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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!
A swell mixture of vigorous thrash and enjoyable ’77-ish punk, accented by socio-political lyrics questioning oppression and war. “Extremes from Both Sides” is the standout cut, musically and wordwise.
Most (five of six tunes) are traditional punk, sing-along and Britpunk styles—one tune, “H.E.”, though is a decent thrasher. OK.
Real decent thumping pop-punk with post-punk undertones on the A-side, while the flip is a way lighter tune that’s a backdrop for a weird little story.
More like punk with post-punk production, this record is nothing new, but does contain conviction. Good power, good lyrics, hope to hear more.
Complete noise mayhem beyond belief with gruanched-out vocals over a mad guitar strumming full of feedback and splattering distortion. Splashing cymbals give the pace. An adventurous thrash barrage as the musicians have gone bonkers. Wild and truly just out of the asylum.
Wild, heavy grinding through some forceful steel punches with solid energy making tight musical compositions. Baki’s vocals are even better than ever as his voice changes for each melody with all the soulful crooning to make it really work. GASTUNK’s fifth release continues the fine sound they have now popularized, leading the way for Japanese speedcore!
Straightforward Japanese punk that holds a raw, powerful sound and good, pulsating beats in a moving fashion. Tick-tocking action as snare and bass hit the savage pace, with stops and metallic kerrangs. Fun, enjoyable music that comes with English translated lyrics, and the first couple hundred have a free flexi. Choice!
After a six-year layoff, this Danish combo presents four tunes in a quintessentially “rockin’” mode—and I mean it. Guitar leads about over mid-tempo metallish guitar riffs, and although there is a punkish power in the songs, all four tunes here are clearly “rock.” Quite unlike JOHNNY CONCRETE’s previous efforts, and basically OK for what it’s doing.
This band is similar to a MINUTEMEN without fleshed-out arrangements: the bass and drums interplay while sung vocals drone over all six songs on this EP. With more energy or musical invention, this could have been intriguing. As it is, I had the feeling of incompleteness.
Rapid cranks of lethal choice cuts, pushing a fast rhythmic sound headlong into one of disorder plunging in a few wailing whines. Harsh vocals dominate over a guitar-oriented sound that kicks in for some running speed. Another hot Japanese second release that is more than a cleaver to the senses.
A fitting title for this live tape, considering the noisy production that stifles this Swedish outfit’s performance. Their BROKEN BONES/DISCHARGE attack, complete with anti-war lyrics, is hot, but the recording detracts a lot. Hit or miss.
Well, hey—here’s your chance to snap up some early or rare DAMNED stuff, back when they were a slap-in-the-face punk band. Includes “Help” and “New Rose” from the first 45, “Stretcher Case” and “Sick of Being Sick” from their ultra-rare freebie 7″, as well as “Neal Neat Neat.” Get this fucker.
The number one pick of all the Japanese mayhem depth-charge bands, this group stops at nothing to deliver the finest in roaring chaos and unrelenting speed. This is their second release and the buzzsawing guitar sounds grind with a feverous smile as a booming drum-blast sounds the alarm. Rips the flesh off your face with sonic overture. Great.
We missed this one the first time around, and it’s another first-rate single by one of Australia’s leading rock outfits. The JOHNNY CASH title tune is catchy and fun, and despite a fair flip, this one recalls the better rockin’ material from this country.
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.
