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 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.
Moody, mostly instrumental industrial music. There’s a light feel of percussion throughout with creepy, haunting vocals. Not really aggressive, but still manages to keep you interested.
Slow- to mid-tempo garage rock which musically and lyrically is laced with feelings of doom. The music does at times have a healthy raunchy feel to it, but never really cuts loose and expresses the potential power that would produce something that’s memorable.
Surefire, hard-hitting assault of turbulent thrash storms your way via this Salt Lake City three-piece. Six power-stroking songs that thrust quickly with barking vocals, snapping out some good lyrical content as occasional metallic leads whine across the atmosphere.
Their fans call it “acid punk,” which brings to mind the BUTTHOLES, but this is nothing like that. Much more melodic, with “harmonic” vocals and a decent medium-paced beat. Not really too psych or crazed, just moody with a raw guitar.
Quite some progress since their early demos; the humor is still strong, but isn’t as strong when mixed with the high-speed melodies, with rockin’ guitar leads and smooth production. A little too serious? Maybe just a little bit coming from this band, but still, this platter is made up of a lot of talent, energy, and potential.
A nine-song good-sound-quality tape. “KLUGED” apparently means jerry-rigged or thrown together in a really quick, sloppy manner. It doesn’t appear so to me, as the playing is tight and powerful angry thrash, cleanly and energetically delivered. Lots of changes and non-metal guitar work (extended at times) and strong vocals. Good debut with an early SoCal HC sound.
Loud, distorted, sizzling guitar and dirge-oriented bass beats dominate the majority of this thirteen-song crazed dosage of thrash. The rawness of the music is representative of the anger that this band feels toward the typical punk rebel topics. Heavy, rough garage-type production but loud as hell. Watch for vinyl.
Mid-tempo thrashed-out funnypunk. The music becomes a diverse punk sound set to hilarious lyrics helped out by a classic snotty vocal style. With song titles like “She Only Loves Me When She’s Stoned,” there is a lack of depth in the material, but it does bring on a nice demented chuckle.
Fine job. Really ripping hardcore with above-average lyrics and playing. Somewhat of a DC sound but not generic at all. Heartening effect. Keep it up!
I’m not a GERMS fanatic. I liked some of their songs and there were a few I didn’t care for. Same situation here…live show recorded by Gexa X at the Masque in LA. Shitty quality but that never really entered into the discussion with the GERMS. Except for the long wait between each song, this is a fairly good document of the band before they broke up.
Some ex-GUN CLUB-ers (LEGENDARY STARDUST COWBOY’s touring back-up band, I think, including Kid Congo and ex-BAG Pat) turn in some fairly unexciting psych/blues. Boring and unoriginal.
As followers of the JOY DIVISION school, these guys really impress me with their attention to sequential detail, rhythmic style, and moodiness. Although they have slow moments, this first vinyl offering is well done and combines the aforementioned plus a smattering of industrial starkness, some noisy blockbusters, and melodic meanderings.
One studio side (originally intended for release by Mystic, and is classic SoCal melodic thrash) and one live side (more recent material with a definite metal edge). Both sides are good sounding, though I prefer their earlier sound by far.
Rockabillyish rock’n’roll on this 4-song EP, occasionally sinking its teeth in, but not really blasting like it could. This is best seen on their cover of the FLAMIN’ GROOVIES’ “Teenage Head,” which just doesn’t have the bite of the original.
From out of nowhere (well, actually Long Beach) come DISSENSION, and their “generic thrash” sound is done with conviction and power. While their message may be generally in the new “positive” school of HC, their lyrics range a bit wider than many such bands. Line-up includes ex-TARGET OF DEMAND guitarist. A promising debut.
Heavy rockin’ garage sounds are the main element that makes up this nine-song tape. Twangy guitar leads complemented by delightful distortion make for some catchy riffs while a steady drum sound holds the backbeat in control. There’s also a strong humorous side to the band’s warped view of life in the lyrics.
Slow, moody folk-pop that has a few sparkling moments, and lots of confusing, sad stories. They have potential, and are OK but lack punch on this recording.
A band whose lyrics matter a lot, who have put on benefits to back up their beliefs, and who rock hard as well. Really cool fast, grungy punk with tough committed vocals. Neat fuzz guitar fits well with thrash, too. Excellent, exciting debut.
A bit stronger than their debut EP. This band has a punkish ’66 sound with a singer who almost sounds like Gary Floyd of the DICKS. The A-side is the superior track, with cool fuzz and lead guitar.
Some hard-hitting Skeeno HC here, folks. There’s some metal damage, but not to a distracting degree. Power and production are tops; intense lyrics, too.
The big difference on this release is that Ivy finally steps out with some clean guitar soloing, and I like it. It’s straightforward and simple, and reminds me of something, like a slightly more souped-up JOHNNY BURNETTE TRIO/BO DIDDLEY. Some real chances get taken here, and the results: their best record in years, though many don’t like it.
More punk from Alaska! Hot on the heels of SKATE DEATH comes this split LP of strange and diverse sounds. The CLYNG-ONZ are a more primitive, goofy band while the SKELETONS have a diversified sound from trashy grungy to weird discordant noisefests.
Pop with a rock edge. Sometimes DOORS-sounding, but not real rockin’.
Yet another release from this man among persons. This isn’t unlike so many other recent releases. Lots of goofy cover songs, done Á la carte or in medley, straight or crooked. Plus spoken word, original psychoticness, folk protest songs, and country pickin’. Oh, Eugene…
This band gets even more eclectic, excessive, and mellow on this second LP. They do have some great melodies, goofy lyrics, a variety of instruments and styles: blues, country, folk, etc. They also have some dull moments. Fans will definitely rejoice; hardcore fans veer the other way.
A three-song job, pop-punk is the style, with female vocals not unlike early BLONDIE. It’s got that Boston rock’n’roll sound, clean but rockin’ with guitars and drums up front with the singing. More power-pop than punk. it’s still a punchy effort.
Pretty cool hyper aggressive thrash produced by this Florida three-piece. The band’s method for success is to play as fast as possible, slip in several clever speed changes, and spit out a clean, pissed-off vocal style. Fifteen ragers that are simple in nature, but have the ability to make an impact.
Industrial punk. There’s music of various post-punk styles, combined with an overall industrial (as opposed to arty) feel that makes for good listening. At times it gets a little annoying, but they take chances.
A one-sided release that is a freebie to subscribers of Forced Exposure. BIG BLACK does an adequate cover of the repetitive REMA-REMA song, originally released on a 12″ in 1980.
In the tradition of skate HC bands like AGRESSION and the FACTION comes from Texas a raw, gritty barrage of garage mayhem called BARKHARD. Their members throw all the gusto of grinding, twangy guitars and abrasive vocals into a crazed assault, mixing up a variety of different influences.
A frustrating record. This is the same band that’s on the Mr. Beautiful comp, and their style is a sharp guitar/pop/garage sound that, at least here, manages to waste most of their good ideas by wimping out on vocals. There’s a live track here with a nice harsh guitar sound that gives you a taste of their real strength.
I suppose it would’ve been unfair to expect this LP to strike me as their debut did (my fave LP of last year), but perhaps with many playings it will come close. There’s still that great, distinctive voice, super-tight and fast melodic thrash delivery, clean production (perhaps a bit too clean here), classy hooks, and that rare sing-along quality, so… Catch ’em on tour and sing your heart out (great lyrics, too).
