Bitousha Hiromi’s Party Part 1 7″ flexi
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.
MAXIMUM ROCKNROLL
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!
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?
This is a good garage pop band that doesn’t come off obnoxious. They manage to switch easily from an early PAUL REVERE ripping guitar sound to an easy chiming BYRDS sound. Although I like this record a lot, I’d still like to see a little crustier production.
There’s a decidedly jazzy feel to the thrash this band delivers. I can’t really put my finger on it, but it does set them apart in a way. No, it’s the guitar and drumming; though they’re both frenetically fast, it is jazzy as well. Hear it for yourself, because this is something of a breakthrough, different from the MINUTEMEN.
This band consistently defies categories. More than hardcore. More than rock. More than experimental. And this LP blazes out with a fury that’s sharp, clean, and loud as fuck. The sound on this release is more concise and focused than earlier stuff but doesn’t sacrifice any of their drive. Possibly one of America’s most important bands.
About half of the songs on this tape are carbon copy covers of IGGY POP (“Five Foot One”), JOY DIVISION (a priceless version of “Dead Souls”), and even the likes of BUTTHOLE SURFERS and BLACK FLAG. The original numbers are sporadically funny, too, sounding something like a R’n’R version of the MENTORS. This tape is almost so bad, it’s good.
Three of these four tracks really make it, as they are strongly laced with power. Two are slow/medium paced, but deliver a great dose of punk, musically and lyrically. “Whose Power” is a faster cut, but still maintains that depth of strength. Good job.
Admittedly recorded on a shitty four-track, you can still get a decent feel for this band, and their zeal comes through. They’re into powerful thrash, and I hope that they soon do some better recordings.
Virginia’s answer to ADRENALIN O.D. This is wild, crazy stuff that is abrasive and raw, yet still maintains an exhilarating power. Lyric content is sometimes hilarious to uproarious laughter. Then, there’s the serious side. Effective guitar work with good drum arrangements adds special punches along with a Keith Morris-vocal screaming that makes this entire 21-song LP a fun release. One of the better US releases of late from a new, up-and-coming band.
We’ve got the mandatory SPK and TEST DEPT, who are featured on every one of these tapes. Clever packaging, however, belies the Sominex inside; poor quality sound, too. Well, three strikes and you’re out, but that’s only two. OK, then there’s this band called MUSLIMGAUZE easily qualifies with their incredible suckiness.
The tail end of an acid trip all us used to see Uncle Sam ridin’ a skyrocket, yeah, and just before I cum I get deja vu and my chick turns into Marilyn Monroe, an’ fuck, when I play this tape none of that shit happens…fuck…
Former BROWNSVILLE STATION-er supposedly recorded this prior to his stint with that band. It’s pure rockabilly and rockin’ R’n’B done in that mid-’60s interpretation style, similar to, say, JOHN HAMMOND (but not quite as exciting). Better than most of the current rehashes.
JUVENILE FRUCTATION are responsible for a whole tape’s worth of pre-garage ramblings in a punk-rockish style that gets a bit tiring after about two minutes. Proto-primitive; these guys need more practice.
Instrumentally they remind me of a cross between SACCHARINE TRUST and perhaps CORROSION OF CONFORMITY. Vocally, I hear D. Boon of the MINUTEMEN. There’s lots of slower modes, then lurching faster parts. Fine, if you like that quirky genre.
TH’INBRED rely on songwriting finesse and the basic HC trappings to hybridize an effort that’s very special. Their off-beat humor melds with the music quite effectively—resulting in thrash with an unusual and likable difference. I look forward to their upcoming record.
This band opts for a metal-thrash approach incorporating a power-chord orientation with the strong influences of SSD (in some of the squiggly guitar solos), DIE KREUZEN (the anguished vocals), and DISCHARGE (in the basic song structures). The compositions on this 12″ exhibit fine energy and commitment, though they only occasionally assert any degree of originality. Basically OK, I guess.
Two snappy slices of power-chord rock here, neither of which caught my fancy. Both songs boast mildly appealing choruses, but very little else aside from the hard guitar work to recommend them. HARLOTS need more sustained songwriting to satisfy a die-hard pop fan like me.
GLENHEADS definitely have the requisite weirdness to succeed in the experimental biz, but none of the talent for creating noise that eats away at your cortex. Tesco would know what I mean. Basically, it’s self-indulgent pop-influenced experimental material with a lot of vocal treatments. I don’t like it.
Now this is interesting. This band treads a line somewhere in between metal and thrash. And even though their cover of “Eighteen” is a bit pedestrian, a comparison with the ALICE COOPER BAND isn’t too far out. They’ve managed to tone down the typical LA metal sound with an edge of psychedelia. I’d like to see what they can do with a full LP.
The last time I heard the FLIES, I thought they were just an OK garage band from Boston. This record has them turning up the fuzz and feedback to a really nice effect. While there’s still a poppier side to them, even strains of country in there, they’ve got a good handle on the future if they keep in those rough edges. VELVET UNDERGROUND fans should check out “All Hung Up.”
Hold the phone, Jesus is back! Mannnnn…. This be a hot-shit record. Not only is this the first release for this band, it’s also the first time they’ve recorded themselves. What REDD KROSS are to the NEW YORK DOLLS, these guys are to the CRAMPS. All over this record you can hear great fuzzed-out, burned-out riffs and spooky lyrics. Incredible.
Featuring a real live Iranian on vocals, this live tape gives the listener an echoey idea of what power thrash FEARLESS IRANIANS FROM HELL can deliver. And judging by the lyrics I could discern, they’ve got a lot to say, as well. FEARLESS IRANIANS FROM HELL, get thee to a studio, or off with your hands!
Completely unrestrained weirdness, this tape is guaranteed to fry your brain after a mere ten minutes. Strongly reminiscent of early-vintage RESIDENTS, albeit with considerably more dementia, both lyrically and musically. Though inconsistent from cut to cut, FARMERS are fairly good at what they do on this tape.
A rather scathing look at American society performed by three young fellows. Musically, it’s pre-garage electric guitar and vocals, reminding me of an even more minimal MANIAX (Fresno variety). Teen charm.
DON’T NO recalls the high-velocity antics of the better Boston outfits before they went metal, and there’s some fabulous stop-on-a-dime thrash on this one, powered by ripping drum-work. A potential classic. Get it.
Some very tight, fuzzed-out thrash with some pretty pessimistic lyrics. Excellent sound quality to boot.
DAMAGE connect again and again with a nasty, no-holds-barred thrash style on this, their debut album. Apparently recorded live at CBGB’s, this platter has the sharpness of a studio effort with high marks for tightness, production bite…and some very different lyrics (some partially in German!). A very pleasant surprise.
These CUNTS have been around, and their newest record carries over more of their cheesy ’60s psych/trash sound. Even though it’s not going to set the world on fire, it’s still nice to hear that creepy electronic organ.
What happens when members of SUICIDAL TENDENCIES break off and form their own band? Well, it’s called the BROOD. Metallic HC with excruciating guitar whacks totally in a MOTORHEAD school of raw energy. This is a good dose of awesome exhilaration. Check into what looks to be a quick up-and-coming band.
Three very long songs of the rhythmic, depressing post-punk variety. These guys have been around for quite a while, so they pre-date many bands doing this genre, but I have to say I like others who aren’t quite as jazzy, such as BIG BLACK. From Seattle.
More loose and dodgy music from this group who can be favorably compared to both the MONOCHROME SET and PERE UBU’s Art of Walking. Although there isn’t a lot of ground being broken, it still gives you a little buzz, like when you first heard UBU or the BIZARROS.
