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!
While the DISRUPTERS’ brand of mid/fast-tempo punk is not very original or very accomplished, there’s a charm and belief that comes across to make the listening experience not be a waste of time. Good production helps, too.
Totally garage, incompetent, and possibly charming (?). Let’s just say this could only appeal to fans of the old ESP label, those who can find “good” junk in dumpsters.
One of England’s most powerful bands release two new songs very much in the true CONFLICT tradition. Shouting loud guitars, and pounding…all backed by excellent production. My only complaint is that no lyrics are included; from a band that in the past has had so much to say, this is something of a let-down.
Catchy sing-along choruses backed by clean, simple thrash, topped off by clever hooks. At times, close in comparison to certain types of English pop-oriented Oi. In fact, this band has a song titled “Oi Tonight.” Not earth-shattering, but still worth looking into. Enjoyable. Flexi included.
A politically conscious band that breaks new ground for Italian HC. The music is reminiscent of early CRASS, and at times ANTI-SECT comes to mind. Accompanying the music is a fold-out cover covered from top to bottom with lyrics and editorials. Powerful, intelligent, graphic, and thought-provoking.
Yet another outstanding release from this Swedish band. With their tight musicianship, super instrumental hooks, rough lead vocals, and up-tempo sing-along choruses, they remind me of classic punk outfits from the late ’70s like STIFF LITTLE FINGERS. ASTA KASK wouldn’t know how to write a bad song, so don’t ignore this 12″.
Their second LP shows growth and diversity as well as a bit of taming. This type of ’60s-influenced psych kicks ass anyway, but since 90% of these songs are originals, YARD TRAUMA have managed to scan the decades and prove timeless and talented. Not as rowdy on this record as live, but not to be missed either way.
Surprisingly hard-edged pop-punk (at least on three of the tunes). While the pop elements are pronounced, the driving beat and Lou Giordano production really rocks it out while maintaining the subtleties.
While largely “out there” experimental music (there is actually a lot of music here), they at times produce some pretty gripping stuff in a psychedelic MOTHERS-type of way. For the adventurous.
Die-cut cover in the shape of a skateboard, featuring some classic speedcore renditions with 90% new tracks by C.O.C., SEPTIC DEATH, ACCÜSED, CHRIST ON PARADE, BEYOND POSSESSION, GANG GREEN, SLAM, BONELESS ONES, and NO RULES. Will attract a wide audience with this over-abundant sampler.
A great sampler of some of the States’ “up and coming” or “already there” bands. 40 bands produce countless numbers of songs and touch on several different musical influences. Two 90-minute cassettes, one with bands originating from the Northern states, and one with bands from down South. Overall, a really good package. Booklet included.
A hot neo-’60s flexi that accompanies issue #7 of 99th Floor fanzine. Side A is a total ’60s punk killer with songs by the BROOD and the BOYS FROM NOWHERE (who cover the Jeff Conolly tune of the same name). The flip is definitely not up to that standard, but the TELL-TALE HEARTS’ number is vastly better than their previous vinyl offerings; the PODZ’ live cut is raunchy but poorly recorded.
This Alaskan comp presents some pretty good bands (SKATE DEATH, CLYNG-ONS) and some others (PSYCHEDELIC SKELETONS, BUTT CLITS, LOGAN), but the sound quality of those live recordings is pretty hurting, making this non-mandatory.
This comp has something for everyone: thrash, metal, underground pop are all here. Nineteen bands from across the US (hence the title), each kicking out several songs ranging on production and influences.
A compilation put together by the people at Bullsheet fanzine, which features 12 bands from around the US. Again, the material coming from previously released demo tapes, etc., also a great sampler of up-and-coming bands. Some of the standouts include V.O.A., VERBAL ASSAULT, KNOCKABOUTS, and NO RESPONSE. Booklet included.
VOA kick out 17 songs that at times come off as simplistic and, in certain degrees, immature—musically. But you cannot ignore the promise of this band, as they expand into different influences resulting in several catchy tunes. BUTT ACNE on the other hand are yet another noise-joke band and nothing else needs be said.
Seven intense, gutsy thrash tunes all with a clever uniqueness and strength. Sing-alongs and shouting vocals seem only to add to the power. The lyrics are on the serious “positive” side and stress this message with great sincerity and emotion. I can only hope that these feelings carry true in person. Worth looking into.
Seems like the TURBINES are a one-way proposition; either you love ’em or hate ’em. Myself, I could listen to their twangy, garbage-can guitar tunes over and over. Kind of like if you drained the sleaze off the CRAMPS.
Here’s a real nice, hard-driving LA garage band with just enough tinge of psychedelic, surf, and twangy guitar mixed in with some beer-breath vocals to make this the one to beat. Bet they melt the stage when they play live.
Rockabilly trappings blend with an off-beat raunchiness on S.C.O.T.S.’s debut LP, which shows promise despite its inconsistency. A few klunkers, but bursts like “Bop Bop Bop” and “Atom Age Truckers” show the band’s rockin’ roots to good advantage. The instrumentals here are especially appealing.
Here you have Don Bolles of 45 GRAVE, VOX POP, etc. and GEZA X in their new band. SILVER CHALICE put out at least one single in the early days of LA punk, but I don’t think these are the same members. Anyway, pretty bland punk rock with a little sensitive ballad or two thrown in for ballast. Even the normally cool GEXA production can’t save this one…
Very, very good lyrics set to a fast-paced thrash with guitar leads. The band’s really tight, but I found the soloing a bit detracting from their overall impact, which was very favorable. Power and intelligence.
From the opening jangle of “Tomorrow’s…” guitars, it’s clear that this trio has been influenced by the BYRDS. Both songs here have sad, melodic vocals and real cool double-tracked psychedelic guitar, and I like them a lot. These guys might get wimpy in a 24-track studio, but the garage production on this 45 provides an appealingly rough edge.
While I could’ve used a full album of this steamy mess, I can settle for seven songs of great Texas thrash guitar music. We’re talking nasty business trash with songs about strange movies, dying young with a smile on your face, and other general bits of inanity. Great bluesy creepiness on “Parchman Farm.” I say check it out. Four stars.
Six new songs by what should be considered the MINUTEMEN of New York. Definitely influenced but well-meaning and some good songs, too. Includes a couple instrumentals that also hold their own. Worthwhile.
Highly politicized and non-cliché lyrics are driven home by slightly funk-tinged punk. Their sound reminds me a bit of the PROLETARIAT with less melody and more of continuous medium-fast-paced rhythm (driving bass really stands out). Committed, and a band to watch for.
Can’t beat it—this classic single has been reissued in limited supplies and should not be passed up. Raw, awesome raging punk rock from Cleveland ’77.
Sadly, there’s talk about this psycho-delic garage band breaking up. If that’s so, at least they’ve left behind a killer 7″ and a nice, full-bodied album of frenzied HENDRIX riffing, bluesy vocals, and staunch, tight rhythms. Not as crazy as their single, but still worthy.
Eleven songs recorded live at the band’s last show in August ’84. Reminds me a bit of SHATTERED FAITH and other early LA punk bands. An occasional spaz-out input of speed thrash, but quickly fades into average, raw, and melodic songs. Lacking that extra kick of originality. Good production.
A nifty garage pop record that reveals more than a little imagination and excellent lyrics. Most of it is subdued and perhaps even subtle—check out the irresistible riff/bass run in “Just a Game”—but a song like “What Was the Point” shows that they can rock out more if the urge strikes them. “An End” is pretty disposable, yet this band has something.
A stinging instrumental attack provides the distinction to this brisk tape of thrashy tunes. While this band definitely need work in the area of writing distinctive HC, they seem best at the quasi-NEOS approach of songs like “Scared Single.” Maybe this is a good direction for this abrasive outfit.
Total CRAMPS rip-off here, but these guys (from lyrics to cover art) are really into their “macho” BS. (Interestingly, this record is marketed by Jem Records, who applies the same mentality toward indie labels these days.) Fun music, lame men.
A three-song job that’s just OK, lacking any real wallop or magic. LYRES supply minimal rockin’ ’60s pop, and in the past have come up with real gems. None here, though; maybe they “gave it up now.”
Cool band from North Carolina and they’re gonna be on an English comp of SYD BARRETT cover bands. Trouble is that their maniacal, wild sound gets pushed back on this release in favor of a more droning DREAM SYNDICATE feel. But the sound is still cool and they sound like a real contender.
I was prepared not to like this, based on the “corporate” feel to this so-called indie record. But the music speaks for itself. If you’re into that early punk sound heavy on pop, then you’ll like this. It’s got a RAMONES-ish approach, though a bit more melodic musically and smoother vocally. Killer rave version of the ELEVATORS’ “You’re Gonna Miss Me,” not unlike DMZ here.
The American BIRTHDAY PARTY, like it or not.
Distorted guitar supplies the background rhythms to a hearty bunch of medium-paced melodic thrashers. In some ways, it reminds me of a new version of late-’70s English punk played extremely raw, minus the poppy riffs and choruses. Songs do start slipping into the “sounding the same” syndrome but overall a good effort.
Gritty post-punk, not altogether unlike the WOUNDZ, but here with a more well-established sense of mania, both musically and vocally. But there are no standout songs, nothing I particularly remember as I write this review, so I guess I didn’t like it.
Living up to their true potential, the HICKOIDS blaze a true path between the mud-caked rodeo music of the South and the craziness of cousins marrying. There’s a true strangeness here that rivals the best of early MEAT PUPPETS, and like the MP’s, they can smoke on their instruments. Besides, how many bands really look good with cowshit on their boots?
Drawing influences from ’60s punk, early Aussie punk, and early proto-punk (DMZ, RAMONES), this band manages to rock out pretty good. They have a slightly more up-to-date sound than many “neo” bands, but lyrically they’re still in the past.
Aaaarrgggh! New hot madness strikes with this ferocious demo. New hot young band from the LA area who scorch out the speed and extreme rawness in the vein of ICONOCLAST and early FINAL WARNING. Intense lyrics with a boisterous shouter, backed by thrashing metallic grinds melting into overdrive. This grabs for the blast.
Take the necessary ingredients to produce hard-hitting raps in the vein of RUN DMC, add slow, flowing keyboards, and you will have a good idea of what this band has struck upon. The title track is by far the standout, and I see no reason why the remaining tunes wouldn’t become popular with a lot of the underground dance clubs.
While the B-side is decent punk, the top-side is one classy, classic ’77-punk-style tune, full of great hooks, choruses, and good lyrics as well as power. Quite a pleasant surprise. Recommended.
This goofy SoCal band presents twelve rockin’ tunes, four previously released and eight brand new ones, which prove the strength that this band has to communicate a message, have lots of fun, and get away with being as goofy as possible. Music ranges from speed thrash to funk to bomping rock’n’roll, and the songs for the most part have catchy riffs and sing-alongs that stick in your head.
BEEFHEART-baked Texas transplants run amok on four longish tunes, creating musical mayhem, making friends and enemies all over the place, and I gotta wonder if their heads will stay on or not.
Nothing more than a typical painful BLACK FLAG jam session that should be on a Woolworth’s cassette rather than vinyl, and yes, it has a Raymond Pettibone cover.
Experimental music set to a beat. Abrasive, twisted, and fully psyched-out with a mean edge and guitar. I like this stuff.
The six songs on this EP represent a solid try at edgy, riff-laden post-punk with both tension and energy. BRAVE NEW WORLD do sacrifice catchiness for atmosphere, but those who enjoyed the instrumental sharpness of earlier SIOUXSIE material may find passing interest in this effort.
While the A-side is a creditable (though uninventive) cover of the TROGGS classic the flip, is a pretty good send-up of DOLLS/HEARTBREAKERS material. Enjoyable, not good.
Sounds like a somewhat more rockish DKs. Jello-like vocals and satirical lyrics are combined with tight, though a bit metalish instrumentation. Good sound quality.
