Gomess Unaffected Nation 8″ EP
Early BLONDIE sound with plastic female vocals and a decently powerful pop-punk band. Vocals ruin it all.
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Early BLONDIE sound with plastic female vocals and a decently powerful pop-punk band. Vocals ruin it all.
Obviously influenced by the noise kings of the UK, GAI runs with deadly barrages of distorted thrash, crazed with a total no-holds-barred approach. This is a collection of GAI tracks and the transition into the SWANKYS (which they become, since both bands shared the same members). A multitude of mayhem!!
An offbeat mixture of melodic mid-tempo awkward punk and hyper-speed thrash accented with heavy Spanish vocals. Tempo changes are quick, powered by demanding, clever guitar licks. Seven songs that are kept to a fast pace and a potent foreign hardcore feel.
Two of the four tunes are pretty decent ’81-style Britpunk, while the other two songs have a trumpet added, which adds a goofy feel, sort of like HERB ALPERT gone punk.
The A-side is a harmless little ditty, power-pop with a little guts, but the B is a neat cover of a VELVET UNDERGROUND tune, one of their poppier numbers that’s been up a bit here. OK.
The sound ripped my teeth from their gums as my mouth gaped open wide in astonishment as to the full-front ferocity of extreme power smashing my face. This is the best new blast of damaging explosions to rock the brainwaves as an assault of growling vocals bark over a maniac lashing of speedy thrash pushed in with raw, loud distortion.
This four-song demo brings to mind larger English bands like DISCHARGE and SACRILEGE. The punchy music is suitable for headbanging and the lyrics are suitable for brainbanging. Good job.
Quite interesting. CRAMPS-like at times, real grungy sounding stuff, but quite primitive yet produced. Femme vocals lead the way for raunchy blues, rock’n’roll, and punk.
This five-tracker displays this Finnish band’s adeptness at mid- to fast-speed hardcore with rockin’ vocals and sizzling production. None of the songs stand out, but the energy and power abound on this record.
Ten songs from a new band made up of members from the ruins of Wessex punk bands, the outstanding one being Dick from the SUBHUMANS on vocals. The band surrounds itself with a strong reggae punk/ska sound that is based on flowing melodies and very catchy rhythms. Very refreshing and interesting without making compromises.
An outstanding compilation of CRASS material most of which is taken from past singles. But there are three previously unreleased songs that document the band’s musical growth. Recorded interviews and conversations are included, as well as a complete lyrics booklet that contains an essay about the band’s history. Overall, very inspiring and highly recommended.
The A-side is a good mid-tempo punker, catchy, etc. This flip is a ballad, rock Á la LED ZEP, and unbearable.
The boys went a rampaging in Japan, shocking the minds with their chaotic fits, and recorded some new smoking tracks that send quake waves throughout Japan. Great straightforward bites of feedback and distortion in the crazed tradition meet you with the four new bits on side A. Side B was recorded live at one of the Japanese crunch shows.
It’s taken me a long time to like these Aussies, but this one has finally sunk in. This band has the traditional rock’n’roll Á la BIRDMAN/SAINTS sound but with their own poetic style in both rockers and ballads. Great production, inventive arrangements, and topics ranging from world view to personal view. A fine release.
CAS PRAWDE is one of those bands with an upbeat punk attack, abetted by riffy song structures, but without much in the way of hooks or memorable tunes. The power’s OK—where’s that added punch that wants to make me listen to it again?
I found myself getting caught up in the dynamic thrash of CNT—hot guitars, passionate vocals, the typical Finnish speed attack—so much so that the intrusion of speed-metal licks bothered me all the more. Too bad; otherwise, it’s a cool record.
This is just as good as the British pop we all used to love before hardcore became fashionable. Three superior guitar-pop ditties are here: the distinctive lyrics, delightful hooks, and unusual, almost archaic arrangements are clearly done with care. Even better than their fine debut release; the track “Sordid Tales,” with its surfy guitar, is especially appealing.
A hot new Norwegian thrash release. It’s no secret that I am totally bored with generic thrash these days, but this release rises far above the 1986 standard by virtue of its exceptionally tight instrumentation, outstanding bass playing, and hooks. It is also raw in that cool HEADCLEANERS way.
This LP brings together a good deal of APOSTLES material that is no longer available elsewhere. The songs are diverse stylistically, side A being more experimental, but they all share a primitiveness that is irrepressible. The lyrics remain provocative, if not always logical and free of contradiction. Recommended.
On their first solo release, this band plays slow, plodding, early-style punk with a post-punk twist. Really stark and subdued but after a few listens even the seemingly boring songs sound melodic and catchy to me. And I haven’t heard anything as catchy as “New Clear War” since the OUTCASTS’ or CRISIS’ heyday.
Throbbing, pounding mid-tempo guitar-driven anarcho-punk that occasionally lunges into fourth gear, or goes into metal second. Five long songs, lots of power as well as repetition. Good lyrics, as always.
A mass exhilaration of fast melodic thrash with a flare for noisy guitars all wrapped up the complete raw package greets you to the latest C.O.R. split effort. Sturdy and lasting with all might, both bands peel off a collision of chaotic riffs. A.O.A. storms wildly at a rapid pace, while OI POLLOI pushes a sonic wave of harmonious velocity, fast and fun.
A great collection of mostly unreleased tracks from North American bands like LUDICHRIST, DISORDERLY CONDUCT, SACRED DENIAL, ASSAULT, PSYCHO, and many, many more. There are a few speed-metal riffs here, but the common denominator is speed. Aggressive speed-thrash attack.
A fine idea, a compilation of original tunes that the CRAMPS have covered over the years. Both ’50s and ’60s songs, there are either whole songs covered, or songs the CRAMPS took the lyrics from or took the instrumental licks from. Given the huge amount of songs the tasteful CRAMPS have copped, we can look forward to Volume 5 in no time.
A politically inspired comp, this one contains such bands as LIFE SENTENCE, GROUP OF INDIVIDUALS, BORN WITHOUT A FACE, RAPED TEENAGERS, and many more. A really worthy project, plenty of good music, and lyrics that matter. Especially like the Missouri band LIKE A HORSE.
Clearly half of this soundtrack LP stars the LOVEDOLLS, who seem to mainly to do the vocal tracks (sounding like the RUNAWAYS), and backed by the likes of REDD KROSS, SWA, PAINTED WILLIE. Remaining tracks star BLACK FLAG, DK’S, GONE, MEAT PUPPETS, SONIC YOUTH. Fun, in a Hollywood sort of way.
Various pop-punk and folk rock bands with neo-’60s flair. The bulk are 50/50, but there are at least three real standouts, coming from the MIGHTY MOFOS (formerly the HYPSTERS), the WIND, and the CAVEMEN.
A reissue of the first EPs on Big City Records. If you don’t have them, you’re safe by snagging this because of the great tracks by REFLEX FROM PAIN, VATICAN COMMANDOS, ARMED CITIZENS, CIA, SAVAGE CIRCLE, ULTRAVIOLENCE, and others.
A one-off “instant record,” this EP is dedicated to exposing the scam of the Vancouver Expo and its effects on those who aren’t just profiting off of it. MECCA NORMAL, RHYTHM ACTIVISM, and another band do folk or dirgy noise, while DOA does a CREEDENCE-like tune, “Billy and the Socred.” A timely release.
This 28-song comp is made up from the likes of 76% UNCERTAIN, YOUTH OF TODAY, LOST GENERATION, VATICAN COMMANDOS—13 bands in all. The music ranges from powerful thrash to melodic late-’70s punk to hard-edged rock. Production is consistent, resulting in a fairly good sampler of what the CT scene has to offer.
Strange rock with a flanged vocal chorus and a good guitar progression makes for an interesting and oddly enjoyable A-side. The flip fares less well.
Not anywhere as amazing and explosive as the recent VU release of similarly unreleased VELVETS material, this new batch contains a few moments of wonder. A studio version of “Real Good Time Together” is decent, the ridiculous “Ferryboat Bill” is a treat as is the original version of “Rock and Roll.” The real standouts, though, are the instrumental version of “Guess I’m Falling in Love” (a pounding experience) and version two of “Hey Mr. Rain” that contains some awesome John Cale viola noise. Again, a must for VELVETS maniacs, if only for the clean production of all those bootleg versions you’ve had to strain through.
Dare I say there’s a Chicago “sound” gelling, epitomized by a powerful punk approach to post-punk (BIG BLACK, NAKED RAYGUN) and joining their vinyl ranks is URGE OVERKILL. Big bass and drum sound, loud production, and cryptic lyrics are the ingredients. Of the five tunes, two appealed, three didn’t.
This LP is a long time coming and they’ve come a long way since their single. It’s really easy to hear the JOY DIVISION in them and lots of it. But the production and rhythm sections are hot, the continuity flowing, the words integrating so that recognizing that distinctive sound becomes secondary. Dark, poetic, and proficient.
The GIRLS are off in many tangents and can be a little boring but they are still provocative. Here they have depressing psychedelia to lounge music to ethnic accents to the true LSD freak-out. Very musical, poetic, downright pretty, distinctively ugly, the great acid experience or background music.
I’m impressed. This band was around for ages before finally spewing out a great debut LP last year. This time, they’ve decided to scrap a lot of old, tired ideas in favor of stretching out lyrically and musically. There’s a fuller, inspired sound here without seeping into a pap wimpiness. Good.
One whole hour of droning FLIPPER-ish noise. I can get into SABBATH dirge to some extent, but this is just plain boring. The only asset is the short length of the songs (30 in all).
This new English pressing of the infamous 12″ contains all the original tracks, and on the flipside there are six previously unreleased and one new song, all which were recorded live. The sound quality is fair for a live recording and it sounds very much like the vocals were overdubbed, and if that’s the case, the whole side loses credibility.
Four tunes that are centered around a very catchy, steady, pounding beat and a nice guitar buzz. The lyrics deal with simple political statements but remain interesting, which is complemented by the deep-throated vocals. Good stuff.
In this day of slick releases, this may seem pale. But this band is pure garage aesthetic in both sound and words. This is dirty rock’n’roll and as dirty as it gets, too. You may be offended by “Just Wanna Die,” “Pussy Teen Power,” “Cunt Tease,” or “You Look Like a Jew,” but I say that these guys get four stars for bravery.
This strong release shows this Virginia band at their near best: distinctive vocals blend with flailing rockish punk on the four songs here, of which the title track seems the most memorable. Production is hot, making for a ripping release. The only drawback is the sporadic guitar leads.
Good old punk with rebellious lyrics kinda like TOXIC REASONS. While this seems rather basic, PLEDGE OF RESISTANCE have a good bit of rockin’ energy.
This band has been compared to the MINUTEMEN in previous tape reviews here, but on two of the three cuts here they remind me more of the no wave post-punk, while the title track is more in the eccentric pop vein.
This band is one of the new “eclectic” post-punk outfits that seem to be pouring out of SoCal. They mix punk power and intensity with other genres, borrowing from hard rock, funk, etc. This one works better than many I’ve heard, though I’d like to see more of these bands harken back to early punk’s appreciation of economy in length of tunes.
A great consistent tape of rapid HC not unlike POISON IDEA or JERRY’S KIDS, while still maintaining some identity. Good lyrics, clean production, and lots of songs make this a necessary addition to your collection.
At first, I thought there was something different about this band and I couldn’t put my finger on It. More metal? Slower? More doom and gloom? More rock? Well, yeah, all of the above and produced by ALICE COOPER. Very gothic, slow, tired, and staid. Are the ’70s back or were they here all along? Yawn.
This group is chillingly similar to the MISFITS, even down to the creepy stage look and gorefilm lyrics. They still manage to blend it with a hard-driving and cleanly recorded hot records—somethin the MISFITS always lacked was production. So, if SAMHAIN doesn’t do it for you and you still need that hit of gore, these guys are your find.
This band has been one of San Francisco s premiere doom-and-gloom bands for years and this new LP deserves some notice. They haven’t completely eliminated the gloom, but they have become much more musical and the arrangements shine over and above previous material. Some great rockers here and a variety of styles, instruments, and lyrical material.
This outfit whips up a cool batch of fast, driving punk with a dash of metal guitar thrown in. All seven songs are undeniably tight and powerful with sociopolitical lyrics, making these dudes a blazing unit who deserves your attention.
Neo-psych from Mammoth Beach, NJ, and judging from the photo they’re not too ashamed to whip out the old paisley. Truthfully, this isn’t so bad—nice mix of fuzz guitar and droning hypnotic vocals. And the flip has one of the best sounding SMALL FACES rip-offs ever. Very enjoyable, thank you.
