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!
A US/German sampler containing the likes of MANIACS, LOVE CANAL, CHRIST ON PARADE, VOMIT VISIONS, NRK, INFERNO, and many more. Sound quality is largely excellent, as well as the material.
All manner of “death” rock here, from metal to SIOUXSIE-style dreariness to TSOL-type moodiness, from a host of bands known and unknown. Includes ILL REPUTE, SUBTERFUGE, WHITE PIGS, MESS, AWOL, FALSE CONFESSION, and more. This is where I usually stick in a bad pun, but in this case I’m scared to try.
Another blazing international comp featuring 35 bands from 17 countries. SOLUCIÁ”N MORTAL, NEGAZIONE, NO LIP, DEATH SENTENCE, MOB 47, FINAL BLAST, and INDIREKT are just some of the fine thrash bands that you will find on this recommendable cassette. A very tasty sampler.
This comp put together by the fanzine of the same name features bands from the Milwaukee and Chicago area. It exposes some great new thrash/punk bands, most of which possess a lot of potential. Notables include SELF GRATIFUCKATION, POLITICAL JUSTICE, OUT OF ORDER, and CRUSTIES. Good diversity keeps the listener’s attention. Booklet included.
URUKU approaches HC from an eclectic point of view, so if you combined the likes of BEEFEATER, UNITED MUTATION, and GREY MATTER into one outfit, you might come away with something like this. Thrash with diverse and arty overtones—mostly fairly routine, with no real standout numbers.
Of the three tracks here, the operative one is an idiosyncratic version of the BYRDS classic, “So You Wanna Be a Rock’n’Roll Star”—a hard-rocking rendition with lots of raw edges. The two remaining songs meander into rock/experimental domains that lack much real focus. Almost adequate.
“Never Say Die” is right, as Bobby Steele, originally a MISFIT and veteran of his UNDEAD, re-emerges with the umpteenth lineup. Glad he did it, too, because both sides are excellent rockin’ early punk, a sound that crunches, and you can hear the lyrics. Hot pop punk.
The first original-sounding thing from JOHNNY THUNDERS in ages, with singing back-up by ex-SNATCH Patti and instrumental help from ex-HEARTBREAKERS Jerry Nolan and Billy Rath. Sounds promising? Nope, you get a countryish slick R’n’B tune, and two versions of the title tune, a sultry bluesy number that’s pretty unmoving. Oh, well, you can’t put your arm around a memory.
You know right from the start that this will blast a hole in your heart. A raver, full of high quality straight-ahead hardcore with nary a trace of metal. Powerful as hell!
Now that the REPLACEMENTS have wimped out, where do you go for that great, snotty, teenage garage music? Louisville, KY, apparently, the home of these young’uns who not only manage to capture the snarling adolescent howl but also have a sense of structure and melody in all their songs. Highly recommended.
Perfect. Just perfect. This is exactly what I wanted this band to sound like when they released their first EP; here, they’ve tightened up the sound with engaging melodies wrapped around a ripping Midwestern Bob Mould production.
These garage thrashers have been putting out tapes for years now. And while this one’s as energetic, blazing, noisy, and politically sharp as ever, I think it’s high time for some vinyl. In the meantime, get this—sounds like a modern-day PAGANS.
Still cranking it out, as morose, apocalyptic, and truly psychedelic as always. Superb production with some covers, some of Chadbourne’s demented ballads, and lots of over-the-edge wildness. God damn, these guys are godhead, and Heaven is as great if not better than ever.
Solid, hard driving thrash from the depths of New Orleans. Somewhat reminiscent of early US thrash due to the band’s loud, energetic, ringing sound. Rough vocals complement all eleven songs on a tape that is strong overall, but not earth-shattering.
This guy was old back in the ’60s during his second coming, so you know he’s ancient now. No matter, this sicko of the R’n B world can still wail, doing a credible version of his classic “I Put a Spell on You” and three others. While nothing to rise out of the grave for, fans of both he and the FUZZTONES will want to have this musical memoir.
Admittedly unhappy with the sometimes tinny production, the SARCASTIC ASSHOLES have made the best of it nonetheless. Blasting forth with over a dozen tunes, their sound is pretty straightforward thrash/punk with lots of speed. The singer’s voice really gets gnarly at times, and lyrically they’re right on, with frequent attacks on racist/redneck mentality.
A really intense album, both musically and thematically. The SLA have growling vocals Á la FARTZ, and a very raw instrumental attack; the songs range from careening thrashers to more complex but less hard-hitting cuts. The lyrics are unabashedly radical, whether dealing with wage slavery, national chauvinism, or media sensationalism, but the choice of the band name leaves something to be desired since there is some evidence suggesting that the real Symbionese Liberation Army were police provocateurs rather than genuine and very stupid militants.
From Rhode Island, if I remember correctly, comes a punk rockish pair of tunes. Neither is particularly overwhelming, though both are easily competent and well-produced. Just OK.
Fun mid-tempo thrash joined together with silly lyrics resulting in a sound much like a raw version of the VANDALS. Seven tight, rockin’ songs with clever hooks and catchy choruses, so good that it would seem more appropriate for this material to be on vinyl rather than tape.
POLITICAL JUSTICE? delves into a medium-paced punk style with highly distinctive lyrics—and songwriting that unfortunately lacks any sense of uniqueness or catchiness. I admired the committed point of view of this band, but I hope the musical aspects of this outfit catch up with them on their next release.
The A-side is just so-so folk rock, nothing too memorable. And while the flip isn’t awesome, it’s got more interesting structure and more punchy instrumentation, especially with the raw, jangly guitar. Better.
Hot! A very politically motivated record that also socks you in the jaw with its music. Gruff-as-hell vocals, great thrash, and inspiring lyrics and package all add up to a winner.
Fun-loving hardcore from SoCal. The lyrics are all satirical, the sound is pretty trashy, and the general feel is rambunctious and adolescent. Some of the instrumental work collapses in upon itself, but the smooth vocals and throbbing bass push them into the credit column.
P.T.L. KLUB have the style down pat: fast, thrashy songs, angry vocals, committed lyrics on good topics, and very occasional guitar leads. Of course, it’s been done often before, but when it’s executed well (as it is here) the music sustains power and drive. A very good record from this Massachusetts outfit.
Taking his tunes from his former band, NO SYSTEM, Al Quint (MRR reporter, Suburban Voice editor) teams up with PTL KLUB for six totally ripping tunes. Hot thrash, great lyrics, and strong beliefs back this baby up. Shoulda been a record.
A mid-tempo, pounding, angry, rebellious sound comes from this Chicago-based band. No direct thrash influences, but these songs support some of the same qualities. Like the PROLETARIAT with smooth power that creates catchy riffs and flowing vocals. Very enjoyable tape.
Although I am not a big fan of the ’80s garage rehash scene, I must give credit to this band for capturing a very hard-edged, raw sound much like the classic ’60s punk sound. The screams and distortion put a lot of the pop garage bands to shame, but then again, this was recorded over a year ago; the band has gone through changes and has currently lost much of that rawness. The low point here is the neglect of giving credit on cover songs.
Thirteen previously unreleased tracks including first time on vinyl or different versions of prior releases. Among the classic MISFITS songs that even stretch musical boundaries for the band, “American Nightmare” shows some country and folk roots. If you’re an avid MISFITS fiend or just looking for a sampler, this is your disc.
Excellently spirited punk and thrash with well-thought out and biting lyrics. Although the playing is garagish, it’s not really a drawback because this release is about honesty. Rips.
Sad but true, a once great band has drifted towards the wimp side. Ten glamor-pop-punk songs are drastically different from any of the band’s previous material. I hate to say it, but this album is a real let-down!! It would be interesting to see how the band would pull these cheesy songs off live. No longer “Music In Action”—now it’s music in limbo!
Excellent! A really unusual approach here—punk-rocked-out folk rock in a way, but with more drive and noise. Lots of originals as well as gnarly covers of DYLAN, EVERLY BROS., STONES, VELVETS, STOOGES, MDC, SIMPLETONES, DOVELLS, ROSIE & ORIGINALS—but all rocked out. Get it.
A raw, gritty guitar sound innervates these garagy blasts of mid-tempo funnypunk. With titles like “Grilled Cheese Sandwiches” and “Spastic and Proud,” you can infer LETHAL YELLOW’s goofoid tendencies, but there are some really good songs delivered with spunk on this one. A lot of fun.
A six-song tape that’s really well done. There’s plenty of controlled mania on the fast tunes as well as good melody on the poppier tracks. Overall: rips like crazy.
An average pop-punk release by this Boston outfit. At times reminiscent of STIFF LITTLE FINGERS, but in many ways is no comparison. LAST STAND takes a more American, roots-rock approach with a repetitious beat in the simplest and most basic form.
Fun garage punk that at times reminds me of early MODERN LOVERS or HEARTBREAKERS with a bit of early ’60s garage/surf thrown in. Enjoyable.
Quite a pleasant surprise. This tape contains seven pop/thrash tunes of high-quality tunemanship, playing, and production. Very sarcastic lyrics bite to the “core.” Worth checking out.
A collection of the best and worst from one of Oxnard’s finest. Consisting of one track from every release that this band has ever been involved with, only two new songs appear, both of them live and the outstanding tracks of the release. Typical rough Mystic production doesn’t really help, but overall this is a good sampler of one of the once classic SoCal thrash outfits.
From Seattle, where heavy metal is a big force to reckon with, comes this debut. I’m not really sure about this record yet, but they stray a line very close to mid-period BLACK FLAG while tending to go for a more infernal, personal side to their lyrics.
A catchy 14-song tape produced by this Milwaukee outfit. Several blatant metal leads are weaved into medium-paced melodic thrash, both of which are topped off with strange, echoing vocals. Lyrically, a bit on the basic side, but it doesn’t detract too much from this tape as a whole.
A half-dozen pop-punk tunes owing to ’76 East Coast proto-punk more than anything, with a touch of REPLACEMENTS. Good beat, intelligent personal lyrics, snarly vocals, occasionally lame metallish guitar, but otherwise it’s pretty rockin’.
Much more on the punk side of things than pure thrash, their most appealing material has good melody, tough guitar, and an almost PISTOLS-like quality on the better tracks (“Brainwash”). But there’s plenty of thrash too, as well as a clunker or two. Overall—pretty good, hot production, tight playing.
Punky yet metal, but not speedcore. Paced medium, this sounds more like early punk with metal guitar work at times. Same with the vocal approach, though the lyrics are pretty solidly punk.
Another one bites the dust and bites it hard. Amazingly poor ’70s power rock much in the AEROSMITH vein. At times, the songs become comedy pieces with the “Oh, baby” and “Let’s rock” lines. One or two songs find their roots in early punk, but these still aren’t enough to help this drowning puppy.
Although too many bands get compared to the BIRTHDAY PARTY/NICK CAVE these days, here you have to make that analogy again. There are these great, loopy, tribal rhythms and general trashiness that begs for the comparison. I like this record.
After a bizarre beginning, this tape launches into a thrash attack that’s raw and exciting. Recorded live, there’s some charm here overriding the obvious live recording problems and garage aspects. Definitely are hot moments.
DEAD AIM’s sound is a vigorous, coarse, grinding one with influences ranging from C.O.C. to AGNOSTIC FRONT. The metal licks are kept to a minimum and the cool vocals really hold the songs together. The lyrics, on the other hand, are the weak point and really do subtract from their potential.
The title-track is classic-sounding early R’n’B CRAMPS, while the two accompanying cuts are either Elvis-influenced or country-blues sounding and nothing too special. I’m glad they’re still at it, but this didn’t have me bouncin’ off the walls.
While musically tight and strong, and despite Keith’s continued strong singing in the face of numerous physical injuries, this LP doesn’t really kill. The JERKS may never approach the heights of that first LP (a tough standard to beat), but they’ll keep at it, on the road and on vinyl. Decent.
Pretty rockin’ pop punk that takes me back a few years. There’s a good beat with pretty complex songs, moddish at times psych at times, and despite the special effects, high production, etc., the overall impact is fairly punky and powerful. Interesting.
Counting this release, there have been three CHADBOURNE/SHOCKABILLY LPs within a month. Here, you can hear him perform your favorite spazz country/psycho/experimental ditties that he recorded on his trip to all of the finest prisons in Australia. Really.
