For review and radio play consideration:
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!
ABADDON is good (decent live recording), but REJESTRACJA positively shreds! They are as hot a US-style thrash band as you’ll find anywhere—killer! And their recording is a pro job. Get this!
Four-track sound quality and a bit ragged around the edges, but otherwise it’s straightforward thrash. No real surprises, but it rocks.
Gut-piercing guitar ferocity drives this excellent release by A.O.A. to the limit, zooming mayhem with shouts of vocal bellowing. Five songs that deliver well-organized rhythms and arrangements with grinding speed and velocity. Another UK release to capture your mind and hold you captive in sonic ecstasy. Tim, where do you find these excellent bands? On C.O.R., of course!
This collection of early recordings (1955-’61) presents a clutch of wild rockers plunging into the roots of the genre. ROY CAINES, TONY CASANOVA, MEL MCGONNIGLE, RHYTHM ROCKERS, and CRAZY TEENS provide raunchy, rockin’ fun in a distinctly ’50s style, though some of the other tracks are less impressive. A treasure trove of obscurities.
One side is entirely US up-and-coming outfits, with the likes of PUNKS, KNOCKABOUTS, CAPITLE, PSYCHO, NO IDENTITY, ART THIEVES, JERK WARD, and TOE JAM. The other is an all-German line-up, starring R.A.F. GIER, RANOLA, RAZZIA, MOTTEK, EA80, BLUTTAT, and a few others. Sound quality is usually good.
A NY-Metropolitan Area compilation featuring the UNJUST, ARMED CITIZENS, ULTRA VIOLENCE, SHEER TERROR, PSYCHOS, SHOK, KRIEGKOPF, PLEASED YOUTH, SACRED DENIAL, BODIES IN PANIC, BEDLAM, A.O.D., 76% UNCERTAIN, VATICAN COMMANDOS, CHRONIC DISORDER, VIOLENT CHILDREN, and more. With a line-up like that, I’m sure you know what you’re getting—no saxophones!
Once again Crypt has come up with an above-average selection of snotty ’60s obscurities for our listening pleasure. Most all of the tunes are punk with that mid-’60s English R’n’B influence—guitar-oriented with snarling vocals. Bands such as the KEGGS, FEW, NOBLES, ILLUSIONS, and lots more deliver that real “intellectual” stuff that makes the EXPLOITED look like real geniuses.
Ambient semi-industrial pop music? Jazzy folk travelogue? Too many drugs?
A three-song release displaying WHITE PIGS’ newer “metal” direction. This is more apparent lyrically than musically, with lots of Satanic B.S.; but the music still kicks ass, with minimal lead guitar damage and lots of power. “Satan’s Sparrows” is a psychedelic thrashorama.
There’s a decided MINOR THREAT/7 SECONDS influence here, which is, I’m sure, not accidental, given VERBAL ASSAULT’s straight-edge bent (unbent?). The comparison doesn’t end there, though, as the music is as tight, crisp, and committed as the aforementioned mentors, though not quite as assured. Good.
These guys are still pretty diverse in their own weird way. Part 1 of the song is an eerie psych-pop number, plodding but catchy and likable. Part 2 is off the deep end, using a drum machine which makes it eve eerier—with no vocals and added studio effects. It’s a little repetitive, but I like it. Too bad it’s so short.
This is the second release by the TAR BABIES and although you could compare them to the BUTTHOLE SURFERS because of their spazz quality, they seem to be drawing more from the early MINUTEMEN style. They’re all really good players and even though they drift into—gulp!—acid/burn jazz, it’s got a really cool sound. Nice tag-team production by Spot and Bob Mould.
Most all the songs here are “first takes,” unrehearsed three-minute jams. Considering that, it is remarkable that the tunes do indeed resemble songs—structures, beginnings, endings, etc. A bit of FLIPPER influence, PiL, etc.—an artistic nightmare.
A professional job here that doesn’t lose its bite. They thrash hard, rock hard, and hit you on the rebound with reggae and other changes-of-pace. The lyrics didn’t hit me too hard this go round, though, as their obliqueness left me wondering what exactly are they singing about. Nonetheless, they are delivered with passion, and that’s what’s important.
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.”
