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!
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.
This one is even more of a drone than ever. “Flower” is upbeat in their classic noise style while the title track is lyrically provocative and musically sedate. Still, both songs are good. Not my fare, but I wouldn’t be without.
Noted for their frantic live act, this 12″ captures that energy as well as their variety. Using funk, rock, and other influences, galvanized by punk energy and attack, they pound out six pop/punk/garage rippers. Great singing, too.
The second (and very long-awaited) single by SHELL SHOCK contains four examples of straight-ahead HC done in a no-nonsense style. While lacking the unintentional humor of their debut, this one piles on fair amounts of aggro in its best moments, as on the aggressive title track. Basically OK, though unexceptional.
Pretty angry stuff! With song titles like “Angry Youth,” “Society Sux,” and “I’d Rather Be Dead,” you can tell these guys spend too much time thinking about the bad and not enough time trying to create some good. I hope their ideas will expand and their grungy punk music will develop into something creative.
This blazing 20-song cassette was recorded live on the band’s summer tour, and features a well-rounded sampling of the band’s old and new material—with a vast majority to be released. Production and mix are clear, and holds a hard edge which adds that great “live” feel to the band’s music and vocals. Recommended.
Great overlooked scruffy band from Chicago just loaded with talent. There’s a full-bodied guitar sound, scratchy Midwestern vocal drawl, and cool but not cheesy organ fills, and throughout all of this there’s good, honest hooks. Great record.
The coolest thing about this record is that it’s a two-sided paisley pic disc. Musically, they’re most definitely Marc Bolan/Donovan influenced, i.e., very sweet and melodic psychedelia. Well done for that and OK for those special moments, but wimpy for the rest. Still, I’ll keep it.
I have always been a fan and know that they can be slow, sweet, and tedious at times, but this, unfortunately, is more tedious than ever. It is sweet and lovely, which could be OK, but this fan is disappointed. I’ll take nutra-sweet from here on in.
The horror continues and in a fine way as SAMHAIN’s third release really paves the way for this unique harmonious outfit of creeping pleasure. Danzig vocals are in fine form, and there is a slight MISFITS aura here. The pace is even good tempos, and sing-alongs ever present—this disc really grows on you.
Heavy-sounding punk/metal crossovers combined with painful throat-cancer-type vocals. Tempo is kept down to a medium pace which compares them to English notables like EXPLOITED, MOTÖRHEAD, and UK SUBS. Some ear-catching riffs and choruses here, but nothing comes out and grabs you.
Excellent debut album by the PIGS that shows they’ve grown by leaps and bounds in both their lyrics and music. Everything from a tough western feel to a punchy, fuzzy funk song gets attention here. I could actually imagine their song “Human Drama” getting airplay on regular radio. Very cool and very recommended.
A politically progressive Oi band from Canada, these guys have come forth with a really well-produced tape full of catchy tunes, hot up-tempo playing, and fine lyrics. Good job.
Interesting new material from this long-time Bay Area band. With this effort comes a lot of different influences, both musically and lyrically. One song may be upbeat funnypunk, and the next edging into slower-paced post-punk. Diverse, and very enjoyable.
More garage punk from Les Black and Co., this time with cleaner production. Covers of “Long Tall Texan” and “Lion Sleeps Tonight,” as well as four other grungy fun ’78-style tunes.
This is the first record from PICKETT since he split up with the EGGS, who went on to release a record as the PSYCHO DAISIES. Here, he gets a refreshing American sound of blues, country, and rock with the help of Jim Duckworth on guitar. Also features Mo Tucker of the VELVETS on drums.
Finally! Other than hardcore collectors, most of today’s punks have never heard the awesome power of Cleveland’s PAGANS. These blasts (seventeen of ’em) include the seven tunes off their four 7″ records, as well as ten unearthed studio tracks from ’77-’79. The single tracks still seem the hottest, but there are no throwaways here. Get it!
Decent thrash and raw punk centered around pretty bleak personal themes. Metal influences in both music and lyrics, though it’s more punk than metal. Is this misogyny or childish ghoulism?
This band describes their sound as a mixture of ska, metal, and thrash. A nice combination of influences from song to song, all topped off with popish riffs. Basic, and not too daring but enjoyable for some.
This is a bit different than previous records in that there’s only a couple of songs with their distinctive bass licks and chunky melodies. So instead of bordering on redundancy, they prove their diversity by being more melodic, rockin’, and even pop. This LP is more challenging than before and really great.
This ten-song tape is made up of a twisted mixture of hard-hitting garage blues, psych rock, and wailing vocals. The pace is kept to a slow, steady, bass-dominated speed with a clean guitar sound. Low-down and dirgy, but very entertaining.
Good sound and variety here. Both punk and thrash with tuneful, intelligent songs, delivered with punch. Cool singing as well. The more I hear, the more I like. A cut above.
On this release, MOD FUN has updated their sound from ’64 to ’66, incorporating ’60s fuzz punk into their pop mod sound on one song, going pop-psych on another, and fairly straight pop on the longest track. Like the two uptempo songs better than their previous efforts.
