Kronstadt A Demain… 12″
Moody, atmospheric post-punk on most tracks, though one (“Bapteme”) breaks out into driving powerpunk, a welcome change. Helps to understand French, as the words are way up front.
MAXIMUM ROCKNROLL
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Moody, atmospheric post-punk on most tracks, though one (“Bapteme”) breaks out into driving powerpunk, a welcome change. Helps to understand French, as the words are way up front.
This rather original Swedish outfit balances just a tinge of metal influences in some of the vocals and riffing with a definite punk sensibility everywhere else. The result: crunching, powerful punk delivered with HC energy. Another cool Swedish punk release…
Alleged to have reactionary/stupid lyrics, this band has an older punk sound with Oi influences. Pretty up-tempo stuff, lots of choruses and melodies, etc.
Political speedcore. Vocals like RAW POWER, and musically they shred, although the drummer seems a bit pressed to keep up at times. Pretty hot.
Non-stop intensity comes from this longtime Italian outfit. The powerful music is complex and at times awkward due to the band’s capacity in integrating leads and riffs that create some great, hard-hitting melodies. BAD BRAINS-type vocals add to this tight, original, impassioned release. This puppy shreds!
PISTOLS-type punk rock here, well done though a bit on the quieter side. Good pounding stuff.
A record that sounds like ’60s pop-punk infused with surf and folk rock tinges, knocked out with verve. Catchy fun.
The new gods of speedcore thrash on a double-sided flexi, pushing six choice tracks into your lungs, but not letting you exhale. Rapid chaos gone berserk with thousand-MPH riffs and lightning-fast exertion. To say it all, this boils to the brink. And for $1.
Great-sounding classic punk—heavy on guitar power, riff drumming, and tough vocals. Love it.
Excellent fast punk that slows down, thrashes, lurches into reggae. Hot playing, political lyrics, and great melodies. Male and female vocals add to the potpourri. Powerful debut, quite recommended.
Some former SID PRESLEY EXPERIENCE members come up with a powerful, catchy three-song release. The title track has great guitar hooks, fine drumming, and tough singing. Wish it wouldn’t end. On the flip, we get more of a rock’n’roll song and a tribute to John Barry’s James Bond-type theme songs.
A great blend of high energy, thought-provoking lyrics, and hyper-power thrash. Five songs blaze forth some intense 100-MPH thrash in the vein of much American hardcore. Good loud stuff!!
Now we’re talking—hot Japanese speed thrash with an American singer, and 16 tracks of wailing madness has you ripping your hair out. Great classic intensity in that frenzied vein of DIE KREUZEN and C.O.C., with fast guitar work and slashing drum action, while the vocal has the definite Japanese appeal still spitting at ya. Fab, so find it.
A cool garage sound with ’60s fuzz punk influences. Decent power, lots of guitar, and solid production make this quite listenable.
A live “benefit” LP, this one to help various centers aiding in riot defense zones. The target here is unnamed (a band who “sold out” to EMI), but should’ve been since it’s not obvious to most people I’ve asked. Recorded at the Olympic in LA, the sound is appropriately live, and quite energetic with 22 songs. Anyway, CONFLICT, after you get done ranting about other rip-offs, why not send MRR the $30 you owe us for your ad of last year?
Ya think it’s gonna be ’60s? How’d ya know? Anyway, three of the four tracks are pretty decent at that, the best one (“Renée”) sounding like an outtake from the VELVETS’ first LP.
Really cool raging five-song EP from this Belgian four-piece. The music can closely compare to early DISCHARGE minus the poor production and adding a lot more American thrash influence. For the most part, all the songs rip and have enough power to blow out any pair of speakers. Good stuff!
Much more rockin’ than their previous releases, the BRIGADES cut loose with powerful pop-punk. Their style is a cross between mid-period CLASH and ’80s Brit-punk, while their lyrics are unabashedly political. Driving, well-recorded punk rock.
This German combo has a strange amalgam of styles, most of it except for the vocalist who reminds me of early nu-wave vocalists.
Hard-driving thrash and punk with metalish guitarwork. Strong production and lots of energy, so will appeal to both speeds and cores.
The A-side is a ballad, and gets tired in a hurry. The flip is an organ-dominated instrumental, a more crazed R’n’B-based tune. Though it rocks, I’d sure like to have heard some guitar on that baby, especially as this band’s name evokes the SHADOWS OF KNIGHT and rockin’ R’n’B.
Raw wall-of-sound aggression from out of New Zealand which harbors a power-packing punch in its medium-paced drive. Both bands deliver similarities with catchy harmonies and flowing chord melodies, capturing a good sing-along energy. Two fine bands on this promising debut.
Finally, their first LP (after five 7″ers), and they continue with their scaringly personal and honest lyrics and liner notes, but the music itself (offbeat as ever) has toned down considerably, to the point of being almost folk. With this band, though, it’s their wordage and politics that matter, so…
This four-song slab has a sound very similar to STIFF LITTLE FINGERS due to the melodic, raw mid-tempo music and harsh gravel vocals. The lyrics on the other hand stress political awareness and action like England’s CONFLICT. Combined, these influences blended with originality makes an entertaining and inspiring record.
This Norwegian outfit displays their political commitment in a highly distinctive HC style: gruff vocals bark over a mid-tempo series of smoky minor-chord progressions, with a very occasional hook to sustain interest. This album tends toward unpleasantness, though the band’s desire to communicate makes this an effort well worth supporting.
Seven politically motivated experimental noise songs held together by a rhythmic beat. The vocals are distorted and have a rough feel to them. The music has the ability to bring across a strong, powerful sound, but fails somewhat due to the production. Potential does exist.
This project is up-tempo rockin’, heavy on the industrial rhythms and hooks. What a find! Ranting poetic words that discuss a wide variety of relevant topics. Yer SPK-type deformation pics. I’d love to see ’em live.
Lots of metal damage here, which maybe would be decent sounding in the studio, but on this live recording (ten tunes) doesn’t come off that slickly. The power is evident (especially on the drums). Studio should produce better results.
This is stylistically not unlike a spacey KILLDOZER 85 vocally and in compositional structure; the thing I found continually annoying was the endless guitar wanking that attenuated all of this LP’s intensity and power. More discipline next time, guys. Boring.
A very good-sounding demo, these five songs are classic mid-tempo SoCal melodic punk tunes, with tough guitar and great vocals and lyrics. Hope they get to vinyl, but in the meantime check this out.
A split 7″ by England’s CHUMBAWAMBA and America’s A STATE OF MIND. The latter’s two tunes vary between melodic parts and punk rushes, all in an English anarchist vein with heartfelt political lyrics. CHUMBAWAMBA, too, deals with subjects of war/fear and state control, and musically, similarly, rave yet intersperse with “pretty” aspects. Comes with an incredible amount of info/opinion. Get this!
Such names as CHiPS PATROL, CAUSTIC DEFIANCE, HATE, and UNACCEPTED show what they are all about through the two-to-three songs each on this Peoria scene benefit comp. As a bonus, there are live tracks by bigger acts that have passed through this town, making for 26 songs. Raw production, of course.
A variety-pack of US punk hands from these zine makers: POETIC JUSTICE, LOOKOUTS, GROUP OF INDIVIDUALS, NASAL WASTE, DEAD SILENCE, YOUR FORM OF GOVERNMENT, and even the HATES. Most of the bands have this in common—you can hear the lyrics, meaning they’re more punk than thrash.
This sampler resents diverse sounds from some familiar (MICRONOTZ, BUM KON, IGUANAS) and mostly relatively unknown bands. While side one is composed of adequate alternative pop tracks, the flip really lets loose with hard-edged punky tunes spanning most of the punk/HC spectrum. Interesting comp—and worth your attention.
Pop-punk and melodic post-punk, cleanly produced and played. The pop aspects aren’t overemphasized and keep this trio away from heavy rock influences, which is much to their credit.
A basic four-song cassette enlivened by cool buzzsaw guitar and clean bomping bass licks, developing a cross between the VANDALS and JFA. The band has a good sense of humor and the enjoyable rough production only adds to the potential of this band’s material.
With song titles like “Punks Are Rad,” “Gov’t Sucks,” “Skate or Die,” etc., you gotta wonder if this is for real. I doubt it, but the world is full of surprises.
Incredibly cool and gnarly vocals set to frantic thrash, with a unique flair. Sound quality is decent, but does take away a hit of the impact. A band to watch for.
Decently powerful older punk sound, four songs in all. Good production, pop/punks, and upfront driving rhythm. OK guitar, too, though not really crunching.
Quite a variety of styles apparent here—two of the five tracks are synth-oriented new wave, two are ripping thrash, and one is an upbeat R’n’B-based rocker. Cool vocals throughout, lots of power on the three, and a change of pace on the remainder. Interesting.
A sort-of reissue. Side B is the same as the original—speedcore wailing and frantic Pus vocals. The A-side, however, is another story: three tracks are from the original release, but have new guitar and vocals; three are completely new tunes; and three are songs that appeared on various comps, again redone. Beautiful packaging.
Featuring ex-members of CATATONICS and SUBURBAN REBELS (from upstate NY), this posthumous release features driving melodic guitar punk and thrash. While it doesn’t always sparkle, there’s lots of energy and potential…but alas they hung it up—Belvy moved to Reno, Bob to San Diego, etc. Another sad story, but that’s rock’n’roll.
This is really weird. Here’s a really great debut from this Canadian punk band who is socially and politically aware, and they inject all that into their songs. The thing I can’t get used to is the vocalist, who sounds amazingly like a clear-headed Darby Crash. Weird but cool.
Their sound is somewhere between the LYRES (more evident on A-side) and ? AND THE MYSTERIANS (cover on B-side). Pretty rockin’.
Primitive 60’s punk that relies heavily on rhythms simple drumming, maracas, tambourines, etc.). Basic R&B punk with classic garage meets Mersey tones. They can fuzz punk as well, though, and that wimp Jeff (who was supposed to have done this review!) really likes this one.
Mr. Pie continues to annoy everyone again while he shows us how stupid we are. I would have liked a few more songs, but basically the good songs are crunchy, ugly, and actually have a message, and therefore make up for the stupid backwards version of “Sugar Magnolia.”
This band (includes some ex-SIN 34ers) seems to be moving away from their more explicit political origins towards a mix of politics and personal love/hate songs. Musically, it’s mid-tempo punkish stuff with early-’70s rock influences. Not yet well-formed personality-wise.
A younger, thrashed-out version of MARGINAL MAN, with melodic rawness mixed with personal and social outbursts in the lyrics. Each of the seven songs are filled with simple, fast tempo power riffs and harmonizing vocals with choruses, resulting in a very impressive debut release for this Minneapolis band. Good stuff!
Fully expected this to be terrible from the dumb-looking cover, but I was surprised by the flexibility of this band. Somewhat similar to the MINUTEMEN, they have good song ideas and interesting melodies. A good embryonic start and I’d be interested to hear what they sound like in a year.
Heavy on the melodic side which supports the band’s early SoCal punk influences. The music is held together by clean guitar work and a constant fuzz bass beat. The vocals at times are way overproduced, but nevertheless whip out classic harmonies while ranting about personal and social issues. Good first effort.
