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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.
ANGST aim for a “roots pop” approach, incorporating elements of punk, country, blues, and power-pop into a clutch of highly accessible ditties. Some songs are slow, but this band’s forte is in faster, intricately arranged tunes like “It’s All a Lie” and “Butler Grace,” which demonstrate a subdued, yet punky energy. Fans of the NEATS and EMBARRASSMENT should enjoy this.
While this is a garage recording, its sheer enthusiastic short bursts of thrash noise and accompanying song explanations are very enjoyable. Well done, however naïve it comes across.
There’s good, solid thrash on this six-tracker, but ABSENCE OF MALICE add nothing particularly original or inventive to the proceedings. You know what to expect: fast tempos, atonal guitar rifting, occasional lead breaks (and some good lyrics expressing youth alienation). OK.
This is like the WÜRM record, or one of those records on SST after the band has broken up. Too bad, because OVERKILL managed to blend equal parts of harsh metal and snarling punk. The vocals have a cool rasp sound that may give MOTÖRHEAD a run for their money.
Mid-tempo pop combined with a rockin’ garage sound gives this record a very unique melodic style. The band’s curiosity to experiment with different musical influences can be heard throughout all six songs. A lot of diversity and talent result in a very catchy record. Great job.
Catchy harmonized vocals accompanied by a very clean, crisp, polished sound make up this three-song EP. “Corporate Toy” is the farthest from being background music; the other two songs almost lose it by the lack of power that they fail to offer. One out of three—not too bad.
A 21-song tape that displays this band’s tight medium-to-fast-paced hardcore sound well. There are some metal influences, but not in really blatant ways, with the accent on power. Lots of well-executed stop-and-go action, excellent vocals, and heavy bass and drums make this worth checking out.
BURMA’s sound meant a lot to me when they were around; swirling waves of guitar, nervous psycho vocals, and muscular bass and rhythm attacks. This live release lives up to the quality of previous recordings; all unreleased tracks, and if you think they might have been wimpy, check out their covers of the STOOGES’ “1970” and PERE UBU’s “Heart of Darkness.”
The fourth demo tape from this Texas four-piece. Harsh guitar, banging drums, and gut-wrenching vocals result in classic generic garage thrash, meaning generic thrash played in a garage. Basic, yet enjoyable.
Speedcore maniacs from LA strike hard with a unique sound that mixes metallic cranks with full-blown aggression that will meet both grounds and still destroy. Really powerful lyric content that leans toward the vegetarian/political beliefs. Watch for this band as they are sure to grow insane.
Eee-yowww! This I like…a lot. Comparisons with SONIC YOUTH are going to be made, because LIVE SKULL keeps charging with full-speed intensity. I can’t see these guys ever closing their eyes and just drooling.
This LIVERS release is a varied affair. It’s got a ’60s-influenced garage pop number with a fuzz guitar break (“Spy Hunt”), two garage thrashers, and a garage punker (“Punk Jet”) that sound like they are recorded live, and a “progressive” number with synth (“Face Kicked In”). I could do without the latter, but the rest is pretty cool.
Well, this was bound to happen sooner or later and boy, does it give me the creeps. Christian punk rock. Musically, it’s a mix of ’78 AVENGERS and a little SADO-NATION, but the lyrics are chock full of condemnation for not following the scriptures, anti-abortion, and questioning just who runs the liberals. Scares the shit out of me.
This is slightly reminiscent of mid-period STIFF LITTLE FINGERS in its growling attack. The flip has a more dreamy, calm dark quality to it. Only 500 pressed, but an EP’s on the way.
While this album has all the nervous energy of their Intellectuals Are the Shoeshine Boys LP, they’ve now progressed to a nice healthy psychotic rasp that mixes the best parts of the BUTTHOLES and the BIRTHDAY PARTY. Not to be confused with KILLDOZER 85.
A very appealing release from a Midwest band on the English Hit label. They’re rockin’ ’60s psych meets ’70s punk with a little rockabilly thrown in and a DYLAN cover. At best, they have elements of both RADIO BIRDMAN and the NOMADS. Not as great as the above, but close.
This is a great record. Although the songs are some of the best they have ever written, there is a certain flatness to the production that seems to have been mixed for a three-inch speaker in an AM radio. Vocals are way up front while the raw guitar and drum sound we’re used to are shoved back. Could be a case of experimentation or maybe a sign of things to come.
A strange, endearing record. They’ve got a heavy-rock garage sound, but the vocals have a cracked, psychotic bent. Musically on par with SOUL ASYLUM, the REPLACEMENTS, MEAT PUPPETS, and GREEN ON RED. I give up; you try to figure them out.
More great raspy garage rock from this criminally underrated Chicago trio. Two live tracks recorded at CBGB’s in NY; file under Midwestern garage like the EMBARRASSMENT and early PERE UBU.
Could be the West Coast’s answer to the PROLETARIAT, what with their older punk sound (not driving post-punk as with the PROL’s) and their non-clichéd political lyrics. The FRONT’s highly catchy powerhouse pop-punk makes them immediately memorable, but I suspect there’s staying power as well.
Awful, lyrically and musically. Lyric-wise, I was expecting their usual dose of idiocy, but the band really blows too. No zip, rock influences, terrible guitar solos. Avoid.
Very basic and power-oriented thrash and fast punk. Outside of a sporadic wanking lead solo, this record’s straightforwardness is its strong point, as well as the gnarly singing and strong lyric content.
A classic KENNEDYS’ cover opens up to reveal a very controversial artwork poster and a record that will surprise many. Lyrically, it’s Biafra’s satire, biting as ever, and aimed at jocks, MTV, work, and the sick absurdities of bourgeois life. Most of the tunes are mid-tempo punk this time, with a couple of thrashers interspersed. But there’s a more “psychedelic” feel to many of the songs with Ray’s often-twangy guitar very cleanly produced. There’s even one (gasp!) experimental number, and also shocking, Jello actually sings (as opposed to yells) on several tracks.
Revisionist rock for people looking for a “hip” way to mellow down from punk. You know, those folks who find the newer HÜSKER pop sound really stretching their limits of noise tolerance. Hmmm, I guess I don’t like it too much.
These guys only border on post-punk as they tend to write mellow yet intense pop ballads. At their finest moments, they remind me of the VELVET UNDERGROUND or MAGAZINE. They have more interesting melodies, lyrics, and intentions than their current UK counterparts, and deserve attention (but maybe not here).
Biting early DYLAN-like lyrics meet HENDRIX-like psych/noise meets blues/folk and BIAFRA. Check it out.
This live concert, recorded in Hollywood, represents a fusion of late JOY DIVISION and Ummagumma-period PINK FLOYD. Atmospheric, slightly psychedelic, and well-recorded, this performance hits and misses with its post-punk sensibility; selected songs, however, are pretty decent for the genre.
