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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!
Lots of influences pop up here — neo-’60’s, power-pop, power chord punk — and all mixed so much together that no one style predominates. There are a few good songs (“South Africa” is my fave), but LOST PATROL doesn’t strike me as exceptional, either.
An unusual record—not so much in the music (good pop punk), but in how the first song continues onto the flip, and then abruptly changes to the second. Interesting.
Rocking pop music very much in the REPLACEMENTS mold. Four songs.
The NUN rock full out. They’ve always been a rock band and offended in a humorous way, but with this posing girl front cover, posing band back cover, big production, and some trite rock songs they’ve lost their appeal. Only one song I like. What happened?
Christian punk in a simple power chord style abounds on this, the LEAD’s second release to date. The slow songs are boring, the fast rippers have tiresome lead breaks, and the music is largely uninventive. And as to the lyrics…
Garden variety Japanese thrash is presented here — good tempos, passionate screamed vocals, riffy thrash guitar — respectable in all categories, but lacking in that extra emotional punch. And then, perhaps it’s a little too garden variety…
The touch is lighter here than on past KOHU-63 releases. “Salattua Historiaa” has good speed, but none of the three songs here have memorable songwriting or a HC punch. Sounds like they’re going through the motions.
This three-piece hails from the Pacific Northwest and features nine original songs on Side One in the pop-garage rock vein with personal lyrics. Side 2 features cover songs ranging from CCR to the DEAD BOYS. A very strong release with fantastic production!
The material here is about 1-2 years old, but that shouldn’t deter you from picking this disk up. From Japan comes EXECUTE, a mainstay of the HC scene there. Their tunes appeared on a 7″ there, re-released here in all their powerful glory, with little or no metal damage. INFERNO, from Germany, have a bit more melody but at no loss of power — and again no metal overdose. Hot!
The second record by Florida’s twisted answer to the MEATMEN has a mix of arrogance and humor that tries and will annoy and insult just above everyone. While I chuckled the first time I played “Pope John Paul Can Suck My Dick” and “I Wanna Fuck Your Dad”, I just don’t think I’m going to go back to this record. It’s a little like a little kid saying “booger” for the first time — the shit gets old fast.
Ultra-fast R’n’B based rock’n’roll — very cool and lots of fun. Better than most similar neo-’60’s bands.
Wild and woolly don’t even come close to a description to this gent. Here’s a scruffy singer/songwriter whose music is so wild and spastic he can’t teach a band his changes — so he goes it alone on the acoustic and cuts loose with his stylish rockabilly weirdness.
Missed reviewing this a few months ago, so I wanna make up for lost time by saying that this band plays wonderful pop-punk in the tradition of the RAMONES or LURKERS. Get everything they’ve put out.
Slow to mid-tempo punk is mutated by post-punk tendencies on this EP, which manages a gritty (and sometimes wanky) guitar sound abetted by sung vocals. Completely unnotable, stylistically or musically.
The band says they sound like the STOOGES, AEROSMITH, and the PISTOLS — and guess what? Yup, that’s what they sound like on both tracks here, with a dash of DEAD BOYS.
Necrosis adopts a slow, riff-laden YARD TRAUMA approach to its macabre theme, while the flip does much the same, with more of that restrained guitar. This record never really blasts off, either vocally or instrumentally.
This European equivalent of GONE—an all-instrumental band—claims to bridge the gap between hard rock and hard core. One such GO_E is enough (too much) for me, though this one does include a lyric sheet for their all-instrumental songs. Hmmmm.
Oh God, another Japanese packaging flipout—comes in a mylar sleeve, the record itself is a picture disc that looks like a circus clown on PCP devised it, and there’s an extra flexi included. After this, the music itself is a letdown.
One side is 33 and contains a pop-ish thrash tune, the other side is 45 and has a grunger and thrasher, both hot. Also hot is the packaging, a multi-colored, flecked white vinyl EP packaged in a fishnet, plastic cover with “sex” written on it. Wild.
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.
