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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!
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.
Another excellent pop-punk release from VERTICAL HOLD. The A-side is the catchier of the two, employing choruses, driving medium-tempo rhythms, and snappy snappy vocal hooks. Memorable.
A four-band, four-song sampler from the Australian zine of the same name (comes with issue #14). Most all of the groups (POSITIVE HATRED, SUICIDE SQUAD, BOX OF FISH, and VIGIL-ANTI) play slow punk/post-punk with rhythmic appeal and rawish yet clean guitar sounds. Good idea.
This is a superior hardcore release from Norway. It includes both relatively well-known bands (SISTE DAGERS HELVETE and AKUTT INNLEGGELSE) and more obscure outfits (KAFKA PROSESS, ANGOR WAT, LANDSSVIK and PSYKISK TERROR), but the musical standard is almost uniformly high. PSYKISK TERROR’s cut is particularly outstanding; it sounds a lot like TERVEET KÄDET’s better material.
Quite an undertaking, this tape contains 40 cuts of bands from just about every country where punk flourishes. The sound quality and choice of material is good and hot, and comes with a zine as well. A project well worth supporting and enjoying!
While both sides of this release have that funkified dance rhythm, both are listenable in that they maintain an aggressive beat, fairly unproduced guitars, and good shouting. Reminds me of middle-period GANG OF FOUR. OK.
Metal/rockish punk. I played this three times (kept being distracted by the phone), and only one track, “Speak for Myself,” has made any impact. Otherwise, it’s fairly standard punk.
Crazed vocals are the highlight of this tight rockin’ group, with both sides demonstrating pretty up-tempo snarlin’ teen punk in a ’60s vein; SEEDS are a big influence musically. Boss.
A one-sided release with sloppy, generic thrash noise. The drumming is the weakest link, but otherwise it’s a decent first outing.
An all-girl trio from Japan that plays your basic ultra-simple garage-pop. It’s that early ’60s garage/Mersey sound with punk fuzz guitar and pop female harmonies. Charming, but perhaps only ’cause they’re women.
A US release of this pop/punk Australian neo-’60s band’s two early 7″ers (both reviewed previously).
This band consistently comes up with outstanding (and expensive to produce, I’m sure) picture sleeves and mediocre vinyl. Actually, the two A-side tunes are a bit better than previous tracks, but the flip and accompanying flexi are just so-so (at best) pop-punk.
I’ve heard this is one of Japan’s earliest thrash hands, and this posthumous release was recorded live in 1979 to prove the point. Results: totally ripping, ragged-ass, no-holds-barred thrash. Besides the clear vinyl, collectors will seek this for its small pressing (500 made), but anyone else will want it ’cause it shreds!
ROTTING CARCASS showcases a bright, fast HC sound augmented by clean and basic production—resulting in a pleasant dose of good German material. On the other hand, WUT shows more inventiveness with their BUZZCOCKS-style guitar figures and spoken breaks, even though they mine the same general style. I enjoyed this LP, even though I find it difficult to pick out any standout tracks.
A bit more of the metalish power sound seems evident on this release. This doesn’t come across in wanking solos (none, thank God), but in the repetitive and somewhat slower (for RATTUS, who are still fast by most standards) song structures. Still, it’s a powerful, tight release, a prelude to their (hopeful) US tour next summer.
An enjoyable earlyish punk-sounding band containing two guys and two gals. Some of the tracks contain that characteristic French drum machine/punk sound, while others are more traditional—all of which are garage in nature and energetic. Fun and interesting, despite the sometimes 50/50 sound quality.
The third release by this Dutch thrash ensemble, this EP continues the full-tilt, no-holds-barred, 10,000 MPH barrage of rapid fury that holds a meaner pace than DRI. This is what you thought was fast when you turned up the speed on the turntable. Quick and exhilarating.
Despite the band’s name, this resembles Oi only in the grungy arrangements. Instead, this tape features about a half an hour of inventive thrash with hilarious lyrics conveniently translated into English. The recording is basic, but clear and often quite powerful. I look forward to more from this outfit.
Banzai! Italian thrash merchants explore the realm of 1000 MPH momentous speed and aggression. Zazzo’s vocals scream and cry out in a wild frenzied manner as the zooming mayhem is dished out in sonic drum smashings and well delivered guitar licks. The total blitzkrieg approach of DRI, it has rhythm and quickness. Great release.
Start off with a blistering attack of grinding guitar and total speed composition in “Uniforms,” to the powerful grinding surge of “Why I” which is reminiscent of early IRON CROSS. Then over to the start/stop chaotic action of “Stoer Zonder Stud” and this Dutch band really catches your attention. They’ve combined lots of variations and different styles to make this a highly enjoyable record.
This is a fan-club-only release limited to 300 copies. Some of this is a little sappy, but most of it is exciting post-punk-style rockers with charging saxophone and guitar rhythms.
Well-produced, mid-tempo punk that’s both emotionally unmoving and unmemorable for me. None of the four tracks made flail in any way, although “In Unity We Fall” did have me moving my hands in the air with its upbeat airs and choruses.
Medium-to-fast-paced punk and thrash. Pro production, good tunes, and occasionally innovative changes make for good listening. Trad punk with melody is their forte, and they do it well.
LEBEN & LEBEN LASSEN exploit a nifty and unique guitar sound on this EP—it’s all refined treble, and remarkably effective. Unfortunately, the band doesn’t do as much with their sound as they could; “Nightmare” rates as a cool change-of-pace HC number, but the other tracks don’t fare as well. All in all, an OK record.
The NUN has done another one worth mentioning. They cover WIRE’s “506” and pull it off quite well, except it’s not the hottest WIRE song to begin with. But most noteworthy are the two songs on the B-side—”Fly Angels Fly” and “I’m Alive.” There are basic rock’n’roll riffs reminiscent of early STOOGES and RADIO BIRDMAN. Cool lyrics, too.
The stereo guitar sound adds interest to this tape of incendiary thrashers, which boasts first-rate songwriting, good lyrics, and a shitload of excitement. In fact, the instrumentals remind me of DIE KREUZEN’s first EP. An exemplary effort!!
The second release from this Swedish group really clears the sinuses. On the “Blapopsida,” they produce more of the killer thrash that characterized their debut, although their head-numbing instrumental attack, gravelly vocals, and short, piercing guitar solos are occasionally undermined by too much chaos or too little tunefulness. The “Bopsida” combines this approach with lengthier and more innovative musical sections; a crunching wall of noise and hilarious lyrics make “Free Fuck” sound like BELFAGORE meets the MEATMEN.
