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Please send one copy of 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. 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!
A posthumous release, a five-song job of not-so-exciting post-punk, or maybe it is exciting for jaded, over-the-hill, aging “I never was a punk” types. Actually, “Ha-Ha-Ha” has fine power and moments of madness, but that only pales the rest of the tunes.
Debut LP from this LA fuzz band who takes more than just a nod from the early PRETTY THINGS sound. Still, it’s better than the MORLOCKS but not as good as the CHESTERFIELD KINGS. And that’s a pretty good place to be. Cool snotty vocals.
The same great debut LP by this defunct Vancouver outfit, but with two additional songs. High-class punk, great lyrics, a must if you missed it the first time around. May be released without the ex-members’ permission.
Not all that different from their last LP. There’s not a lot of maniacal guitar noise—more concentrated on the low, somber sound. More spooky weirdness from these folks.
Quite out of the ordinary—at times almost no wave, sometimes lyrics set to intense doodling, sometimes moody like TSOL, sometimes like BIRTHDAY PARTY.
This album pushes the RAMONES’ style into catchy, straight-ahead HC (which they manage to do better than the vast majority of bands going), with a smattering of rockin’ pop (which has been their forte for a while now). This is another extraordinary RAMONES LP (nothing but great cuts here), and it’s about time we all recognized that they’re the great American band.
Really basic but well done garage punk. Improved production boosts the power on this, and the snotty vocals and classic punk add charm.
Hard and fast and in your face. Great big thunderous sound with maniacal gravel-style vocals. All this is coupled with very good musical ideas that keep away from the boring tried-and-true riffs. Excellent debut record.
This pop/psych band from Jersey always had the knack for going right up the edge of wimpiness without falling in. This has catchy harmonies, nice melodies, and lots of influences from the ’60s—namely ZOMBIES and early STONES. Nice second LP.
While there’s a decent power here and the vocals are as great and gruff as ever, there’s a sameness to their largely mid-tempo tunes that lulls me to sleep. Outside of the title track and one other tune, I didn’t perk up that much.
A cross between ’60s punk and a ’77-ish sound, with some cool ’50s vocal harmonies. way too long (90 minutes), but energetic and fun. Song title of the month: “My Penis Is Made of Cheese.”
This is a fucking boring record. This is a fucking bor… nah… pretty unmemorable stuff. The speed is down, but so is the spark, leaving those still-ragged vocals and an R.E.M. meets LED ZEP sound. Wish I could be excited, but I’m not.
This is a side-project with various members of the DKs, FLIPPER, and SLUGLORDS. That’s probably the only reason for buying this mess. Basically, real dopey, hokey male bravado rock and funk—something like RICK JAMES playing with GRAND FUNK RAILROAD. Punker beware.
This is a benefit single for the International Haymarket (May Day) gathering in Chicago and is decidedly anarchist, freedom-fighting, and information-oriented. I think that describing the melodic, punchy songs would minimize the amount of info and sincerity involved here. I’m overjoyed that people are still putting out records to inform and communicate.
Four pounding punk tunes with great, shouted vocals. From San Antonio, Texas, this bunch pokes fun at both Khomeni fanaticism and the US. Excellent recording.
Great noisy record with former members of SIC KIDZ. CRAMPS meet GUN CLUB with swirling sheets of guitar distortion. The flip is not as great, but it’s hard to match the aggression of the first track. Interesting.
A slower but tense attack Á la TSOL. The sound shifts back and forth from the melodic to the powerful, which makes for interesting listening. Didn’t think I’d like this, but it’s OK.
Seven songs of tuneful but forceful ’77-ish punk with unique guitar work in the vein of early MIA. The lyrics deal with the ups and downs of the opposite sex, and the overall product here is quite enjoyable.
Basic bone-crushing, change-the-pace thrash with good production. 27 tunes, both punk and thrash, raw guitar drive, and snotty vocals. Good start.
The A-side is a good power-punk song with some metal licks, while the flip is a metal song with some punk influences. I obviously prefer the top side, but both have appeal.
Metal punk, both in music and attitude. Hey, if you’re one of those people that write into MRR saying we should cover more “rad” metal bands, buy this and leave us alone.
Blues overtones are what make these five songs great. “Hard on You” is a rockin’ PAGANS-style song, while “Played to Death” is loping, sleazy blues. “Call of the Wild” has a ska beat that turns into a knockout rocker. And nowhere except maybe KILLDOZER have I heard a vocalist like this. They’re hot.
Speed-metal or dumb punk, take your pick. Decent power and non-stop energy with metal guitar leads and riffs.
Driven by a dual guitar onslaught, the BATS give us four tracks of DISCHARGE-ish power thrash with hateful, rebellious lyrics. This is the stuff you do not want to hear if you have a headache.
With their debut LP, I liked the music, liked the lyrics, had doubts about certain contradictions. With this follow-up, I like the music less (way more metal), the lyrics are largely good (though the anti-welfare “Public Assistance” attacks minorities as the problem), and again I am not convinced—even less so.
Around for many a year but their first vinyl. Began as a thrash band, but are now decidedly a punk band with classic punk riffs and approach. Good sound quality, decent tunes and power, and fairly fun. Could have done without “Sweet Jane ” cover though.
Miriam Linna (original CRAMPS drummer and ex-ZANTEES) and other ex-ZANTEES and ex-DMZ/LYRES team up to provide some pretty mediocre and unexciting rockabilly.
An uneven new LP. There are some irresistible melodic punk numbers here, and from the moment the trebly out-of-tune guitar chimes in, one gets that great rush that only comes from independent records. The production is not as slick as it is on most French releases, which can be good, but the album is somewhat marred by slower, rockier numbers and a typical skankin’ cut.
A live (and hot one at that) recording of this power-pop band that feeds off both ’50s and ’60s roots, R’n’B, and pop and turns it into a rockin’ sound like early DR. FEELGOOD meets CHRIS SPEDDING.
Pop punk like the ROMANTICS at their early best. Boppin’ bozos.
They’ve gone way pop since their PISTOLS-like debut LP, and would go over really well with nightclub punk acts, those “professional punk” bands. There’s still a spark of guts here and there, but mainly it’s power-pop music.
This record consists of six songs from each band; all are previously released from easy-to-find vinyl but serve as a good sampler of each band’s musical direction.
A really diverse two-song EP from this powerful Aussie band. Side A represents a hard-hitting, melodic tune filtered with acoustic guitar and a slow pleasant rhythmic beat. The flipside, on the other hand, sports a speed-metal/punk thrash guitar riff and harsh vocals, and is kept to high-power fast pace. Catchy.
At last, the best of BCT’s cassettes. Quite a ripping collection of live and studio stuff, this LP includes European and North American bands. Some of the bands included are: RAW POWER, PSYCHO, RATTUS, TERVEET KÄDET, CCM, WRETCHED, DETENTION. A real testimony to Chris’s perseverance and dedication; I hope this will be the first of many vinyl efforts.
A new European comp tape that stresses the need for original bands that don’t follow the latest metal trend. Such bands as L.A.W., the SECT, STALAG 17, DISTURBED, RED LETTER DAY, and so on are included, and most have a strong punk influence, making their songs raw and powerful. Sound is decent.
A non-fascist skin (“street-punk” is what they call it) comp with the OPPRESSED, OI POLLOI, COMPLETE CONTROL, BARBED WIRE, and more. OI POLLOI and BARBED WIRE come off with the most energy and determination, while the rest sort of hang together undistinguishable.
A split tape of England’s AD NAUSEAM and Holland’s CKN. Both bands rip, though both the sound quality and depth in power and proficiency of AD NAUSEAM is superior. Good listening.
Two tapes, 44 bands, and a booklet—an amazing comp of some of Australia’s best of the last few years. Includes DEATH SENTENCE, CIVIL DISSIDENT, VICIOUS CIRCLE, and tons more. There are a lot of live tracks, most of decent sound quality, though not all.
Some good punk from RED LONDON and HAINE BRIGADE, some poetry from ATILA, some odds and ends, some poorly recorded live NEUROTICS. Mixed bag.
A really decent Germany comp. though the sound quality varies from band to band. Some of the included are: CRAPSCRAPPERS, CIRCLE OF SIG-TIU, EUTHANISIE, IM ZEICHEN DES KREUZES, and many more. An enjoyable slab.
This compilation of French pop-punk bands contains all that we expect from this kind of band: songs with choruses, catchy melodies, and moderate tempos. While there are respectable tunes by THUGS, OTH, PARFUM DE FEMME, and BABYLON FIGHTERS (cool reggae), no song really stands out in my mind. Interesting.
You get a record, a tape, a booklet, stickers some punks, and some refreshing “We’ll never sell out” literature. The record and tape are packed with diverse goodies (no hardcore, though). Classic crash and burn from the EX and SONIC YOUTH, bluesy dirge from CARLETON MORGAN, great garage stuff from UT and ETON CROP, and a lot more I’m pleased to hear from again or for the first time.
An awesome comp of international scope, though the majority comes from Japan. This tape was put together by Roger Armstrong for the joy of it, and he encourages people to duplicate it rather than purchase it. Includes too many to name.
All three bands here (two tracks each) are in older punk styles. Recordings vary in quality (some live, some studio), but there is a sameness to it all. Includes: BLANKER HOHN, KIE ERBEN, and R.Z. AMOK, all from Hamburg.
Blazing, ear-shattering UK thrash attack. Four songs, all set to a hyper-organized hysteria. Clear vocals raging out against oppression and falsehood are combined with very well-produced powerful assaulting music. Short and sweet and well worth looking into!
Flat-out the best new band out of Germany, combining a hardcore mind with metal fingers, pushing the sonic disruption into a rambunctious speedcore assault with all-together lyrics. Totally a US feel of hardcore to this grinding fury, with speed, melody, wailing riffs, and a continual careening force. Lots of unique ideas that bolt across with power and enthusiasm.
The A-side is a long, LOU REED-ish tune that dirges into occasional mile weirdouts. The flip has a ’60s pop girl-group sound that’s way simpy.
A live recording from Germany in 1985, this one captures the power and spirit of the SUBHUMANS really well, as the sound quality is top-notch as is the performance. Worth picking up.
Thrash for the most part, but broken up with changes that are a bit jazz-rocky. Several Italian HC bands seem to have these varied influences, some of which I find distracting, however eclectic and broad their tastes. Others may appreciate the variety. When they rely on power, they really wail.
These four tracks are toned down a bit from their earlier pair of 7″ers. More ballady, less neo-’60s, but still with some bite.
