C.H.A.O.S. C.H.A.O.S. EP
Tricky cover (doesn’t state the band’s name anywhere on the outside), but straightforward, driving punk inside. There will always be a place for well-done ’77 grunge.
MAXIMUM ROCKNROLL
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!
Tricky cover (doesn’t state the band’s name anywhere on the outside), but straightforward, driving punk inside. There will always be a place for well-done ’77 grunge.
This Italian band describes themselves as “pro-Soviet,” and the LP rocks a bit more and harder than their EP, and shows a lot of diversity in the slower, mid-tempo punk songs. They seem to take a little bit more time and work to develop a sound that makes a statement that you don’t necessarily need to know Italian to understand.
Jeez, could they be Mods? Yes, but not very stimulated ones. Four songs, decent pop rockers, but not ravers at all.
All four tracks here are instrumentals, as I assume all the tracks are on their LP as well. If you’re into ’50s rockin’ tracks like “Tomahawk, “Rumble,” etc., you’ll jump for this. Modern spaghetti western rock ’n’ roll from Sweden.
Another fine release from this great, fuzzy Aussie garage band. Although some of their stuff Is really comparable to KILLING JOKE, BIRTHDAY PARTY, and even FLIPPER, a lot of people might find them a little derivative, but I think they’re a whole mess of fun. Makes you feel dirty just slapping them on the turntable.
AKOB walks a thin line between nasty, powerful thrash (“Officer Friendly Blues”) and metal punk (“Explosion Blues”), so my feelings toward this EP are ambiguous. There’s a fresh, flexible guitar sound to please everyone, plus some interesting lyrics. Still, these guys would be great if they stopped listening to those BROKEN BONES records.
WE THE LIVING incorporate goofy lyrics I can’t quite make out into a messy thrash format, with lots of cymbals and out-of-control vocals. I liked the spirit of this five song EP, though I was left rather unmoved by the material.
Sun-baked punk, thrash, Egypto-crypto-weirdness. Sound quality is shaky at times, but fans of Southwest psycho blues will love it.
The ’60s reissues continue to pour out: #18 is Colorado, a mixed bag but with cool stuff from MOONRAKERS. #19 covers Michigan (Pt. 3), with a pre-STOOGES track of Iggy with the IGUANAS. #20 is LA (Pt. 4), and might well be the best of the new lot with classics from the MUGWUMPS, LAST WORDS, and others. #21 covers Ohio (Pt. 2) with average material. Finally, #22, and the South (Pt. 2), with a lot of folk rock stuff and a classic by DICK WATSON 5 extolling the virtues of intellectualism!
Did somebody slip a GBH record inside this jacket? Metalcore to the max by SUICIDAL TENDENCIES and their homeboy buddies BEOWULF, LOS CYCOS, NO MERCY, and EXCEL. Somehow, between the metal sound, song titles, and artwork, I don’t think this project goes too far in convincing me that Mike Muir really is down on the macho, violent gang mentality he professed in MRR.
Although sometimes of garage production standards, there’s more than enough hot material to warrant this Annapolis-area comp. SPASTIC RATS, FIT OF RAGE, STRICTLY PROHIBITED, CHRIST ON A CRUTCH, SICK CHILDREN, HATED, PURGATORY, ROADSIDE PETZ, and the RUDE thrash their way into your geographical memory.
Hot garage punk record from the Bay Area. Rumor had it that these guys were glam-rock revivalists, but glam rock never sounded this raunchy. The SPEED QUEENS offer a slower lament to the platform geeks of yore (“All the Young Dudes Are Dead”), a fast punker (“I Wish I Had a Big Cock Like Iggy Pop”), and a blasting two-guitar mld-tempo number Á la HEARTBREAKERS (“Underground Music Queen”). With ridiculous and humorous themes like these, they should open for GG ALLIN or, for that matter, serve as his back-up band.
Somehow this unknown HC hand from Buffalo, NY made its way to Italy and released a five-song 7″ (I believe it will come out in the US eventually). And I’m glad they did, cuz the results are hot! High-quality production and top-flight melodic all-out thrash with excellent lyrics to boot. Get it.
Aggressiveness and a knack for original power riffs buoy the three songs on this EP over some of their competition. SOREX utilize a mid- to fast-tempo thrash formula, and while the song structures are somewhat longer than the norm, the band sustains the energy well. A solid and promising debut.
Recorded live in ’83, both sides of this disc rip. While not my absolute fave type of sound, this no-wave-meets-hardcore group attacks with noise and energy, and this release is as good a demonstration of their efforts as any.
These zanies from Alaska have unleashed a surprise with this one. SKATE DEATH throws 20 songs at us, mostly falling into a mid-tempo punkish groove not unlike the BURNT. The lyrics are hilarious, boasting titles like “Food Is Good” and “Life Is Such a Boring Job,” but the individual tracks vary considerably in catchiness. Recommended.
Let me put it this way—if you liked PSYCHEDELIC FURS’ first LP or two, you’ll be heavily into this. The likeness is uncanny.
I think this is the band that went to Guyana to bring HC to the “natives,” but instead brought back the “natives” to us. Really, though, this is a sloppy noisefest of thrash, much like many of the European thrashers. Great lyrics, totally pissed and flailing about. Enjoyable anxiety attack.
Recorded in ’83, these four tunes are all previously unreleased and all rip. Great covers of “If the Kids Are United” and “These Boots are Made for Walking.” Available only as a 7 SECONDS Fan Club promo, so send $5 to Positive Force.
Eight ripping, catchy thrashers—tight, powerful, and melodic thrash ’n’ punk. Yep, it’s yet another class act on the scene. God, it makes me mad how little exposure or credit bands like this get.
The first release on Spot’s new label, this all-female combo hits hard with quirky punk. There are funk influences in their post-punk rhythms, traces of PATTI SMITH, POISON GIRLS, and more illustrious predecessors. A well-executed variety pack.
Committed lyrics add a measure of punch to this five-tracker, which features high-velocity thrash with an unfortunate excess of annoying, squiggly guitar leads. Too bad the guitar wanking attenuates their appeal for me; PIG CHILDREN are potentially a powerhouse combo.
I believe this comes under the general heading of “generic thrash”—well done, fast-as-hell, pissed political lyrics, and as of yet an “undistinctive” style. Give ’em time, though, because they’ve got all the ingredients except the time to grow.
You’ll be hearing more from these guys on vinyl soon (a couple comps and perhaps their own release), but for now you’ll have to settle for this raging seven-song demo, a slightly more metalish version of DIE KREUZEN. Good start.
Actually, I’m not sure which is the band’s name and which is the title, but this seems to be the likely set-up. Very unmelodic, short outbursts, driven by mostly snare drum (bass and bass drum aren’t audible) and fuzzy, gnarly guitar. Mixture of speed-metal and straight thrash. Very fast stuff.
First off, this is not the Swedish NOMADS, but a US garage band from the ’60s. Secondly, it’d have to be an awesomely great band to warrant a whole LP’s worth of rough demos, and this combo from North Carolina is not of that calibre. Lots of covers, but the title track is hot.
You can tell it’s a good record when it ends all too fast (or else it’s way short, but in this case you get 16 songs). Rippin’ punk/thrash/skate music with bits of funk, but all really well delivered. Theme-wise, skating and “fun” songs predominate, but there’s some serious stuff too, such as “C.I.A.A.I.D.S.,” which insinuates there’s a CIA conspiracy behind the AIDS epidemic. Hot record!
LUDICHRIST definitely flies for quickness on this 12-songer; has all those thrashing turbulent punches that you love to hear with similarities to great DC bands or to CAUSE FOR ALARM or ANTIDOTE. Wild, chaotic, intense, and full of different variations, LUDICHRIST charges outward with a superb sonic flailing.
Despite the garagy recording, this young DC-area band shows they’ve got something to say, and a zippy way of doing it. Straight-edge Á la MINOR THREAT. Will be good.
More in the current wave of “positive” HC bands owing most to 7 SECONDS and MINOR THREAT. And, as the title implies, the impetus is to think before acting, set to a driving mid-to-fast tempo. Good effort.
This is a rockabilly band playing mostly originals, and features ex-members of SADO-NATION, LOCKJAW, and the RATS. Although the production is thin, they have their rockin’ moments. Probably more fun to see live.
There’s a bunch of rip-roaring, stripped-down thrash here, powerful as hell and with great lyrics! Then, too, there’s more to this band as they display a fair amount of experimentation on a couple of tracks, and don’t lose a bit in the process. TH’INBRED are a band to watch.
Hard to believe. The Pope giving blow jobs, a circle-jerk party, necrophilism leading to AIDS, and fucking someone’s dad are the themes covered here. Hard to believe.
The IGUANAS specialize in respectable guitar rock. While both songs here are good, I’m quite partial to the impassioned flip, with its boisterous energy and instrumental changes of pace. Good record.
Quite a departure, at least as compared to the ICONOCLAST demo of a while back. Only one of the tunes is ripping thrash, and the other two explore more melodic/poppy and abrasive post-punk fields, which they accomplish to varying degrees. Adventurous.
“Expand Your Mind and Shorten Your Life” is one of the six songs here, and that typifies the “zany” outlook expressed by this combo. Musically they play a grungy, noisy but tight garage metal-tinged thrash. Unique.
Aha, here we have for a mere few dollars what government-supported scientists have been paid millions: conclusive evidence that prolonged use of marijuana rots the brain. All kidding aside, this record “blows it” (tee-hee). No, really, if your “bag” (ha-ha) is “fusion” music, this does it: punk, jazz, rock, reggae, horns, synth, etc., etc. “Dread”ful (ho-ho).
Excellent debut, full of hard-charging rhythms and catchy melodies. The clean and punchy production really helps to sharpen up their brawny attack. You can make favorable connections with MARGINAL MAN and 76% UNCERTAIN. A nice mind-blowing punk version of the BEATLES’ “I Am the Walrus.”
This eclectic release from the DK’s bassist combines rock and pop with a crisp, engaging experimental feel. The unassured vocals got in the way of my enjoyment, but the post-punk sound of this one is on-target: it’s upbeat, well-recorded, and quite varied from cut to cut. My fave is the instrumental, “Mochra.”
Most or all of the dozen or so songs here would fall under the “generic thrash” cover, with predictable but enjoyable energy and an abundance of youthful enthusiasm. Pretty tight, and decent recording quality.
Four fairly long but extremely catchy tunes. Owing more to melodic early-’70s rock like T. REX, this is a pretty stripped-down mid-tempo rock approach with an added drum-machine sound as well as regular percussion. Fun.
Storming out of Venice comes the latest speedcore rave band since SUICIDAL TENDENCIES. Fast, effective, with lots of metallic speedy chords, EXCEL is a young ensemble who sounds just too good on this second demo. They attack with a no-holds-barred lightning striking barrage of blasting vocals and great instrumentation. SUICIDAL look out—EXCEL are moving fast.
A superb second LP from the DESCENDENTS. The first thing that hits you is its schizophrenic character—side one presents more of their catchy garage punk with satirical and scatological themes (some of which are overtly sexist), whereas side two highlights a newer sound that combines irresistible pop or countrified melodies, heavy punk guitars, and sensitive, reflective lyrics. I actually prefer the latter (especially “Silly Girl” and “Good Good Things”), which seem to result from Bill Stevenson’s (ex-BLACK FLAG) influence.
Live tapes of this group shows their affection for grungy CHOCOLATE WATCHBAND-style music, showing how hard and tight they can be. Instead, their first 45 pushes the more melodic and weaving guitar-pop side of their sound. Lots of cool playing, and their cover sounds like a cross between THEM and the STONES.
Organ-dominated neo-’60s punk that chugs along pretty well. At times, the guitar parts get a bit too rockish for my tastes, but the basic simplicity of the songs save it from degenerating too much.
An eclectic and variety-filled debut LP with rockin’ songs, psychedelic songs, thematic styles, eerie ballads and simple but precise lyrics about American life and scorn. Reminiscent of the DESCENDENTS and CRUCIFUCKS, but with more musical variety. Recommended.
HENDRIX hardcore? There’s a hard, quirky element at work in this otherwise hardcore band that adds unusual flavor now expected from this label. Different.
A full-length tape of rantings in the truest cutting edge these guys have every mustered up. Most of the music borders on industrial, though some is thematic to the scathing verse. Their classic anti-establishment, anti-industrialist sentiments are put forward candidly, pointedly, and humorously.
Quite a versatile band. Almost every track sounds substantially different from the last, ranging from straight chord garage rock (great cover of “Boys”) to folk punk, to MUTANTS/X-type early punk (cool male/female trade-off vocals), noise, thrash, and more. A band to watch for.
The first WILLARD record I’ve been able to get my mitts on, this picture disc displays power pop with early punk energy and drive. I get the feeling that DAMNED fans would appreciate this more than I.
