Melody Massacre Screamin’ in Vain 12″
Okay CRAMPS-type psychobilly. Nothing new, but decently don’t. Not much else to say — oh yea, six songs.
MAXIMUM ROCKNROLL
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Okay CRAMPS-type psychobilly. Nothing new, but decently don’t. Not much else to say — oh yea, six songs.
This has a much fuller sound than most Swedish garage bands. But the thing that impressed me the most about this record is the fact that this band doesn’t try to sound like they live in the United States. This is the one neo-psych band from Sweden, besides WILMER X, that doesn’t mind having an accent. And musically it’s a little more hard-edged, like WILMER X or the NOMADS.
These 12 songs from this veteran German band pound out the melodies and harmonies, combining them with a nice raw edge. The vocals carry politically concerned lyrics smoothly and stand aside while several Oi rooted chants step in. Catch and rockin’.
A studio/live tape of speedy driving HC, comparable to AOD with sing-along vocals and catch guitar work. Lots of power, clean production, a great first effort.
I liked their single a whole lot, especially the way it mixed the hoodoo-based blues into a hybrid of both the CRAMPS and the BLASTERS. And even though all the songs here are the same straight-up bullshit, I get the feeling this sound is better on a 7″, where on the LP it seems just to go on too long.
Snarls of garage hardcore rawness with tinny guitar distortion over blasted by growling vocals. Hoarse, rough, yet still kicking it out, this Japanese band runs for that total, graunch sound, and do it well.
Blues, thrash, HC thrash, fast punk, pop punk, jazz, speedcore… you name it, they do it. For such a variety of influences, KINA seems to pull it off, lending their “sound” to all styles, providing a continuity. Eclectic and yet maintaining an edge.
Combining tracks from their LP and 12″ (released in Europe), this domestic LP introduces their pop-punk sound to American audiences. From Switzerland (originally in a 70’s punk band SOZZ), these guys combine power and great tunes into an early CLASH-like sound. Excellent.
This is too obvious. What we have here is the same people who’ve listened to a lot of the BIRTHDAY PARTY. But hey — that’s not all bad, because some of these tunes get way down, in a good way. I like “Ex” the best and the rest are okay, but tend to be a little tired.
Waging warfare of rampant guitar wails with deep barking vocals, that has a pace quickly grabbing your attention with sharp intent. Sheer exertion to keep attention with sharp intent. Sheer exertion to keep an upfront attack of blacking instrumentation with the proper noise of the wicked voice to sink his chompers in your brain.
This all-female band from Australia forces out a tough, grungy guitar sound and some nasty vocals — and I admired the lyrics concerns, too. It’s too bad that the melodies follow the same minor-third guitar professions song after song. Extreme repetition, which is too bad, because I was hopeful about this band.
Although the band has reformed and has had some line-up changes, their patented power sound comes across as strong as ever with the release of these four songs. Combined melodies and loud thrash come forth with harmonizing vocals and straight-forwards lyrics, all making up this band’s creative sound.
A respectable start by this Italian neo-psych combo that leans heavily on harmonies and organ-based melodies. A nice little change, as most garage bands tend to be heavy on the guitar — that has a feeling more like QUESTION MARK & THE MYSTERIANS mixed with early SALVATION ARMY. Bears up to repeated listening.
Actually much more than two 7″ records, there is a full-fledged several hundred page, highly produced book sandwiched between them. The theme is obvious, covered from an anarchist post of view, printed in both English and Dutch. Musically, there are traditional Spanish songs updated in a CRASS-like manner — really vital. GREAT package.
Though DR FEELGOOD didn’t really use too much of the electric organ in their bluesy pub rock sounds. Only trouble here is that their tribute to the FLAMIN’ GROOVIES on the flip is just pedestrian at best. Classy but not a classic.
Alcoholic sickness infects every one of the songs on this loose, funny, disjointed, and original album. One first-rate thrasher, “Wandertag in der DDR”, leads off an assortment of predominantly medium — to slow-tempo sing-alongs that have primitive production, and sound like the band is drunk. And yes, it’s just as engaging as past DURSTIGE MANN releases.
Positively lives up to its title. This is a must for any fan of Swedish garage, or any garage music. This swirling, howling mess of psych/R&B power has all the elements of a classic. I can hear the best bits of the YARDBIRDS, VAN MORRISON, and THEM, even the ZOMBIES, but these are all brought up to date to make a sound that should have the NOMADS looking over their shoulder for a long time to come. Essential.
An interesting mixture of musical influences and strong, simple lyric message. Side A features a mid-tempo guitar chant punk song and one polka poetry number, while Sid B lets out a dance/rap tune dominated by a repetitious horn off. Nothing that outstanding, but the ideas and effort shouldn’t be ignored.
Strong crash-and-bang stuff here, with lyrics in German and English. Impressive, with lots of drive and power, especially on “Weibt Du Est?”
This is the second LP by this Australian band and it contains some remixes on certain songs. Very different from the LP (their third) reviewed last issue. Anyway, this band follows all the great traditions set down by bands like the MC5, STOOGES, RADIO BIRDMAN, and the SAINTS. Some outstanding, hard-hitting rock with even some soft ballads thrown in.
I’m sure there are plenty of die-hard fans out there that’ll think this is cool but as far as I’m concerned this is amore like HUMPERDINCK or BELAFONTE, string section and all, rather than his down and dirty self. Oh well.
Fun, goofy psych outfit that has just a trace of the early ’79 punk rock sound. You can even hear a trace of JOHNNY THUNDERS hiding in the sneering of their singer.
Three more metallish hardcore tunes, the title track plus “10, 5 or a Dime” and “Gotta Get Out of Here”. The latter is the hottest except for the little guitar flourishes. Guess they’re good at what they do.
A fine release from a new BRISTLES lineup. On this EP, there are two catchy ’77-style punkers and one good thrasher. All the songs have power and definite sing-along potential Another winner from Rosa Honung.
This French band has a knack for hard-edged post-punk with a good sense of energy, even if they uncharacteristically lag behind in the melodic sense. “Gom Jabbar” is a slow, tasteful dub, though the other three songs are more spirited.
This posthumous release captures ASTA KASK in eleven songs recorded live just this year. Sound quality is good, the performance spirited, and songs up to that trademark quality. Can’t say it captures all the excitement but it will have to do won’t it? Get this record.
Sounds like a more inaccessible version of the SUBHUMANS UK, combining different sounds and thoughtful lyrics. Personally, I liked the words better than the music.
This Greek band is able to perform various styles, paces and moods very well. There are early punk — hook laden — rockers, psychedelic punk tunes and slower melodic crooning. And all of it has strength of arrangement and intensity. Quite eclectic and all in all an absorbing record that has some great moments.
These guys remind me of a really early FALL with a rhythm machine. Screaming to whispers vocal prowess, strong lyrics (I do wish they’d included a lyric sheet), noisy , stark and intense. I’d rather hear a real drummer, but this is definitely a refreshing release for lovers of early Brit post-punk.
On this great Scottish release, AOA sport seven songs centered around a fast thrash sound that is well defined by all the instrumentals; the vocals are shouted and keep up to the music’s pounding pace. OI POLLOI shred out all six songs, all of which are no less than enthusiastically executed — clear, melodic, hard-hitting music. Raging!
Sounds like SSD in their “Get it Away” days: pile driving thrash and slower bulldozing noise with personal/positive lyrics. It rocks, and the price is right too!
Found this in LA with no pic cover, saw it had eight really short songs, and took a chance. Glad I did. While not spectacular these songs are rapid-fire blasts with gnarly vocals, and lots of energy. Inscription on B-side vinyl: “Skinheads sing in nuke rain”.
Musically, a close relation to early MINOR THREAT crossed with that of a younger DAG NASTY. If you groove with this string melodic HC sound and personal lyrics, then there’s a good chance you will enjoy this new 7-song release. An energetic and sincere effort.
A comp LP taken from the various tapes being released by CBGB as well, Lots of pop/new wave/trendy stuff, and the only redeeming cuts are by LUDICHRIST.
Apparently Mystic does still consider these samplers necessary. This one includes tracks from other recent Mystic released by GOVERNMENT ISSUE, WHITE FLAG, PTL KLUB, ILL REPUTE, MENTORS, FACTION, AGRESSION and several samplers. Me, I’m unconvinced.
A really great garage compilation featuring all Midwestern contemporary bands. Sounds range from 60s punk, surf, mid-70’s punk, psychobilly, and beyond. Hot stuff from MANGOS, ELVIS HITLER, MYSTERY BLUES, 3-D INVISIBLES, and lots, lots more.
A Buffalo area comp, featuring punk and garage trash. Thoroughly enjoyable, raging madness, a must for all indie collectors. Features, PAINKILLERS, PEOPLE’S FRONT, POKACON, TEMPLE OF CHUD.
The second LP by the group led by ex-PERE UBU guitarist Tom Herman. The trick here is a sharp, clear mix of the early UBU paranoia and the driving punk/funk edge of the MINUTEMEN. All the hooks and melodies are feinted and stick with you long after the music’s over. Tasty.
Full speed ahead metalcore, with a couple straight HC numbers as well. Lots of power and tempo changes make this a hot tape from these Bay Area bangers.
While metallic in the beat (and perhaps the growling vocals), the overwhelming feel of both tracks is power punk a la ’77. Hard heat, powerful but non-metal guitar, and decent lyrics.
Out of Texas blazes this eight song ripper. Owing some of their sound to fellow Texans DRI and the OFFENDERS, I think you can form an idea of how they rock. Hot!
Grungy marching thrash with hoarse vocals similar to NEGATIVE APPROACH. This tape contains six speedy blasts plus a slow grinder which stands out from the rest.
Insanely silly! This is rockin punk with lyrics about religious surfers, urinating, vanilla ice cream, and other topical subjects. Also memorable are the hilarious elements between songs. A total crackup!
Two different recording sessions are mixed together here — one done in DC in ’85 by Ian MacKaye, and one done by BYO in LA in ’86. The DC sessions rock hard while maintaining that 7 SECONDS melodic appeal, while the LA tunes are decidedly more commercial sounding, with a U2 influence. Fortunately, 7 SECONDS makes even these tunes sound great live.
SAND IN THE FACE have a hard-sounding DOA structure to begin with but they’re not afraid of diversity and melody. They seem to mix both HC and thrash with mid-tempo early punk sounds that recall the best of the ALLEYCATS and X.
After all these years, SACRED ORDER finally get their own vinyl out. Sounding very little like their tapes of yore, the thrash is gone and is replaced by a heavy rock/punk sound. On some of the songs, that makes it work as an early punk sound emerges predominant. But on many tunes, the old rock blues-based riffs just don’t cut it. Enough with this early 70’s rehash.
This debut LP comes across with a good measure of honesty and credibility — and that would be enough, but there are some catchy melodies mixed in with the fine lyrics to make this album a winner. This is punk in the best sense of the word: aggressive, original and committed. Most of the songs are nifty, too. A strong release.
“Crummy Stuff” is the draw here, though not really a knockout with tinges of synth here and there. “Something to Believe in” rears its ugly head again, and the painfully slow rock number, “And I Don’t Wanna Live this Life” is the finale.
Because some people can’t really appreciate the fine act of sarcasm and irony, the PREVARICATORS have been too easily dismissed as a joke band or maybe just jerks. Too bad, because this is one band that consistently gets better with each new release. With both their sharp, pointed lyrics that attach stupidity and their full-charged guitar thrust, I keep getting reminded of NAKED RAYGUN at their best.
At long last it’s out, and well worth it. Proving that life exists after metal (or at least hardcore does), this is a power-paced assault without a tinge of dinosaur damage. Very pro package by Pushead, though there’s no lyric sheet included, and Tom Roberts has got to be seen to be believed. A powerful punch. Now.. if they’d only tour.
