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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!
The “music” herein definitely falls without our normal range of coverage, but as its done by a person (playing all instruments, singing, artwork) involved in the scene who also has an ad in this issue, I thought I’d take a stab: surrealistic experimental, overdubbed, mellow weirdness, special effects, poetic print and lyrics—outside.
This unlikely effort incorporates elements of garage pop and ska, combined with a satirical punk attitude; the result is subtly entertaining. While CVB could increase their energy level a bit, the band’s intelligence and offbeat humor come through in tracks like “Lassie” and “Take the Skinheads Bowling.” Pleasant.
A fine slab of sludge rock from Durham, North Carolina. This music plants itself firmly in between the trashiness of the GUN CLUB and the garage sound of 100 FLOWERS. Three members dress in leather and one in paisley, and that’s pretty much the sound—3/4 punk and 1/4 psychedelic.
This band unveils a new variety of hardcore—”destructo rock”—which sounds for all the world like gruff and grungy mid-tempo thrash. ANTISEEN can’t boast great songwriting skills, but I still enjoyed the irrepressible aggro and rebelliousness of their output. A pretty good release.
This mostly female combo pounds out garage punk. Vocalist sounds a bit like TEDDY of FRAT GIRLS fame, and the music is classic anyone-can-do-it stuff with personality and vim. Enjoyable, with serious subject lyrics.
Definitely the punk equivalent of middle period JEFFERSON AIRPLANE. The “punk” side comes from the PATTI SMITH-ish vocalist, though both sides she and the male vocalist hit higher notes. Musically, it’s a jazzy/folky rockish band with tough, punkish power (at times).
Set to folk music anarchist punk, or weird post-punk, we’re assaulted with pleas, information, and harangues about the abuses to both the human species and animalkind. Can’t say I’m attracted to the tunes but those who are adventurous musically or inquisitive/passionate about the subject matter will be rewarded.
I’m a bit confused by the sentiments of the title, but not by the music that appears here. It’s had to go wrong with the likes of DRI, MDC, INFERNO, MANIACS, CCM, PORNO PATROL, ZERSTORTE JUGEND, etc. Lots of powerhouse punk and thrash here. It’s a good one!
A thrash extravaganza from stem to stern. An international comp, this includes ANTI-DOGMATIKSS, LÄRM, MOB 47, CERESIT 81, CÁ”LERA, CHRONIC SUBMISSION, NEGAZIONE, BURNING WITCHES, KROMOZOM 4, DECLINO, BRISTLES, SKULLDIGGERS, NIKOTEENS, and more. Quite powerful, excellent production, and high fucking energy.
Most of the bands here pump out pretty decent mid-tempo punk, but there are a few real gems interposed. KIDNAP turns in a wonderful sing-along, L’INFANTERIE SAUVAGE hits with a real up-tempo Oi number, and LES PORTE-MENTAUX turns in a really great pop-punk number that combines HEARTBREAKERS guitar riffs with a classic ’77 English punk-style tune. A good release from a new label.
A benefit tape comp for the Animal Liberation Front, this is a co-release from Bluurg and Sabotage tapes. Artists contributing are the SUBHUMANS, ATROX, INSTIGATORS, REALITY CONTROL, PSYCHO FACTION, POLITICAL ASYLUM, KULTURKAMPF, and several others. Good sound quality and good music and information.
Pretty decent but somewhat stilted thrash. I say stilted in that the drumming is so repressed in a chunky kind of way that the real power here doesn’t quite come across. Otherwise, it’s quite all right with excellent lyrics and some occasionally interesting changes.
Containing all the good characteristics of Finnish hardcore, this young band is coming into its own. Powerful and tight, this release has fine production that accentuates their wild vocals with neat echoes and underscores the fine guitar work. Excellent, with both thrash and slower tunes.
Despite Gerard’s rave about them in this issue, I find this tape good, but not overwhelming. Since I can’t understand the French lyrics, which admittedly would have a lot to do with a true appreciation of VERDUN’s impact, I can only comment on the music, which is power punk with buzzsaw guitars, mid-tempo speed, and good female vocals. Sound quality is OK.
Rockabilly in the GENE VINCENT & BLUE CAPS tradition. What separates this from psychobilly is it’s more traditional, except for the lyrics which on two of the four tracks deal with more contemporary themes.
The TOY DOLLS return to vinyl with a display of outright mania unlike I’ve ever quite witnessed. While the general song quality is a bit lower than on their classic debut album, the band’s crisp pop-punk style and Olga’s unforgettable high-pitched vocals make this record a must. “She Goes to Fino’s,” “My Girlfriend’s Dad’s a Vicar,” and the hilarious “Commercial Break” are classics. Hysterical.
Even though I find the drumming a bit distracting, the great guitar work and vocals make up for it. There’s TK’s usual short blasts of thrash, as well as some metal-influenced slower tunes and even a cover of the STOOGES’ “Search and Destroy.” Go see em this summer in the US.
Both tunes are organ-dominated pop-punk, not my fave type of ’60s rehash. The B-side is a bit snappier, sort of CASTAWAYS meets B-52’S.
While both tracks here are fine examples of fuzzed-out ’60s punk, “Make You Mine” is the real stand-out. With strong influences by raw R&B rockers like THEM, this one totally wails. Excellent.
Well-done but uninventive on their four thrash tracks here, but get a little more adventurous on a long droner. Also try their hand at a more melodic fast punk tune. Okay.
The SEX PISTOLS re-emerge from the vaults on this three-tracker, which features the guitarwork of CHRIS SPEDDING. Mainly a curiosity (better demo tracks appear on their A&M sessions), this EP boasts good sound quality and some interesting instrumentals on “No Feelings.” A nice item for PISTOLS fans.
Hot German thrash with instrumental punch and gravelly vocals Á la INFERNO. Also, the songs have good hooks and incorporate elements off other styles, e.g. a reggaefied break in the title track and a rockabilly-tinged lead in “Bruno.” The results are excellent.
Hey, you! How about some more goofy punk from Germany? The music? Well, it’s pretty much the standard balls-to-the-wall thrash band. Still, they’ve got a song called “When the Beer Was Forbidden” that’s pretty cool. And they steal from guitar riffs from the MONKEES, and that’s pretty funny. And they label the record sides Hansel and Gretel…and… Hey, come back!…
Six screams of revulsion make up this debut, and welcome shouts of frustration they are. Most are poppy thrash tunes, straightforward in delivery, and done with lots of energy and commitment. While the songs do tend to run on a bit long, they are still quite enjoyable.
Totally tuneless noise thrashing. I think that even if I could hear what was going on through the raw, unmixed recording, I’d think the same thing.
’60s punk meets wah-wah and early punk snarls. Both sides pound away at you, though the B-side is a bit more ripping, with a rave-y ending. Only detraction is the bass-heavy production.
I’ve been a POISON GIRLS fan from the beginning, but even I have to admit that this album is their first really poor one. The song structures are funk/new wavish and unfortunately lack the melodic or rhythmic punch of past efforts; there’s no real heart on this LP, either. Ultimately, nearly all of this album is uninvolving, despite some subtly written lyrics.
Quite a turnaround from this band’s earlier flaccid release. Don’t be fooled by the rockabilly image of the cover or title; this baby’s got some classic Australian R’n’R, containing elements of ’60s punk, BIRTHDAY PARTY, RADIO BIRDMAN, etc. Rocks out, and comes with a free 12″. Cool, and right up there with the NOMADS. Coming out soon in the US on Sounds Good.
While the tape quality is decent, the music is more than that. The 14 or so songs are killer thrash, on the noisy side, but tight at the same time. Hope they do vinyl.
This seven-song effort from the (NEWTOWN) NEUROTICS once again demonstrates their adeptness at the ’77 punk style, though with less consistency than past efforts. “This Fragile Life” boasts a strong melody buoyed by a brass section, but it’s the high point in a selection of more subtle pop-punkers. Pretty good.
At their best, the NEUROTIC ARSEHOLES display some stylish and melodic punk compositions supported by clever instrumentals. While less aggressive than their debut LP, this one connects most of the time it remains in that melodic mode; happily that’s the majority of the time, and classy ditties like Du Russe” and “Kern Tag Ohne Liebe” attest to that.
The MAU MAUS display an adeptness at a wide variety of punk and hardcore styles from thrash to sing-alongs, pop-punk, and slow/fast numbers. Happily, they perform it all with authority and intelligence; I can recommend this varied album without reservation.
Definitely on the KILLING JOKE side of life, this band’s forte is driving, pounding, straightforward rhythms and agonized vocals. For this genre, they do it well.
The vocals are on the ghoulish side, deep and echoey. The music is slow- to mid-tempo punk and relatively uninspiring, but not incompetent by any means. Better at droners than punkers.
Hard-driving pop-punk strikes again via KENJI. Two of the four tunes are too lightweight ’78 for me, but the two others rip pretty good, in, say, the tradition of CH3. Better than their first release.
If you haven’t heard this band by now, where have you been? KAAOS has lots of vinyl and tape out, and now add yet another quality release. Powerful HC.
This band opts for longer song structures and a pop style with moments of instrumental invention and even ingenuity. While the majority of this album sustains a melodic approach, there are welcome blasts of thrashy energy from time to time; too bad the compositions tend to fall into an earlier, less accessible German style.
This band seems influenced by British post-punkers LEITMOTIV, and the two faster songs here represent good examples of that taut, expressive style. The other two numbers mine a languid mood I found sleep-inducing.
Mid-tempo English “peace punk” sound, heavy on slick production and cockney accent. Lyrics are tough, but the music rolls off the turntable too well-mixed and without any roughness to match. Good, but not great.
A pretty unexciting debut, with an unenergetic ’78-’79 punk and post-punk sound. Perhaps some of that might be made up for lyrically, as they are quite prominent, but alas, it’s all Greek to me. Then, inexplicably, there’s one thrash song that leaps out at you, breaking through the doldrums. Hopefully, their upcoming LP will be more challenging.
This collection of classic ’77 UK punk is not to be missed by those who were too young by accident of fate to enjoy such classics as “Thinkin’ of the USA,” “Outside View,” and tons more. Get this!
Interesting. Like early PINK FLOYD meets middle ELECTRIC PRUNES meets late YARDBIRDS. In other words, highly produced but still abrasive pop/psychedelia. Other influences are BEATLES (Revolver), EASYBEATS, BEATLES again (“I Am the Eggman”). Okay, ’67 was a pretty good year, but ’68 blew, guys. Head back towards ’66.
Italian speed merchants going all out to zoom out the power chords in the rising Italian fashion. Gritty guitar sound with quick whacks and those tongue-in-cheek twisting vocals. Raw, intense, and to the hilt, this is one good record.
Full speed ahead, this gem changes with a rapid beat packed with storming drum action and quick metallic guitar licks. From Canada, it’s not what you’d expect, as each number is laced with energetic appeal and hollow vocals. For those who like it raging in the speedcore tradition, this baby sets the stylus afire.
Powerful sounding but emotionally unstimulating mid-tempo UK punk. It’s all quite competent, but there’s little gusto to separate DEMENTIA from the pack. I’d like to feel their anger through the music as well as hear it in the words.
I have to admit that I wasn’t all that impressed with this Montreal duo’s first record, but this new one really floored me. It’s a low-budget mixture of the CRAMPS and SUICIDE. They only use guitars and drums to get an eerie, psychotic sound that makes all their songs sound like old trashy covers. Self-described as “sludgeabilly.”
More post-punk from the ADK label, this time in a KILLING JOKE vein. It’s well-done, but ultimately unexciting.
This veteran German band treats us to a selection of mostly live and some studio material ranging from 1978-’81. Most of these tracks showcase the BUTTOCKS’ no-nonsense amalgam of aggressive punk and hardcore to good advantage, though the superior sound quality of their studio recordings (from their two EP’s) shames the rest of the LP. Limited edition of 1000.
BETON COMBO represents an earlier style of German hardcore, in which the power and hooks are more subdued than the work of their contemporaries. A solid piece of work; still, only the textured thrasher “Ich Krieg Dich” leaves a real impression on multiple listenings. This EP’s not as impressive as their best recordings.
For the most part, this is a pretty unaccomplished outfit, ragged around the edges. But on two of the four tracks, especially on “Fuck the Clumsy Metal,” their charm (and special effects) come through.
