Siniestro Total ¿Cuándo Se Come Aquí? LP
Pop punk and thrash owing to the RAMONES, DK’S, etc. Singing is way wimpy, but the music cooks at times. Afraid to know how tame the lyrics are.
MAXIMUM ROCKNROLL
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Pop punk and thrash owing to the RAMONES, DK’S, etc. Singing is way wimpy, but the music cooks at times. Afraid to know how tame the lyrics are.
A pulsating beat full of melodic musical structures pushing forth a steady pace with grinding vocals and good harmonizing. Very tight with a raw appeal for this three-piece from Japan, making a fun, enjoyable sound that sticks. Good guitar effects work with the right charm. Good stuff from the MCR label.
A refreshing yet rockin’ departure from HC, reverting back to early punk’s simplicity and yet maintenance of power. Just a drummer and guitarist who sings as well, this is rock’n’roll as it should be, though there are a few limp tunes.
Poppier than I remember their previous efforts, there’s a lot of psych guitar and feel here, though rarely crunching. With the female vocals, they at times sound like some early UK pop-punk outfits on the rockier tunes.
Real pounding beat and buzzsaw guitar, mid-tempo punk. While not remarkable, one tune, “Move Onward,” is quite special, a catchy classic.
A very strong HC release possessing a hefty amount of force and innovation. This has great words, an intense female screamer, and even a cool lyric booklet! Get this or eat eggplant!
Excellent at both classic punk and thrashy punk. Lots of back-up singing adds to the more-than-adequate playing and production. An English feel.
Their second release (first was a one-sided 7″), this one flexing some muscle. The three A-side songs are slightly-better-than-average pop-punk, but it’s on the flip where they really cut loose. Three more tunes, much more energetic, both thrashy and imaginative.
Not to be confused with the Ohio outfit, this Italian band presents fast, aggressive, utterly tuneless punk and HC in a suitably non-descript style. Tempos are fast, energy high—it just doesn’t connect.
Gruff, rough vocals set to pounding classic punk. Four-and-a-half tunes, mid-tempo, decent power but no really blasting memories.
This very strong release almost seems like a Dutch version of DIE KREUZEN, with the emphasis on high-speed thrash and the occasional guitar squiggles (and sometimes more than squiggles). I liked several of the tracks here, which at their best, seem to combine all of the elements. Recommended.
A pic disc 12″ in a regular color cover, and the weirdness doesn’t stop there. There’s one “normal” punk tune, one change-of-pace thrasher, one BLURT-type raver, and then a bizarro mix of that same title song. Quite a treat.
Intense shouting damaging these vocal chords raunch out a wailing voice over an extreme beset of raw unrelenting guitar buzzing with crackling fury. Yet it break into a few acoustical-type riffs, then the madness explodes, the members fully delivering a mayhem so true to hardcore.
An interesting new Swedish band. KRAPOTKIN have a heavy guitar attack, and the song structures are quite diverse. “Vallum” is too slow, “Temor i Teheran” is too arty, but the EP is saved by the title track, which as a rougher sound, a driving beat, and a great hook.
More pop-punk with powerful guitar and drums from KENZI. An early UK punk sound on all three tunes, all quality.
Fast-paced sing-along punk from Germany. I enjoyed the energy and style (as well as the interesting arrangements); I can’t say I was altogether blown away by the tunes. I’m certain that an understanding of the lyrics would have helped in this case.
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.
