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 new LP brings forth some very catchy choruses and upbeat riffs all put together with slick production that keeps a raw edge. All eight songs have a serious pop flavor to them, which causes a cheerful sound and a sense of humor.
This LP contains session material from 1977-’79 (largely unreleased) of this groundbreaking UK trash outfit. Lots of rockin’ blues, ’60s rock’n’roll, etc. from their various aggregations (several of them went on to form the INMATES). Early STONES sound.
Mid-period JAM meets mid-period CLASH. Melodic rockin’ pop.
Older style punk with synth. Seven songs in all, which are OK but the synth adds a “circus” atmosphere that detracts from the overall impact.
Gothic punk that hails from the depths of England. Simplistic rhythms and aggressive melodies come together with a sound very close to early TSOL or the DAMNED. Definite “eerie” overtones present, resulting in a hard-edged image and making this tape nothing more than healthy entertainment.
Raspy vocals hurl themselves over this wall of abrasive power, pushing with shrilling guitar licks and a rapid-paced melody keeping it all chaotic. Enjoyable tracks that are well organized and crank out the energy. Fast, without overdoing it for their style. Japan rages again!
Folk-rock/singer-songwriter stuff with the accent on audible lyrics. While the music is pretty meager and fairly light, the lyrics are crypto/critical DYLAN-esque without being too pretentious. Wish the music rocked more, but otherwise it’s intriguing.
Catchy choruses and rhythmic mosh beats combined with slurred gravel vocals make up the basic musical structures of this seven-song EP. The would-be power is kept down to a minimum due to the semi-poor production, and the lyrics stress a generic “positive” militant straight edge attitude, and if I never would’ve met them in person I’d have believed that the lyrics lacked the sincere depth which could lead them to be easily misunderstood. This band’s intentions are good, they just suffer from occasional foot-in-mouth disease—eh Ray?
’60s influenced rock’n’roll, with touches of folk rock, pop, psych rock. Too pop in general for me, but their cover of GARY GLITTER’s “Rock’n’Roll Pt. 2″ shows the most imagination on this disc.
Catchy guitar sounds and a straightforward beat form the backbone of this 25-song cassette, which is spliced with several tempo changes and sloppy vocals. At times, it sounds like the singer is half-asleep due to the drowned-out effect that tops his every line, but the lyrics are funny/serious and interesting.
The first of two volumes of a new ’60s punk reissue series is promising, though not quite up to the standard of the Back from the Grave series. It pretty much steers clear of the wimpy, flowing psychedelic snoozers and sticks to the rockers. Of these, the standout tracks are by the DIRTY SHAMES, CHANGIN’ TIMES, BELLES, NIGHTCRAWLERS, and GOOD FEELINGS. Volume One is better overall.
Put out by the guys from DEAD SILENCE, this sampler contains quite a variety of styles as represented by such bands as RHYTHM PIGS, DEHUMANIZERS, BLATANT DISSENT, GLORIOUS DIN, AGAINST THE GRAIN, INSURGENCY, RIPCHORDS, CRUCIFIED TRUTH, DISARRAY, and tons more. Check it out.
A weird marketing concept—three colored vinyl EPs boxed together. You get one by PEACE CORPSE (country metal weirdness), WHITE ’N’ HAIRY (funk doodling weirdness), and PILLSBURY HARDCORE (droning FLIPPER-ish weirdness). Pretty goddamn weird.
Poet John Giorno presents stuff for the arty crowd, mostly jazzy/experimental tracks with poetry or tunes interspersed. Contains HÜSKER DÜ, DAVID JOHANSEN, SONIC YOUTH, COIL, CABARET VOLTAIRE, etc.
Seattle-area bands here, mostly in the speed metal vein and no-so-speedy metal vein. You get two to four tunes each from GREEN RIVER, MELVINS, MALFUNKSHUN, SKIN YARD, SOUNDGARDEN, and one from U-MEN. Passable.
The vast majority of the tracks here are post-punk of various stripes, with a few punk tracks interspersed (SUBHUMANS, RUBELLA BALLET, AUSWEIS, LUCRATE MILK). Other bands include K.U.K.L, BRIGADES, MARTYRS, SHOCK CORRIDOR, etc.). Sound quality varies from track to track with many live recordings. Interesting insert concept.
Very tough but controlled. I like the way this German band has a solid foundation similar to DOA or SOCIAL DISTORTION but blends the roughness with a clean, high-quality production.
Four bands from Sweden (BULLSHOT BABIES, GEGGAMOYA, GALER, and KRONSTADT. Driving punk and post-punk, all dedicated to animal liberation.
This three-tracker calls to mind JuJu-period SIOUXSIE, and they do a commendable job with this moody, new wave material. I expected to dislike this immensely, but the B-side, “Polarlicht” in particular, is undisputedly first-rate post-punk—completely unique and memorable.
A highly enjoyable three-song debut from these ska-influenced skins. There’s one ska tune, one ska-tinged rocker, and one Oi tune. All are well-done, good-natured, and seemingly without any negative or fascist overtones.
A very raging international comp featuring such rippers as STUPIDS, MG 15, GEPØPEL, TERVEET KÄDET, INFERNO, CIVIL DISSIDENT, RAPT, NO LIP, DIATRIBE, and many more. Three or four songs each, non-stop intelligence, and an intense madhouse. Great.
An unusually well-documented comp that comes with a fold-open glossy cover that becomes a history of the many bands involved, lyric sheet, a family tree of bands, and poster collection. Bands include X, BEDSPREADS, JOHNNY DOLE AND THE SCABS, HARD-ONS, FEEDTIME (great!!), BEGGARS COURT, XL CAPRIS, and LOCAL PRODUCT. And, oh yes, the music is great. Hot job, Bruce!
A tremendous introduction to the current German underground scene. On this massive, 80-band, 90-track, three-hour compilation double-cassette, you’ll hear everything from ultra-fast thrash to melodic punk to synthesizer ravings with a variety of styles in between. Almost everything by both well-known and obscure bands is worthwhile listening, though there’s no information on which bands were on which side of the cassettes. Otherwise, improve your life and send away for these cassettes.
A great cassette comp of Japanese scorchers from Hiroshima. Wailing havoc with knock-me-cold punches from FUSE, MOO, DEAR JOHN, and FACE. Rough vocals with fast actions makes for a very exceptional offering. Side A definitely for those GISM/MAYHEM lovers. Intense.
The French are smashing the boundaries of speedcore with eight out-of-control fiery bands. Just when you thought the explosion was over, the thrash terrorizes again with VANDALES, the tongue-twisting zoom battle of RAPT, FINAL BLAST, four exceptional tracks from BUTCHER, HEIMAT-LOS, BLOODY FUCKERS, and GONO COKE. There are enough tracks on this tape to drive you totally mad as this is a sheer intensified dose of quality chaos!!
Taking their cue from the British “Big Beat” sound, these Danish bands are more Mersey than punk or raging R’n’B. While not a bad compendium, this record will mainly appeal to avid collectors as the recording facilities in Denmark were not the best. Plus, many of the tunes are covers, or covers of covers, and somewhat inferior at that. Historical document.
A good selection with two or three tracks each, starring INSTIGATORS, KAFKA PROSESS, PYHAKOULU, S.O.S., WRETCHED, AKUTT INLEGGELSE, SUBCULTURE, etc. Lots of energy, no clunkers, and decent-to-good sound.
A ten-band compilation made up of all Polish HC/punk bands. It’s a well-rounded mixture of live and studio tracks, most of which have never been released. All the common European hyper-noise is represented, with melodic hooks and leads thrown in for good measure. Includes DEZERTER, MOSKWA, ABADDON, and more.
Pretty cool English comp featuring the likes of SLAUGHTER TRADITION, CRIMINAL JUSTICE, INFECTED, and many more under-recognized bands. A lot of catchy melodies and sing-alongs. Sound quality varies with the influences, but still very interesting.
A super hot tape that includes DISORDER, CHAOS UK, LUNATIC FRINGE, and AMEBIX. These tapes are either unreleased demos or in-house tapes. The sound quality is above average, and it all is powerful as hell. Class stuff.
With the accent on non-hardcore punk (“so one can hear the lyrics”), this band comes forth in a 1977 tradition. The B-side is reggae, whilst the topside is quite powerful guitar-oriented punk that’s really catchy…but I still can’t hear all the lyrics.
Jazzy thrash from this English band that contains the former drummer of Italy’s STAZIONE SUICIDA. Very well done, and though I’m not prone to like such material, I found myself into it. Don’t know if this is a UK or Italian release though I think it’s the former.
Two girls and two guys playing poppy punk. The A-side is lighter but with good psych atmosphere, while the B is punkier with a KINGSMEN/Northwest sound, raunchy and rockin’.
SPUNK BUBBLES come through with eight very catchy and driving punk songs with ’77 appeal and girl-boy lyrics. KING PIG couldn’t be further from that spirit, presenting five moody, psych post-punk guitar-effected songs (also well-done). Top-notch production on both.
The A-side is a kick-ass fast punk tune with pounding drumming, cool singing, and though some of the structure is self-consciously broken up, it still clicks. The flip is more like a better produced PISTOLS-type sing-along. Pretty cool.
A three-song job, one track of which is a rhythmic, driving, raw song with a dash of early CRASS or the EX. The other two are raving, noisy thrashers. Lyrics are of a political nature, and all in all, this is a band to watch for. Confusing note: their flyer says seven songs are on a 20-minute tape for $3.50 ppd.
Classic European punk with great late-’70s English punk influences. The music is somewhat poppy, but has a raw edge and is backed with high power melodies. The vocals switch between male and female—a nice combination. Good stuff.
A slightly toned-down REVILLOS meets early-’60s garage/surf. Pretty garage in approach (though the recording isn’t) and the flip is a zany freakout. Loonsville.
Awesome. The fourteen songs crammed in here are up to the quality and style of Boston HC from 3-4 years ago. Just rippin’ from start to finish. And good production sound to boot. Get it.
An excellent blend of tongue-in-cheek humor and youthful positive thrash from this band. They sing in both English and German and show a lot of diversity in their music. Good swipe at both John Peel and jaded punkers on “John Peel Said.” Good record.
Their second release, this one is more CRAMPS-like than their debut. A-side is a pretty typically raunch’n’roll fuzzer, while the flip is a cover of the NOVAS’ classic, also covered by the CRAMPS. OK.
Good rockin’ punk with a slight RAMONES inflection and more serious lyrics. Not a lot of power, but the melody and catchy delivery make up for that. Decent.
A good rockin’ pop-punk song with ’60s influences on the A-side, a more contemporary, ultra-fast-paced pop-punk tune on the flip. The latter is pop only in form, as the delivery propels it well into the ’80s.
Discordant, psychotic, psychedelic, and painful. Simple, stark, and crazed. OH! DEV plays twisted jazz meets the most painful blues. Definitely arty, but not wimpy. Nick Cave and Lux Interior take heed.
Playing ripping hardcore at many speeds, this mostly female combo (a fact they don’t accentuate) attacks with power, confidence, intelligence, and proficiency. Six songs that make me think this is what the AVENGERS and UXA would’ve sounded like today. Great!
MUSHROOM PLANET performs Aussie rock’n’roll in the usual fashion, and here a distinctive guitar sound provides the interest. “The Chair” is the operative track, with its psych guitar riffing and sneering vocal attack—a wonderful song. The flip fares less well.
This Japanese punk ensemble has done a bit of changing since the last release. Toned down, but musically better, MOBS have added a creeping, harmonious flavor to the distinct sound, yet still keeping the pace active and alive. A cult release, but heading towards Japanese positive punk. Interesting.
The A-side is about as hard a rocking pop song as one can find—powerful, with pop structure. The flip starts out slow, but picks up considerably. Superior playing that reminds me of the EASYBEATS or a less psych CREATION. Cool ravers.
LIBERTY has the benefit of political commitment abetted by an original approach to mid-tempo British punk. Great guitar riffs abound on two of the four numbers here, and the overall sound is rough, gruff, powerful, and uncompromising. Good solid release.
Jazzy punk with rock influences. I find this too distracting overall, but I think the more adventurous among you might like the variety of influences. Decent power, odd thrash.
