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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!
Out in two versions (“raw” mix and “final” mix – the former being livelier, the latter more homogenized). Even on the raw mix, the sound is pretty clean and straightforward, a very powerful British type of hardcore. Good stuff.
Undistinguished, straightahead hardcore with occasional lead breaks is the basic style here, the power-riffs underscoring a fairly aggressive instrumental attack. Half of the lyrics are in a bizarre kind of English that makes no sense whatsoever.
The music is decent punk in a ’77 style with slight metal influences, but the singing is so “sung” that it defeats the whole purpose – no oomph or anger.
A pretty good tape consisting of basic, English-sounding punk and thrash. Not too complex, but a couple cuts were definitely catchy and fun.
Pretty slick-sounding (and looking), this band combines older punk and speedcore. Though the sound is big, there’s a homogenized feel to it all, an impersonal wall.
A four-song EP that comes with a one-sided flexi, all in a PISTOLS ripoff sound. Okay, but “old” and not delivered with the gusto it’d need to be special.
Formerly the ACID DROPS, the Aussie quartet has a blues-based post-punk edge, sort of like a slicker early GUN CLUB. One clunker tune out of four.
Some excellent ’60s surf/psych stuff, generally really rockin’ and with top notch production. More energetic and less derivative than many bands of this nature, especially surprising considering their country of origin.
Reminiscent of many of the Italian HC bands, this group rips along at 90 miles an hour, but hardly generic. Lots of speedjazz influence, but it doesn’t detract from the overall power. Five songs, lots of power.
One of the better sounding modern metal-inspired HC bands with the GISM influences. Overwhelming power and drive without obnoxious solos. Great drumming and guitar as well as vocals. Comes with a live flexi, fancy photo booklet, all enclosed in a sealed paper bag.
Three of the four songs on this EP use an extended slow introduction followed by an explosive Swedish thrashfest, while “Andring” simply lets loose with the goods from the start. A solid dose of tight HC, though not quite up to the best material from their LP.
A pounding, eerie but simplistic guitar/noise post-punk throbber on the A-side while the B-side is a bit poppier but still simple and big in sound. They’ve got a live feel despite the studio recording, which probably saves them.
Three more quite VELVET-y songs , with only one “hit,” having any bite. I think I’m sick of this band’s current mellowing. Liven up, guys.
Sounds like LES THUGS meets BUTTHOLES meets GUN CLUB. Powerful blues-based rock’n’roll filtered through an ’80s outlook. PERE UBU on speed? NOMAD-itis? It rocks, though not as insane as the 7″ers.
A three-song speedmetal and metal-punk release, with the accent on the metal. Not as bad as some, but still a dinosaur.
A one-sided release, and as the title might imply, the single tune here is a Brit-style soccer chant and a good sounding one at that. Lots of power.
Mid-tempo metal-ish thrash and power HC. Not uplifting, but well done for what it is. What is it?
Solid strength with harmonious riffs that has a total MOTORHEAD feel to it. Vocalist has a rough edged style and spitting punk feel with metallic influences, smashing drums and drooling guitar piercings. Tight, well played songs in a totally different Japanese style.
Good sounding punk/Oi with some lyrics that are as stupid as they come. Glorified ignorance.
This New Zealand comp pretty much consists of dark and somber guitar bands. It’s also pretty obvious that more than a few have used the VELVET UNDERGROUND as a starting point, but that’s not a complaint. Some of the tracks by the CLEAN, VERLAINES, CHILLS, and GORDONS are beautiful progressions from both VU and the Scottish Postcard label. Good stuff.
WDM (Finland) clock in with a hot DISCHARGE-like ripper, III KATEGORIJA (Yugoslavia) have a “heavy” thrash sound on their three short blasts, MARITAL LAW (England) have a long, slow-tempo punk tune, and I REFUSE IT (Italy) finish it off with their jazzy HC sound. An indie international effort.
A collection of Swiss acts from ’77 — ’79. As expected, most acts possess an older punk sound, but TNT’s “Razzia” stands out as an uptempo rocker.
A sharp little 7″ with some hot Japanese bands. A mixture of gargling vocals, wild feedback, distorted guitar riffs, good melodies, and straight forward thrash. Crazed action all grooved into a slashing sampler.
Many of the tracks on this garage/psychobilly comp are previously unreleased, many are covers , and most all rock. You get the likes of PURPLE THINGS, X-MEN, TALL BOYS, MILKSHAKES, CANNIBALS, STING RAYS, and more.
What a tape! 1-1/2 hours of bands like DIATRIBE, UPRIGHT CITIZENS, INSTIGATORS, PERDITION, RAZZIA, and a zillion more. Of course there are a few clunkers, but this still gets a thumbs up.
A consistently good sampler of some of Europe’s best acts, including RATTUS, SCAPEGOATS, ICONOCLASTS, BRISTLES, and RUNNING RIOT. The energy here is kept at a feverish pace, so check out this hour long thrashathon.
Four bands here: HONEY DEEP WET, NO LIP, REAL, and MERRYGOROUND. Average of a couple of tunes each, and I found none of this material truly outstanding, though none is really boring or incompetent, either. Accent is on the message in lyrics, though, which won’t do much for most of us.
Here comes a good, concise comp. from Yugoslavia, featuring six acts who favor the straight forward hard and fast approach. Honorable mention goes to MRGUDI and YUGOSLAV SUN.
Two hard-driving tunes in a tough early punk style but with HC’s zip. There’s subtlety as well as power, making this not just collectable because it’s from Poland. Not only that, it’s out on the official state label, with a picture sleeve.
TOŽIBABE straddles the line between riffy punk and hardcore energy with their sheer enthusiasm, and I found these four simple songs even more engaging on multiple listenings. Good female vocals and a distinctive instrumental sound make this a fine debut release.
Two tracks from their LP (the title track and “Idle Gossip”), the former sounding like early 999 (according to Lydia), and the latter is a classic TOY DOLLS rave. Then there’s the onus track, the title track again, but sung in Japanese. I’ve heard it all now.
Pages of turbulent thrash jamming into a quick dose for a fiery combustion. Full speed ahead split-second blisterings hit hard with the total effect as the vocals spits out the speed lines. Maniac drums pace the rabid guitar work to keep the storm a-thundering.
More 60s retro from Sweden — actually pretty cool stuff here, with rave-up vocals, trashy sound and even… a Farfisa organ that doesn’t sound nu-wave. “Eegah” is fully charged instrumental that has the sound of going right over the edge. Very cool and on blue vinyl.
A hot nine-song release of hard thrash and 77-ish punk with lyrics concerning war, oppression, animal rights, etc. The standout cut is “Apathetic Reaction”, a biting critique of that scene. Cool.
Sadly, I didn’t really pay attention in my high school German class otherwise I would be able to figure out just exactly what these punters are singing about. Still, the music and the feel, a strong early sing-song oi feel — like SHAM 69 are both driving and passionate. Most of the stuff marches along at a good clip, both the harder thrash tunes and the slower bigger punk sounds.
One hot little smoker from Sweden’s neo-psychedelic side. There’s an angry, gruff vocalist who can keep his own over the hard fuzz charging garage anthem. He does this because he can sound like both the singer from the PRETTY THINGS and even VAN MORRISON rough rhythm and blues side. Just great.
A split cassette featuring SIC BOY FEDERATION on the A-side, basically trashy noise punk from Britain with a few catchy sound effects thrown in. The B-side features the relentless GG ALLIN and the SCUMFUCS, get the picture?
Great power-packed Japanese pulsations with charismatic melodies. Medium paced with metallic guitar bits, crazed to one end, drums continually smashing the beat together. Has the right punched to grab your attention and hold it. Fun and pleasurable.
Too totally insane! Rapid polished of tight, well matched speedcore that charms with a quick, powerful shine. Reminiscent of GASTUNK with a hauling fury, this Japanese three-piece have combined all the right elements for the ultimate punch. Metallic bites whine as the music charged forth with a shrilling vocalist hurling lyrics outward.
I like this smooth mix of pop and garage sounds but again, I think it’s a case of not really working up a sweat. I know this band can do better as evident on the track they released as a single, “Love for Everyone” — complete with stinging guitar lines and an effortlessly smooth melody. I’m still on their side but we’ll have to see after the next one.
An early CLASH sound on both sides, though it’s not just limited to that early punk derivation. Good tunes, good playing, not too nostalgic.
A highly political release, but sadly missing a lyric sheet. Contains some reworkings of their debut EP, as well as lots of new material. While ample competent, there’s something a bit lacking in the overall sound — perhaps a thin mix. Otherwise strong but unimaginative thrash.
A three songs Oi job, with only the title track showing some spark and originality. I’ve heard that Italy is the only European country where it’s not safe to assume skinheads are fascists, so let’s not make that assumption here.
Decent melodic punk a la ’78-’79 vocals way out front with good back-up singing, okay power, simple beat (through variable) and good lyrics. Fancy bass playing at times.
The title track is the only studio cut, and takes up the entire A-side. It’s very long. Its not very interesting. It would be just passable if it were a quarter as long. The B-side contains four live tracks, largely uninspirational save for “Vicars Wank Too” which shows the most pep on the slab.
This band with their off-tune brand of brisk, almost catchy punk, shows the touch of ERIC HYSTERIC in the demented, almost drunken production. Has an aggressive spirit, some personality and very little else.
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.
