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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!
Reminds me a bit of early SHATTERED FAITH, with its tuneful hardcore approach, yet there is a more heavy-handed European thrash influence at work, too. While not startling, the record is engaging and listenable. Do I sound like Steve Spinali yet?
TOLBIAC’S TOADS present two cool tracks, one in a more melodic and catchy Britpunk style, the other in a thrash-meets-13TH FLOOR ELEVATORS-meets-BLURT style that’s quite unusual. SNIX’s pair are more predictable, but also well done, in an Oi style. Two up-and-coming French bands.
This tape features a selection of live tracks by TERVEET KÄDET, most ranging in sound quality from fair to good. Remarkably, though, I liked the power of these performances much better than the ones documented on the live side of the Black God album; so, this cassette could prove an interesting addition to your TK collection.
Around for five years, they finally broke up due to lack of a strong local scene. This posthumous release contains live and studio tracks, both fast punk and thrash, which shows these TERMINALS to have been a highly committed, powerful outfit. Could they be persuaded to re-group? Ask ’em.
The A-side is the title track of the latest STAR CLUB LP, reviewed last issue. Needless to say, this band is still enamored with ’77, as their cover of the PISTOLS’ “Bodies” attests to. If that era’s punk musical style is your cup of sake, check this out.
This six-song job contains a bunch of their ’77 recordings, some previously released and others not. All the tracks contain their quirky pop/punk classic qualities, with genuinely psychotic lyrics. Catchy and wonderfully weird.
Five songs recorded in both ’82 and ’84, and are well done trash and punk with good melodies and execution. It’s either a live or garage tape, but quality is pretty decent. Catchy tunes, with a slight NEW YORK DOLLS influence on the slow numbers.
NEOS fans take note! Some former NEOS and JERK WARDs team up to unleash those short, sweet, psychotic blasts of sub-one-minute rage we’ve been missing. Noisy and nasty.
While the cover of the JOHN LENNON classic is pretty unexciting, the two flipside tracks are pretty neat. One is a surfish instrumental, powerfully done, and the other, “F for Fake,” is in a ’77 style that’s pretty neat. Decent.
Slick packaging on this Kraut 7″ sounds like a rehash to me with all those jangly guitars. Occasionally, they lapse into intense playing, but for the most part this looks and feels something like RED ROCKERS would have done three years ago.
This is a great melodic punk record that’s almost up to the awesome standard established by fellow Swedes ASTA KASK. Loud guitars, huge hooks, and catchy background vocals combine to make these songs stick in your craw, particularly the pair on side A. Highly recommended.
This comp represents past and present bands from the North Bay of the SF area. Side one, the “well-recorded side,” is somewhat within that definition, and contains some cool tracks by LUDAVICHO TECHNIQUE, CRYPT, UXB, PUKES, and SACRIPOLITICAL. The “not-so-well-recorded side” is “live” mateial, with a track each by 13 bands. Kent likes all this “warped stuff.”
Produced by Student Action Corp for Animals, this 7″er comes with a fold-out sleeve that contains all sorts of animal justice information and addresses. The disc itself contains a spoken word track, one musical track by D.C.’s SUBTLE OPPRESSION, and two songs by the Bay Area’s late ATROCITY. Those two tunes, highlighted by twin female vocals and atmospheric but driving punk instrumentation, are the musical treats here, and, unfortunately, are the only released testimony to that great band.
A nice little collection of young US bands featuring MINISTRY OF TRUTH, F, FALSE LIBERTY, ANGRY RED PLANET, CHRONIC DISORDER, NO MORE WARS, STUKAS OVER BEDROCK, E-13, HOMO PICNIC, ART THIEVES, MUSICAL SUICIDE, FUTILE EFFORT, BABY ASTRONAUTS, JUVENILE TRUTH, and MDC. Quality isn’t bad. It sounds like a lot of basement demos, but the effort is well thought out and delivered. A good compilation.
An international compilation of the known and a few newcomers—BORN WITHOUT A FACE, ARHIVISKA ZABAVA, DICTATRISTA, BRAVE NEW WORLD, UNIFORM CHOICE, CRASH BOX, ASBESTOS ROCKPYLE are among the former, while GLORIOUS DIN, BABY ASTRONAUTS (hilarious), ST-37, FAITH NO MORE, DOC WOR MIRRAN, and ARCATA BOYS CHOIR head up the latter. Enjoyable listening.
This buoyant sampler of Boston-area bands concentrates on accessible, up-tempo power-pop and punk—and manages it with surprising consistency. The FLIES, EDGE, and UNDERACHIEVERS vie for top honors, but the odds-on favorite is a slice of country swing (!) by SCRUFFY THE CAT. No thrash here; just agreeable, aggressive hard pop and punk—the kind you listened to and liked way back in ’79.
This German band has quite an “Americanized” thrash sound, not unlike the FREEZE, SOCIAL DISTORTION, and others that utilize a melodic yet driving thrash approach. All the tunes are excellent, tight, and powerful. Watch for vinyl soon; I know I will.
Both sides are “live” recordings from mid-’84, and while the sound quality is decent, there certainly has been plenty of other material (both live and studio) by both bands. In fact, I’d say that they’ve glutted the market—between tapes, Finnish releases, German releases, US releases, etc. I certainly can’t keep track any more of what’s what.
Boyd Rice is NON and Frank Tovey is the main FAD GADGET. This is a stripped-down noise record that plays with rhythms and repetition created by mainly non-musical objects. A party record.
The incredibly prolific RATTUS presents 25 songs, some already released in different versions, on this “live in studio” tape. The sound quality is very good to excellent, and the selections give you a chance to hear this band branch out musically; note the cover version of “Police and Thieves.”
There are three off-shoots of THROBBING GRISTLE. As this is Genesis P. Orridge’s group, it will also be the most dangerous. Their experiments in video and live performance may tell more about them than their records can. Anybody (Genesis) who sticks needles through his penis deserves needles through his penis.
This debut US release of Swedish veterans the NOMADS contains four tracks from their recent Where the Wolfbane Blooms 12″, but don’t let that stop you from picking this one up. The NOMADS are without a doubt the best of the neo-’60s punkers today, with some of the nastiest guitar licks going. Killer!
The LINKMEN sound for all the world like a poor-man’s NOMADS: rich production values, that riff-happy ’60s punk sound, and a genuine instrumental aggression abound here. All that’s missing are the great songs. “Every Inch a King” lacks melodic punch, though the HENDRIX cover on the flip has some moments of power.
This three-piece band deals us a three-song EP, and a weird hand it is: there’s some really fuzzed-out guitar, crazed ranting vocals, and almost jazzy, snappy rhythms. It’s a little arty, but most definitely punk. Different…from Germany.
Very percussion-heavy post-punk meets pre-punk. In other words, there are elements of the VELVETS, ’50s R’n’R, Chinn/Chapman, all blown to hell in a ’80s noise blast that recalls no nostalgia—only perplexion.
I believe this tape is several months old and has now gone into a second edition. It’s melodic but abrasive thrash and punk—very appealing. I just realized that I like most all of the Spanish thrash bands. There is something very believable about their message, and the urgency of the performance.
One of the most politically aware and intelligent bands to spring forth in a while. They aren’t slouches musically either; there is a strong UK/CRASS influence at work, but they are their own band, with songs addressing many local issues, as well as international ones. Comes with posters, a zine, and other info—all of which is comprehensive and inspiring. A good job.
The second tape release from this hot Danish band, and it’s no let-down. Although it’s of the tuneless thrash variety, it’s pretty rugged stuff, with buzzsaw guitar and unrelenting energy. Contains both studio and practice tracks.
EA80 delivers melodic punk and post-punk. It’s really clean stuff, super-produced, and that sterilization process detracts in a way from the overall effect. This is especially true with the vocals, which seem so separate and almost operatic that it’s annoying. So-so.
While the drumming is a bit sloppy, the rest of the band churns on. I like the other aspects well enough, but I keep hearing the drumming; sounds like it’s from someone else’s record…maybe some jazz track mixed in for kicks. Unfortunate for me—maybe it won’t irritate you as much, because the rest is cool.
It would be unfair to characterize this band as something between DISCHARGE, DOA, and MDC—because although there are some tinges of each influence, DIRECT ACTION is their own band, slashing out with one intense song after another, all of which are powerful, intelligent, and well done. Get this tape, and their hopefully upcoming 12″, but they have had some problems with the mail (it’s the name), and many sent out never arrived. They’ll send you the tape and cover in separate packages to avoid such problems.
ERIC HYSTERIC and his friends again treat us to some garagy, off-beat punk; here, however, the mid-tempo ditties utilize synth and rhythm machine to augment their hard guitar sound—and add a bit of dementia. The songs are better than ever, too, though my inability to understand German left me out of a lot of the fun. Then again, if you get drunk enough, anybody could understand this music. Good stuff.
Likeable, garden-variety thrash are DTJ’s stock-in-trade, though the lyrics on this one definitely push this outfit into the growing ranks of “drunkcore” bands. Five of the six songs on this EP have energy and spunk, especially the upbeat rocker, “Die Schwarze Else.” Pretty good record.
Six totally gnarly, noisy thrashers. There’s no let-up at all—just one blast after another. Yet, beneath the fuzz and snarl, there’s plenty of melody. Yet another Swedish classic….
I’d say they were the heirs to the early COCKNEY REJECTS and other “working class” “football chant” UK bands, but this band actually predates most of them. I don’t know how long they disappeared, but their return is most welcome, especially on this disc. All the tracks are catchy, exuberant, and powerful. A good one.
The CRETINS’ track, “Dachau Disco,” is a snappy punk number, well-produced, in a manner somewhat reminiscent of the VIBRATORS. BLUT+EISEN chip in with “Summa Summarum,” a trashed and thrashed-out version of “Teach Your Children Well.”
Mike Spencer is the only original member left of this R’n’B-oriented, rocked-out group (they date back to the late ’70s, and their cover of “Good Guys Don’t Wear White” on a single back then still rules!). While BO DIDDLEY or rockabilly riffs may be cliché today, they deliver with such verve that it becomes fun—especially the live side, which is much more crazy than the rather staid studio tracks.
This may appear to be a typical troglodyte Oi! album, but it’s both more and less. On the plus side are the now-traditional gravelly vocals, an uncharacteristically rich guitar sound, and some surprisingly accomplished songwriting; on the debit side are overly long, metallic guitar solos (as in the title song), some bad reggae-influenced numbers, and a penchant for writing somewhat retarded lyrics (e.g., “Dr. Marten’s Beat” and “Fussball & Gewalt”). Entertaining.
Bone-crunching punk (without being metal), these guys deliver intelligent lyrics to boot. This, their second 7″, is produced by Dave Gregg of DOA, and there are some slight similarities in their punk “rock” approach. Powerful.
Why these two platters in tandem? Because they graphically reflect before and after. Now that some A&R man has taken them under his wing and has sent them out on the road with HANOI ROCKS, will things ever be the same? They have some fuckin’ killer platters like this 7″, but their LP pales by comparison; it’s still up front and to-the-point, but they lost me when they started singing in English.
Boomba! This is a pretty terrific debut. While the drummer seems to lag at times from sheer exhaustion, this band blazes from beginning to end, delivering not just wicked blasts of thrash, but tuneful, catchy, and intelligent songs as well. Hot!
A powerful effort that crosses sonic punk with a frenzied, bizarre quality, yet lacing all the different elements of punk into the sound. Chanting vocals with background screams are added for an interesting effect, as the up/down, stop/start chord changes make this Japanese group unusual but enjoyable. Mysterious slices of doom to haunt and taunt at your swelling brain.
23 bands from all over the world contribute to this compilation, though a sound problem on the first side (is it just my copy?) works against some of them. First-rate efforts by the ACCUSED, NOT MOVING (from Italy), YOUTH KORPS, VICIOUS CIRCLE (from Australia), and Denmark’s DISRESPECT make for some rousing moments; el Demento award goes to HAPPY FLOWERS for “Mom I Gave the Cat Some Acid.”
This latest Greg Shaw reliving-his-teens comp contains all contemporary SoCal neo-’60s bands. The accent is on punk here, with just a dash of folk-rock, psych, and Mersey. And a good one it is—solid rockin’ from beginning to end by all 16 bands (most previously unreleased). Recommended.
Oh, no! Yet another STANDELLS cover—and a pretty decent one at that. The flip is a ’60s fuzzed “tribute” to the holiday season; pretty imitative-sounding, but still OK.
There are three tracks here, all in the “angry young singer-songwriter vein.” It’s sort of a pissed, poetic stream-of-consciousness rap laid over driving rhythms, not unlike early LOU REED or JIM CARROLL (but with better lyrics). They’re an enjoyable (though sometimes both tedious and thrilling) live act, too.
One of a seeming million early-’60s garage bands from the Northwest that paved the way for mid-’60s punk. This LP traces their progress from an only slightly more interesting later reincarnation as a pop/rock R’n’B-sounding band (while going from name to name). It’s a classic story, but not necessarily that interesting, musically.
Heard this was a truly rockin’ ’50s-ish band (maybe the LYRES?), with a front-man and honkin’ sax added. It’s OK, but not the rip-snortin’ thing I was expecting. The exception to the rule was their cover of MICKEY HAWKS AND THE NIGHTMARES’ “Cotton Pickin’.”
Hailing from Smalltown, Michigan, there is something almost comical and naïve about this EP. It’s hard to pinpoint exactly; the music is punk/thrash, but it’s delivered in such a garagy, under-produced manner that it seems almost Quincy-inspired. But there are some serious lyrics, and although I don’t mean to be condescending, it’s just that I feel I’m back in ’78 again.
Words that once used to adequately describe the SWANS—like “grinding, crunching, noisy, and painful” are not obsolete. Nothing can describe the total off-the-wall intensity of this band. Everyone should hear an album like this at least once in their lives. Definitely the kind of music sloths reproduce by….
