serve up a series of blistering HC and punk cuts mandatory for those who don’t have the original German recordings. Excellent, varied sampler.
This is a special limited-edition four-song EP that comes with the latest issue of Trousers In Action fanzine. The fanzine is good for the low-down on the Australian underground—a little more punk than what you would read in B-Side. This EP features a gritty punk tune by CHAOS, a sheer fun noise-fest by FEEDTIME, a quirky track by EXAMPLEHEAD, and a great BUZZCOCKS-like song by TOYS WENT BERZERK.
Lots of great material from the current crop of French HC bands, and there’s enthusiasm as well as tight, hot music. Bands include ZOI, HEIMAT-LOS, FINAL BLAST, M.S.T., SCRAPS, RAPT, and more. These bands are not as distinctively “French” as previous waves of French punk, seemingly more influenced by US hardcore, which in a way is a shame.
Pop-punk, thrash, Oi, are all present here. Hottest recordings are by DEAD ENDS and URBAN BANDITS (odd production), but if GEORGE IMBECILE & THE IDIOTS’ live tracks had been done in a studio, they’d have been tops.
This is their second LP, and there have been some changes. A few males are now in the formerly all-female line-up; the sound has gone from a rougher KLEENEX-type sound to a much slicker SIOUXSIE-influenced feel. What hasn’t changed is the lyrical radicalism, still inspirational.
This Aussie band once again delivers the goods: mid- to fast-speed hardcore with crunching guitars and an impassioned vocal attack. Occasional forays into slower velocities result in less power here, but there’s more than enough frenzied thrash for most HC aficionados. Good LP.
Four nifty songs here, all in that irresistible Swedish pop-punk vein. The guitarwork is hard and well-fleshed out, the melodies more often than not memorable, and the entire record so buoyant that I recall the best work of ATTENTAT, 6-10 REDLOS, and other fine Swedish bands. Wonderful!
A vast improvement over their last LP, this one showing lots of spark and energy, sometimes reminding me of BAD BRAINS. Glad to see these vets rocking so hard and still keeping their fine lyrical content. Plenty of melody, too.
These early recordings with one of the greatest UK punk outfits contain four songs, all finely recorded and performed. While lacking in the immediacy and power of their first LP, these slower alternate versions have their own charm. “Barbed Wire Love” is especially good.
