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Please send one copy of 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. We reserve the right to reject releases on the basis of content. Music without vocals or drums will not be considered. All music submitted for review must have been released (or reissued) within the last two years. Please include contact information and let us know where your band is from!
Mostly SoCal bands like ENTROPY, ILL REPUTE, SCARED STRAIGHT, STUKAS OVER BEDROCK, DOGGY STYLE, DON’T NO, as well as DRILLS, and AMATEUR GYNECOLOGISTS. Sound quality varies, but everything rips… good listening. This label has also just released in the US the INSTIGATORS live tape.
An all-female band comp put out as a non-profit project by two women in Canada. The music itself is all pretty hot, ranging in punk styles from thrash to classic punk to garage to pop/punk. Some bands included are: ICONOCLASTS, A.S.F., RAUNCHETTES, UNWARRANTED TRUST, INDUSTRIAL WASTE BAND, RUGGEDY ANNES, BARELY HUMAN, and PRE-METAL SYNDROME (among others). Good job, and comes with a booklet.
This excellent Northern sampler has something for everyone. You expect great tracks from SNFU, STRETCHMARKS, and NOMEANSNO, but this LP showcases other positive young bands like MY DOG POPPER, S.C.U.M., SUDDEN IMPACT, and the RUGGEDY ANNES. Entirely recommended.
An interesting hardcore sampler put together by the folks at Ax/ction records. Every branch of the thrash family is represented: metal thrash, generic thrash, speed thrash, good thrash, and bad thrash. Most of the material comes from demo tapes and offers something for everyone. Some the standouts include: VERBAL ASSAULT, STUPIDS, DEATH SENTENCE, and PTL KLUB.
Imagine mixing FRANK ZAPPA, CAPT. BEEFHEART, TESCO VEE, EUGENE CHADBOURNE, DOC DART, and SACCHARINE TRUST down to one demented guy and his musician buddies. Jazzy, discordant, pun-filled, at times melodic and/or rockin’ with horns, various percussion and tape effects. Original and weird enough to be recommended.
Not metal at all, but a sort of psychedelicized heavy punk sound. Very well-produced, this eleven-song tape is both “different” and yet still powerful. Most of the lyrics are a cut above, too. Worth checking out.
A change from this band’s earlier HC thrash release. This time, the band leans toward a very melodic, underground big-beat sound much along the same lines as KILLING JOKE. Two of five songs are instrumentals and really show the band’s musical ability.
Interesting schizo release. Simultaneously rough garage and well-done moody post-punk, and lyrically both sensitive and crude. Female vocals (with echo or harmony?) sound cool. Sounds like LOU REED meets SIOUXSIE meets GIRLS AT OUR BEST.
The primitive compositions on this EP reminded me of the late, great CHILD MOLESTERS, a similarity which even extends to the sick lyrics. Unfortunately, the songs lack that essential catchiness that made the MOLESTERS so great. There’s good spirit here, but the music veers toward genericness. (Not to be confused with VIRUS, the NY band whose test press we reviewed eight months ago, but whose LP is yet to come out!).
Another great package from IPR. Mid-tempo with ’60s pop and surf influences, punchiness, and a little goofiness. Not a standout, but they definitely have merit. I especially like the instrumental “Dangerous Visions.” There’s only 1500, so collectors beware.
Somewhat garagy thrash, coming out of the ruins of ARSENAL (not the NY/SF combo) and is pretty decent, though the bulk is live recordings. Actually, the playing is pretty tight, and hey, how can you go wrong with titles like “Republican Children,” “Team Gilligan,” “When Mom Find Out I Drink,” “Conceptual Realizations of a Life as Applied to the Oakland Coliseum,” and “Reagan Is a Poseur!”?
This second LP is in many respects a disappointment. Simple generic thrash with Jello-like vocals, ranting and raving about social rebellion. The music doesn’t rage and the vocals become old very quickly. A big step down from their first release.
SPORES make some interesting musical choices on this LP of mid- to fast-tempo mutant punk. The songs are quite catchy, but also often have that added instrumental difference (chimes, echoes, weird breaks) that makes for distinctiveness. Not earthshattering, though it’s a solid and recommendable LP.
Good atmospheric production makes the noise hang together better than on a lot of their releases. “Fuck” is bleeped throughout the A-side, which really grates more than the music. Flip is the A-side backwards, and no bleeps.
These crazed noise-makers were caught live at Miami’s Cameo Theatre in late ’85, and this tape brings it all back. Obnoxious distorted guitar and echoing vocals amount to just about all of this entire cassette. Sound quality is poor, but in many ways this adds to the character and helps the listener get a feel for what this band is all about.
This live recording dates back two years (SEPTIC DEATH haven’t played live in well over a year, but will regroup this summer, according to Pushead) and features a whole slew of songs, including some not on their studio LP. The sound quality is definitely lacking on the bass end, but gives a good representation of their breakneck stop-and-go thrash interspersed with metalish breaks. The first of a whole series of 10″ live discs on this label.
As you might have guessed from the song titles, this isn’t the Long Island outfit of the same name. Far from it, both sides are instrumentals borrowing from the YARDBIRDS and ELECTRIC PRUNES, but doing pretty toned-down semi-psych stuff. Nothing to rave (up) about.
While the A-side is more on the slow metal side of punk, the flip rocks more, has challenging lyrics (see article this issue), and reminds me of good early RUNAWAYS. Raunchy indeed.
A novelty record, to be sure. Side one features a flute and rhythm machine backing a ridiculous monologue about middle class guilt on starving Third World peoples. The flip is a satire on sex-oriented rock songs set to a grinding guitar and a beat. Twisted.
Combining garage, noise, punk, and spoken word, this crude trio will not appeal to most in their simplicity, but their commitment to the original punk aesthetic should. “HC Rebellion” has some important criticisms to hear, which you can also do live (see tour ad this issue).
With all the skill of an early GERMS record, these guys will punk rock their way into your twisted little heart. Aptly titled, this EP is goofy and enjoyable. Playable at any speed.
For the most part this is good rockin’ thrash which reminds me of the ZERO BOYS combined with the efforts of a mid-tempo AOD. Out of these eight songs, a couple don’t seem to make it, but the remaining ones hold this tape together. Good effort.
Classic mid/late-’70s Midwest garage punk, one side studio and one live. Full of grunge and satire, Les Black and Co. do covers (“Ring of Fire”) and plenty of originals. Raunch and roll.
This is an ambitious overview of the lifespan of PERE UBU. From the early acid garage sound of their early singles, to the final, more jazz-influenced release, this labor of love contains extensive liner notes about each phase of the hand and each recording.
The recording is pretty rough, but that won’t stop you from enjoying this. Intelligent lyrics are propelled by tough and loud thrash. Noisy but controlled, with plenty of energy and determination. Good start.
Most of the songs by the Arizona-based band are in the medium-paced punk vein, with a few slower or more rapid-fire. The production sound is thick here and, combined with their rock influences, makes for a lot of listening. Not awesome, but well done. Question remains though why they chose this label often accused by German punks of pro-Nazi connections.
On the NILS’ debut solo release, their music is distinguished in that they can easily shift from all-out ripping hardcore to a more poppy song with cool harmonies and nifty melodies. A very good record from a band that doesn’t sound like anybody else.
More of the muscle/hair punk rock that they approached on the Flipside comp. Doesn’t really bother me, but those who are rebelling against the NUGENT guitar riffs might want to stay clear. PINK FLOYD cover on the flip…hmmm.
Fusing punk, metal, rock, and other forms, this second release by NOMEANSNO is delivered with lots of power and punch. Their experimentation hangs together pretty well too, sort of like what BLACK FLAG could do with a bit more imagination.
This is the most blatant, consciously political effort yet by the MINUTEMEN. From the painting on the cover to their choice of covers (CCR’s “Have You Ever Seen the Rain”), they attack war, Central American repression, and political apathy—and all the while still pumping out, fast and furious, the thrash/pop/jazz/rock sound they’ve honed to an edge.
An excellent political thrash/metal crossover that’s a mixture of polished riffs, leads, and speed changes resulting in a sound like early DISCHARGE, yet still original. The production has a slightly tinny sound to it, but thoughtful lyrics give this one quality. Recommended.
Around for a while but finally out with vinyl, this highly eclectic band debuts their sounds: post-punk, industrial, folk-punk, and more. Following in the footsteps of TOILING MIDGETS, SLEEPERS and even FLIPPER, you’ll find musicianship and intelligence at work here. Comes with booklet.
Variable quality mid-tempo punk/rock on this one, and none of the five tracks left any impression on me. I’ll credit their aggressive guitar sound and the total absence of metal tendencies, but the songs and performances just lack punch.
A-side sounds like ANIMALS meets LEMON PIPERS, while the flip is less bluesy and more poppy. OK bandwagon stuff.
The stick-on label says “Iggy-esque post-punk.” Forget that shit, this is full-on punk. While the vocals do remind me of IGGY, the music is raving punk stuff, not unlike early SAINTS. Excellent.
Great psych cover, but the music is more of that quasi-folky LA-style ’60s pop than the trashy punk or the mindbending sound. “Camp 9-0-9″ is faster, rawer, and by far the best song on this EP. Personally, I’ll take the STOMACH MOUTHS or MORLOCKS any day.
Very well-produced power thrash. This is hard-hitting, head-on, stop-and-go hardcore. No frills, no innovations, and lots of tight meat-cleaver stuff. Good lyrics, too.
This pretty cool collection of songs contains all their hits, all of which were recorded live though 1982-85. The production varies from song to song but does a good job of re-creating the experience that this band brings across live. Worth looking into.
Somewhat garagy and loose, but more than made up for by the sheer zest and crunch. Cool guitar and good drumming center this ripper. Lots of thrash and a good cover of “I Wanna Be Your Dog,” all done with lots of power. Good punk lyrics as well.
Basic funny rockin’ punk thrash that blends a lot of diversity and metal leads with satirical humor resulting in an entertaining collection of songs. The recording is live, and the cover of “Wild Thing” breaks new ground for that song alone.
The first comparison that comes to mind is early SSD or NECROS. The music is a power-punching concrete wall-of-sound strengthened by gravelly vocals. The speed is kept under control, which creates an echoing, pounding effect on your body. Cool stuff!
Slow, screeching noise guitar and pounding drums become the background for chanting vocals, together there are a lot of similarities to the WITCH TRIALS and CRASS-type bands. There are 51 songs on this cassette which really shows the growth of this band, but the muffled production takes away a lot and can become the main concern when listening.
77 punk, both musically and lyrically. I mean it’s fun stuff, retarded lyrics, old punk format, but there’s not an overwhelming power behind it or special wit. Decent regressive venture.
A schizophrenic album with a melodic “then” punk side that includes material from their previous 7″ releases, and a semi-commercial “now” side with recent post-punky material. I much prefer the former, though there’s not a total separation. This is a decent record with some good lyrics, but only “No Leaders” is really irresistible.
One of the best sounding tapes I’ve heard in a while; these guys utilize ’60s punk, surf, and old punk, but weld it into a very modern, hard-driving punk sound, not unlike AGENT ORANGE running headlong into NAKED RAYGUN. Very tight, very powerful, intelligent, and not cliché at all. Plus there are tons of tunes. Dynamite.
DRUNK INJUNS—the greatest enigma of our times. Can you afford to miss the classic, rockin’ SF garage band who, apart from a hard-to-find cassette and a few comp tracks, are treating us to decent (not great) live recording which includes their greatest energy and material? There’s only 1000. Get it!
A four-song “death metal core band” that zips along at a frantic pace, isn’t as metal as it is thrash, and avoids lame lyrics and sticks to political/social subjects. A pretty hot debut.
Simply great. Classic SoCal pop thrash with hot Agnew guitar and Casey vocals. Hot production, too. Rips completely.
A seven-song release from this up-and-coming SF band, most of which are thrash. There’s a heaviness to their sound, which becomes even more apparent on the two slower numbers, powerful post-punk dirges. Dave (ex-JERRY’S KIDZ from Albuquerque) sounds good, and the band is tight and strong, though I think the super-clean production here detracts a bit from their normally noise-intense live performance standard. A band to watch.
A combination of new studio and live tracks keeping with a basic, medium-paced thrash sound. The lyrics have a warped sense of humor and a predictable satirical flavor. The new vocalist adds more power, but the music could use a little more development. The covers are fun.
