No Policy MTL HC cassette
Quite politically aware lyrics, stop-and-go thrash, and melodic songs are combined here for your listening enjoyment. Good sound quality, and neat guitar sound.
MAXIMUM ROCKNROLL
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Quite politically aware lyrics, stop-and-go thrash, and melodic songs are combined here for your listening enjoyment. Good sound quality, and neat guitar sound.
The singer reminds me of a bizarre cross between IGGY, Gary Floyd of the DICKS, and Fritz of the MUTANTS. The band itself is a bit of all those, too, but more in the line of ’60s punk done with ’77 verve. Good Australian rockers.
Yet two more ferocious Dutch HC bands. MURDER INC. is powerful as hell, combining a thrash attack with a destructo FLIPPER-ish noise sound. M.O.G. are a speedy, manic, and tight screaming assault, not unlike TERVEET KÄDET, but even faster. Cool.
Highly produced, neo-? music, not unlike early PSYCHEDELIC FURS. It’s OK, but I like PSYCHEDELIC FURS’ initial material much better. This one has a terrible country-ish rendition of “96 Tears.”
33 or 45? At either speed it sounds wrong. Ambient/industrial weirdness from Japan.
LUNATIC FRINGE employs repeating guitar figures to create an effect of intensity and drive within their songs, not unlike ANTI-SECT, but without all of that crushing power. Still, much of this EP works by sheer insistence—especially the fine rocker, “Con-formity.” Good British HC.
Just got this off Sean and does it wail. Great energetic thrash with an American flavor. Well thought-out speed attacks that thrust blazing instrumentals with feverous havoc, still comprehensible with wild screeching vocals. Head-bopping fury continues the pace with nice sing-alongs and interesting leads, it shows you what can be created when a scene falls apart and the music gets more enthusiastic. A great UK release—this could be the UK comeback!
As you might be able to tell from the title, this is a snappy thrash/funnypunk outfit. I imagine that they’re even more fun if you can speak French. Fun.
Poppy rock ’n’ roll/early punk that sounds like a lot of bands that appeared on ’75-’77 compilations. There’s a slight NEW YORK DOLLS influence, though they’re less snotty-sounding.
Sadly, this pretty much proves that this band is over-hyped. While their first 7″ was promising, this record is fairly bland and sounds like “product” rush-released to take advantage of the “buzz” in England. The only really good song here is their cover of Vic Goddard’s “Ambition.”
This band combines many different influences into a semi-original and interesting sound. I hear traces of skunk, rock ’n’ roll, rockabilly, ’77 punk, and weirdopunk at various times on these six tracks. These recordings have a live feel to them, but that doesn’t detract from their listenability. Fun and crazy.
The title track of this record is a giant of a song; it must be heard through huge Cerwin Vega speakers driven by a 200-watt amp. HULA is definitely more commercially viable with this release, but previous tunes displayed a benign but invigorating quality. Nevertheless, this is excellent.
This German outfit, not unlike fellow countrymen the NIKOTEENS, sustain thrash-tempos without sacrificing their fundamental commitment to distinctiveness and even melody. The two songs on side A, with those tasty choruses, are especially appealing. A treat.
All three songs on this Danish EP go on too long for their own good, and opt for restrained guitar progressions and lyrics heavily influenced by spaghetti westerns. Hypnotic; in fact, I’d better finish this review before I’m lulled to sleep…
This is post-punk with an abrasive punk edge. The A-side changes pace several times, making it more interesting than the more repetitive flip. Neat psychedelic touches here and there.
Maniacal Japanese speedcore with raw vocals in the vein of GISM, MOBS, or ZOUO. Tight, quick blasts of forging power with metallic leads and splashing cymbals. One of the better Japanese releases, it carries its weight with good musical melodic structures, worked together in an undeniable thrash attack. Worth finding, both sides featuring three ferocious doses.
Some very enjoyable pop/punk with biting lyrics. With the femme vocals and tight, upbeat instrumentation, they remind me of early GIRLS AT OUR BEST—a nice remembrance indeed.
An all-female combo from Switzerland, playing some pretty upbeat old-fashioned punk rock. It’s more than competent musically, and very peppy/poppy/punk. Enjoyable.
This five-song release is in an early punk mold, with tuneful tracks done in a very basic, slow/medium-tempo style. At times, it reminds me of TELEVISION, though not as arty. Decent.
Medium-paced thrash in a sort of English style, with those gruff Japanese growls attached. Most of the Japanese bands that play whatever type of punk do seem to add some complexity to them, making for some gripping tunes; plus, as with this band, they’re good musicians.
Slow-paced punk/post-punk whose most imaginative aspect seems to be the vocals—both in range and lyrical content. (Not that I can understand Japanese, but if the song titles on this EP are any indication, this must be a treat.)
This New Zealand punk band maintains some real drive through many of their songs, which plumb a style emphasizing a diversity of punk approaches, fast and slow. Nevertheless, the compositions themselves rarely impressed me with any measure of catchiness or inventiveness; but there’ s no denying that the title track is a highly worthy kinetic thrasher. A mixed bag.
“Mommy, can I go out and skate tonight?” starts off the DISASTER AREA side, a German punk approach with a complete MISFITS appeal to it. Probably the first German skate-oriented band, DISASTER AREA doesn’t thrash, but just brings up a good, powerful assault with lots of choruses. DIE SCHLIMMEN FINGER are very similar to DISASTER AREA, yet more melodic with good, creative harmonies; an English Oi sound is close to their sound. Both bands are fun listening and deserve their own respective releases.
Four tracks, a couple of which have appeared elsewhere, but these versions done a year ago really burn. “Race Riot” is in the vein of Hardcore 81, while “A Season in Hell” and “Burn it Down” also cook. “General Strike,” which appeared on DOA’s “limited edition” 45, is the most “rock ” of all tracks, but its sentiments, along with all the other cuts, are DOA at their political best.
A cool four-song old-fashioned punk release, featuring fuzzed-out guitar, snarling vocals, tight relentless mid-tempo rhythm, and catchy tunes and choruses. Believable.
This band returns with more of the same fast guitar riffs that help make their songs on The First Sonic World War compilation so good. This French group has an excellent sense of melody but doesn’t sacrifice their power for it. Their choruses are similar to Oi bands but without the mindless lyrics. I want to hear more from them.
Hey, a good sounding recording from Brazil! Ataque Frontal Records is kicking off their label with 20 hot, tuneful thrash and fast punk numbers by this excellent band. Really cool bass and tight instrumental playing are prime features here, so pick this one up. From the makers of Alerta Punk zine.
Just when I thought we’d never have to hear the CLASH again, we get hit with this. Sounds like studio outtakes from the CLASH’s second or third LPs, but no—it’s the CLOX from Germany, whoever they are.
There’s a decidedly ’77 feel to this (they cite the LURKERS as an influence), but it’s not plodding at all, delivered in a snappy, fast way (perhaps due to their liking of MDC, MINOR THREAT, etc.). Enjoyable, old-fashioned punk with verve.
Absolutely demented vocals appear on two of the three tracks here. It’s again that metal-punk style of GISM, but lighter in the guitar work. Complex and evil-sounding.
A half-dozen tracks of this British-based band are highlighted here, and they’re a lighter-weight CREATION or EASYBEATS. Of historical interest is the presence of Ron Wood, who later went on to JEFF BECK GROUP, FACES, and STONES fame. OK, but if you’ve got a chance, try to find CREATION re-releases.
The punkest record I’ve heard in a while, and it’s not even “punk rock.” Englishman BILLY BRAGG is heir apparent of the great PATRICK FITZGERALD (of “Safety Pin Stuck in My Heart” fame) in that he too mixes biting social and political commentaries with a heartfelt solo guitar-vocal performance. The edge and spontaneous communication characteristic of his live show are inevitably diminished on vinyl, but the integrity shines through. Folk punk at its best.
I reviewed their split cassette a while back and loved it. This is pretty cool fun, full of powerful speed thrash. While it’s generic to a degree, it’s really slammed home. Pretty hot, with really good translated lyrics to boot.
The second UK 1985 release to completely blow me away. This vinyl slab runs rampant with excessive energy, speed, and intensity. Lyrics are strong and abrasive with critical beliefs worked into each song structure. Has the continual power approach found on the ANTI-SECT LP, yet there are more speedcore traces here—fast, blistering chaos, raging with incredible might. Their 7″ was great, but this is ANTI-SYSTEM’s best yet. An “A” for music and ideas.
This album features the upbeat pop-punk of the ADICTS with 15 tracks recorded in 1979. These songs possess the same aggressiveness as the material on their debut LP, though the truly outstanding material here is re-pressed from their fine debut EP Lunch with the Adicts, long out of print. There’s a fair allotment of strong material on this album, and that should be good news for ADICTS fans.
Two of the songs on this solid EP demonstrate adeptness at clever, mid-tempo punk with tastefully humorous lyrics. The other two ditties, however, remind me of the aggressive punk of early DEVO, with its addition of minimal synth. Not bad at all—VEX seems to enjoy re-expanding the sound of punk music.
This is the great “lost” VELVET UNDERGROUND album, tapes of which have circulated since 1969. Finally, a major label has done something right, “seen the light,” and released this brilliant, clean classic. Many of these tunes were later redone by LOU REED when he went solo, but these original versions shut his down. Whether rockers, ballads, country…all are delivered with the VELVETS’ magic and verve. The only band that can make me cry.
This re-release of the FRAT-GIRLS’ garaged-out, raunched-out, ultra-sick classic contains all the tracks on the original EP plus “The Egg Man Don’t Cometh,” a sort of poem. This is SHAGGS-rock meets punk, with lyric moments designed to offend anyone and everyone. Astonishingly mandatory.
Some thoughtful reflection set to some powerful hardcore styles—thrashin’ excellent, and showing lots of potential.
A fun, adolescent sense of humor infects this garage punk EP from SNARE AND THE IDIOTS. Semi-catchy instrumentals, primitive lead guitar breaks, and some R’n’B-ish song structures supply most of the charm here; the lyrics, too, are goofy enough to win my affection. Loose, rock ’n’ roll fun. Recommended.
Once again, bravely mixing their snotty garage sound with all-out noisefests, the new SONIC YOUTH LP is full of careening walls of sound and mixtures of delicate and uncomfortable tension. “Ghost Bitch” is one of the creepiest songs I’ve ever heard. Some gore filmmaker better grab these guys while they’re still cheap! This also includes their duet with LYDIA LUNCH on “Death Valley ’69.”
Music must exhibit intensity and drive to enter any real or imagined vanguard status—and no copycat Brit-electro-hoedown will do the trick. This tape is devoid of all that is redundant; absolutely the most vibrant thing I’ve heard from an American group in the genre of late. Genuine, surreal, unmitigated craftsmanship here.
Count the influences: WIRE, MEKONS, the FALL, JOHN CAGE, MINUTEMEN, TALKING HEADS, JOY DIVISION, even LEONARD COHEN. But what makes this record so much better than their earlier EP is that the group finally has the ability to digest their influences and discard ideas to create their own exclusive sound. At times the music is tense and obsessed, while other times it’s loose and reflective. This is a great step forward for this band.
Repetition is used effectively here. This is a hard one to pigeonhole, and it ain’t my style to categorize. An interesting, occasionally exhilarating collection of diverse tunes that fare better on studio tracks where the band ranges from austere to downright savage.
Thrash that makes up in intensity and super-psychotic vocals what it lacks in melodies or hooks. The lyrics are strong if a bit obtuse, “Fondly, War” has a sharp ’60s-ish structure, and the CHEERLEADERS’ overall mania is enough to carry them through some peculiarly discordant parts.
The long-awaited REAGAN YOUTH record is finally out, and it’s well worth the wait. They’ve produced an ultra-primitive, trashy attack with an amazingly raw guitar sound that reminds me of Florida’s F. Add to that a social consciousness willing to confront both reaction and apathy, and it’s impossible to fail. Their anthemic theme song “Reagan Youth” brilliantly captures the mindless idolatry of today’s young Republicans, and the other tracks are almost equally appealing. A must.
“Howling at the Moon” is by no means the strongest track from their current album, but the two songs on the flip are very good and non-LP. “Smash You” is a return to vintage ’77-RAMONES, while their cover of the STONES’ “Street Fighting Man” is equally irresistible. I guess I still like these guys a whole lot.
PREVARICATORS specialize in mid-tempo punk rock with highly distinctive vocals and disciplined power-chord arrangements. The music is largely solid, but lyrically, this LP is variable from cut to cut. Commentaries like “Snubculture” and “Jesus H. Falwell” are well taken, but the apparently anti-gay song “Jesse’s a Girl” is in very poor taste. Some songs are sexually oriented Á la early PORK DUKES. A problematic record, for me.
A rather ironic name for this band, as most all the lyrics reflect someone desperately fighting their own growing disillusionment with the punk scene and its competition, peer pressure, etc. as it replaces the initial enthusiasm and collective struggle. Musically, it’s mostly mid-tempo thrash, with some instrumentals and touches of not unpleasant pop sensibilities thrown in. Hope, for all our sakes, that the songwriter wins his struggle.
Some very classy hard-ass punk on these here six tracks. Fronted by a tough-sounding femme vocalist, I am most reminded of UXA at their old hottest. Metal damage is kept at a minimum, power is upped, and off they rock. The female equivalent of G.G. ALLIN?
