Sacred Denial Let ‘Em Out LP
Quite an attack. This is noise thrash—not cleaned up or pretty—but really effective and pounding. There’s a lot of spirit here, as well as good punk rock. I like it.
MAXIMUM ROCKNROLL
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Quite an attack. This is noise thrash—not cleaned up or pretty—but really effective and pounding. There’s a lot of spirit here, as well as good punk rock. I like it.
ROTA let loose with five thrashers on this one, and the songs are at their best when the band’s breakneck instrumentals are conjoined by real passion in the vocal department. “Hypocrite” in particular makes for riveting listening, but some of the other songs are more like garden-variety thrash. The lyrics deal with identity problems, school, ideals, etc.
“Power” is a good word for this band to have in their title. “Spoken word” also applies, as many of the vocals are more like spoken raves. Metal influences galore, on both slower tunes and thrashers, as well as those ultra-gruff vocals.
In the Boston tradition of DMZ, LYRES, REAL KIDS, etc., this band combines snappy poppy tunes and a ’60s-ish rock’n’roll instrumentation to produce listenable music. While not as dynamic as the first two aforementioned bands, there is still something here to listen to, though the lyrics are purely passé.
Three heavily jazz-influenced hardcore raves. Usually, I find jazz detracts from the impact of HC, but in this case, as with some of the MINUTEMEN’s material, it enhances.
One of the seemingly few Boston-area bands doing out-and-out hardcore, this young combo does it right. It’s got that “Bosstown” HC sound, with all seven tunes totally ripping. Good one.
Definitely the LP that should bring the OFFENDERS to the forefront. Strong and vibrant with a force that dominates each track as the music sharply drives a fast pace with rapid vocal spittings. At first listen, comparisons lead toward MDC and SUICIDAL TENDENCIES, but the OFFENDERS strike with some well-polished qualities that bring the potential way up. If you liked the first two releases, this one melts them to the ground.
The twisted musical hi-jinx of this tape recalls TIN HUEY, but this outfit has more of a garage sensibility. This is spare, arty rock with a rhythm-machine backdrop—and maybe I wasn’t particularly moved by the music on this cassette because this band isn’t excited by what they sing about.
Following hot on the heels of their labelmates, DUMPTRUCK, this Connecticut band continues to breathe fresh air into a dormant pop scene. They mix jangly guitars, good, tight songs, and a singer who sounds like a cross between Michel Stipe R.E.M. and a young LOUDON WAINWRIGHT. Real charming.
The MINUTEMEN are a superb live band, but the undistinguished recording values here detract from some fine songs performed with finesse. “The Red and the Black” is hot, though I’d prefer to hear an ace production of this outfit instead of the one we have here.
For some reason, listening to this record makes me feel like shit (though it has little or nothing to do with the music itself). It’s just that it reminds me of the not-so-old days when one could feel genuinely enthusiastic and positive about the hardcore scene. Ironically, Ian seems to be dealing with this very issue in the great title cut, which is as bittersweet as it is reflective. The flip songs seem pretty lackluster by comparison, but then screaming at a wall apparently isn’t going to bring the motherfucker down after all.
This garagy recording is devoted to the glorification of pop-tarts. And though they don’t want to be known as purely “funnypunk,” it’s hard to take this five-songer seriously.
An anomalous debut, in that it mixes ’70s garage punk rhythms, quasi-psychedelic ’60s-style leads, and ROTTEN-esque vocals. At first, the effect is unsettling, but their originality and punch become more impressive with each listening.
Extremely herky-jerky HC, but they pull it off with tight as hell playing, intense thrashing, and an absolutely crazed vocal sound. Killer drumming and weird arrangements add distinction. More!
MANKEY is the hotshot producer who did the last THREE O’CLOCK LP. Yawn…he’s heavily into pop and electronics, so you get quirky songs similar to early SPARKS stuff. One track, “Close Shave in Burma,” has a nice late-’60s English pop single sound, but one track doesn’t make an album.
LEEWAY straddles what I hope will eventually be a Berlin Wall between hardcore and heavy metal, with mixed results. “Be Loud” is a nicely textured thrash number, but metal rot gnaws away at the edges of their other arrangements. Aggressive, though this variant of HC doesn’t suit me.
Down and dirty slow garage blues, sorta like the NEW YORK DOLLS meets GUN CLUB. Unfortunately, my copy was warped (I hope that’s what accounted for that sound), but if you like raunch, this’ll do ya.
This single bridges the gap between late-’70s power-pop and ’80s new wave—a marriage of styles with a potential for unbridled cuteness. KOO DAT TAH use the layered vocals of the SHOES with a U2-ish guitar sound, and the two songs here veer into wimpiness despite intelligent lyrics. This band needs more of an edge to their music.
KILLDOZER 85 opt for a gritty, rock’n’roll approach with a sandpapery instrumental sound, complete with the obligatory lead breaks. Disciplined rockers like “Hatbox Matinee” and “More Thanks” show a feeling for good, rootsy rock; a number of their other tunes seem atonal and monochromatic. With more consistency, this outfit could be a contender.
A high-quality studio tape from this funnypunk HC band. No accompanying info, so all I can say is that they play tight, fast, clean thrash/punk with good melodies and dopey lyrics. OK?
More competent but not truly inspired ’60s psych/punk. Lots of covers again (SONICS, KENNY & KASUALS, HAUNTED, and the great “I’m a Living Sickness” by CALICO WALL). While the choice of covers is excellent, and the originals are sturdy tunes, they never quite “break plain,” making it transcend. Maybe next time they’ll truly psych out.
Somewhat reminiscent of the CLASH at their rockin’ best. More like if they had maintained their early zest and knack for pop/punk catchiness and merged it with an ’80s thrash attack. Good and powerful.
This band has, with some justification, been labeled an all-girl FLIPPER. And FRIGHTWIG does have rather loose arrangements, but their sensibilities are more rock’n’rolly than arty, and there are some good songs on this LP (especially “The Wanque Off Song” and “I’ll Talk to You and Smile”). There are also some awful songs. Still, this record is recommendable through the sheer force of the band’s personality.
Fast-ass thrash, tight and powerful. The studio tracks shred, and the live are not really recorded well. Hope they get a record out.
An eight-song venture that showcases well this band’s older-style raw punk and the singer’s Johnny Rotten fixation. Live, I’ve gotten a bit bored, but this tape is quite well done and a good change of pace.
A six-song demo that shows potential in the power-thrash dep’t., but is lacking in the tightness dep’t. I’ve certainly heard worse, and these guys will get it together in time.
A good example of flexible energy without the thrash appeal. Nifty, grinding guitar work pulsates with each number as Gary’s vocals are polished and creatively sung. The DICKS are seasoned veterans, and show the maturity of the band with an overall fine performation. This LP does the DICKS justice.
Psych weirdness, ranging from musical treats in the line of TRUE WEST or PLASTICLAND to more “out there” experimentation. Sound quality is passable, but doesn’t allow for the best listening with this sort of group.
One of the tightest, more accomplished tapes I’ve received from a new band. This is stop-and-go thrash at its best. Excellent production to boot. Hot.
Sounds more like a ’76-era proto-punk band from Clevo. It’s hard-edged rock that slowly builds momentum, rocking in a VELVETS Loaded LP type of style meets the BIZARROS or something.
Sometimes when you go after a certain thing, you have to sacrifice something else along the way. DOA may be sacrificing a few of their earlier fans who don’t care or understand their new, cleaner sound. Or the sax. Or the keyboards. But they have a much more powerful sound than on their earlier records, and it is more of a “rock” sound. included: their cover of “Singin’ in the Rain” and “General Strike.”
This is the new band formed by ex-BLACK FLAG singer Dez Cadena; it also includes the rhythm section from the STAINS and Paul Roessler of TWISTED ROOTS on keyboards. This is really Dez’s baby, as he really stretches out into his roots and experiments. No thrash—just a big power trio sound from the ’70s with fuzzed guitar, ethereal keyboards, and rapid time changes. For fans of BLUE ÖYSTER CULT, HAWKWIND, VAN DER GRAFF, and KING CRIMSON.
This band plays hard country rock with a touch of swing, and writes some occasionally funny lyrics. When the CATTLE really let loose, as on “4WDORV” and the instrumentals “Finland” and “El Con Maio,” this outfit grooves with class. Unfortunately, only about half of this album has the kind of energy this style of music requires. An adequate LP.
It’s ironic that BRUNFUSS caricatured blacks on their album cover, because they themselves are a stereotypical ’80s New Jersey bar band. Aside from an occasional punk (“B.A.D.”) or “humor” song (“Brunfuss”), this record is filled with basic garage rock and metal leads, not to mention seemingly inane lyrics. I think it’s meant to be funny, but I wouldn’t bet on it.
Medium-to-fast snarling punk in a sort of SAMOANS style, without the thrash. And along with the older style punk comes older style punk lyrics. Can’t have everything, right? Good production; fun.
My turn to do a BLACK FLAG review already? Uh-oh. OK, Side one has a couple of tunes that grab me, full of power and with a full sound. The rest of the slower numbers, and most all of Side two, leave me cold. I think it’s got something to do with the thinness and cleanness of the sound, making me focus in on the jazzy aspects and lyrics, which don’t do much for me. Seems like those memorable, catchy, sing-along noise days are history, except for pale imitations like “Modern Man” or “Best One Yet.”
A ’60s-type punk band from Minnesota—and what better place to hail from…the home of such greats as the LITTER and CASTAWAYS. Mostly covers here, in a NOMADS vein. Could this be the HÜSKERS playing a weird joke? Nah…
Well, GG has once again risen to a new low… “I Wanna Fuck Your Brains Out”? “I’m Gonna Rape You”? I dunno, he might be able to get away with that shit if there was any streak of humor in there but instead there’s a really nasty streak of misogyny here. I’m not sure which is more disgusting, the songs or the pictures of ALLIN masturbating and shooting up. It’s not even intelligent enough to offend. Just pitiful.
Mostly medium-tempo hardcore, this band utilizes both melodic structures and FLIPPER-ish noise to equal advantage. While raw and powerful, there are catchy tunes galore. Excellent.
This five-songer rips the hair outta your scalp. Intense, bloodthirsty, and fast. The ACCÜSED have added Blaine (ex-FARTZ) to vocal duties, and kicked in some speed metallic riffs, making this pure speedcore. I was so totally surprised at how good this came out—and they only made 500! This could sell much more.
Nothing especially mandatory here, although it’s not a poor collection either, with tracks from the QUID, SHAG, SATAN & THE D-MEN, and others. In 20 years, will Greg Shaw be documenting the current punk scenes as methodically? Will kids in 2005 even care what’s happening now?
Most of the bands here are from Scandinavia, with a smattering from the UK, Germany, and Belgium. There are anywhere from one to nine tracks each by such manic luminaries as MOB 47, EXISTENZ, ANTI-CIMEX, MODERAT LIKVIDATION, MOTTEK, ENOLA GAY, AKUTT INNLEGGELSE, and several more.
A European sampler featuring XPOZEZ, ANTI-DOGMATIKKS, KINA, WRETCHED, VARUKERS, UPRIGHT CITIZENS, MG 15, NEGAZIONE, and more. Sometimes rough sound quality, but comes with a neat magazine.
This altogether surprising duo of cassette compilations features well-known outfits like FRITES MODERN, PEGGIO PUNX, MOTTEK, and OLHO SECO—plus a variety of cuts from a clutch of promising new bands. The breadth of punk and hardcore styles represented on these two tapes, in addition to the general quality of the music, helps make these cassettes highly recommended additions to your collection. Intelligent and well-conceived.
A storming German sampler with all your faves and some new faces. Lots of different attacks with creative approaches, it’s a good slap of Deutsch hardcore. With the incredible INFERNO whose track “Ein Tag im Schatten” really shows their intensity, plus some classic tracks from the MANIACS, MOTTEK, TIN CAN ARMY, and RAZZIA. And new entries by the IDIOTS, LUSTFINGER, KSF, AUSBRUCH, and SCHLUCKSPECHTE. Well done musically, but why do these German labels always rip off Wrightson for cover art? Thanx Winni!
An incredible comp from Holland featuring seven bands with a good selection of several songs each. Lots of good Dutch thrash from NO PIGS, who continue the madness evident on their blasting EP, sheer havoc from S.C.A., power and energy of NOG WATT, the split second attack from GEPÁ˜PEL, the sonic thrust of DEADLOCK, and good tracks from HIROSHIMA NOODUITGANG and INDIREKT. In the tradition of Dutch samplers like Als Je Haar… this is a fine release.
The title of this comp isn’t strictly accurate, nor could it be with the likes of AVSKUM, XPOZEZ, SCAPEGOATS, and 15 other international bands. In fact, the song quality is quite good, with a political backbone braced with sincerity and honesty. Sound quality’s fine, too.
Their best release to date, as far as I’m concerned. Tez and the guys are really re-energized, pounding out five really memorable fast and snappy punk tunes. Where ya been, Tez?
Some classic thrash, stop-and-go variety, done well and powerfully, although the overall impact is diminished a bit by songs that are almost too fast for maximum effect, and by the limitations of production. Excellent lyrics.
The savage thrash of WAR OF DESTRUCTION blends a harsh vocal blast with an overall quick-paced ensemble of drum splashings and that unique barking guitar wail, which makes this the best release to come out of Denmark in a long time. Good production gives a fluid bolting feel, as the beginning track “Outro” starts the fire burining! Has a funny version of “Birthday” which is a complete offshoot from the rest of this scorcher! Great stuff.
