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!
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.
Ramcharging cranks of aggressive power from Australia, sounding a lot like DEPRESSION or PORNO PATROL or STRETCH MARKS. Beefy vocals with active musical compositions, fast- to medium-paced, with a live studio-sounding recording. This band will soon tour the US, so watch out for this burst of energy.
The inner wardrobe of the VIBES’ minds must contain a lot of the CRAMPS’ clothes, given the deep mutant rockabilly/psych influence on this record. At least they’ve chosen their mentors well, because this band has good material (though not as invigorating as the CRAMPS’) and perform it with verve (but without the CRAMPS’ personality). “I’m in Pittsburgh” is a killer.
This limited edition (1500 copies) disc contains 16 songs recorded in a board mix with good sound quality. The vocals are up-front, with the drums and guitars vying in the background for your attention—not an ideal state of affairs—but the VARUKERS’ material saves this from being “just another live album.” Adequate.
Like most Italian HC bands, UPSET NOISE is stronger on manic attack and noise than they are on melody (although this doesn’t hold true on all eight tracks). Lots of speed riffs, raging vocals, and ultra-fast snare drumming. They live up to their name.
Although the guitars are blazing fast, the rhythm tends to be slower, creating a mid/fast-tempo punk sound with aspects of thrash and even metal (especially on the ultra-gruff vocals and some guitar licks). Powerful overall, but that dichotomy creates a weird feeling.
This Yugoslavian thrash outfit sustains the requisite speed and aggro for a credible effort, but little of the distinctiveness their geographic origins might suggest. This is churning, repetitious hardcore which, oddly, sounds somewhat Italian—until you realize it was pressed in Bologna. Fine booklet sleeve.
FOETUS has done a lot of bizarre material in the past, but this LP is a classic. As always, this is all written and performed by lone FOETUS, and combines his morbid, poignant, biting poetry and an upbeat, precise musical inventiveness with out-and-out aggressiveness and recording skill. He is many steps beyond CREME & GODLEY, MARK STEWART, or NICK CAVE, although the comparisons are obvious. I can’t scrape it off my turntable.
SYSTEME D address their output to a mid-tempo pop-punk style that, with an added “something,” could be really special. “Loser” weds catchiness to a punky rawness of energy, but most of this has been done more convincingly elsewhere by fellow countrymen like KIDNAP, COLLABOS, REICH ORGASM, etc. An OK record.
Incredible thrash from the UK, without even a trace of the traditional UK sound. Sonic mayhem, quick and vibrant with great vocals and split second attacks, enough to be one of the best HC releases in ages. Packs the punches like the original Dischord releases did—it’s that insanely good. Stick on side A, “Elephant Man” scorches down the eight-song attack. Excellent!
The female singer of SPERMA has quite a sex-bomb reputation, but her singing doesn’t come across that way. She sounds like a weaker Poly Styrene, and even the band sounds a bit like X-RAY SPEX (minus the sax). Good older-style punk from Japan.
The SOLDIER DOLLS invest these recordings with vocal zeal, yet the instrumentals miss the passion and drive this band seems to be aiming for. Still, “Victims,” a slower ’77-style number, provides a measure of catchiness to save this well-intentioned EP from its uneventfulness. The two thrashers haven’t the punch they need.
Six shows from RAW POWER’s first US tour last year. Needless to say, it’s another excellent representation of this powerful Italian metal/thrash outfit. Watch for ’em on tour again.
Good mid/fast-tempo punk, albeit the noisy variety. Decent recording quality, but it does diminish their impact somewhat. Imagine they’re fun live.
Both sides of this flexi contain songs from a live show, with no separating grooves, and a fade-out on one side and fade-in on the other. It’s frantically-paced thrash here, which comes across OK “live,” but would be more cohesive in the studio. From Japan.
A three-song effort that’s really impressive. Really tight, assured hardcore with lots of tempo changes, but which doesn’t detract from the impact. Even the guitar solo is OK. Driving stuff—great thrash from Australia.
Pretty decent older, fuzzed-out English-style punk in the slow- to mid-tempo vein. Good production, especially on the guitar and vocals. Basic but substantial.
Yeeeoww! Definitely the ultimate hardcore/metal crossover, ONSLAUGHT charge with a hard-hitting assault of ferocious rhythms that melt the hair off your scalp. Heavy and fast, this UK sledgehammer barrage pushes an awesome guitar grind with great vocals and continuous action. Intense black speed torpedoes that rifle headlong into severe untamed abrasive vigor. Incredible stuff on COR.
A live EP that’s a bit of a letdown from their awesome Outburst. Four songs that are rockin’ R’n’B, but nothing to write Sweden about. “ESP” is the hottest track of the lot here.
NEGAZIONE musters up one of the most ferocious Italian EPs I heard in a long, long time. Crisp production adds an edge to frenetic thrash that reminds me of the great INDIGESTI, but with a more biting vocal attack. One would be well advised to get this record immediately.
Japanese speedcore with a low-end recording. Scratchy growls are ever-present, with whiny guitars and deep bass plucks. MOBS’ style of thrash is in the GISM/ZOUO form, really spits out the distortion of the prominent sound. Fast, gritty, and abrasively intense, this six-song EP really charges the chaotic crunch. Another of the monster vocal hits.
Pretty English-sounding Japanese hardcore. Three tunes. Not really strong lyrically, but the production and musicianship are excellent.
Quite melodic and catchy folk punk (guitar and drums) that reminds me of the pleasing simplicity of NEWTOWN NEUROTICS. And like NEWTOWN NEUROTICS, Andy T. presents material (new on side one, retro on side two) that is intelligent and caring.
This is a comp of their first two 7″ EPs released by a new LA affiliate of this cool Australian label. In my opinion, they’re one of the hottest R’n’B, rock ’n’ roll, neo-’60s, psych-pop bands in the world (next to the NOMADS)…and the best from Australia since RADIO BIRDMAN, whose influence is felt here. It’s hard to pick a fave track, but “Can’t Wait Too Long” and “Slave Girl” are hot with great hooks.
This band should rule the world. They let other idiots do it, and LAUGHIN’ NOSE are much funnier. This band make the TOY DOLLS seem like the merry-go-round compared to the intense coaster. LAUGHIN’ NOSE is jovial, funny, and the lyrics will keep you rolling. Both these songs were on the Hardcore Unlawful Assembly comp LP, yet are still classics and worthy of any collection. No, this isn’t thrash, but hilarious antics in the DICKIES’ vein. Great!
This Japanese trio wails. The strong bass playing, tight drumming, and powerful guitar pull together into a hardcore experience that’s quite noteworthy. On both fast and slow songs, they grab your attention.
L’INFANTERIE SAUVAGE combines elements of pop-punk (in the restrained guitar work and sing-along vocal choruses) and Oi (in the chants that punctuate this EP) on the four-and-a-half songs here. This record’s distinctiveness feels good on the way down, but this band hasn’t quite developed the knack for writing songs that stick to the ribs.
The first track is in Tesco-territory, if you know what I mean—industrial “music.” Second track is a little more musical, and mercifully short. From Japan.
Hot Italian buzzbomb laced with metallic thrash-paced guitar whines and changes in tempo running to and fro. High-speed stuff that doesn’t get lost in the shuffle, with swift vocals, yet musically it offers a variance like HÜSKER DÜ. Overall production is low, but the music delivers potential goods. KINA are quick and effective, with enough pops to grow into big stuff.
A very hot thrash band with lots of energy, some good production, and lots to sing about (in Spanish). Recommended.
Two incarnations of the same band are represented on this 12-song tape, which plumbs a mid-tempo punk style in both live and studio recordings. Truthfully, I didn’t feel the excitement on this one, but the music’s OK.
One of the least mono-dimensional Finnish releases of late. KANSANTURVAMUSIIKKIKOMISSIO plays everything from gravelly punk Á la MAHO NEITSYT (“Pääni” and “Työlaisen Aurinko”) to post-punk (“Valaistu Risti”) to full-tilt thrash (“Kalinka” and “666”) to a host of annoying discordant numbers that don’t have any hooks (like “Meksiko”). The latter material unfortunately predominates, and the album is uneven, but there’s some fine stuff herein.
One of the hardest thrashing Italian combos are highlighted here, with tons of raging songs. The sound quality is good, and if you aren’t yet familiar with INDIGESTI’s material, don’t pass up the opportunity.
Predictable but competent skinhead anthems and lyrics. One ska tune, one faster punky tune, and a couple of Oi-ers. I guess “Oi Oi Oi” means “Oi Oi Oi” everywhere.
Powerful post-punk for the most part, but occasionally wimping out. The material that’s most gripping is in the JOY DIVISION tradition.
Oui, oui! This blasts and terrorizes in every form, a blitzkreig of maniac rhythms powering an assault of skillful mayhem. From France, HEIMAT-LOS combine a familiar French punk sound with a blizzard of thrash havoc, all worked extremely well and enjoyably pleasant. Sharp instrumentation, with a good mix. If you liked KIDNAP, you’ll crave HEIMAT-LOS.
This Japanese quartet starts off from almost a ’77 punk base, but sometimes gets a bit more adventurous, adding in discordant bits and gruffer vocals. All of it is pretty well-done, though—even the standard punk tunes.
