Pöbel Möbel Demo ’86 cassette
Fast melodic punk from these Swedish crazies. Includes five originals and a cover of “I Saw Her Standing There.” Fun.
MAXIMUM ROCKNROLL
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Fast melodic punk from these Swedish crazies. Includes five originals and a cover of “I Saw Her Standing There.” Fun.
Five songs in a punkish vein here, with good female vocals to boot. The operative track is “Fuck SACEM,” a steamroller in the tradition of the ELECTRIC DEADS with blazing guitar and great wailing, though the other songs are adequate.
Thrash, jazz, and funk up the butt, dude. A total crackup, right down to them saying Oi stands for Oppressed Intelligence. Too funny for words.
Just a ranting poet and a guitarist — great lyrics, but the guitar has so many special effects that it doesn’t add to the rawness that would make the lyrics really come to life. Have seen them live and they had a lot more impact that way. Still, the words are worth hearing.
This British band specializes in committed mid-tempo punk in an ’82 formula, sounding somewhat like a rawer DIRT with their alternating male/female vocals. Good nostalgia value here, but the formula is fueled with contemporary energy.
OTH combines a punky power chord song structure with cool rock’n’roll breaks to create a familiar and engaging instrumental sound. The individual tunes don’t leave much of an impression, and this is proven by the fact that the best song on this LP is a wonderful cover of “California Sun” called “Le Soleil du Midi.” Basically okay.
When they really get rolling, O.H.M. are an instrumental powerhouse, with loads of guitar abetting their thrashy tunes. The sung vocals definitely detract from the overall power, but this Danish band wins points for a sound that should be the envy of many a thrash ensemble.
Political pop punk with mod traces and CLASH influences. Well done but not on the edge.
One excellent song from these troopers, just to prove they still exist. Max Volume and Buzzsaw Iron Bill have been at it for years (only previous vinyl was on MRR’s Not So Quiet comp of ’82) and though this song doesn’t contain the humor of most of their material, it still rips. A freebie to Thrasher subscribers. More Max!!!
A supposedly “fun” album by this New York band, one of many that play good music (punk—as opposed to thrash metal—in this case) but who make it difficult to enjoy because of their advertised ignorance (homophobia, among others). Accompanying press release actually lauded singer Jimmy Gestapo for his “Donohue” performance, as well as containing his self-description as a “macho goon.” Real fun.
A re-release of a great punk record for those who missed the first time around. This matches their early 1980 7″ release with some noisy but spirited live tracks from their last show.
Powerful hardcore with a searing dual guitar wall of sound pushes this tape ahead of the pack. Reminds me of BLAST, even down to the determined personal lyrics. Hot release!
Kind of what you’d expect from German punk bands. They’ve got a nice HÜSKER DÜ-ish distortion on the guitar, but everything else sounds kind of tired. Sometimes, it takes more than just guitarwork to make a great record.
This is one of those things that looks better on paper. Basically a jam between the MINUTEMEN and BLACK FLAG back in early 1985. The one song written by Boon manages to hold its own, mainly because of the structure there, but the rest end up like some late night jam fest with nothing getting accomplished.
More fun for the fuzz-heads. Here, MIKE RUNNELS overloads the guitar distortion with a really good, catchy melody and manages to get the JESUS AND MARY CHAIN sound without the wimpy melancholy — and though I don’t think I heard any drums, you don’t really miss it.
UK pop stuff in a FALL-ish mode — meaning sometimes driving music and incomprehensible lyrics. For the desperate looking for trends.
The best thing about all the MEATMEN recordings were the sharp, bullseye humor. Here, the MEN skimp on the humor in favor of the hard-fought macho-metal sound, and it just doesn’t sound like parody anymore. I’m sure if someone offered the spot between ACCEPT and TWISTED SISTER on the HM hierarchy, he’d jump. Me, I’m bailin’.
A groovy little neo-’60s psych band from Arizona that sports some great fuzz guitar. The A-side has a slight plodding feel to it but both tracks are redeemed by the anxious, crusty sound of their vocalist. Should be another 7″ out by this group.
Don’t know much about this except that it’s produced by Tom Lyle (GI), that it has the classic D.C. sound — driving punk with powerful guitarwork and clear, expressive vocals. Great.
Not sure what this band is about, but they’ve got sex stuff all over their graphics. Musically, both slow and fast hardcore, live and studio, well recorded and raw.
Half studio and half live material, this above average band rages, has fun and executes a powerful but non-generic thrash/punk style that hits the spot. Enjoyable.
Sort of a lighter version of the PISTOLS sound meets mediocre Oi! sound. Certainly not his most exciting material.
This posthumous live recording of the KELPIES, a Sydney punk/rock outfit, shows real songwriting quality and makes me hungry for more. The inventive guitarwork recalls CHELSEA, and the tunes are subtly crafted pop-punk. Sound quality is respectable; this one definitely grows on you. Recommended.
Three of the four tracks here adopt an upbeat pop-punky style with good energy, little discernible melody, and somewhat undisciplined vocals. The other song is a lilting reggae-tinged number that segues into ska. Adequate, but it doesn’t quite hit the mark.
Six finely crafted pop-punk tunes. Sounds like ’78, but not in a nostalgic way—just powerful but tuneful material. Despite signing to a major, they remain political (title tune, plus “El Salvador”), though there is perhaps a bit of overproduction.
Thrash with very little in the way of melody but massive amounts of speed. As repetitive as this music might sound, this band seems to do it very straightforwardly.
Quirky punk here — the vocals being the most abrasive aspect, though the music is pretty uptempo at times, too. Older punk styles predominate, often varying towards obnoxious pop, but veering away at the last second.
HONOR ROLE has devolved since their highly distinctive debut. Time seems to have eroded the vocal uniqueness and punky tightness of the past; while there’s good, hard guitarwork and some interesting ideas, not one song really stands out from the pack.
One serious and one fun band share this slab, and will share an LP early next year. HEIMAT-LOS have a modern thrash sound that is powerful but relatively uneventful musically. KROMOZOM 4 employs more imagination musically, making this more palatable for non-French speakers. Sounds good.
COC-like hardcore from Belgium. At times, the drumming seems to lag a bit, but overall, you’ll find some pretty inspired and aggressive power thrash. There are more weird guitar bits thrown in than you’d find on most such records, and the production is top notch.
Despite the rough sound, there are two classic tunes here. The HARD-ONS style mixes 60’s punk with a great pop-punk ’77 sound, and especially on the second track, really hits home (a cover of the LEGENDS). Available on Livin’ End zine #6, a mag dedicated to 60’s Aussie bands.
A two-song, one-sided job, both tunes featuring driving rhythm and noisy guitar, though the overall effect is not too powerful.
From Maryland, this nice little surprise carries an interesting and slightly mysterious sound. Some of their slower, more plodding tunes recall JOY DIVISION and DIE KREUZEN, and faster material has that murky, bewildered sound like DAS DAMEN. Very groovy.
The homemade production sounds full and rockin’ just like all the good Aussie releases, especially on the powerful A-side. The flip has less punch, and frankly, neither track is particularly noticeable aside from the occasional instrumental punchiness.
So-so Oi here. Okay buzzsaw guitar, but not very inspiring tunes. But hey, if you’re into off-key choruses, this is it.
The four tracks on this, FUZZBOX’s second record, demonstrates that this band has more in the way of a distinctive sound than great material. Cool synth bass with instrumental intrusions (sax, rhythm box, but no guitar I could hear) provide spare backdrops for vocals reminiscent of HAGAR THE WOMB. Nothing special.
FULL FATHOM FIVE sounds like the better Homestead bands, with their powerful guitar sound, varied arrangements, and abstract vocal concerns. I liked their HUSKER-ish changes on “Why Their Faces Are So Worn,” and the other tracks are quite respectable.
Recorded (I believe) during a recent incarnation of San Francisco’s GROOVIES when they played Australia, these two songs extend their folk pop direction even farther. Both tunes hold back, threaten to burst out, and never do. For collectors only.
I guess these are early and unreleased CANNIBALS cuts — who knows, who cares — it’s just so-so but fun garage R’n’B based trash. Okay.
Noisy meets early CURE here for three grinding tunes. Lots of guitar from this three-piece on all three tracks, including a slide sound.
Another in CBGB’s live series, this one being a relentless barrage of fast punk and thrash with singalong choruses. Fucking intense!
Do you like the pop HUSKERS sound?
When I first heard this, I thought it was a great mix of Chris D’s tough-as-nails lyrics with a good, classy production. But as I play it more and more, I’m afraid he must have left a lot of drive and fire of the early FLESH EATERS music for smoother production. Really commercial stuff.
I admire this band for their hilarious lyrics and rich, hard guitar sound, and there’s certainly cause for interest in their punkish, rockin’ tunes. The problem is that the goofy vocals don’t hold down melodic interest, making the songs run into one another. Still, there’s talent and drive here; I want to hear more.
Citing the SAINTS and TELEVISION among their influences, one can hear it a bit. But those groups, despite sometimes extended length songs, always made them memorable, whereas DOS seldom leave traces of tunes re-emerging through the mind rubble. Undelivered promise.
Well, here it is 1986 and I finally discovered why people used to rave about DMZ. After hearing their other releases and being sorely disappointed, I thought the hype was underserved. But now that a tasteful purveyor of primitive raunch has managed to unearth a live DMZ recording that frankly blows away everything else they’ve put out, I’m convinced.
These guys call themselves a HC ska band and that’s pretty accurate: upbeat jangly ska tunes with Oi choruses. Mostly energetic stuff here, lotsa fun.
A four-song old Britpunk style release, simple on the beat, fast punk and growled political lyrics.
Probably the most intense, tight, ripping act from SoCal since EXCEL, who seem to be a big influence. In fact, I’d say a number of “metalphobes” could get into these guys because of their sheer intensity. Wild.
I guess if Joe POP-O-PIE could build a career on just one song (GRATEFUL DEAD’s “Truckin”), then the COOLIES certainly can with just one artist (PAUL SIMON…well, actually it’s SIMON & GARFUNKEL). Yep, most of the tunes here are rocked versions of S&G hits (“Scarborough Fare,” “I Am A Rock”, etc., etc.). Gets old fast.
