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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!
While there is punk power here, BLATANT DISSENT doesn’t rely on it for overall impact. Their sound is almost understated, based more on melodic tunes, up-front lyrics, and clean production. Complexities at times remind me of fellow Chicagoans NAKED RAYGUN (Jeff Pezzati does production too).
Pretty poppy punk and rock stuff with somewhat twisted lyrics and occasionally bizarre instrumentation. I bet Biafra would like this one.
If this is a taste of things to come from their long-delayed LP on New Underground, then we’re in for a treat. Well-constructed, diverse, SoCal punk/thrash with good hooks, lyrics, and delivery. Gary, get that record out!
While their debut EP borrowed more heavily from early punk and basic thrash, this follow-up has ANGRY RED PLANET joining the burgeoning ranks of “early HÜSKER DÜ”-sounding hands. Actually, they also sound like latter-day HÜSKERS, with Bob Mould-type guitar and much poppier tunes.
From the opening riff rip-off of the UNDERTONES’ “It’s Going to Happen,” to a strange but cool mix of the KINKS and X, this single has all the best of those mysterious singles that pop up now and again from Texas. Great shitty production.
This band’s long-awaited record release is here, but maybe arriving just a little too late! Bad average AGRESSION music that never really holds itself together. Heavy on the ’70s rock influence with several metal riffs that add to this record’s boredom. Not too much be happening here, but I wonder if you can still skate to it.
A real mixed bag of smart and dumb lyrics hardcore, and metalcore music. It’s largely on the sharp side, though, and all the music rocks. I know Kent likes it, but she likes anything from North Carolina.
This 7″ represents the tracks ZYNTHSLAKT released on two split EPs with N.O.S. and the PAST, and the material here is gritty, catchy, and highly original. A rockin’ punk style is evident on all six songs, though I was particularly drawn to the vocal choruses on “Es Ist Krieg.” A good one.
Forceful, straight-ahead power driven with a tight, well-matched variety of harmonics and rhythms. Medium-paced for speed and melodic in charisma. Rages in similarities to TOXIC REASONS. Different than their first release.
Neither the US or Aussie band, this Japanese combo has decent and somewhat complicated rock/metal meets punk structures, but their falsetto singing really drives me up a wall. For metallers only.
This Swedish sampler dips into a variety of pop genres, from nifty pop-punk (KOTTGROTTORNA, TREDJE KONET, SPION 13), highly questionable new wave (WUTABOUT, FLYGANDE NUNNAN), and just plain rock (WHOOPS!, SCANDAL BEAUTIES). The songs vary considerably in quality, but some promising bands are represented, too.
A domestic release of two Australian powerhouse HC hands. Half of the VICIOUS CIRCLE material appeared on their Aussie 7″, while two of PERDITION’s eight tracks showed up on their 7″. Well worth picking up, this LP can only help further interest and ties between these two continents, and you’ll get some fine sides for your money, as well.
Another comp that will satisfy the tastes of all international HC fans and could possibly create some. Bands from eight countries, all of whom represent a unique sound. There are the “one-two-crash-bang ” bands and the melodic, sing-along ones. Definitely something for everybody and worth looking into. Booklet included.
This one slipped by us somehow, so here’s the review, albeit late. One side is devoted to American bands (DOA, 76% UNCERTAIN, WHITE CROSS, etc.) in first-rate tracks mostly on other records already. The flip however, is all-French (TROTSKIDS, COLLABOS, and WARRIOR KIDS turn in especially good pop-punk efforts) and all unreleased. A very good comp; if the duplication doesn’t bother you, give it a listen.
Four bands contribute three tracks each on this comp, which is variable, but respectably workmanlike. BUNCHAFUCKINGOOFS are the only HC band represented, and provide some good satiric numbers, while LIVING PROOF shows vast improvement over their LP in a basic, rockish vein. ANIMAL STAGS specialize in mid-tempo goofoid rock, and MADHOUSE are forgettable. A 35/65 affair.
This Swedish compilation showcases a variety of newer bands, some rather promising. BEDRÖVLERZ and CRUDE SS whip away at their three songs each, while BIZARR demonstrates a pop-punk sensibility worth noting. Five other bands put in workmanlike efforts on this variable, but largely entertaining LP.
A regional compilation from Kyushu Island in the south of Japan, this baby features two or three tracks each from six bands: GAI, GEDON, GESS, NO-CUT, AGGRESSIVE DOGS, and KURO. Most all is in a hard-driving original punk style, sounding really good and straightforward. Fine musicianship and production are hallmarks in Japan, and this one is no letdown. Hot.
A well thought out and executed compilation that features not only politically conscious bands, music, and lyrics but also editorials, essays, pamphlets, contact lists, and much more! The music’s on two 90-minute tapes and features 35 groups from 14 countries. The profits go towards Greenpeace and Rape Crisis. I hope more comps lean toward this direction in the future. Recommended!
An all-Scottish sampler, starring OI POLLOI, LAST RITES, DISTEMPER, and the CONDEMNED. There’s a decidedly Oi-ish feel to this punk and skin band comp, with OI POLLOI taking the honors with “Boot Down the Door,” a killer track. Otherwise nothing startling.
Yet another concept compilation. This time the concept is “baldness”! This one features skin/Oi bands from around the world. The majority of the songs are really enjoyable, but then, the majority of the lyrics are not transcribed! One can only hope they don’t fall into the skinhead stereotype. Booklet included.
Another hot comp from Humbug, this one features mostly European bands from Germany, Poland, Norway, Sweden, France, etc., as well as a few from the Americas and Down Under. Hot sound quality as well.
Twelve Yugoslavian HC outfits prove their stuff on this compilation. All ranges of speed and extremely raw production, with manic thrash (Yugoslav style) add to the character of this tape, although I do feel only International HC fans will really enjoy it.
A great live comp with so much energy and solid attacks. Featuring speedy stuff from LÄRM, PANDEMONIUM, WRETCHED, NEUROOT, BOSKOPS, and aggression from the likes of MDC, BGK, AMEBIX, VARUKERS, and much more. Lots of tunes, nicely recorded, comes with a thick book, and is cheaply priced.
This tape contains about 87 million five- to thirty-second thrash raves, kind of like early NEOS. Nothing new, but a garage orgy.
An ambitious all-European sampler, with German bands predominating. The tape comes with a booklet, wherein all the lyrics are translated into English for international consumption. Bands include KGB, KINA, WUT, ANTI-HEROES, ASOCIAL, SECOND AUSCHWITZ, HOSTAGES OF AYATOLLAH, SCREAMING DEAD, and more.
A rockish energy mixes winningly with thrashy song structures on this five-tracker. The song quality is about on par with their varied debut EP, but here exhibits much more consistent power, especially on the steamroller “1984.” A solid record, worthy of your attention.
Two catchy, finger-snapping ditties make this single a worthy investment for those who might like an amalgam of textured ’60s pop and late-’70s power-pop. The slightly off-tune and off-time female vocals somehow adds to the effect as it did for the MO-DETTES long ago. Recommended.
Highly political prose and poetry make this offering a pleasant surprise. No music here, just committed, clever, and anarchic words infused with a punk idealism. A breath of fresh air. Buy it.
This gang from Switzerland has done a damn good job at fooling me with their neat 1980-’82 Los Angeles punk sound. All the songs are sung in English and, believe it or not, there’s a bit of bands like DEAD BOYS, DETOX, BIG BOYS, and early TSOL. Really cool.
Buzzsaw hardcore meets industrial primitivism. Nasty-ass noise background with hard but simplistic punk with especially gnarly vocals all add up to a unique and enjoyable release.
STAR CLUB’s third album is clearly their best yet, boasting rowdy, up-beat ’77 punk not unlike the PROFESSIONALS, but consistently rawer and more powerful. This band cherishes their early punk roots, and numbers like “Radical Real Rock” and “Urban Guerrilla” demonstrate their complete assurance with the genre. An excellent LP.
Very aggressive post-punk that’s set to a usually straight-ahead rhythm. Although a little repetitious, the sheer drive of the beat kept my interest throughout the noise.
The term “generic” comes to mind on this one. Mid- to fast-paced hardcore from this Aussie outfit, but the songs are too repetitious (both lyrically and musically) and the guitar sound altogether too thin to sustain much power. “Copper,” of the five tracks, has a nice riff to recommend it; otherwise, I was unaffected.
Both bands on this EP share an abrasive thrash style, and both are very good. PROCES shows an adeptness at a gripping, dissonant approach although their songwriting is basic, while STENGTE DORER boasts remarkable energy and superb arranging, much like SVART FRAMTID. Hot. Buy it.
Hailing from Alaska yet released on an English label, this band sounds more like it comes from Ireland circa ’77. The music is pop-punk in the Good Vibrations label tradition, with a tinge more of a ’50s rock’n’roll influence. I guess the singer is what bugs me, as he really tries to sing instead of shout it out. Best song: “The Punks Are Divided, Jimmy.”
BIAFRA meets BEEFHEART meets BUTTHOLES. In other words, Basic Blues meets Bonkerbilly.
Hard-driving punk and post-punk that’s really simple, basic, yet there’s something pretty unique in their approach. Reminds me a bit of early RICHARD HELL & THE VOIDOIDS for the same reasons. Cool.
Decent but not overpowering pop-punk. Easily catchy pop tunes (almost too AM) are caught with OK power and production, and at times almost a post-punk feel.
The second round from this band (and simultaneously a new one from NIRVANA DEVILS…same personnel?) showcases a great pop/’60s punk song on the A-side that maintains its edge, and a nastier but still poppy cover of JOHNNY BURNETTE’s classic, sort of Á la FUZZTONES. Good listening.
The Japanese version of the TOY DOLLS? This band puts forth four long, repetitious pop-punk fun songs. Almost too cute and too fun, the songs just seem to go on forever and really lack that extra punch. The exception is “No More War”—which is harsher and stronger (and also the only serious song here).
The emphasis on clever arranging reminded me of late MAGAZINE, but the musical adeptness isn’t nearly as strong on this debut LP. In fact, the songwriting is largely monochromatic and uninteresting, despite a good feeling for the personal/political lyrics. Maybe next time.
With the signing of JMC to a major comes a predictably toned-down sound. While the title song is cool in its pop way (they’ve discovered Phil Spector?), and “Head” is a fairly noisy tidbit, “Cracked” is way too tuneless and dirgelike, and the second version of the title track is way wimpy. There’s still some edge here, but it’s fading fast.
Really bass-heavy political mid-tempo punk. Good and raw, with intelligence and anger, this band has got lots of potential. Classic line on their lyric sheet: “Eat shit—50,000,000 flies can’t be wrong.”
While these two songs at times seem to lack cohesiveness, there is an infectious quality that makes up for it. Make no mistake—these are basically medium-tempo, older-style punk with a real garage feel and not “pro”-type HC at all, but the tunes and singing stick with you.
As with most extremely prolific bands, the FALL hit and miss with most of their compositions. This is basic middling FALL, with the repetitious arrangements and obscure, taunting vocals that aficionados of the outfit have come to expect. About every other song is pretty good, and nearly everything is very, very predictable.
A five-song release that strikes a unique combination of metal/thrash instrumentation with BUZZCOCKS-like poppish vocals and intelligent lyrics. Watch for more.
They’ve done it again. A fascinating LP chock full of goodies: poster, book, and militancy. While they maintain melody, dissonance, moodiness, and a hard edge, they continue to grow and encompass many styles. Before, they’ve reminded me of CRASS; now I’m hearing elements of the FALL and SONIC YOUTH, but hell, the EX have been playing as long if not longer. Their integrity is rock hard and dependable. Godhead!
Male and female vocals combine with some hard-driving punk/thrash and intense political lyrics. Besides their varied originals, there are a few covers (CRASS, BEATLES, DICKS, etc.) on this live recording. Sound quality is decent and energy is high. Good.
Eric Hysteric and his drinking buddies return with yet two more garage sing-along tunes. Characteristic traits are thumping drums, fuzz guitars, raunch production, and lots of choruses. Fun.
Interesting. At times, this band’s sound doesn’t quite seem to gel, but then within their simplicity lies a vast amount of musical innovation and complexity. Combine this with extremely intelligent political lyrics and a desire to take chances while keeping an edge, and you’ve got the beginnings of something. Watch for growth here.
