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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. We reserve the right to reject releases on the basis of content. Music without vocals or drums will not be considered. All music submitted for review must have been released (or reissued) within the last two years. Please include contact information and let us know where your band is from!
While the sound is fairly decent (a bit thin on bass), the music is a mixed bag. Some tracks rage, while others are a bit languid. Lots of medium-to-fast punk, with a few ballads. Not overwhelming.
The A-side is a decent driving post-punk tune with a YARDBIRDS’ “For Your Love” vocal harmony. The flip is an early 70’s type ballad — yecchh!
The thoroughly glammed-out band photos on the pic sleeve was fair warning on this one. Three songs in a metal-punkish vein, interrupted by dreary Japanese lead breaks and lame sung vocals– and close to zilch in the way of cool songs. Too bad.
An interesting mixture of punk, hard rock, and reggae. MCRAD definitely has their act together, but the wanking leads go a bit overboard. Pretty good.
A-side is pretty icky pop, but the flip has a lot more zip and a slight edge and okay guitar sound. Decent power pop.
Heavy on the sludge from this now-defunct Australian garage band. You get a lot of nasty, crusty guitar riffs that pound insistently over and over in your head with just a touch of psychedelic melodies to mix things up.
On a major now, and the music is way pop. Decent rock’n’roll a la RAMONES, but not as pounding or catchy. Kinda disappointing.
Melodic pop-punk is, of course, the approved sound of the ten approved cuts on this LP. Lyrics are committed, guitars up in front, but the standard for this punk style is much higher. LAST STAND should aim their sights to the likes of STRANGLEHOLD or MOVING TARGETS, and a bit more energy (as on “Scum Guns”) wouldn’t hurt.
Thirty-six songs, half-live/half-studio of this hard-hitting Dutch band. Very politically aware and idealistic, their beliefs translate into raging, noisy outbursts. We in the U.S. may get a chance to see them live this summer, so buy this slab and help em get over here.
This band covers the “Beverly Hillbillies Theme” and does a song called “Jordache Jeans Hurt My Balls.” Yup, it’s snotty, garage-y punk and thrash at its finest. Sarcastic lyrics, of course.
From the Basque region of Spain hails this pop-punk band. This is commercial punk in an early UK style, incorporating ska and other influences as well. There are funny songs as well as an overriding political bent. Okay, but slick.
Another metal meets punk band, though not of the speedcore variety. The sound is more early punk with metal tinges, and lyrically it’s a mix of punk self-destruction meets metal themes. Pretty hurtin’.
The long awaited release from this SoCal band proves to be, for the most part, a strong release that shows growth and change. Musically, the music contains powerful HC melodies at a mid-tempo pace, with chanting choruses and simple structures.
This sometimes self-consciously bizarre EP uses a funny variant on a rap style on “Gödel Escher Bach: The Eternal Golden Rap,” while the two songs on the flip use a trebly synth (played quickly and seemingly at random) to underscore some similarly humorous lyrics. Strange, and basically okay.
Once again, the INSTIGATORS treat us to a live tape, this one recorded on their recent U.S. tour. Ten hard, melodic songs, most previously released. Good.
These four songs, recorded live in Denmark early last year, are not only first-rate versions of their best material, but actually surpass what I remember of their good live show. “Free” is the clear stand-out here, although all the songs are pretty good.
The rock/blues Australian style, but hey, they seem to be German (this is in a blank sleeve). Somewhat neo-’60s in style, especially the B-side, which rocks out. The flip is down and dirty blues. I wish I had more info.
A varied and well done EP. Some tunes are older punk (with a flair), some more typically modern Japanese hardcore — but all have something special. A treat. Not sure when this came out, though.
IDIOT IDOLATERS, on their debut, proceed in a punk vein with rock influences in the instrumentals and especially the vocals. A very good guitar sound only partly compensates for basically undistinguished melodies and power.
This double-album set from the HUSKERS rates as a real disappointment. Aside from two catchy numbers, the compositional structures here meander through their mid-tempo territory without going anywhere; the typical “lyric – chorus – lyric” structure of past efforts having been largely abandoned. Too bad.
Decent blues based pop with okay guitar sound and pounding beat, but with lamentably lame romantic lyrics.
Hot screaming thrash and slower mosh madness. But what I really dig are the positive lyrics that aren’t to criticize the “born again straight edge” movement. Too cool! Keep it up, guys.
Powerful thrash and HC from this Indiana outfit. Straightforward, but innovation is present. Lyrics seem to be in the spooky/horror vein.
Well, not godlike, but a pretty god showing with garage-y energy and silliness. Good “Sesame Street Theme” cover. Fun.
Monochromatic metal-punk from this veteran Japanese band. The tempo is moderate, the instrumentals and vocals a decline from the distinctiveness of past efforts.
This influential band is captured here at their peak in early 79, and the classic “I Found That Essence Rare” and “At Home He’s A Tourist” are given an aggressive, raw treatment on this EP, along with two other numbers. Very good versions, and recommended.
The second record by this group is a wonderful and curious mystery. A little bit of an early CURE guitar sound, a little GUN CLUB rhythm and a lot of weirdness. The singer has a tendency to gulp for air and lyrics at the same time like the singer for FEEDTIME. Strange MINUTEMEN style rockers that end very abruptly.
Cool mid-tempo singalong stuff with a variety of influences. Six good songs from this Florida band (not the San Diego FRONT).
Gloomy punk but energetic, not weighted down by their “depression.” There’s definite commercial leanings a la SIOUXSIE, but this is still pretty enjoyable.
Driving, mid-tempo punk with melodic guitar work. Six songs, not overwhelming, but pretty good.
This thoroughly enjoyable album showcases a blistering thrash attack with catchy power chord guitar progressions and solid melodies. Sixteen songs, each distinctive compositionally, with good lyrics to boot. My suggestion: purchase this terrific LP!
Dirty thrash with hoarse, shrieking vocals not unlike NEGAZIONE. Not too much metal damage, personal lyrics. A solid effort.
These guys have the clean, non-metallic SoCal punk sound down pat, even the vocals remind me of BAD RELIGION. Good lyrics in a neat booklet. Good job.
Two slow, uninteresting post-punk ditties appear on the A-side of this release, but a clutch of eight energetic punkers charge away on the flip. A rudimentary sense of melody and nifty speed changeups make for accessible listening, but the material doesn’t stick to the ribs. Okay.
As expected, melodic mid-tempo raw punk filled to the top with politically aware messages. This music has a hard edge and is enhanced by the high-pitched female vocals, making most of these 12 songs catchy and memorable. Only available through mail order.
A solid competent demo with a focused metallic punk/thrash sound comparable to RAW POWER. Lyrics shift from smart to silly. Excellent stuff.
This Canadian band shows pop-punk roots in this good effort, though it seems a bit more power could have come out of these five songs. The lyrics deal with social/political feelings in a simple, clear manner.
Another new SoCal outfit with the “straightedge sound”: Fast, clean thrash with positive lyrics. A good band, but nothing that hasn’t been done before.
This powerful and interesting English band plays pounding, mid-tempo music with catchy riffs, loud drums, and a great combination of male/female vocals. All together, this record has a lot of the same qualities as Holland’s FUNERAL ORATION. Lyrically, it’s also right on cue.
Mostly garage-y punk with a melodic edge. The lyrics rise above the “garage band topics” covering capitol punishment, honesty, college radio stations, etc. Neat.
Musically, it’s a mixture of soft and harsher sounds. Lyrically, it’s all powerful, dealing with domination, revolution, and liberation. Inspiring.
Somewhere in between YOUNG MARBLE GIANTS and VELVET UNDERGROUND enters this band. There’s some really great intensity building, musicianship and twists, but is so subtle and quiet that unless you have a “mood” for soft music, this is a bit boring.
Goofy humor is the appeal of this LP from CHAOTIC DISCHORD, who use a UK thrash style to cover topics like nasal sex, beer as a metaphor for life, random destruction, and nail bombs. No lyric sheet, but the music ranges from okay to very good, especially on “Vibrator Up Your Nose.”
These guys put out as many records as BLACK FLAG used to, with about the same quality control. Boring, pretentious stuff, at least on vinyl. Guess that’s why they’re so popular.
Pop is the key word here — be it pop-punk, pop-reggae, pop-ska, pop-wave —it’s all a bit too pop and not enough of whatever else. Buy hey, if you like pop…
Varied punk with a number of influences from this East Coast all-girl outfit. Three songs, all pretty good.
This has nothing to do with punk, thrash, or hardcore; rather, BRAVER NOISE springs from folksier roots, not unlike an American BLYTH POWER. What’s more, I tended to like this record’s melodic sense, well-structured compositions, and sung vocals. Very different; it’s unbelievable to me that this band contains three members from the original LAW & ORDER.
Slow to mid-tempo punk with interesting guitar work. Lyrics cover vivisection, patriotism, war, “the system”, and other subjects. Good sentiments but gets a bit tedious.
Poppy yet rhythmically driving, this release shows lots of power, but rarely really cuts loose. There are three guitars here, three women named Susan, and five songs that should have been shorter. Potential.
Al’s been around and playing the neo-psych world for what seems like forever, and this LP is good to see and a slight departure. Most of it is rowdy country music, but there is some good country blues, and the rest is some plain rockin’ hot dogs. Good fun.
