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!
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.
This second EP from JUNK SCHIZO presents still more of the same driving, raging hardcore with “Black and Red,” but moves into other directions with the remaining three tracks. A pretty good EP, but probably not up to their debut in terms of energy. Good production.
This Italian outfit displays a power not unlike bands like BIG BLACK and NAKED RAYGUN, with its rich guitar sound and mid-tempo hardcore energy. The commitment to gutsy, disciplined playing really pays off too; this debut LP is entirely assured—and the individual tunes, all finely produced, do stand out after multiple listenings.
Above-average speed-metal. Lots of power, quite a bit of imagination, and really nice packaging (as well as white vinyl) add up to something special.
A three-songer, one a “classic” punk tune, the other pair are thrashers with neat raving guitar and a gruff Japanese-like vocals. Good sound.
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.
