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!
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.
Acoustic and sometimes electric guitar with MAUREN TUCKER-meets-YOKO-type vocals weaving around. I’ve always been fond of Vancouver’s Lester family and folk lovers could like this, but I’ve gotta take it off.
A real split personality here—of the six songs, two are soft rock, two are hard rock, and two are punk. Since those are the only two I could stomach, I will only speak of them…and they’re quite good—real driving punk with good hooks and singing. Odd.
With vocals reminiscent of Ian MacKaye or Kevin Seconds, combined with an almost jazzy hardcore band makes for interesting listening. This band is big on intros that are slow and different then rip into a thrash song with changes throughout. BEEFEATER fans will relate to this. Lots of challenging/thoughtful lyrics to boot. Great effort here.
The HÜSKERS’ premier major label effort finds them displaying some of the most depressing/unsure lyrics yet. Musically, this album is no departure from their pop direction, some delivered with power, some not. There’s a 12″ out now, too, containing one track from this LP, as well as another studio track and a live (but unsensational) “Helter Skelter.”
This band covers familiar territory—mid-tempo hardcore with dark, sarcastic lyrics—without much in the way of originality. Still, this record boasts good production, full guitars, and solid lyric concerns. I just can’t get excited over it.
Recorded in prison, this seemingly professionally produced cassette proves without a doubt that this Vancouver Five member can really sing the blues. I don’t doubt any word of this acoustic folk endeavor. Mellow, pretty, and not punk…but I like it anyway.
Offbeat, mid-tempo punk from the hot sands of Vegas. Awkward, distorted leads cut loose every so often and high-pitched trebly bass make six strong, catchy tunes—but they for the most part take the back seat when the raspy vocals come into the light and question stereotypical, political actions. Good first effort.
If there is such a thing as a “Vancouver vocal sound” (D.O.A., DEATH SENTENCE) then this band has it. With former members of BILL OF RIGHTS and HOUSE OF COMMONS, you’ll find four largely mid-tempo punk songs, lots of guitar, and plenty of drive. It rocks.
Hard-driving punk and thrash with an accent on singing and melody. Could’ve done without their DEEP PURPLE cover, but the other tunes on this six-song demo are powerful, guitar-heavy rippers. Contains ex-MALIGANT TUMOR members.
I can’t claim to be impartial about this band, but predominantly raw live tracks are mixed in with a few early demos on this one. New versions of all of your fave DICKIES songs will make fans delirious with joy, though this tape is not the ideal introduction to this great band.
DEATH OF SAMANTHA opts for a discordant and somewhat arty approach to mid-tempo DIY rock. That may be the problem; in presenting a style rather than ace songs, this band evades any real appeal for me. Good, hard guitar sound, though.
I was warned that this would be “too metal” for me, but far from it. While there’s a slight bit of metal guitar action (no obnoxious leads though), for the most part this is speedy thrash. Though generic at times, there are a few touches, overdubs, etc., that break it up. Five songs, good lyrics.
Ten fast, aggressively raw guitar thrash songs combined with a deep, pounding drum beat. Each is constructed of speedy chaotic riffs which are interspliced with slower tempos. A young band, but they have the ability to punch it out. Good first effort.
Finally, the long-awaited second piece of vinyl by the Connecticut trio gets released. For the most part, the tunes rip but don’t have as many magic moments as their debut EP. However, the band does put their all into this record, creating a strong, tight, melodic 15-song punk LP.
Second LP by these goofy garage greats. These trashy tunes are cool all right, but there’s something different about them. They’re just a little bit off-kilter. Fits real nice between the BEEFHEART and LEGENDARY STARDUST COWBOY records.
Eclectic hardcore that combines power with offbeat influences, changes of pace, funky bass playing, SoCal-sounding punk vocals, and the eccentricities usually associated with Sun Belt bands. Should establish them with fringe-freaks everywhere.
Rockin’ garage punk with slight pop influences, but great unrefined sound. The lyrics are rebellious and presented in a good-hearted, humorous manner. A close comparison might be an early garage version of the DICKS. Watch for vinyl because these guys rock!
A garage punk fan’s delight. The A.G.’s are really garagy sounding as well as their attitude/approach, while the STUKAS are better produced but come across just as goofy and funny. No one escapes the satire herein.
Back, with a new band (CEDAR ST. SLUTS), who are listed as, and sound like all-female (but probably aren’t). Real garagy rock’n’roll here, so bad it’s good at times—the DOLLS on a typically bad night… and then some.
Very good collection of Chicago bands from 1966 to 1968 recorded on the Rembrandt label. Most of the material here is either unreleased or different versions from bands like the LEMON DROPS, NITE OWLS, and NICKEL BAG. Nice mixture of blues, folk, and psychedelia.
Wally and the Beav comes up with another hot new comp, a prelude to their first vinyl effort. Band like LUDICHRIST, PHANTOM TOLLBOOTH, SHELL SHOCK, HYPE, A.P.P.L.E., DIRECT ACTION, RED TIDE, REST IN PIECES, and lots more supply the more-than-ample power. Overall fine sound, comes with booklet. Rips.
Clean pop-punk that verges back and forth from B-52’S new wave to JEFFERSON AIRPLANE rock to X-influenced early punk.
Metal-damaged punk for those who enjoy such things. Lyrically, all the songs deal with the sleazy side of NY city life. OK, but pretty heavy despite the drive.
Whereas I just had written JOHNNY THUNDERS off as poopoo on toast last issue, I’m now glad to report that he’s now just plain poopoo. Lots of songs about all the girls throwing themselves on the boy, done in his traditional R’n’R style. Would’ve been happy, though, if he at least rocked out, but most tracks are fairly tame, with very clean playing. Miss that nasty guitar. OK at best.
A three-song project that incorporates pop, surf, and ghouly garage. Each song is in a pretty distinct style, though none stands out above the others.
This NY industrial band is known for playing at a horribly slow pace and most of their songs deal with sex, violence, and pain. This time out they stick with the same subject matter but speed up the tempo to an almost rock beat. For the more adventurous.
In the tradition of early industrial punk like the NORMAL’s “TVOD,” incorporating incessant rhythms (machines), eerie vocals, and twisted subject matter.
Down and dirty gothic rock along the same lines as 45 GRAVE and TSOL. The songs are kept to a slower pace and become a bit overbearing at times with their habit of dragging on. The guitar riffs add a nice touch and create good melodies but the rough production keeps this one together.
