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!
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.
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.
