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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!
More tuneful than most Finnish thrash, this band employs melody, and clean production and playing; because of this, there’s more of a British feel to this six-song release. But by no means is this a sterile, plodding record; quite the contrary, it’s pretty strong medium-paced thrash and good listening.
A rockin’ minimalist guitar-oriented band here, who on the A-side sound like the BYRDS meet the FALL, and who are a bit less distinctive on the flip. Interesting.
Two defunct Chicago-area bands share the honors on this split EP. DEAD FINK produces raw but hook-filled punkers of which “Home in a Grave” is particularly outstanding; HAPPY TOONS alternate between a careening thrash assault and some weird metal-tinged structures, but they’re crude enough to get away with it. A surprisingly strong release from two relatively unknown outfits.
I guess this is where we start hitting the dross of Greg Shaw’s collection. Instead of great, nasty fuzzy punk songs from the ’60s, we’re treated to wimpy pop bands masquerading as hip political folk rock (aargh!). Although the two tracks by the GRAVEYARD 5 are pretty cool, it’s getting harder and harder to recommend this series when there are excellent compilations elsewhere.
Nine Garden State beauties (A.O.D., STETZ, CHILDREN IN ADULT JAILS, SACRED DENIAL, MY 3 SONGS, CYANAMID, PLEASED YOUTH, BODIES IN PANIC, BEDLAM) blossom forth in a well-cultivated comp. No rotten tomatoes here—just plump pickins. Jersey’s finest.
While most of these tracks fall into the category of “good; but weak production,” you still get some pretty rippin’ tunes from MIA, DECRY, ROACH MOTEL, and DISORDERLY CONDUCT. The tracks from NAKED RAYGUN, OUTPATIENTS. and D.I. are very hot. Special live recordings from the MISFITS, JFA, and the GERMS. Cool poster included, too.
This third Throbbing Lobster comp again contains mostly pop or garage bands with some noteworthy moments—being the PRIME MOVERS, and the re-emergence of CLASSIC RUINS and WILLIE LOCO ALEXANDER, and a good track from LAST STAND. Humor Dep’t: MIGHTY IONS’ “Pedro Morales” to the tune of “California Uber Alles.” Band to watch for according to Dave Scott, who says “VOLCANO SUNS will be the next HÜSKER DÜ.”
Excellent hardcore with melody. Powerfully delivered in both slower and faster songs, the band provides great lyrics and sentiments as well. A bit of reggae is mixed in, breaking up things nicely. Good debut, and a credit to their genre.
This is a live recording, and the songs are versions of material that has appeared on all previous 12″-size WIPERS releases, as well as a few newies. WIPERS are a straightforward, driving rock’n’roll band with punk overtones and attitudes. And like a previous straightforward band, CREEDENCE CLEARWATER, WIPERS sound very much alike both live and in the studio.
This three-song release, their second, again combines PRETENDERS-like vocals and pop/punk arrangements, but is a bit more punk in style. Excellent recording.
A new band from the East Bay area that features an action power sound with metallic hooks that really drives forth. Medium-paced with deep vocals over a buzzsawing guitar sound that frequently has different chords. Has a unique flavor to it, with similarities to C.O.C., BLAST, and so on. Good stuff to watch for.
Very intelligent and cynically optimistic lyrics are combined with intense slow and fast HC to produce another excellent NY release. (For more info see article this issue.) Right up there with REAGAN YOUTH, this one should be gotten.
The A-side sounds like ’76 power-pop, not unlike the FAST or FURYS. The flip is much more interesting, combining original vocal tricks with more modern pop/punk Á la early BOW WOW WOW. Not bad.
Usually, I’m a sucker for murky, mysterious pop and I wanted to like this a lot more than I do. After their last 7″, I figured these guys would be ready to take on the likes of the EATS or LOVE TRACTOR, but this recording really wears thin after a couple of playings. Not necessarily bad, but maybe a little uninspired.
The compositions on this release from UNITED MUTATION sacrifice the thrashiness of their debut for a spookier, more atmospheric approach—but it works. Churning arrangements, an aggressive HC energy, and those trademark laryngitis vocals team up to good effect especially on “Take Your Pick.” Solid and recommendable.
On the A-side, TRUE WEST showcases a neo-generic pop style that’s so soft and unassuming that it left me completely uninvolved. The STOOGES cover on the flip, though, musters up some excitement despite the band’s continual tendency to squelch its own power. Lacks heart.
The kind of record Jello would appreciate—really quirky, jazzy, thrashy, experimental punk. While not imitative of MINUTEMEN in any way, said band’s fans should be able to relate to this.
I thought that SOCIAL UNREST had lost that special spark in recent times, but lately, both live and on this new vinyl, they’re back in fine form. This slab contains HC of all tempos, and with their new personnel and Jason on vocals finally gelling, they’re a force to be reckoned with again. Excellent release.
This Portland talent and brain of the WIPERS has filled this LP with ballads. Tough lyrics, as is his trademark, as well as strummin’ that ol’ geetar. I’ve always been one of Greg’s biggest fans and when I’m sad and need consolation, this will be on the turntable. I wouldn’t live without it.
The thrash on this record contains some gripping instrumental changes of pace, and demonstrates the rudiments of songwriting finesse. A brace of hard-driving HC numbers, a nifty cover of WAR’s “Why Can’t We Be Friends,” and some concise, dynamic production values make this one well worth getting. Some great potential here.
S.F.N. “Stands For Nothing,” but their music is definitely a cut above. Very tight playing and excellent production bring out some of the subtleties in their complex power-thrash approach. Bits of jazz thrown in here and there break the uniformity, as do the intelligent lyrics. Lotsa songs.
One of D.C.’s most touted younger bands comes across with a melodic punk style that combines older-style punk and rock into a powerful force. With ringing guitars, chunky rhythms, and ruff vocals, they come across not unlike area-mates SCREAM in toughs but pop appeal.
The parting shot from one of the great punk experimenting bands. REALLY RED combined awesome power with intelligence (lyrically and musically) to produce both pop/punk and experimental punk of the highest calibre. This record displays both, in a mix of live and studio tracks. Great cover of RED CRAYOLA’s “War Sucks.” We’ll miss em.
Some speedcore, some even more metal damage than that. Those songs that are really uptempo are pretty good (“Fooled Again”), but I just cannot hack the more-metal-than-punk tunes at all.
This live album from Kansas’ ROACH EGGS is just what one might expect from a garage band out of the Midwest with a goofy name like that. It’s absurdly basic and sort of inept in the “punk rock” sense of the term, and the lyrics are either stupid or funny depending on one’s taste. The big problem here is the absence of guitar distortion and a powerful recording, but then Woody’s Back Door Tavern probably doesn’t have a world-class sound system.
NO TREND is much tamer than they used to be; their wildness has been traded in for precision and style. LYDIA LUNCH has added some vocals here that add to their style. Moodiness, melody, and tradition make this LP a good soundtrack but not as gripping as before. Some good tracks make this worth getting—but it’s not my favorite.
The A-side is a bit too country new wavish at times for my taste, but the flip rocks along pretty good with more of an early punkish approach. There’s still something early ’70s-ish about it, but the pace overrides whatever depression that tinge was about to bring on.
I really didn’t expect this from MIGHTY SPHINCTER, but I just know this will grow on me. Jumping, jolting, pain, torture, torment… gothic like JOY DIVISION, jerky like MINUTEMEN, moaning like…hmmm, SCRATCH ACID? Good God, I think it’s saintly…
A new singer has joined the former merely MORTALS, adding some really gruff punky vocals. This is added to their garage Midwestern rock’n’roll sound and clean playing, for a pop/punk record that REPLACEMENTS fans should enjoy.
Maybe a tad slower than their debut album, this release retains MARGINAL MAN’s melodic approach to punk without losing too much of an edge. The vocals continue to snarl despite the melodic guitar and almost rock-structured songs. Controlled but not wimpy.
Sounds like the bad side of UXA. Lots of rock instrumentation with an okay, but too “tryin’-to-be-Siouxsie” singer. Dog likes it, though (says she’s better than Penelope), but Spinali says she’s off-key (and he normally likes any band with a female singer, regardless of quality).
I hate jazz even more than metal (at least heavy metal is humorous in a pitiable kind of way). That’s why I was surprised to enjoy (moderately) this cassette of finely recorded live cuts from the LOUNGE LIZARDS’ repertoire. Though these songs have their own robust energy, this is not punk.
Garage punk with a country twist and wise-guy lyrics. Very well done.
JFA have documented their live performing talents with mixed success on this album. The instrumental numbers (and there are a ton of them here) have both energy and clarity, though the vocal tunes tend to show the fair-to-middling quality of the recording. For JFA fans only.
Yet another “power” HC band, combining heavy chords with punk and thrash structures. Nine “grinding” tunes for you crossover freaks.
Metal, punk, pop-punk, SoCal sound, DK’s—all mixed together in a powerful way. Despite the obvious influences, the results weren’t that imitative. Enjoyable.
Their first records will stay dear in my memory, but the new HONOR ROLE sound is much stronger and improved. Excellent production matched up with stuttering rhythms and great rough vocals make this a top-notch effort.
Wonderful spaz punk rock from the boonies of Colorado. They have a nice style of going from a weird instrumental with raspy guitar sounds into a goofy, ragged tune about something like a worm or something. Nice cover, too.
The A-side “Destroyers of Fun,” is excellent powerful older-style punk rock with smart lyrics. The flip is not DC’s G.I., and features “The Sellout,” a more uptempo punk tune that’s also quite intelligent lyrically. I suspect some of the same people are involved in both projects. Thoroughly enjoyable.
With more of a recognizable “D.C.” sound and a lot less metalish or rockish material than their previous release, this album rates highly with me. Although it’s supposedly a “live” recording, you’d never know it by the excellent sound quality, with all the detail there, cumulatively adding up to one powerful piece of vinyl.
This trio cranks out some cool ’60s punk, especially on the instrumental side. At times, they remind me of SYNDICATE OF SOUND, maybe even a bit tougher. But the singer tries to “sing” too much, instead of snarl, and I found that a bit annoying. Otherwise, cool band and record.
This release is their third, and continues along in the advanced stages of psychedelic damage. Combining psychedelia, progressive rock, metal, ’60s punk, and bad singing, this outfit is adventurous to say the least. The guitarist is the strong point, whipping out some occasionally gnarly runs (Á la ’69), but the singing makes me take the needle off.
Powerful dronola in the NO TREND/FLIPPER tradition. Gruff vocals and garage aesthetic combine to give a KILSLUG feel, or so says Jeff. Interesting at both 33 and 45.
Eerie, in the DR. KNOW tradition, but definitely not “death rock” by a long shot. On this 7″, the band progresses where their 12 left off; the lyrics are polished up and the guitar solos are at a minimum. All five cuts are catchy, but lack the power I hoped for. Damn good…yep, damn good.
Sounds like a less thrashy and slightly more serious VANDALS. There’s lots of catchy punk songs with lots of humor or satire, plenty of melody, tight playing, and even tinges of country. Good but not startling.
I believe this is what Jeff calls “funnypunk.” These 20 satire-laced songs are real crack-ups, and backed up by tight playing that incorporates funk, country, and lots of other styles Into their punk approach. Let’s go to the shore!
The ADOLESCENTS are often used as a milestone in describing the SoCal thrash sound, and this band with two ex-members of the ADOLESCENTS is the heir-apparent. They pump out nine tunes fast and slow, which epitomize the H.B. sound: clean production, melodic thrash, surf HC guitar, and nasal vocals. Some real classics here.
Zooming speedcore mayhem with wild metallic bites and machine-gun drumming. Rough, growling vocals float over this. CRYPTIC SLAUGHTER mixes the textures of DRI, SLAYER, CFA, and the POSSESSED to bring forth one monster of rapid-fire acceleration for this young band. Wild and intense.
Smack! Wallop!…Rough punches of raw lightning-fast metallic energy as this new C.O.C. broadens their audience range. Now a three-piece with bassist Mike Dean coughing out the vocals, the excitement never stops while Woody grinds out the gritty chords and Reed pounding that skin-kit. Might seem a bit different, but no band keeps it abrasive like C.O.C.
Really enjoyable pop/punk in an older punk style, not unlike the path STRANGLEHOLD took. Roughly translated, that means lotsa hooks, pop structures, clean production, pounding drums, vocal back-ups, and tough guitar. Good.
