For review and radio play consideration:
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!
Strange. This is a mixed bag of boppy B-52’S-ish tunes, spaced-out post-punk, and Saturday morning cartoon music, all accented by a twangy hyperspace guitar sound and echoing sing-along vocals. Although the songs drag on a little too long, this comes across pretty well for what it is.
One side of this red vinyl job is punk with some experimentation, folk, and other varied influences, while the flip contains three long songs that are post-punk. On both sides, vocals and lyrics are way important, but unless you understand Italian, a lot will be lost on overall impact. Highly political.
Noisy, abrasive punk in all speeds, but mostly hectic thrash. The garagy production and somewhat monotone vocals hamper things a bit, but this is a pretty decent effort, nonetheless.
Side one is the better recorded of the sides, with a mighty driving bass clearing all obstacles, leading the way for non-stop metalish thrash. Lyrics remain in the doom-and-gloom mold, but appropriate for the music. Lots of power.
Two of the three tunes here are in the dreamy psych vein, full of pop softness despite the psych moodiness. The A-side, though, is largely riveting; a psych number with good drive, owing to early PINK FLOYD. Decent.
Muscle-driven power charging with a raw horsepower of intensity. Heavy riffs with a deep, growling voice to raunch the chaotic bites down. Metallic string bits whine out to break the pace as the momentum is a strong medium thrash blast. Well-structured musical attacks work extremely well in the tradition of ZOUO and GISM, as this Japanese depth-charge outfit grins with mayhem. Rave.
Double-LP that documents a big Austin music festival with bands like the OFFENDERS, POISON 13, HICKOIDS, NOT FOR SALE, and more. It’s a good record—just kind of hard to sit through the whole thing—like Woodstock, I guess.
Slightly above-average ’60s comps, ranging from garage punk to pop punk. Volume 2 contains the classic “I Said Oh No No No” by the RAVING MADD. Far out, man.
Four songs from four Philly standouts, including RUIN, ELECTRIC LOVE MUFFIN, SCRAM, and FOD. Each band holds their own creative ground that challenges the listener. Some noise thrash, post-punk, reggae, world beat—it’s all here, and all four songs support a hard edge. Well put together musical document.
A thrashaholic’s dream come true, with 17 bands blaring through two to four quick songs each. While some cuts fall into that dreaded generic category, the EXCEL, CLOWN ALLEY, and BORN WITHOUT A FACE material is worth the price alone. Hot tape!
An hour of some of the best old and new talent from the Bay Area, including SHORT DOGS GROW, CLOWN ALLEY, VICTIMS FAMILY, RHYTHM PIGS, plus many, many more. Mostly from demo tapes, it’s overall a good sampler of what the Bay Area has to offer. Booklet included.
A good introduction to today’s up-and-coming hardcore bands (most from the US), though a few lack in the innovation department. The emphasis is on thrash and speedcore, and the MAIMED FOR LIFE and LUDICHRIST cuts really caught my ear. Great effort.
These rockin’ folksters are back, and while just as endearing as ever, there’s a bit more of a challenge involved here. But musically, they’ve included lots of technical and instrumental variations by using horns, mandolin, violin, and lap steel, to name a few. YO are different than any other band, and I’m sure this one will grow on me as has every other record they’ve done.
Not really a HC band but more of a real cool crusty garage band with a good sense of humor and wild, enthusiastic playing. Singer sounds a little like Doc from the CRUCIFUCKS. Good.
Greg Sage and co. return for some more of their classic, driving guitar rock’n’roll. Side one rocks harder than their last outing, but ends with a long, moody tune that sets the pace for side two, which is a bit cleaner than previous WIPERS stuff. Like the gnarlier stuff myself, but it’s all cool. Keep it up, Greg.
Contains this ’60s Michigan band’s distinctive cover of “Who Do You Love” as well as ten others. Influences run from YOUNG RASCALS to LOVIN’ SPOONFULS to early STONES.
Another good sounding LP, as these guys churn ’em out. Still have a problem with their so-called “anti-political” lyrics, which more often than not are a not-so-subtle acceptance of the conservative status quo. Musically, they maintain their zip and imagination, producing fine punk and thrash.
At six songs, it’s kind of skimpy for an LP but still a pretty good return to form from this early California punk band. Only one original member, but that shouldn’t distract you from rocking out this nifty little slamfest—for fans of VANDALS, MAD PARADE, and SOCIAL D.
Rock’n’roll with punk, dance, and post-punk influences. There is a driving beat on two of the three tunes, but the singing is a bit too much “sung” and the addition of a sax only detracts from the power. Sounds like ’79-’80 degenerated early punk.
Strong thrash similar to the older Boston bands. The lyrics cover straight edge, unity, and personal politics, as is expected with this genre. Although the guitar acrobatics get on my nerves, they do mosh! Contains their EP, plus new material.
A posthumous release, a five-song job of not-so-exciting post-punk, or maybe it is exciting for jaded, over-the-hill, aging “I never was a punk” types. Actually, “Ha-Ha-Ha” has fine power and moments of madness, but that only pales the rest of the tunes.
Debut LP from this LA fuzz band who takes more than just a nod from the early PRETTY THINGS sound. Still, it’s better than the MORLOCKS but not as good as the CHESTERFIELD KINGS. And that’s a pretty good place to be. Cool snotty vocals.
The same great debut LP by this defunct Vancouver outfit, but with two additional songs. High-class punk, great lyrics, a must if you missed it the first time around. May be released without the ex-members’ permission.
Not all that different from their last LP. There’s not a lot of maniacal guitar noise—more concentrated on the low, somber sound. More spooky weirdness from these folks.
Quite out of the ordinary—at times almost no wave, sometimes lyrics set to intense doodling, sometimes moody like TSOL, sometimes like BIRTHDAY PARTY.
This album pushes the RAMONES’ style into catchy, straight-ahead HC (which they manage to do better than the vast majority of bands going), with a smattering of rockin’ pop (which has been their forte for a while now). This is another extraordinary RAMONES LP (nothing but great cuts here), and it’s about time we all recognized that they’re the great American band.
Really basic but well done garage punk. Improved production boosts the power on this, and the snotty vocals and classic punk add charm.
Hard and fast and in your face. Great big thunderous sound with maniacal gravel-style vocals. All this is coupled with very good musical ideas that keep away from the boring tried-and-true riffs. Excellent debut record.
This pop/psych band from Jersey always had the knack for going right up the edge of wimpiness without falling in. This has catchy harmonies, nice melodies, and lots of influences from the ’60s—namely ZOMBIES and early STONES. Nice second LP.
While there’s a decent power here and the vocals are as great and gruff as ever, there’s a sameness to their largely mid-tempo tunes that lulls me to sleep. Outside of the title track and one other tune, I didn’t perk up that much.
A cross between ’60s punk and a ’77-ish sound, with some cool ’50s vocal harmonies. way too long (90 minutes), but energetic and fun. Song title of the month: “My Penis Is Made of Cheese.”
This is a fucking boring record. This is a fucking bor… nah… pretty unmemorable stuff. The speed is down, but so is the spark, leaving those still-ragged vocals and an R.E.M. meets LED ZEP sound. Wish I could be excited, but I’m not.
This is a side-project with various members of the DKs, FLIPPER, and SLUGLORDS. That’s probably the only reason for buying this mess. Basically, real dopey, hokey male bravado rock and funk—something like RICK JAMES playing with GRAND FUNK RAILROAD. Punker beware.
This is a benefit single for the International Haymarket (May Day) gathering in Chicago and is decidedly anarchist, freedom-fighting, and information-oriented. I think that describing the melodic, punchy songs would minimize the amount of info and sincerity involved here. I’m overjoyed that people are still putting out records to inform and communicate.
Four pounding punk tunes with great, shouted vocals. From San Antonio, Texas, this bunch pokes fun at both Khomeni fanaticism and the US. Excellent recording.
Great noisy record with former members of SIC KIDZ. CRAMPS meet GUN CLUB with swirling sheets of guitar distortion. The flip is not as great, but it’s hard to match the aggression of the first track. Interesting.
A slower but tense attack Á la TSOL. The sound shifts back and forth from the melodic to the powerful, which makes for interesting listening. Didn’t think I’d like this, but it’s OK.
Seven songs of tuneful but forceful ’77-ish punk with unique guitar work in the vein of early MIA. The lyrics deal with the ups and downs of the opposite sex, and the overall product here is quite enjoyable.
Basic bone-crushing, change-the-pace thrash with good production. 27 tunes, both punk and thrash, raw guitar drive, and snotty vocals. Good start.
The A-side is a good power-punk song with some metal licks, while the flip is a metal song with some punk influences. I obviously prefer the top side, but both have appeal.
Metal punk, both in music and attitude. Hey, if you’re one of those people that write into MRR saying we should cover more “rad” metal bands, buy this and leave us alone.
Blues overtones are what make these five songs great. “Hard on You” is a rockin’ PAGANS-style song, while “Played to Death” is loping, sleazy blues. “Call of the Wild” has a ska beat that turns into a knockout rocker. And nowhere except maybe KILLDOZER have I heard a vocalist like this. They’re hot.
Speed-metal or dumb punk, take your pick. Decent power and non-stop energy with metal guitar leads and riffs.
Driven by a dual guitar onslaught, the BATS give us four tracks of DISCHARGE-ish power thrash with hateful, rebellious lyrics. This is the stuff you do not want to hear if you have a headache.
With their debut LP, I liked the music, liked the lyrics, had doubts about certain contradictions. With this follow-up, I like the music less (way more metal), the lyrics are largely good (though the anti-welfare “Public Assistance” attacks minorities as the problem), and again I am not convinced—even less so.
Around for many a year but their first vinyl. Began as a thrash band, but are now decidedly a punk band with classic punk riffs and approach. Good sound quality, decent tunes and power, and fairly fun. Could have done without “Sweet Jane ” cover though.
Miriam Linna (original CRAMPS drummer and ex-ZANTEES) and other ex-ZANTEES and ex-DMZ/LYRES team up to provide some pretty mediocre and unexciting rockabilly.
An uneven new LP. There are some irresistible melodic punk numbers here, and from the moment the trebly out-of-tune guitar chimes in, one gets that great rush that only comes from independent records. The production is not as slick as it is on most French releases, which can be good, but the album is somewhat marred by slower, rockier numbers and a typical skankin’ cut.
A live (and hot one at that) recording of this power-pop band that feeds off both ’50s and ’60s roots, R’n’B, and pop and turns it into a rockin’ sound like early DR. FEELGOOD meets CHRIS SPEDDING.
Pop punk like the ROMANTICS at their early best. Boppin’ bozos.
