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!
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.
This Belgian band relates commendable lyric concerns in a simple, riffy punk style that’s a mixed bag for me. I enjoyed the hard, stinging guitar sound, but the compositions seemed a bit “simple” and uninvolving. With better songwriting, this band could be a contender.
Great combination of crisp, hard-hitting, fast punk and funny upbeat comedy tunes. All the music is produced by talented West German musicians who keep their musical roots present throughout every song. The clean, excellent production only helps this twelve-song LP’s attack become stronger. Good stuff!
An Aussie version of the MILKSHAKES, drawing upon ’60s styles of R’n’B, blues, and pop rock’n’roll genres. Decently done, simple fun.
Twelve songs of a garage/art nature. No wave meets early HALF JAPANESE meets early MINUTEMEN.
A five-song ripper—great powerhouse punk/thrash that doesn’t let up. This is more like quality Swedish thrash, replete with hooks, melodies, and plenty of zip. Cool.
Decent but commercial-sounding punk. This pop punk style is not surprising, considering OS REPLICANTES are out on RCA Brazil, but what is unusual are the lyrics—attacking censorship, banks, and other problems common not only to the Third World, but the West as well. Interesting.
Very fast-paced stop-and-go melodic thrash that’s pretty basic and unoriginal. There’s no real spark here, though it is quite competent.
This French outfit specializes in pop-punk with the traditional choruses, but emphasizing a more rootsy rock influence. “Allez Danser!” is an especially invigorating melodic track, while the flip connects with more energy. Basically good and solid.
Good driving punk but without much distinct personality. While the music’s plenty punk and there’s good power and vocals, they lack that special something which becomes evident on LPs more than EPs. Still, it’s not bad at all.
More CRAMPS-influenced stuff, though we get a SEEDS cover (“Girl I Want You”) as well. A long psych tune with guts (“Suzie Creamcheese”) is pretty cool.
A “…Youth” band that’s not hardcore? Yep, pure psych/punk here, and though they’re hardly “psychotic,” they do rock pretty good. Do an ELEVATORS cover, as well as the FE-FI-FOUR PLUS 2’s “I Wanna Come Back From the World of LSD” and two originals. Not remarkable, but decent.
A really well-done seven-song release. Whether doing thrash or impassioned poetry set to ominous noise, this band executes with verve, tightness, and lots of power. Intelligence and musical expression are A-1.
Purveyors of a certain brand of high-energy rock’n’roll that very few bands today understand (the NOMADS being one of the few), this single has both a rocker and slower pounder. Roots: MC5.
More pop than JESUS AND THE MARY CHAIN, but utilizing their noise guitar. The singing isn’t well done or enigmatic, and the overly subdued nature of the playing leaves leaves a lot to be desired. One track (“No Place to Go”) has enough energy to overcome this, but a .250 average doesn’t make it.
At breakneck speed or mid-tempo, this band turns out well-crafted, powerful punk and thrash. They have an almost SoCal sound, full of melody and hooks, lots of guitar, and neat vocals. An excellent tape, well worth picking up.
Fairly derivative ’60s pop-punk with mostly originals. Snarly vocals, simple delivery, pretty forgettable.
This group sticks to their early punk roots, relying on pop melodies, heavy on the high production vocals and mix (a bit too much so), and simple, catchy tunes. It can wear thin, but is an OK change of pace. Especially liked “Broken Generation.”
Sort of ’70s rock’n’roll meets early punk. Simple drive and beat, chunky guitar, and cool vocals. Decent.
A six-song release, this is punk rock with a distinguishing guitar sound. For the most part, the band has a SUBHUMANS-type English sound, but the guitar has a post-punky tone, a combination that comes off well. Good thoughtful lyrics to boot.
A really good single, both sides having a lot of punch. There are early punk influences here (FALL, STRANGLERS) but this rocks better than either. Powerful.
Too bad. Thought this might have a lot going for it since it came in with a batch of cool Swedish psych singles, but it turned out to be a pretty limp attempt. Not real annoying but just not too memorable.
Snappy punk with good hooks with an unobnoxious UK influence. Two of the four tracks rip, while the other two are poppier, but all are enjoyable.
Pretty decent early punk sound with a mixture of rock influences. Reminds me a bit of some Midwestern ’76-’77 bands, though slicker. Easygoing, but maintains momentum.
Raw-edged straightforward thrash with gravel-laden vocals continuing the excitement on this second LP. Japan’s answer to non-stop chaotic destruction, finely tuned and well-mixed with great back-up choruses, throwing chunks of havoc everywhere. The first LP was good, this is a great one and melts my brain at every listen.
Oh my, GASTUNK scalps the senses with another super release. This band is one of Japan’s best and scorches it out with this Indian-themed release. Excellent packaging opens you to intense echoing shrills. What you’d expect from this band that deserves, ’cause they perform well.
This outfit is a French equivalent of DER DURSTIGE MAN—a punk band whose material is most likely to appeal to those whose musical sensibilities have already been clouded by massive amounts of alcohol. Mid-tempo punk with shouted group choruses, and aggressively delivered; typically, the title track is translated, “Beer.”
A one-sided job; two studio and two live cuts; two fast and two medium; all good punk. Hot guitar and drumming, energy and fun.
This snappy slice of upbeat pop-punk presents its wares with verve and intelligence. A cut below the best in this genre, I still enjoyed the four tracks here—and found their amalgam of thrash and poppier punk bracing. Very good.
Seems to be recorded somewhere between 33 and 45 RPM, cuz it seems plausible at both speeds. This is driving, bass-heavy guitar noise stuff, sometimes quietly mad, and at other times blatantly insane. Grunge with conscious intent but really well executed.
Adie’s vox have a character that brings the great speedcore compositions of the ENGLISH DOGS to a thundering proportion, raw, uncompromising, and shouting. They blurt well with this crazed line-up. The DOGS really work the musical structure with award-winning appeal. A bit of work goes into these songs. Bang.
Really snappy thrash with hooks and choruses. Lots of stop-and-go action, cool singing, and rapid-fire tunes with little waste. Neat entry from this German band.
Buzzsaw guitar burns its way through 14 songs, all set to a classic, crazed, thrashed-out tempo. It’s produced by machine gun drumming, but the vocals are lost in the background and seem to be merely muffles. Nevertheless, the music makes up for it—fast and hot!
Swedish neo-psych band that relies heavily on dark guitar passages and gloomy percussion. Nice cover of ZAPPA s “Trouble Everyday.” Less psych here than just plain old guitar pop.
Hallowed be the return of the COMES and orgasms does it create with splash ’n’ bash mayhem as the female singer twists buzzbomb of a sensation. Six tightly knit songs to grab down and charge up for an earful in flailing delight. Hot stuff that mixes well for both crowds.
Switzerland produces some very mundane punk and some quite interesting experimental punk (such as the MANISCH DEPRESSIV 7″), and this release falls into the latter category. One side is indeed a politically biting rap song set to rhythm machine, while the other is a highly persuasive punk song. Interesting.
This powerful album combines some metallic touches with an urgent, dramatic compositional style. All of this results in memorable songs which really clear the air, and there’s a distinctiveness here that should be recognized, too. Very strongly recommended.
Lots of covers (ELECTRIC PRUNES WAILERS, CONNIE FRANCIS [?]) and a few originals in another neo-’60s fun-filled extravaganza. It’s fun OK, but wearing thin.
One one side, it’s NICK TOCZEK backed up by a simple punk band (the BURIAL, who look more skin than punk), while on the flip he’s backed by a ska/reggae outfit called the SPECTRE. NICK’s bitter social commentary comes across well despite (or enhanced by) the music.
A distinct improvement over their debut 7″, this one contains better material, better production, and more power. Good, driving hardcore with sharp drumming and cutting guitar. Cool.
This fine band seems to have lost some of their steam and distinction from their previous two sparkling LPs—the songs here tend to run into each other without much differentiation, and the lack of real punch is a disappointment. Maybe I’m missing the subtleties, but I miss their power and speed.
Energetic pop/punk/thrash with chirpy female vocals. Good power, though the pop tunes get a bit too pop at moments. Overall: better than average.
Well-rounded musical influences play an important role in this German band’s sound which is a nice mixture of early punk, thrash, and pop. They switch off, and the combination of male and female vocals adds an interesting diversity to the arrangements and blends well with the mid-tempo, offbeat tunes.
