The Frames The Frames cassette
Driving blues-based stuff with a dance beat. Funky punky rock treads the fine line between obnoxious art and wavish vapidity, but maintains some power.
MAXIMUM ROCKNROLL
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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!
Driving blues-based stuff with a dance beat. Funky punky rock treads the fine line between obnoxious art and wavish vapidity, but maintains some power.
Six pop-punk tunes from out of the garage but well produced. They rock good, have lots of guitar and drums, snotty singing, a tinge of REDD KROSS meets ’60s UK R’n’B.
Mod, early punk, R’n’B pop influences here. Not especially powerful, but could develop their own sound yet.
The gut-crunching antics of this bizarre combo will take you on an insane journey into thrash, metallic mayhem, raw energy, and odd effects. Definitely a band with their own style, DEHUMANIZERS approach some new ground which works well sometimes. The vocals are heavy and growling, and the pace changes frequently, from speed to quaking riffs.
Although this band was involved in the DC scene in the classic years of ’81-’83, they do not follow along the same musical line as many of the other bands. This band resorts to raw, good ol’ sloppy rockin’ punk, much in the vein of the GERMS, especially the vocal style. All seven songs do a good job of documenting this needlessly ignored outfit.
Tough young aggression hurling the handballs of power with that all-too-familiar Boston sound deliverance. Kicks into gear with a forceful driving beat that plunges into chunky thrash, as vocals scream and shout over the chaotic pace. Combine a mixture of DYS and SSD in their early prime, thrust the clutch down, and CRIPPLED YOUTH grind down hard and delightful.
The title is off their latest LP, and the other two tracks are nothing to rave about. “Get Off the Road” and “Give Me a Woman” are very simple tunes, but lack any special character or zip. Like the RAMONES’ new 12″, a poor follow-up to their recent LP.
Really well done charging thrash. Good lyrics, lots of anger, some metal guitar damage and tough vocals. Check it out.
Good but undistinguished melodic thrash. Lots of stop-and-go stuff, good playing, appropriate lyrics. Decent.
TEARS FOR FEARS meets the ALARM meets the CURE meets FRANK SINATRA. This new band, formerly called YOUTH BRIGADE, has a new sound which will take most by surprise. The classic YOUTH BRIGADE sing-alongs in a different character and well-executed lyrics are combined with very complex creative music that in my book spells—CHEESY! The slick production and studio trickery will play an important part in helping this record be a major radio hit. What’s next, an MTV video? Progress, growth, or change…you decide for yourself.
I’ve thought the BUTTHOLES’ records frankly variable in quality to this point, but I am really enthusiastic about this one. More subdued than usual, at times boasting a pounding backbeat, this is their first attempt at “acid pop”—and it’s a real breakthrough. Absolutely fascinating from song to song. Get it.
Impassioned singing and raw punk and thrash. Anger and hope are expressed lyrically and musically, and this EP, however basic, is enjoyable at times though tends to degenerate into self-indulgent wanking occasionally. Decent power.
Expect the same abrasive uncompromising thrash you enjoyed on their debut 12″, but with an additional grunginess—almost a looseness—on their latest. The band is hot, no question about it, and I still enjoy their offbeat humor and personal commentaries represented in the lyrics.
Heavy garage influences prove very good on this tape, which has female vocals rough and loud over songs with a slow, grungy, pounding beat. Production is raw, making the tape one powerful, hard-hitting package.
A three-song job that combines neat vocal harmonies and simple pop songs with an edge. Sounds like mid-’70s pre-punk rock’n’roll like the REAL KIDS. Nothing frantic but enjoyable.
Good, snotty early punk, basic no-frills smart-ass stuff. Five tunes, all fun.
There’s quite a variety of nasty sounds on this fine-sounding studio LP—lots of drive, dirty guitar varying tempos, and power. Much better than I had expected; a pleasant surprise.
You missed last time, so don’t miss this chance, ’cause this firebomb rips with that kind of crazed ferocity of speed, lightning-paced and raw deliverance that cranks the rug out from your feet. The dentist rips teeth from your jaw as Blaine tugs at his frenzied vocals in a passionate form of chaos, and the band giggles with nerve-smashing thrash. The original plus eight new tracks to light up your neighborhood.
Tony (ex-ADOLESCENTS) adds his great vocals to a more metal band (ADOLESCENTS meet STOOGES?). Nothing lyrics, but the sound is OK.
On ZOLGE’s third release, that unique wall of sound is gone, replaced with a catchy pop-punk flavoring, still not losing any potent harmonies. Strong instrumentation with tight vocals and good production make for a very sharp delivery. Has a current ’77-punk feel to it. Crafty stuff.
Wild, fast, art-damned craziness that’s endless and tireless. SONIC YOUTH on speed…Yow! The B-side slows down the turns into what’s closer to an emotional ballad and not as inspired.
One of the best and roughest of the Swedish neo-psych bands gives the NOMADS a run for their money. Both tunes are sung in Swedish, but that doesn’t lessen any of the power, and like their previous records, there is a wild harmonica that matches the fury of the band.
An above-average noise thrash release, rife with buzzsaw guitar, raging beat, and gnarly vocals. All nine songs are sung in English, the intelligent lyrics driven home with passion and power. Hot.
Along the lines of Bullshit Detector, this LP is a collection of mainly English bands (with German and French representatives), a benefit for hunt saboteurs. It’s quite good, and introduces some relative unknowns like AXE THRASHER, DEATH ZONE, REVULSION, etc. as well as the likes of DISRUPTORS, HAINE BRIGADE, and NICK TOCZEK.
A pretty good world sampler featuring mostly previously released material that falls under the ranks of punk, hardcore, and post-punk. Some of the talents in the limelight are BOSKOPS, VARUKERS, TOXIC REASONS, RATTUS, WHITE FLAG, BRISTLES, and many others. Comes with a free six-song EP.
Well, it had to happen, an Oi LP out of Japan, and it carries all those classic poundings from the English Oi hey-day. Chunky beats with sing-along chants and some wackiness, too. A wide variety of styles to choose from, with BAD VULTURES, COCKNEY COCKS, WANDERERS, BULL THE DOGS, and more. Fun and crazed.
A split LP by two savage Italian bands, NEGAZIONE and the late DECLINO, this originally appeared as a split tape in ’84. Highly energetic thrash with charged political lyrics. Dynamite stuff, and COR’s done a service by releasing it.
Hold Up Omnibus 2 is a speedcore delivery of grinding guitars and heavy power. Metallic licks and turbulent chords make this puppy hard. With the likes of LIP CREAM, GHOUL, UNITED, CITY INDIAN, and SAVER TIGER, the energy is ferocious and grits the teeth. Burly banzai beefcakes to smash at.
As good a neo-’60s compilation as you’ll find, this one covers the international scene with the likes of the STOMACH MOUTHS, BOYS FROM NOWHERE, MIRACLE WORKERS, CRIMSON SHADOWS, CORNFLAKE ZOO, and many, many more. High quality recordings, largely enjoyable punk and psych/punk.
A four-band effort from Japan hitting on a wide scope of tunes with the maniac punk from GAUZE, PiL-type goodies from ISOLATION and RADICAL, and dreamy stuff from NURSERY RHYME. Great collection to sit back and enjoy when the speed zoomfest is dry. Each band works at their best.
A variety of punk styles (punk, thrash, post-punk), all done with spunk and power. Definitely leans toward an older punk style, albeit fast. Pretty decent.
Awesome! As with their incredible 7″, these eight songs combine the power and freshness of ’77 punk with the pop songwriting mastery of the VELVET UNDERGROUND, producing crunching, up-tempo, and harmonious ravers. They’ll knock your socks off.
Can you dig a title derived of a stupid English punker’s desire to keep up with the hip MRR scene reports, but just being trendy? Yep, the STUPIDS stop at nothing to be bonkers, while the three-piece light the house on fire, then tell the firemen it was BRUCE SPRINGSTEEN who went thrash. Fast, fast, faster, the STUPIDS punch it all through the wall with that superb sound.
This three-song EP starts off with a rough worldbeat reggae-influenced song that has similarities to some CLASH material. The flip cracks open two offbeat melodic punk tunes. Good musicianship helps this enjoyable, upbeat release.
Much along the same lines as CRUCIFIX or the VARUKERS, this has loud smashing guitars topped off with metal-edged leads. Vocals are in the infamous gravel style and the lyrics possess political awareness. Speed is kept fast, making this a very tasty platter.
A three-song job—one slow punker, one medium punker, and one fast punker. All are fine sounding, hot vocals, and lots of power. Good stuff, and neat guitar.
As featured recently in MRR, this Icelandic band plays a somewhat energetic brand of post-punk, though it’s somewhat restrained. The sound quality here is decent though thin, but given the lack of availability of their native recordings, collectors of the unusual might want to check this out.
Very English-sounding dirge with some redeeming value in that they have a melodic tinge with a simple rhythm section up front. Kind catchy and kinda weird.
’60s-influenced yet not derivative pop-rock. Good beat on two of the three tracks, owing more to bluesy rock with punk tinges (like GUN CLUB) than anything else, only cleaner sounding.
This band is a hybrid of the Swedish outfits MOB 47 and FILTHY CHRISTIANS, and they pack in 32 songs on this 7″er. The ditties range in the under-30-second category, with ultra-raw production, not unlike the early NEOS, and I only wish I knew Swedish so I could understand the humorous lyrics. Real fun!
Sort of like early B-52’S, with LENE LOVICH on lead vocals. Decent, but borderline schlock.
Another hard-rockin’ Swedish garage band, this one produced by Jerry Nolan of the NEW YORK DOLLS. Both songs have that loose, sloppy feel, kind of like an outtake from a JOHNNY THUNDERS record.
Punk with rock influences, usually pretty up-tempo, a bit oversung, with lyrics in English. Decent words.
Three songs in a CURE/PSYCHEDELIC FURS mold. Decent energy, but a bit too self-conscious.
Fairly rockin’ folk rock with female vocals, like a less-slick (no pun intended) early JEFFERSON AIRPLANE. Part of the Milan underground scene of Leoncavallo and Virus, this band is dedicated to the autonomous movement, opposing commercialism and rockstarism.
Grrrrrr, perhaps the hottest debut yet to smash yer face into the mirror with fast fast crazed rhythms and straightforward lyrics. Intense speedcore chunks of insanity rip this new Dutch ensemble into a stormfest of sonic mayhem. Four songs that slice at the jugular vein and suck all the blood out. This is the best dose in ages.
This must be thee latest by THEE MILKSHAKES. It’s got that trebly guitar, it’s got the names of Childish and Hampshire on the songwriting credits, and it’s got thee overall sound of thee early KINKS in a dank basement. What this EP lacks is inspiration and the only song that came close to grabbing me was the title track—the rest sound like outtakes.
A four-song, one-sided release, this is decent but unexceptional thrash and driving punk, some of it which reminds me of a Finnish DOA.
Hard-driving hardcore with slight metalish influences, but largely straightforward. Good energy, good playing, decent sound quality. Pretty hot.
The A-side is a jaunty post-punk tune with punky vocals, somewhat reminiscent of early CURE, while the flip lags pretty much. I found the topside to be pretty catchy, though I imagine wimpiness is just around the corner.
