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!
With their folk-style vocal harmonies and sedate instrumentation, this band seems to have steeped themselves too deeply in MOR ’60s pop. Too bad; the rudiments of good songwriting are evident, but the STEPPES don’t develop their melodic hooks or arrangements with much originality. “Kathy McGuire” rates as an above-average moddish ditty.
SWEET, MOTT THE HOOPLE, etc. While this outfit is more garagy than their influences, they do seem a bit out of place today (which “All the Young Dudes Are Dead” testifies to). “Prison Rape” is the most intense of the four songs, at least lyrically.
A new Huntington Beach band that’s got powerful, but not especially original songs and delivery. Their most charming aspect is the nasally teen vocals. This band should improve with age.
A match made in hell? Actually, this single is pretty enjoyable. While I haven’t really liked LYDIA LUNCH since TEENAGE JESUS & THE JERKS, the focus of SONIC YOUTH forces her into a structure that makes the result a lot more accessible. Almost sounds like PATTI SMITH.
We’re bordering on ambient slow-burn here, but I’m still drawn…no, sucked into this band’s whole thing. They simply can do no wrong. I’m the biased jerk who really shouldn’t be reviewing this babe. Not for everybody, but then neither is good taste.
If you were never lucky enough to pick up the SOLGER EP (one of the earliest NW thrash bands), then pick up this tape. It contains 15 tracks, down and dirty, recorded in 1980, that make the FARTZ sound pop. Well, not really, but you get the idea.
A horror-filled tape (lyrics only, folks), full of guts and gore. This mood is enhanced by echoey, mysterious vocals, and slightly psyched instrumentation, some punk and some post-punk. Buy and die.
Really nice stuff here from SALEM 66. “Across the Sea” features some cool guitar and vocal interplay which is highlighted by a super chorus. The B-side falters in its vocals and length, but it’s still strong. Play it for your Mom.
A three-song goodie. The production on these rockers is really fine, calling attention to this band’s musical expertise and attention to arrangements. Although there are tinges of “rock” guitar, it’s kept to a minimum, making way for the powerful overall effect. Their version of the AIRPLANE classic is totally enjoyable.
Where does one draw the line between cute and dreadful? This is one of those judgement calls, being just guitar and vocals, punk singer/songwriter stuff. I dunno.
A young Berkeley thrash outfit that sports some keen bass playing and guitar work that are sometimes disconcerting (it’s the weird tone, which is both good and bad). Good vocals, too, but they have a propensity to break into rock ’n’ roll/R’n’B riffs in the middle of songs.
Folk, mutant psychedelia, and experimental influences abound on this debut cassette. Acoustic and electric guitars predominate over lilting vocals in these improvisational-sounding songs; I felt that this band needs to apply more structure and invention to their output.
A current band with a ’60s fixation, copping their name from the SDS 1962 statement of purpose, and a cover of BOB DYLAN’s classic. Actually, I’m surprised that no British band has done this (have they?), because Maggie Thatcher is plastered across the record sleeve. The music itself is a slightly more bluesy version; the B-side is a funky throwaway.
Seems like I’ve heard more and more new bands lately that are borrowing heavily from the early ’70s proto-punks like the STOOGES, HEARTBREAKERS, etc. This band is in that vein, although other less appealing aspects of ’70s rock creep in, too. Overall, a nice nostalgic departure.
This remarkably consistent eight-track effort shows the PART-TIME CHRISTIANS at their quintessential best. Scathing, DIE KREUZEN-style vocals blend with grinding thrash (metal overtones included) on most of these songs here, though “Bowling Pin Massacre” parodies rap effectively. If they bowl as good as this record sounds, they’d probably hit a near perfect score.
The PANDORAS present two rockin’ blasts of ’60s psych/punk on this one. “Hot Generation” opts for a slightly more commercial approach than past efforts, though the flip packs it all in—cheesy keyboards, thickly textured guitar riffing, and an unforgettable melody. The cover’s great, too.
A musical departure of sorts for PAINTED WILLIE, this topical release incorporates aspects of rap, funk, and slower rhythmic forms. But the accent here is on lyrics, with title track zeroing in on Reagan’s “We begin bombing Russia…” “joke,” and going on from there. It’d be nice to see more bands using vinyl as “current events” ways of communicating opposition.
You can hear garage, pre-’77 types of punk, SoCal thrash, etc. in this band. I’m not too partial to the singing, though he does have some distinctiveness. Covers of “New Race” and “Can’t Explain,” too.
This live tape is characterized by long songs, with somewhat of a slow STOOGES influence, and perhaps a bit of early TELEVISION mixed in. The sound quality is decent for a live recording, but some of the wanking and effects get a bit obscured, as this is moody stuff.
Semi-psychedelic funk rock? A wimpier URBAN VERBS? A decent idea overpolished? A reviewer who’s just not into it? Should I take some acid?
Remember hard rock? This Arizona band sounds like they’ve been isolated for ten years, but they’re really good—like ALICE COOPER but more on the “lonesome” side. It’s slightly metallish without the power for power’s sake.
These guys hit you with power and drive that falls somewhere between HÜSKER DÜ and NAKED RAYGUN. Their sound is continually driven like fellow Minnesotans the HÜSKERS, but their rhythmic pulse is more akin to N.R.
HUNTING LODGE are much more rhythmic and less cluttered here than in some past releases. This is closer to CABARET VOLTAIRE but less obtrusive—and no electronic clichés.
The production on these acidic thrash compositions is extremely basic, as on their debut LP, but HUMAN SUFFERAGE earn high marks for improved songwriting and a sense of passion that’s almost tangible. “Take It for Granted” is a snappy hardcore number worth special mention, but the lyrics on all these songs show that this band is extremely articulate, too. A must-get.
A self-admitted silly name, but the music and lyrics aren’t. While sometimes metallic, they are pretty energetic and straightforward instrumentally, with lyrics that are well thought out and somewhat political, though not dogmatic.
Yep, here they are, performing their generic hits like, “Nuclear War Is Awful,” “Peace Is Where It’s At,” “Slam, Slam, Slam,” “Government Is Lame.” Actually, the only way I can tell it’s really them is from the flyer, because musically it’s all just one big “live” blur, making them sound like countless other generic YOUTH imitators.
Maybe if you’re from the Midwest you might relate to this record, with its geographical themes (there’s even a song about Woody Hayes) and garagy appeal. But it’s pretty folky overall. Erikka says it sounds like “bad NEIL YOUNG.”
Another hot new neo-’60s release. This now-defunct outfit was from San Diego, and they knew how to mix original and cover songs to achieve the right mid-’60s feel. The high points here are an amazingly snot-nosed vocalist with sneering ’60s inflections, some strong original songwriting, an appropriately tinny “mono” production, and an above-average choice of tunes to cover. Although the fuzz guitar could be louder, these guys have obviously been inspired by primo stuff.
One thing that bugs me about a lot of today’s neo-’60s bands is that they’re so concerned about projecting the “correct” image and musical format that they actually do a disservice to the creative spirit of the mid-’60s, and the FUZZTONES sort of epitomize that tendency. I know it’s unfair to single them out, because they do produce appealingly raunchy blasts with belligerent singing, fuzz guitars, and cheesy organ swells, but they are among the most calculated of the bunch. Still, this batch of cover songs rocks out, so who cares?
Culled from demos left behind after his death in 1966 (he was rumored to have been killed by the mob—gasoline poured down his throat and lit!), most of these tracks are tame compared to his classic “I Fought the Law,” but do convey his evolution from the heir to BUDDY HOLLY to a ’60s rocker. Surprisingly, I like his version of “Miserlou” the best here, as surf music wasn’t what he was noted for. For fanatic collectors only.
After reading some articles and reviews that this first release in years by the former CREEDENCE CLEARWATER REVIVAL frontman was the “real McCoy,” I was psyched for some great straightforward rock ’n’ roll. What I got was some so-so straightforward R’n’R, more reminiscent of CCR’s dying days or their BLUE RIDGE RANGERS incarnation. Shit! I’m disappointed.
Probably the first of the neo-psych and neo-’60s bands (they were putting out indie 7″-ers back in ’75), they haven’t lost their feel for the genre at all. The great production by Earle Mankey doesn’t hurt either; they churn out nine songs that are more on the psych side than punk (though not always), but are packed with plenty of punch nonetheless. The title cut is excellent!
Boston garage rock in the tradition of the REAL KIDS. Those who enjoy the REPLACEMENTS will probably take to this, though I found it a bit too slick and poppish and not rockin’ enough. There are a couple of kickers, but the ballad-y side (augmented by the dreaded sax) is more than I can take. Also, “Hardcore Rules” is a backhanded slap at the scene.
I guess what’s “underground” is relative to where you’re from. For these guys from Central Illinois, this form of pop/punk/funk they practice is pretty radical. For me, though, it’s a bit too close to much “new wave,” although there are moments that attract me. Needs more edge.
While this new band hasn’t developed any new style yet, they are enjoyable and inspiring for a couple of reasons. First, at least two are women (we need more in bands!), they play a good, intelligent brand of garage thrash, and finally, hail from East Oakland, where no punk bands had hitherto come from. Keep it up.
The songs on this debut album hallmark some fine elements of the DDT style: exceptional lyrics, passionate vocals, and compositions that emphasize thrash with tasteful guitar breaks. Although some of the tracks do tend to lack distinctiveness, “Last Train to Athens” rates as a classic satiric rocker. Pretty good.
Sounding more than a little like SSD (their admitted heroes), this thrash/metal five-song slab is quite a strong debut from this now-veteran band (see article this issue). If you like “power” punk, then hunt this one down.
If you liked the original line-up of the band, or if you’ve ever liked the CIRCLE JERKS, then rest assured you’re going to like this one. While there’s a bit of tedium in the uniformity of their thrash, it’s more than compensated for by the overall power and tightness. Good.
Touch & Go is on a real winning streak here, what with the DIE KREUZEN LP, and now this. By now, most people know how dynamically weird the BUTTHOLES are, so I’ll skip the intros and just say check these walking, talking Texas nightmares out…dudes.
A superior quality live tape showcasing an evening with a seminal, legendary, masochistic, poignant, chaotic beast of an outfit who have not lost one iota of aggro. Will the years catch up with BLACK FLAG? Will they cease and desist this rampant high-speed lurch? Hope not…
Arto is a veteran of more experimental/no wave jazz groups (DNA, LOUNGE LIZARDS, etc.) and he’s been heading toward jazz lately. This record’s kind of slick and subdued, but he’s one of the few improv dudes who can make you laugh. Some Latin stuff, sardonic dance music, and some of what he’s known for—but you can’t hear his guitar. Cool lyrics and vocals.
ZYNTHSLAKT on this solo release pushes forth a full aggressive punk flavor. This Swedish ensemble hits with some hard-hitting blows, using raw guitar and drum mixtures with harmonious vocals, a little say, and just pure driving energy.
Belgian speedcore at its finest! Fast, electrifying guitar laced with quick drumming and hi-hat smashings. Rapid vocals keep the pace moving at 1000 RPM as ZYKLOME A roars through one besetment to the next blast. This is crazed and frenzied, and put out on the Punk Etc. label. Another European release to sit up and take notice of. It has scorching potential.
Two recently deceased bands share this memorial release. While INCEST were just so-so, ZWAAR KLOTE were quite awesome. They are as tight, fast, and powerful as you’ll find around Europe, and not prone to too much sloppiness.
“Rape,” need we say, is a disturbing tune—monster-movie soundtrack with a woman wailing in torment; troubling documentation of a violent act. Skip the B-side, the A-side haunts the hell out of me.
Interesting sound on this ZOLGE release, ultimately using the studio (a good one) to their advantage. A wall-of-sound rock/hardcore approach with much emphasis on the exceptional vocals that have plenty of interesting effects on them. This booms with well-produced power, different and enjoyable. A one-of-a-kind sound.
Blows an outrageous stack of volcanic thrash with fast-paced rhythms, steadfast with abrasive vocals and good guitar licks. This German outfit storms wildly with ten lightning-paced maniac doses that forcefully house an abundant source of energy and aggression. One of the best speedcore releases to some out of Deutschland since INFERNO and the MALINHEADS. Really good.
The hardcore played by these guys is on one hand melodic (a bit reminiscent of the DKs) and yet also somewhat heavy-handed (mainly in the vocal delivery, which is quite “Germanic,” and in the rhythm section’s “heavy” sound). Good, but not great.
Both of these tracks are in the highly-produced, powerful punk/post-punk vein, reminding me of some of the slower material on the STALIN’s picture disc LP. Good traditional stuff from Japan.
Japan’s longest surviving punk band has a new LP, and it sounds like it could’ve been recorded back in ’77 when they began. It’s got that “classical punk” sound, thoroughly produced by a major label, power chords and all. Now that Johnny Rotten is doing SEX PISTOLS material again, I guess it’s OK. First 500 come with a flexi, too.
