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!
For such a young bunch of kids (15-17 years old) this is a pretty good debut. Mid/fast-paced punk and thrash, with decent hooks and fairly tight playing, lacking only a bit in the drumming. Keep it up.
Their debut single made me look forward to listening to this LP, but I was disappointed in KALASHNIKOV’s lackluster pop and pop-punk compositions, despite the plaintive female vocals. Some adventurous musical changes of pace—and sadly very little in the way of hooks or power.
One of the earliest still-existing German punk bands have regrouped (with a few replacements) and kick out a really good pop-punk/thrash four-song EP. A band that deals with political subjects humorously, these four tunes are catchy, well-produced, and up.
I can understand why these guys are anti-labels, coz their music somewhat defies categorization. There are elements of punk, ’60s, metal, and rock thrown into the blender and out comes a heavy beat with big production. They rock, but both tracks are somewhat hard to settle into. Jello says he likes this a lot.
Eclectic and offbeat hard-driving punk. The Italian BUTTHOLE SURFERS? Definitely outside stuff without losing the power.
A very silly, enjoyable, and decidedly low-tech effort from Germany. This is high-energy pop-punk, heavy on the RAMONES riffs, with excellent lead trumpet on many of the cuts that adds to the levity. They even do a rave-up version of the Waltons TV theme-song. Put these guys on vinyl soon!
More cool crusty psych from Australia. This time around it’s a band that has listened to a few RAMONES albums. But instead of the RAMONES/Spector sound, it’s more like the RAMONES meets RADIO BIRDMAN or the SAINTS. They do a pretty cool job of “Pipeline.”
This impressive Norway band expresses their musical influences through catchy melodies and raw vocals, and then turn right around and kick out some crazed power thrash in the very next song. Both live and studio tracks prove the band’s unpredictability and talent to create enjoyable music.
Put members of ADRENALIN O.D. and STUPIDS in a studio together for 14 minutes, and you get no less than 22 songs full of wacky confusion, sure craziness, intense energy, and an overabundance of good humor. Very spontaneous and rough, but funny as shit.
Despite the fact that me and Pus both listed this on our Top 15’s months ago, we failed to review this killer three-song EP. Sharp, audible vocals that attack hard drugs (among other things) are driven by raw, powerful, but somehow melodic raging hardcore. Lots of anger and frustration here, but tempered by intelligence. Excellent, and a shame they split.
Their name translates as “Creative Chicken Fuckers,” and if that isn’t enough to get you to buy this, then the music will be. Awesomely fast and powerful thrash that’s both non-metallic and creative. Contains songs both in Dutch and English, and from the latter one can discern their radical political bent. 20 songs.
Bizarre mayhem from France with a wild combination of guitar and total distortion bass plucks, as a drum paces forth with shrilling vocals. A unique blend of hardcore staying away from the traditional approach, capturing a very disordered rumbling of bass frequency as the highlight. Very creative, interesting tunes.
Despite the sometimes rough sound quality, there’s a lot to check out here. Intermixing news reports and music, there’s a compelling reality at work here—almost an industrial nature to their approach—which pervades their punk and thrash, an accent on atmosphere and meaning, not slickness.
Their sound is a raw, crunching guitar-based one with post-punky effects, and it really works. Lots of power, edge, drive, and diversity within the medium-tempo genre. Good.
Mid-tempo punk that’s in a Brit-punk style. Not especially inspiring musically, although there is post-punk moodiness, which might suit the lyrics well (except I don’t know what the subject matter is). OK for the style.
This record captures the Aussies’ rock sound, but without the overwhelming power you’ll find in the LIME SPIDERS or CELIBATE RIFLES. The songs are pleasant and quite listenable; I just felt that an added punch was needed to push it over the top. Adequate.
ANTISECT has gone through a few changes, member-wise and musically. Yet, the strong beliefs are still there. The wall of power still exists, but throw in a SABBATH/METALLICA sound influence, and ANTISECT is hitting hard with metallic grinds and vicious growls. Forceful noise that speaks no riddles.
Very fast and snappy punk that’s got a fairly distinct and clear sound (especially with the drumming). Gnarly singing, hot but simple guitar, and excellent production. Enjoyable political punk, in German.
A Detroit comp of mainly neo-’60s sounding bands. The Motor City has long been a holdout for this heritage, and some hot tracks are delivered by 3-D INVISIBLES, CINECYDE (still around!), and the BONERS. Other bands in a lighter vein include HYSTERIC NARCOTIC, FRAMES, SLEEP, VERTICAL PILLOWS, and BOOTSEY X AND THE LOVEMASTERS.
A split EP by LUNCH MEAT and MISSION IMPOSSIBLE, two up-and-coming DC-area bands. Both outfits create and exhibit three high-energy melodic thrashers backed by interesting lyrics. Neither outfit falls into the DC stereotype of musical direction but really do break the ice for a lot of the underdog bands from that area. Worth looking into.
Not exactly a perfect overview of the SF scene, but a good sampler of the more shaggy-type bands like the CATHEADS and XTAL and some psycho-funk from FAITH NO MORE and THREE MOUSE GUITARS. Not earthshattering, but fun.
This follow-up to the previous Godfodder comp covers new ground with the exposure of more experimental bands and ones that are closely related. Some of the talents include: GLORIOUS DIN, BRAIN RUST, MORK LANE, SARCASTIC ORGASM, and the list goes on. Pretty good production and as a whole, a nice package.
A non-geographical comp, this one is a cut above some of the previous multitude. The OTHERS, ROGUES, BRIMSTONES, and STYX come across with some cool ditties in punk and folk rock veins. Good comp job by Lee Joseph of YARD TRAUMA.
Sadly, the two biggest names score very low overall. MENTAL ABUSE for being too long and metal, and the tracks by AGNOSTIC FRONT for being too dumb. Younger hands like SEIZURE, VIOLENT IMAGE, and SUBURBAN FLASHBACK come out with some real cool songs, though, for the real surprise of the album.
Some great Connecticut punk and HC can be heard on this seven-song EP which comes free with the third issue of Run It fanzine. VATICAN COMMANDOS, YOUTH OF TODAY, CHRONIC DISORDER, and SEIZURE appear—a well-rounded bunch, to say the least. Music varies from intense thrash to funnypunk. Sound quality’s a bit on the bad side, but it’s worth getting your hands on.
A furious-paced comp from bands all over the US, most of which are pretty good sounding. Some groups are STEVIE STILETTO & SWITCHBLADES, REALITY OF TRAIL, MAGGOT SANDWICH, SHELL SHOCK, GROUP OF INDIVIDUALS, LEGION OF DECENCY, PSYCHODRAMA, and several more. Lots of music, lots of energy.
The bulk of the bands here hail from Ontario (ANGRY RAISINS, AFHAKKEN, PORCELAIN FOREHEAD, MADHOUSE, APB, TERMINALS, and more), while the remainder are from scattered US locations (BLATANT DISSENT, 1/2 JAPANESE, PSYCHOTIC NORMAN, etc.). Mostly punk, with some thrash and experimentation. Good sound quality.
More two-chord rants about unresponsive gurls. I keep waiting for the quality in this series to decline so that I won’t have to bore everyone by reiterating how great these reissues are. But I guess I’ll have to wait longer, for this volume has mind-numbing ’60s punk gems by the SHAMES, SAVOYS, BARRACUDAS, etc. One of the few series which can honestly be described as “all killer, no friller.”
OK, this is a “rock” album, meaning the accent is on tunes, power, and production. What it’s missing is the excitement and spark of this band’s earlier releases. Punk background music?
This band has always done great pop and post-punk but I have never been able to dig out those essential hooks. I guess they transcend them, because this is a fine recording full of melody and great rockin’ moments. They seem to have split it into a rockin’ and melodic side, but whichever way you splice it, these guys deserve attention.
The CRAMPS meet the old FLAMIN’ GROOVIES? Raunchy R’n’B meets countryish rock’n’roll meets surf. Nothing new, not quite psychobilly, but OK fun stuff.
With a name like SISTER RAY, I expected a real pronounced VELVET UNDERGROUND sound, but not so. There are some ’60s influences (punk, Batman-theme-type guitar), as well as early US ’70s punk sound. All four tunes cook, with the guitar being the driving force. Nothing flashy, but they rock.
San Francisco’s newest garage band comes above ground with a raw cassette that perfectly imitates their stage appeal. Rockin’, hook-laden, goofy (even when serious), wild, immature, satirical, and completely genuine. Watch out for these guys—you’ll be humming their songs before you know it.
A mod band that “springs from the Maximum R’n’B tradition” (early WHO expression), their accent is on rock’n’roll and not ska. This group is integrated racially and sexually, and rocks good, more in the manner of the JOLT than anything else in recent memory. Good ISLEY BROS. cover, and record dedication to the African National Congress rebels in South Africa.
A three-song demo that’s really good, though it seems totally out of time and place (nice change, though). The tunes combine older-style punk tunes and raw, powerful playing, much in the way some of the early English, and especially Irish punk bands did. Enjoyable.
Outside stuff aimed at smashing both pretentious arty/industrial music and the stagnant aspect of hardcore. Whether they accomplish this or not remains to be seen (heard). To quote the press release, “They will use anything at their disposal to fucking obliterate everything.” Sounds like it.
Bill of Toxic Shock fronted this band back when, and I guess couldn’t resist releasing this somewhat death rock relic “posthumously.” Actually, lyrically it’s not death rock (more intelligent than that!), but it’s the overall sound, enhanced by lots of production, that gives it that “ghostly” feel. Well done, if you like that heavy, power sound. Excellent guitar noise from Julianna.
Much more produced sound than their earlier raunchy classics, sometimes including a disco-ish sound. Yech. While there are some garage ravers here, the bigger sound doesn’t become the PANDORAS much and that’s especially telling on their new version of “You Don’t Satisfy.” “Let’s Do Right” and “It Felt Alright” are pretty hot, though.
This Boston-area band is composed of members of now-defunct STRANGLEHOLD, which explains the catchy guitarwork and the overall rawness. This band’s potential falls short due to the new sound, making a firm stand in the college radio crowd. The power is put aside for a more poppy rockin’ sound, which is sad, but comes as no surprise.
Despite the homemade sound quality, there’s still plenty to listen to here. Their ominous overtones permeate fast-paced guitar/noise raves and slower/experimental/industrial dirges, making for an eerie but non-cliché horrific mood. Much potential, as long as they maintain their edge.
Real garage hardcore punk. Most of the songs are medium-paced with super-gruff vocals and raw as hell noise guitar. Good garage.
Out of Baltimore, this tape has a live feel to it. Lyrics are pissed off but intelligent, music is heavily rhythmic hardcore with good vocals. Should be something real good if they stick with it.
If self-righteous Christianity and punk are your bag, go for it. Well-done hardcore it is, but you get 20 songs telling you about “the Lord” and why you’re wrong about everything until you accept “Him.” I’m waiting for a Toothfairy HC band myself.
With this album, KILSLUG dirged their way into aggravating the hell out of me. Good, bassy guitars hold down a dose of dark, discordant hardcore in the basic FLIPPER mode, but devoid of hooks or power. Nothing really drew me in on this LP.
I guess it was inevitable, so here’s a ’77-style send-up, retardo/reactionary lyrics and all. The A-side equates AIDS to decadence and Hollywood—sheer genius. The flip is equally “brilliant,” attacking liberals as being the ones in the way of freedom. Hmm, guess they’ve been asleep since Ronnie took over.
They say they’re one of the best bands in America. Well, I can honestly say they’re the kind of band you’d like to have in your scene. They straddle the line of sludge/garage music and weird spazz sounds. Kind of like having IGGY sing with the BIRTHDAY PARTY in the bad part of town, during a thunderstorm, without a decent PA and not enough beer. You get the picture.
Could you guess they’re speedcore? Pretty good actually, though the drumming lags a bit. Gruff vocals and raunchy thrash guitar with metal inflection. Practice tape but decent sound quality.
This GUNS (not the Ohio band) is a one-man project of George Smith of SENSELESS HATE. Playing guitars (tough), bass (driving), and drums (tight), this is powerful punk with both the crunch of ’78 and the imagination as well (from pop/punk to slight experimentation).
Four songs, two of which come from their first demo and fall into the great GANG GREEN tradition, the remaining two being different cover versions of TIL TUESDAY’s AM radio hit “Voices Carry.” AC/DC covers would have been more exciting. All in all, just two great songs.
Makes me feel like I’m in a time warp, shipped back to some hokey ’77 scene. This is early garage punk meets new wave rock’n’roll and wrestling mania. I’ve heard the DICTATORS are reforming, so this could become a trend.
