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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!
CANCEROUS GROWTH do a respectable, but by no means brilliant job with the mid- to fast-tempo thrash formula, replete with rebellious lyrics and gruff vocals. This kind of thing has been done before, but I really enjoyed their high-velocity numbers. Basically OK.
Eclectic really is an understatement; these guys go everything from ska to dirge to VENTURES-inspired instrumentals. There’s even a tongue-in-cheek hippie version of BLACK FLAG’s “Wasted.” This one’s not going to be easy to figure out, but it might just challenge you a little.
The BURNT recorded this album on an 8-track machine in a basement somewhere, and the songs explore a variable-speed thrash style with growling vocals. It’s a good piece of work, too; most of the songs are concise, to-the-point thrashers, and there’s at least one mini-classic (“Garbage Can”).
The title track of this four-song release has a loose, angry, experimental energy that reminds me of Wednesday nights at the Mab in ’78. Synth and drums predominate on this one, but if you like diverse, almost-experimental pop, you might find this sporadically interesting. They also have a strange cassette out.
It’d be simplistic to compare this combo to the HÜSKERS, but suffice to say that they both play extremely fast pop music. At that point the comparison ends, as BRAILLE PARTY play very cleanly, though they don’t sacrifice a lot of power for doing so…just a lot of raunch.
The A-side original is a great organ/fuzz ’60s punk cut with snarling vocals and back-ups. The flip is a superior cover of an old RICHARD & THE YOUNG LIONS’ classic. Hot.
This one’s growing on me. Neat garage punk and thrash showing lots of imagination and diversity. There’s weirdness interspersed between tracks (must be a Midwestern tradition), in the tracks, and in the lyrics. Singer Eric Fund Fournier actually sounds like LOVE’s Arthur Lee on “Young and Restless.” Cool.
Lately, more bands have been adopting the nasty ’60s punk style (as opposed to the wimpy psych pop or folk approaches), and BAD TRIP are among them. Here the quality is a bit uneven, ranging as it does from a way hot original (“Never Had It Better”) to a fairly lame version of the REMAINS’ “Don’t Look Back,” but they definitely have potential.
Decent older styles of punk (’77, GUN CLUB, R’n’B), but often ruined by “rock” excesses of guitar solos and plodding metal structures.
This is spare pop with a country tinge, with an emphasis on the melodic vocals. A little wimpy.
Fairly powerful, pounding punk somewhat reminiscent of the DK’s, though that only creeps in occasionally in vocal quality and riffs. Just a few songs here, but they show much promise.
GG will never change. Rockin’ early punk-style garage numbers and every combination of obscenity and sexual depravity. We decided a woman should review GG to see if he really is offensive, and I think that if you are offended with such absurdities as “I Wanna Fuck Myself” (“cause I’m the best”) or “Needle Up My Cock” or “Kill the Children, Save the Food” and don’t see the obvious ridiculous satire, you’re just as sexually repressed as GG. If you like to hear strings of cuss words for 45 minutes, find this tape.
It took me a little time to actually follow this, but this band challenges themselves as much as their audience as they couple time signatures yet perfectly catchy, with weird percussion like bottles, bongos, scraping metal, etc. Reported to be the MINUTEMEN’s favorite new band.
Most Northern European bands don’t put much emphasis on melody, it seems but these SCOUNDRELS certainly do. This is somewhat explained by a lot of medium-tempo punk tracks (as well as faster thrash), where tunefulness is more important. Well done. They love the GERMS.
Tuneful punk with pop influences. Quite melodic but done with a raw edge, clean professional production. Contains members of STRES D.A. and UBR.
Both fast and slow hardcore of a rather standard type. It’s all well done, but doesn’t quite have a real spark to it which could be more a matter of recording than the band’s fault. Decent, with plenty of potential.
These Twin Falls lads have really improved since the last time I saw them. Here, they display a rough-edged harmonious sound with lots of good riffs and catchy melodies. Definitely not thrash, but action-packed power punchers like YOUTH BRIGADE or the VANDALS. They could do well with some vinyl or some good studio recording.
Remember “TVOD” by the NORMAL? Well, this band is sort of in that genre, along with early HUMAN LEAGUE, etc. Lots of experimentation with electronics with a punk feel overall.
Fuck if this doesn’t sound like S.S. DECONTROL’s second release. It’s got that power thrash sound, with Springa-like vocals galore. Very well done, with political lyrics.
Totally excellent tape that presents a wide variety of powerful punk/HC styles. Bands appearing include: IDIOTS, BEDROVLERZ RIM SHOUT, DIE ANNER, NORMAHL, RAYMEN, SCREAMING DEAD, DER RIB, SEPTIC PSYCHOS, etc. Rips!
This international comp features mainly Finnish, Swedish, and Brazilian bands, with a sprinkling of US and Australian. Some of the bands are: BRISTLES, MOB 47, TA.S.K. W.D.M., D.T.A.L., MASSACRE, R.O.T.A., VICIOUS CIRCLE, RUIDOS ABSURDOS, and many others. Varying sound quality, all savage.
Yet another international comp featuring Swiss, English, French, and other bands. Mainly featured are HELVET DISORD, XPOZEZ, VERDUN, STAHLWILLE, and VICIOUS CIRCLE. OK, but the sound quality is not the best.
This is a great effort, totally mindblowing EP featuring POWERAGE, PERMANENT DAMAGE, HUMAN BEINGS, TA.S.K., CANCEROUS GROWTH, CCM, and RATTUS. Just the right amount of sonic speed energy to flail the fire at. A world sampler 7″ that scorches the wax right off some of these so-called sampler LP’s. Yea—I support this, it’s one of those rave reviews.
Rot’s international comp with 13 bands and 22 songs featuring the VARUKERS (always kicking ass), D.O.S., BLEED, OVERDOSE, OI POLLOI, ANGRY RATS, XXX, NO CONCERN, and more. Lots of good music in a melodic vein, some fast, most medium-paced. Enjoyable for a whole sitting. Check into this.
Maybe I’m getting spoiled by all the great Italian HC releases of late, because this comp just doesn’t reach the energy or excitement level I’ve grown accustomed to. Most of the bands here (BASTA, CANI, DIOXINA, HOPE & GLORY, ROUGH, SS20, KLAXON, among others) turn in older-style punk or Oi sounds that just don’t overwhelm. Even the normally excellent NABAT doesn’t really break through.
A split LP by Italy’s I REFUSE IT and CHEETAH CHROME MOTHERFUCKERS, this was originally released as a tape by the bands in ’83. I REFUSE IT combines punk, jazz, thrash, and experimentation in a unique way, while CCM attacks with an experimental thrash that sounds like RAW POWER meets DIE KREUZEN meets the MINUTEMEN.
Shesk and the Xcentric Noise R.A.T.S. continue to keep those creative juices flowing, this time with a British compilation. A well-diversified sampler with thrash mayhem from the STUPIDS, Oi-type sounds from SAMPLES and PROTEST, power Britpunk from DEATH ZONE, SELF-ABUSE, ATROX, and ANNIHILATED, and the post-punk melodies of QUEL DOMMAGE with crazy blurbs between each song.
Three fine Spanish outfits (ODIO SOCIAL, ANTI-DOGMATIKSS, and AUTODEFENSA) share this 15-song tape—and each of the bands have something special to offer. The basic mode here is highly political thrash, and the sound is so frantic and committed that I think these tracks could justifiably be on vinyl. This is a great job; buy it!
Two tunes each from these British anarcho-punks. MORBID HUMOUR are more vocally oriented with sparser, slower instrumentation while ANTI-SYSTEM turns in two ripping classic UK thrashers. Good on both sides.
Rockabilly, the punk of its time, meets today’s punk in Psychobilly, some of the results are recorded herein. While the METEORS (who appear here) broke this trend, tons of bands have followed. And while the genre is even more restrictive than punk or HC, it still sounds good, especially the RESTLESS, DEMENTED ARE GO, and ROCHEE AND THE SARNOS. Enjoyable rockin’.
A Polish compilation LP that features both HC and reggae bands. Surprisingly well-recorded for the most part, there are some strong tracks by PROWOKACJA, ABADDON, TILT, and DEZERTER, among others, but the standout track is the title song of the LP, done by SIEKIERA. Find it if you can.
Despite a well-drawn but obnoxious macho cover with blatant evocations of violence, the third Chaos Production compilation proves to be another very strong release. This one has bands from all over Europe on if, thereby extending its range and variety. Herein one can find the standard French-style skunk (KOMINTERN SECT, REICH ORGASM, L’ENFANTS SAUVAGES, and Spain’s DECIBELIOS), catchy pop punk (AL KAPOTT, DREI ORLOK, Spain’s TNT, Holland’s NV LE ANDEREN, and a killer cut from Sweden’s ASTA KASK) pure Oi (BRUTAL COMBAT and Italy’s NABAT), and all sorts of punk (the KAMBRONES, Germany’s F.F.F. and NEUROTIC ARSEHOLES, and Sweden’s SLAM). Highly recommended.
By now everyone’s heard of the NOMADS, but what a pleasure to find they’re just the “tip of iceburg” as is proved by this “Distorted Sounds from the North” comp. Incredible neo-’60s punk rages forth from SHOUTLESS SLOBSTER, PYROMANIACS, CREEPS, WAYWARD SOULS, and tons more as well as aforementioned forerunners, the NOMADS. Shiver me timbers, this is awesome.
An all-Belgium comp. featuring CAPITAL SCUM, KOYAANISQUATSI, WAR RISK 3, ZYKLOME A, VORTEX, and WULPSE VARKENS. This is also an all-hardcore comp, most of which is above average and well-worth obtaining.
A 50/50 proposition. The bands, with the likes of FRITES MODERN, PORNO PATROL, MAU MAUS, UPRIGHT CITIZENS, DOA, etc. are world-class, and the songs are uniformly excellent. Unfortunately, most of the recordings were culled from hand-held walkman cassettes, which doesn’t help the sound quality. I must admit that the excitement comes through, though.
Pretty plodding, sort of in a Britpunk style of a few years back. Not awful, but not very exciting, that’s for sure. Cosi-cosi.
Goofy punky rock new wave Á la ’77. Satirical lyrics combined with surfy/folky/jazzy music with an edge. Sort of like FRANK ZAPPA meets early MYSTIC KNIGHTS OF OINGO BOINGO.
Part of that unique mixture of rockabilly and ’60s punk that some modern bands are conjuring up, TALL BOYS’ blend renders a result that works. Purists of both genres might be unhappy, most rock’n’rollers will be mighty pleased. Interesting cover of “Action Woman.”
This is the last testament for the STALIN, a two-record live recording. Forsaking their earlier harder-edged punk and thrash, the preponderance of songs here are harder-edged post-punk/rock punk. While not a “weak” release by any means, I found myself bored at times with the long dirges, and not excited enough by the shorter slaps. I’m spoiled by their older records.
Excellent release that crosses post-punk with ’60s psych in a modern powerful way. Reminds a bit of fellow Australians LIME SPIDERS, and with this debut US release (this label will be presenting a lot of Aussie bands to the US) the SPIKES will make their mark.
Demented punk blues in the JESUS AND MARY CHAIN mold. Off-key, noise-laden feedback city, electric viola—a real painful mess that brings joy to one’s twisted heart. Good.
From the first blast out of your speakers, you know you’re in for a treat—wham!—out pours thrash ripper after ripper. Over a dozen raves in a straight-ahead style, much like the first DRI release. Wicked!
Yeeouwh! This is an absolutely amazing British thrash band. SPEAK AGAINST SOCIETY manages to generate an incredible wall of guitar power and attains a level of intensity rarely heard these days from that “sceptered isle.” No doubt they’ll be panned in the British music weeklies, the surest sign of greatness. “We Don’t Need It” makes your hair stand up!
Sadly, the wall-of-mud production detracts from this powerful band. Their songs have an obvious energy to them, which kicks along songs like “Helden” with its skittering guitar parts. All in all, not too shabby, but it would be really nice to hear them.
Well done punk in a more British style. There’s mostly fast punk (as opposed to thrash), with a couple of slower tunes to break the tempo. I can’t say I jumped up and down listening to this record, but fans of the Britpunk genre will be able to pogo.
A cockney accent set to an older style punk that’s got a slight bit too much rock guitar to it. Otherwise, it’s an OK release. Just don’t like that guitar much. However, it is, as advertised on the jacket, a “synthesizer-free product.”
Very good pop/punk with ’60s undertones, not unlike the SAINTS’ second LP, occasional horns and all. Rocks pretty good, as do most Australian bands in this genre.
Those expecting the charging thrash of their debut EP will be in for a shock. O.X. POW’s style has degenerated into a new wave pop reminiscent of a spare U2, or perhaps AIRSTRIP 1 without the catchy material. And while political pop is OK in my book, there’s no real songwriting skill in evidence here. Too bad.
Industrial post-punk hardcore? Whatever it is, it’s done with gusto and power rare for most post-punk bands. Also rare is the band’s imagination. Sort of like SONIC YOUTH meets the BUTTHOLES meets some nightmare you had after eating meat and taking acid for the first time in ten years (Ray Farrell, take note). Not noise!
Three of the four songs are mid- to slow-tempo hardcore, at times verging on FLIPPERISH drones. The remaining song is a thrasher, and all the tunes are powerful and gnarly. Good production, good record.
