False Liberty The Zoo is Free cassette
Dizzying whirlwind thrash not unlike DRI. I’d love to see these hyperactive spastics live because they’re tight and powerful as fuck. A searing release.
MAXIMUM ROCKNROLL
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Dizzying whirlwind thrash not unlike DRI. I’d love to see these hyperactive spastics live because they’re tight and powerful as fuck. A searing release.
A little too weird for my tastes. Starts out with catchy SoCal punk but, hey, what’s with all these goofy Top-40 keyboards? It’s too bad, because the words don’t really anything and in the end (geddit?) the music doesn’t either, just a musical candy bar.
This band recorded one LP under the name SUBURBAN NIGHTMARE, and I recall it being fun and just a little on the snotty side. With this release, they get down and dirty with their hard-driving garage/grunge punk. Some great covers of bands like CALICO WALL, AVENGERS, and LARRY AND THE BLUE NOTES. This puppy smokes.
Half the tracks here are really listenable garage rock’n’roll, while the rest tend to be too rockabilly-ish or poppish in derivation for me. Obviously, they’ve got power and roots, but I hope they don’t get stuck in the past.
A one-sided “live in the studio” LP, pressed on green vinyl with an etching pressed on the flip. A good slice of these enjoyable guys, funk and punk, a treat.
Driving, angry mid-tempo punk with rhythmic, distorted, upbeat sounds blended with good sing-alongs and politically minded lyrics. Several treats show up on this, as some memorable basic guitar and vocal arrangements make a very loud release from this band that does not live up to their name.
Here’s a new group formed from members of the URINALS/100 FLOWERS and the LAST. It’s a stupid name, but it’s one of the classic slow, summer psych/garage records. Neat clear vinyl and there’s a 7″ out there by these guys with only 300 pressed. Collectors?
Traces of HÜSKERS meets ’70s rock, containing many of the excesses (long, drawn-out songs, self-conscious structures, etc.) that made that kind of music so unbearable and necessitated punk in the first place.
Tight musical compositions plunge headlong into some serious topics of personal beliefs. A few good riffs that harmonize rather well and keep a steady pace as vocalist Dave Smallee croons his way with such an exceptional flavor. This man’s voice makes the record. He has a craft with his voice and uses it so well, the A-plus of this slab.
This intriguing album contains textured and highly varied guitarwork and an emphasis on good songwriting I found refreshing. Not all the songs are memorable, but there’s a poppish edge to CONTRABAND’s best songs, combining mid-tempo punk with harmonic vocals to make for an LP that grows on you. Good, solid release.
Although these dudes are pretty sedate compared to modern HC outfits, they play some enjoyable twangy garage punk. The lyrics dwell on personal and political matters and “War Heroes” is destined to be an underground classic.
Though there’s nothing new musically, this mid-tempo hardcore platter is well done, has clean (perhaps a bit too much) production, really audible vocals, and really good lyrics. Always glad to see a good band emerge from mid-America.
Great, rawly produced four-song EP from this abrasive band. The guitar is at full blast and grinds away at mid-tempo with a demanding floor-trembling sound, when mixed with the notable vocals and one-two-one-two drum beat. A powerful release.
I love BIG BLACK and this LP is no exception; the only qualm I have is that a couple of these songs sound so much like the BUTTHOLE SURFERS that they should’ve declared an ode to them so as not to be called plagiarists. Still, this material is strong in melody, rhythm, lyrics, and production. Classic songs as always.
A pretty hot effort here. These wild Iowans unleash a harsh, driving thrash attack with social and political lyrics. The mushy production is a setback, but this is worth investigating.
Eight bands, mostly murky sound, mostly thrash stuff. Standouts for me were the spastic psychotic thrash of BRAIN DEATH and DISACCORD, who spreads thick swirls of distorted guitar on an early-DISCHARGE base.
Volume One covered French neo-’60s garage, and this latest volume covers Sweden. The bands emerge from punk to pop-punk to power rock, all with that zesty garage undertone. Grittiest stuff comes from the SLAMMERS and SLOBSTER, though fine stuff by HIDDEN CHARMS, SINNERS, and BOTTLE-UPS (among others) are welcome, too. Good work.
This label Anhrefn is dedicated to alternative bands who pride themselves in their Welsh identity, culture, and language, and this comp contains two tracks each from five bands. Two are punk (YR ANHREFN, ELFYN PRESLI), while the other three are best described as folk-punk, post-punk, and techno-pop. An interesting array.
Emma is a squat/rehearsal/recording studio/concert hall in Amsterdam that is run by and for bands and fans. This double-LP not only comes with a complete description of Emma’s intent and a booklet by the bands, but lots of music that’s been performed live an in the studio there. Thirty international bands in varying styles and recording quality. There is literally something for everybody here divided by sides: hardcore, pop, post-punk, noise, etc. They’re an example to us all.
Two to four songs each from GAUZE, GHOUL, EXECUTE, LIP CREAM, OUTO, and GASTUNK. Lots of great stuff, especially by LIP CREAM and GAUZE, though there are very few slouchers at all here. Hot.
With this 24-song tape, VORTEX seems to be coming from BUTTOCKS-y “roots”, but has speedmetal tendencies: frenzied guitar outbursts pop up for no apparent reason, then just as suddenly disappear, and many songs have intricate slow introductions. Not bad.
A big sound, classic Britpunk sound—lots of production, accent on vocals and choruses. Professional punk from England.
While this live tape (recorded in Holland, ’86) doesn’t pack the punch of a bunch of adolescent loonies, the upbeat mid-tempo sing-along punk showcased here is pretty impressive, even by modern standards. SUBS fans will definitely dig this.
Most of the tunes here rip right along at a rapid clip, combining good tunes, that classic French chorus singing, and hot production. There are a few change-of-pace tunes which are decent though they tend to be longish. BLITZ influence, but uniquely French. Watch for more hot records on this label.
Outside: a plain, homemade, obviously “punk” sleeve. Inside: a three-song, well-produced, hot sounding record. Powerful punk, both fast and medium-paced. Quite a refreshing surprise—no hype, just the facts ma’am.
A couple of former UNDERTONES blend pop, post-punk, and folky experimentation with mixed results. Somewhat of a letdown after the good recommendations I’ve heard, as I found it lacking in punch and focus. Not dynamic.
This latest release has taken quite a while to get pressed. They’ve slowed down a tad, but still maintain their characteristic intensity. You get twenty songs, mainly mid-tempo noise thrash, a heavier sound than usual. Catch ’em live this August-September on tour in the US. (They need a van for two bands; can you help? Write…)
More great punk, really ripping powerful stuff, hot bass and singing. Tight band.
These guys have been compared a lot to the BUZZCOCKS, though I hear a lot of the early UNDERTONES as well in here. Both tunes are bouncy pop-punk, with good melodies, pounding drums, and up-front guitar. While this is a good start, the tunes weren’t as instantly memorable as their aforementioned prototypes, and I hope they don’t lose the grit in their attempt to “make it.”
Two songs are rock punk, while a pair are straight-on punk thrash. Schizo personality, but good at both.
Brian Walsby-ish hardcore? Actually, his drawing gracing the cover sums this up well—good fun punk sound, though the lyrics indeed have a lot of meaning. A fine young band.
I don’t know where these characters come from, but what we have here are six innovative cover versions (with great femme vocals) of classics like “Purple Haze,” Georgy Girl,” and “One (Is the Loneliest Number).” Strong guitars and semi-tasteful use of effects make this one a winner. Completely hilarious.
Another real cool psych record from Germany. This one is a little more keyboard-influenced, but if you like the early sound of the SALVATION ARMY, it shouldn’t be that hard to get used to.
A send-up on GBH, the key word “baka” (meaning “foolish”) appearing frequently. Hilarious music, as well as the funniest back cover I’ve ever seen. Great Big Haircuts, indeed.
Though the music is not the slickest thrash I’ve ever heard, there is an urgency to it that’s most compelling. Combine that with raging vocals of a highly political nature, and you’ve got something special.
Maniac speedcore terror bursts out with a garage sound, loud and raucous, as the momentum files with energy. Intelligent lyrical content is shouted amongst a wall of chaotic aggression in this split-second delivery of ultra-fast combustion. Not since the NEOS has a band shot it all into the fire with a continual non-stop pace.
Neo-’60s punk with a CRAMPS undertone. Really simple songs, a slightly raunchy R’n’B feel, and basic guitar drive. Fun.
I think this is more or less RAW POWER’s original line-up (not the metal band that toured as RAW POWER) as there’s a lot less guitar wanking. Pretty straightforward thrash as well as some punk tunes. Lacks the overall insanity of some of their best material, but there’s plenty of hot stuff here and a lot more variety than usual.
Imagine the catchy, female-vocal guitar pop of the SHOP ASSISTANTS melded with the simple song structures of the RAMONES, and you end up with something that sounds like this excellent release. Four songs, all snappy and memorable, with hooks galore. A complete surprise!
Pop rock’n’roll with ’60s, punk, and R’n’B influences. Well done but no special punch or grabber.
A supreme invasion of grinding feedback rammed with chunky distortion from the Osaka havoc masters of Japan. This fabulous second release thrusts all the chaos into a noisy thrasherpiece as the thrills are non-stop pushing the ears thru the glass and ripping the skull to shreds. Deep, raw non-hesitant jumps into the speed realm of ultramania.
These guys remind me of early TUBEWAY ARMY, which means that they border on a wimpy, electro-pop sound and have commanding lyrics. Just enough drive to make you listen. I don’t like the A-side, but “Stop USA” on the flip is OK.
Blazing, hard-hitting guitar thrash from the long-time Scottish band. Five songs that do their best to break walls by the use of the band’s loud, powerful 3D music combined with gravelly vocals. Definitely active in more ways than one!
From the ashes of PORNO PATROL comes this full-force four-piece that holds back on nothing. A great combination of abrasive vocals (in English) and high power thrash, German-style. The lyrics are clear, angry, and rebellious, and enhanced by shouting choruses. Loud and powerful.
Pretty quiet stuff with female vocals, not really very inspiring except if you’re laid out on ludes and can’t get up to turn it off.
Divided into a “Romantic” side and a “Realistic” side, this band pulls off an out-of-the-ordinary LP. Their punk is not generic usually, but doesn’t really drift into experimentation or post-punk to pull it off. Can’t really say what it is, but it’s a tad different. Worth checking out.
Melodic rockish pop is NEW ROSE’s stock-in-trade, and the slow-to-mid-tempo tunes on this release show fair promise. “Run for Cover” is upbeat and pleasant, and at least two of the other four tunes show an adeptness for very understated hooks and adequate songwriting. No great revelation, but OK.
A generous 12-song tape. Wild stuff: screams and laughs, tempo changes everywhere. Neither straightforward singing nor your basic screaming; the singer runs amok and the band chases after. Good sound, loud guitars.
A wide variety of ’60s sounds—spaghetti western, pop, punk, psych. Third release, all good.
An ABBA cover. Well, if anyone can pull it off, I suppose LEATHER NUN can. Actually, it’s great—their powerful, sleazy, pop punch comes right through and the B-side is a great dirge, too.
