Donald’s Hoeden Donald’s Hoeden cassette
Really snappy thrash with hooks and choruses. Lots of stop-and-go action, cool singing, and rapid-fire tunes with little waste. Neat entry from this German band.
MAXIMUM ROCKNROLL
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Really snappy thrash with hooks and choruses. Lots of stop-and-go action, cool singing, and rapid-fire tunes with little waste. Neat entry from this German band.
Buzzsaw guitar burns its way through 14 songs, all set to a classic, crazed, thrashed-out tempo. It’s produced by machine gun drumming, but the vocals are lost in the background and seem to be merely muffles. Nevertheless, the music makes up for it—fast and hot!
Swedish neo-psych band that relies heavily on dark guitar passages and gloomy percussion. Nice cover of ZAPPA s “Trouble Everyday.” Less psych here than just plain old guitar pop.
Hallowed be the return of the COMES and orgasms does it create with splash ’n’ bash mayhem as the female singer twists buzzbomb of a sensation. Six tightly knit songs to grab down and charge up for an earful in flailing delight. Hot stuff that mixes well for both crowds.
Switzerland produces some very mundane punk and some quite interesting experimental punk (such as the MANISCH DEPRESSIV 7″), and this release falls into the latter category. One side is indeed a politically biting rap song set to rhythm machine, while the other is a highly persuasive punk song. Interesting.
This powerful album combines some metallic touches with an urgent, dramatic compositional style. All of this results in memorable songs which really clear the air, and there’s a distinctiveness here that should be recognized, too. Very strongly recommended.
Lots of covers (ELECTRIC PRUNES WAILERS, CONNIE FRANCIS [?]) and a few originals in another neo-’60s fun-filled extravaganza. It’s fun OK, but wearing thin.
One one side, it’s NICK TOCZEK backed up by a simple punk band (the BURIAL, who look more skin than punk), while on the flip he’s backed by a ska/reggae outfit called the SPECTRE. NICK’s bitter social commentary comes across well despite (or enhanced by) the music.
A distinct improvement over their debut 7″, this one contains better material, better production, and more power. Good, driving hardcore with sharp drumming and cutting guitar. Cool.
This fine band seems to have lost some of their steam and distinction from their previous two sparkling LPs—the songs here tend to run into each other without much differentiation, and the lack of real punch is a disappointment. Maybe I’m missing the subtleties, but I miss their power and speed.
Energetic pop/punk/thrash with chirpy female vocals. Good power, though the pop tunes get a bit too pop at moments. Overall: better than average.
Well-rounded musical influences play an important role in this German band’s sound which is a nice mixture of early punk, thrash, and pop. They switch off, and the combination of male and female vocals adds an interesting diversity to the arrangements and blends well with the mid-tempo, offbeat tunes.
The masters of Dutch political thrash strike the match and burn wildly with this new line-up. Tony’s gone over to guitar and he rips the pace to bleedin’ shreds as the drums smash over and over again with Rene’s forceful thrusted vocals. If you liked the first, the second will drive you mad with quickness, tight harmonies, and action-packed thrills.
Fast-paced basic thrash, Swedish style. Ten songs come forth with a good, steady beat and loud guitars. The vocals are harsh, but hard and heavy at the same time. Overall, the production is pretty good for a live recording and gives a healthy taste of what this intense band is all about.
This new one from ASTA KASK has that brisk, melodic, and powerful style, but with an added emphasis on power. This sacrifices a bit of accessibility, but makes for some great moments, especially on the steamroller, “Sexkomplex.” Another great one from these guys.
A US comp featuring SEIZURE, EMG, PSYCHODRAMA, CERTAIN DEATH, HELLHOUSE, STIKKY, and more. Largely garagy-sounding, with varying sound quality. OK.
A pretty cool comp featuring ten great Ohio HC bands, most of which have either been hiding or overlooked. Included are the talents of GUMBY’S REVENGE, PLASMA ALLIANCE, PPG, IDIOT HUMANS, NUMBSKULL, PLAGUE, and many more. Good Midwest sampler!
A high-speed comp 7″ with such bands as LÄRM, PILLSBURY HARDCORE, STRAIGHT AHEAD, and ATTITUDE ADJUSTMENT. All of this material is raging thrash topped off by a positive message. Extreme power and aggressiveness.
Punk, thrash, early-’70s rock, and metal thrown into the old rock’n’roll blender, and you get 22 songs. Some cut it, some don’t (self-indulgence) from this all-male combo.
WIMPY DICKS incant growled vocals over a tough, uncompromising hardcore style that has unquestionable bite and power. The songs tend to be repetitive, however, both within and between cuts; but those who can ignore this will find all of the basics on this one. Adequate.
More goofiness from the FLAG. Their satirical songs recorded live all over the country with special “guest” artists and lame in-between song banter. This is supposed to be all-live but side two has a special groove cut to make it a three-sided record.
A split tape by two Colorado Springs bands that will be out touring this summer. WILLIE THE DISK have a powerful pop-punk sound and can thrash on a dime. ANTE BELLUM have a “heavy” sound more often than not. Sound quality is decent.
Though the recording is just a bit on the thin side, there’s lots to pick up on here—lots of energy and tight as hell, quick changes and blazing yet melodic thrash, and some positive lyrics. Like the singing and harmonizing, too. A good start.
DOLLS meet Death with six HEARTBREAKERS-ish tunes. Other influences thrown in, such as metal rock.
One of Connecticut’s finest thrash bands pops up LP #2 full of whirling hardcore that packs an introspective message. Both celebrating the positive notion of the underground and also pointing a finger at its failures. Musically, it’s a little more melodic this time, something like the catchiness of the DESCENDENTS. A must.
I like this record a lot, with its straightforward powerful punk/thrash and teeny-nasty vocals. Nothing really unusual here, but its simple punch and power are really enjoyable. A no-frills treat from this now-defunct band.
A lengthy but enjoyable tape of real good pop-punk thrash. Good production as well as way clear vocals makes this even more enjoyable. Good lyrics and neat back-up singing as well.
The pretentious artsters will like this one: neo-no-wave music, down atmosphere, nihilistic lyrics. Too “cool” for me.
Alas, the RAMONES, on their latest release, are heading back to their overproduced period of a few years back. Too many instruments (synth, horns, extraneous shlock and vocals) clutter it all up, absorb the power, and detract from their simple raw pop power. Disappointing three tunes.
CAPITOL PUNISHMENT crossed over with early STRETCH MARKS makes a good comparison of what this Canadian band has to offer. Eight songs that rage through your speakers at hyper speed. Catchy chords and high-pitch tapping beat.
This band is back with a vengeance! Great, powerful punk that inspires, both musically and lyrically. A most welcome return, so get this hot 7″.
This is a retrospective comprised of tracks from POP RIVETS’ two LPs from ’77-’79. This is garagy pop that’s plenty fun and basic rock’n’roll punk.
A big punk/thrash sound here. Their wall-of-sound production and punk power are pretty overwhelming, but not to the point where it all gets homogenized. Some real rockers here.
Yet another SoCal band that’s got good power, hooks, tunes, and delivery. Sort of D.I.-ish…a good job.
A decent little record that sounds like it’s straight out of ’79. While not too exciting or raucous, it’s got that simple punk beat and attitude, a garagy pop sound.
Good power-pop with a punky edge, meaning good guitar and bass, driving beat, and good hooks and vocals. Six tunes, all decent.
Some really cool, driving punk rock—like a more melodic early TOXIC REASONS. Two originals as well as a punky cover of the STONES’ “Mother’s Little Helper.” Good.
This is the second album by this group and again pushes for the UK punk sound similar to the DAMNED. Clean production shows how they opt for more melody than sweat in their sound. It’s OK, but it could move a little bit more.
Funnypunk, ’60s garage style. This original Bay Area group, which encompasses the acoustically oriented Koel Brothers and Metal Mike (ex-ANGRY SAMOANS, etc.) offers 20 songs satirizing American mores from “Floridah” to “Davenport, Iowa.” The lyrics are hilarious and some of the songs really kick ass.
Harkening back to punk’s melodic power days (and to punk’s less political lyrics), this band is in reaction to the metal direction many HC bands have gone—it’s done decently, thought the singing doesn’t really cut it (OK for thrash, but punk demands more in this department). Like the direction, though this beginning leaves room for growth.
Good first effort from this Virginia band, who whips out six blazing melodic thrashers spliced with vocals that don’t rely on shouting, but on a harmonizing approach to communicate. The speed is kept to a moderate pace and catchy musical riffs and sing-alongs only add to the power.
JFA present two lackluster instrumentals on one side of this EP, but the showcase for this band’s talents, “Desert Jewel,” demonstrates adeptness at a diverse punk approach: a haunting intro, bright guitars, and impassioned vocals make for their best track in a long time. Very good.
Hot damn, this is a great record and the best yet from this band. They surely can’t be labelled and shelved as SONIC YOUTH clones again. Raving vocals with the most fulfilling melodies and arrangements I’ve heard from them while maintaining a powerful, steady rhythmic backbeat. Eclectic post-punk at its finest.
Diverse influences crop up on this four-track EP. The less urgent numbers on the “9” side didn’t capture my attention, owing more to a loose rock approach. Side “FF”, however, contains two dynamic, mid-tempo punkers which represent this band at their best. Not altogether catchy, but still respectable.
Driving blues-based stuff with a dance beat. Funky punky rock treads the fine line between obnoxious art and wavish vapidity, but maintains some power.
Six pop-punk tunes from out of the garage but well produced. They rock good, have lots of guitar and drums, snotty singing, a tinge of REDD KROSS meets ’60s UK R’n’B.
Mod, early punk, R’n’B pop influences here. Not especially powerful, but could develop their own sound yet.
The gut-crunching antics of this bizarre combo will take you on an insane journey into thrash, metallic mayhem, raw energy, and odd effects. Definitely a band with their own style, DEHUMANIZERS approach some new ground which works well sometimes. The vocals are heavy and growling, and the pace changes frequently, from speed to quaking riffs.
Although this band was involved in the DC scene in the classic years of ’81-’83, they do not follow along the same musical line as many of the other bands. This band resorts to raw, good ol’ sloppy rockin’ punk, much in the vein of the GERMS, especially the vocal style. All seven songs do a good job of documenting this needlessly ignored outfit.
Tough young aggression hurling the handballs of power with that all-too-familiar Boston sound deliverance. Kicks into gear with a forceful driving beat that plunges into chunky thrash, as vocals scream and shout over the chaotic pace. Combine a mixture of DYS and SSD in their early prime, thrust the clutch down, and CRIPPLED YOUTH grind down hard and delightful.
