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!
Good driving, pounding early punk sound that kicks both musically and lyrically (anti-war). Interesting divergences are thrown in here and there, but don’t detract at all. Cool vocals, too.
This is a sampler of little known, or even unknown “psychedelic” English bands. MAGIC MUSHROOM BAND and SLEEP & THE CREATURE VAMPIRES have something going, but the rest of these bands play uninspired marshmallow music. To top it off, most of these bands don’t even exist anymore. Consumer beware.
A compilation of nine pop-punk/thrash bands from France. The music is split in half. 50% is average background, entertaining pop that at times becomes annoying. The remaining music consists of some really hard thrash, French style. For the most part, enjoyable and well worth looking into.
An excellent comp which features some of the more popular politically conscious bands involved in the scene such as CONFLICT, OI POLLOI, ANTI-SYSTEM, STALAG 17, ICONS OF FILTH, and the list goes on. All the songs were recorded live at England’s infamous Station Club. Good sound quality. Recommended.
A comp that features all Yugoslavian bands (PVJS, CZD, MASAKER, and MARZIDOVSHEK). There’s a bunch of experimental thrash, which while wandering into the unknown, always comes back with power. Sound is decent.
An intense power-thrash compilation which features OI POLLOI, H.D.Q., CRIMINAL JUSTICE, DEPRAVED—all who blast out incredibly loud, ranting, politically conscious songs. A powerful comp in which all the songs shred and will have a satisfying effect with each listening. My only complaint—no lyrics sheet.
An hour tape containing nineteen Polish punk bands recorded live at the Jarocin music festival. With this compilation, the average music enthusiast can get ahold of the kind of punk Poland has to offer. The production and sound quality are really good considering the situation and conditions. Recommended.
This hot Brazilian HC comp features ten bands and a variety of styles from supercharged thrash (RATOS DE PORÁO, LOBOTOMIA) to Oi (VÁRUS 27, GAROTOS PODRES—dig that harp!—and AUSCHWITZ) to folkish punk, classical punk, and even skate punk. The trebly Brazilian production adds to the appeal, and most of the lyrics are concerned with political issues like oppression, nuclear war, and corruption. Cool gatefold cover.
A four-band comp, featuring CRISMA KAOS (melodic thrash), SLAM (metal-laden), PAST (straight-on melodic thrash), and BIZARR (melodic thrash, with the most bite here). All in all, OK, but not awesome.
Charlie Harper (of UK SUBS) and Knox (of VIBRATORS) pair up on this album of lackluster ditties in a proto-punk style. The songs on this release, while unrepresentative of the talent here, also display a noticeable lack of passion. These URBAN DOGS do have a pedigree, but here I could have mistaken them for strays.
From Sweden, this combo plays pretty competent ’60s punk (an eerie aspect of said genre) and a bit of rockabilly. There are traces of CRAMPS and NOMADS in here, but little in the way of originality or special verve. OK.
Instead of the wild trashiness, this band has a murky, melodic charm to them very similar to SALEM 66 or even the GO-BETWEENS. The flip moves more towards a psychedelic nature, but more in the area of, say…DONOVAN? Not too shabby.
Abrasive, grinding mayhem, crazy splats of distortion, crackling vocals, and the next Japanese cult fave. This CHAOS UK-type noise corrosion slapper growls with insanity, roaring feedback, and those raw barks like stormtrooping bombs.
Take a variety of musical approaches (yet still the style the SUBHUMANS have established for themselves), push it all together into 12 new songs and one instrumental, and the third LP release brings this band even higher in growth, creativity, and continuous stamina. Multitudes of paces and Dick experimenting with different vocal approaches has the SUBS into another serious exceptional effort.
A-side is a schizophrenic ditty combining acoustic guitar with ’60s snotty punk vocals with DYLAN-esque undertones, pop melodic instrumentation, and a folky BYRDS-like break. The flip is even weirder, with more cryptic changes Á la SOFT BOYS. Nuts.
Decent moody pop neo-psych. Both sides have their ominous slower moments (almost like certain aspects of the DKs, including East Bay Ray-type guitar work), and then pick up at times. Just OK.
More French skunk from SNIX. The guitars could profitably be rawer, but the tunes are generally good (especially “Madou”) and the overall effect is quite appealing. The big question here is one of values: SNIX may not be supporters of M. LePen, but some of the song titles and dedications don’t reflect much that is positive. Who knows?
This, their second 7″, is pretty rockin’ ’60s fuzz punk, but doesn’t stand out too much from the crowd. Nonetheless, there’s great guitar, tight beat, and non-wimpy production.
Famed for their super-short, incoherent noise blasts, these guys have changed their “musical direction, attitude, and bass player” after getting “fed up with those short songs.” Trying now to write “decent tunes,” they sound only slightly tighter (if that), still thrashing away frantically and raving about the ills of the world. In other words, they’re still a charming garage mess.
This tape is hardly audible, but the smashings and rantings thrown rapidly at you, with extreme lyrics, give proof that if this band released an EP of quality recording, it would be intense. Don’t let the name fool you—it’s not demonic, but intelligent, especially toward animal rights.
Stop-and-go thrash at its finest. Nine tight tunes blast forward with such a strong amount of energy, your ears will be left in amazement. In many ways, the music might come off as very basic, but if you’re a crash and bang fan, this tape will not leave you disappointed.
Good raw punk, strong and political from South Africa. Comes with a sharp info sheet with addresses in SA. A variety of styles on this four-song EP, from fast to slow. Not what you would have expected, but worth your interest.
Basic German punk, fast and punchy, with catchy guitar riffing—the same kind of thing NORMAHL has been doing for a while now. Nothing is performed with particular brilliance, though I find this style quite listenable. Good, but unspecial.
A three-song job featuring a cover of the LYRES’ “She Pays the Rent” (a hotter version than the original), a pounding “My Little Ruby,” and then a very atypical “Nitroglycerine Shrieks” (a crypto, unrelenting post-punk blaster like LINK WRAY on acid). Hot as always.
DANBERT NOBACON from CHUMBAWAMBA presents a collection of solo folk ditties here, performed in a style not unlike that of PATRIK FITZGERALD or an acoustic BILLY BRAGG. Most of the songs are quite catchy, but a certain monotony does set in after a few tunes. A fairly good record, though it would have been palatable as an EP.
This record definitely falls into the category of great foreign crash and bang thrash. DBF offers a bit more originality and diversity which seems to keep the songs from sounding the same, a problem that the flip has. Both bands support simple, pissed-off rebellious lyrics, half of which are translated. Check it out!
This one’s a quiet, creepy psych band with some real cool, icy vocals. They seem to change easily from slower songs to charging fuzz-driven noisefests like the CRAMPS without too much difficulty.
This has a really full and smooth feel to it, just like some of the music released in England around ’78-’79. The vocalist manages to sound a little like GRAHAM PARKER while the band churns out a sleepy, dreamy sound similar to the tunes by the HOODOO GURUS.
Experimental hardcore that’s most appealing. While maintaining their edge and aggression, this band breaks rules with percussion and structure without getting too jazzy or arty.
A four-song rock release that’s in the post-HENDRIX tradition—”heavy” guitar, slow blues/rock tunes, long songs. Not too crazy about it.
Translates as “Muscle Little Girl Group” (I really owe Roger for all the translations on Japanese reviews). Don’t ask me? Musically they’re crazed, jazzy, avant garde, post-punk loonies. Vocals are pretty punky, and the music usually has bite, but boy, it’s weird.
Reformed, recorded this one, gigged twice, and split up again. Worth it? Largely. Two of the four tracks really kick, with driving early punk laced with subtle post-punk touches: powerful. The other two cuts are more ballady/post-punky, not unlike some aspects of the STALIN. Well done.
“On the Warpath” is the title translated (as are all the lyrics on a poster insert), and an accurate one it is—raging from beginning to end. Stylistically, they cover a lot of bases from straight thrash, metal thrash, country thrash, punk…all done really well. Lots of power, great lyrics, female shouter are characteristics here, so I have no problem recommending it.
This Saskatchewan group produces a boisterous pop sound and are at their best when the guitars and tempos are really cranked up. There is a definite ’60s influence on some songs, but most of their material has a more contemporary feel. Although good overall, “Why Should I Care” and “Gloria” are disposable.
Firmly rooted in an older punk sound, but it doesn’t stay there. Traces of the DAMNED, post-punk; and even the ROUTERS. Not crazed, but interesting while rockin’.
Ferocious carpet-dragging speedcore. This is classic Japanese vinyl meltdown in the aggro tradition of GISM and the EXECUTE. It never backs off with quick, metallic whines, and solid face-punched production, too. Burn, this is fire.
As their name suggests, this is indeed Oi music, and decent at that. It’s got all the ingredients—catchy tunes, choruses, etc. Lyrics are in English and are anti-authoritarian. Only question: these guys are out of uniform—all spikey heads.
A collection of DISORDER’s most popular material, all of which is recorded live. The production is very rough and the music supports the band’s ability to turn out some of the best loud, noisy, raunchy thrash. Definitely a potent and raw release.
I’m really locked on the DIED PRETTY’s latest. Some of this is very similar to the early attempts by the WHO and KINKS at psychedelia. Real nice, catchy melodies with haunting vocals, not really muscular but the little flourishes make this record.
Incorporating the best mid-’70s rock with an obvious fascination for the STOOGES, as well as NY DOLLS, RADIO BIRDMAN, and the best pre-’77 punk, this is timeless dirty rock’n’roll and fairly enjoyable.
This is essentially the new CRASS record. At least most of the members make an appearance in some capacity. I’d say it’s the most innovative, interesting, and yes, inspired thing they’ve done in a while. Still a stark beat and lots to say, but more varied in terms of influences, moods, and studio effects. Reminds me of something FOETUS would do and dependent on many listens. Admirable.
Four medium-paced, somewhat ploddy punk tunes with Oi/rock/metal currents. Powerfully recorded, but not very stimulating, lacking any real verve. Decent tunes, though.
Very raw, rough, and harsh. Echoing bass thrash in the same vein as the majority of classic European punk. A lot of variety in speed and power, but overall very straightforward, gutsy thrash!
This unusual release features ex-MOB members in songs which, in three of four cases, exploit a medieval flavor with a punk energy. Surprisingly, the gamble works—though I also enjoyed the pop punky style of this EP’s only rocker, “God Has Gone Wrong Again.” A good record that will grow on you.
ACCIDENT clocks in with some slick, routine melodic punk with sung vocals, including some new versions of old songs. Most of the material here sounds like punk as attempted by power-poppers, and only a pair of songs on the flip escape that tendency for inoffensive cuteness. No power, no heart, no soul…no buy.
This special German pressing features six new tracks and thirteen previously released on their Third Strike LP. If you haven’t heard the band, the closest comparison would be a punk version of KISS influenced by the GERMS! I’ll leave it at that but I must comment on the cover…what a “unique” concept.
Yet another Mystic sampler of previously released material from the label’s former projects. Included are DR. KNOW, INSOLENTS, DOGGY STYLE, and more. Is this really necessary?
Side one is largely “cheesy” (as Martin’s wont to say) pop, lightweight neo-’60s stuff (the kind that gave the ’60s a bad name back then), with only one passable track (MOD FUN). Side two of this all-New Jersey comp comes on with A.O.D., then back to cheese (psych and blues), then some rockin’ PLEASED YOUTH and SACRED DENIAL, a bit of garage, some STOOGES-like stuff from DAS DAMEN (pretty decent, Lyle), DOLLS-like material from SKULLS, and some jive fun from the PUNSTERS.
A raw dosage of noise thrash fronted by eight Florida bands. Speeding, blaring, and clashing seem to be the common themes among the musical styles, and some bands are tight while others are sloppy, which only adds to the character of this comp. The ear-catcher here has to be the songs by JEHOVAH’S SICKNESS.
Another Phoenix compilation with JFA, MIGHTY SPHINCTER, and the SUN CITY GIRLS, but better than that are tracks from the new bands like BOOTBEAST CARNIVAL, HARVEST, HELLFIRE, and the very raunchy DIRT CLODS. Lots of instrumentals, strange industrial stuff, and best of all, raspy garage sounds.
