Kimaira 13日の金曜日 EP
The vocals are on the ghoulish side, deep and echoey. The music is slow- to mid-tempo punk and relatively uninspiring, but not incompetent by any means. Better at droners than punkers.
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The vocals are on the ghoulish side, deep and echoey. The music is slow- to mid-tempo punk and relatively uninspiring, but not incompetent by any means. Better at droners than punkers.
Hard-driving pop-punk strikes again via KENJI. Two of the four tunes are too lightweight ’78 for me, but the two others rip pretty good, in, say, the tradition of CH3. Better than their first release.
If you haven’t heard this band by now, where have you been? KAAOS has lots of vinyl and tape out, and now add yet another quality release. Powerful HC.
This band opts for longer song structures and a pop style with moments of instrumental invention and even ingenuity. While the majority of this album sustains a melodic approach, there are welcome blasts of thrashy energy from time to time; too bad the compositions tend to fall into an earlier, less accessible German style.
This band seems influenced by British post-punkers LEITMOTIV, and the two faster songs here represent good examples of that taut, expressive style. The other two numbers mine a languid mood I found sleep-inducing.
Mid-tempo English “peace punk” sound, heavy on slick production and cockney accent. Lyrics are tough, but the music rolls off the turntable too well-mixed and without any roughness to match. Good, but not great.
A pretty unexciting debut, with an unenergetic ’78-’79 punk and post-punk sound. Perhaps some of that might be made up for lyrically, as they are quite prominent, but alas, it’s all Greek to me. Then, inexplicably, there’s one thrash song that leaps out at you, breaking through the doldrums. Hopefully, their upcoming LP will be more challenging.
This collection of classic ’77 UK punk is not to be missed by those who were too young by accident of fate to enjoy such classics as “Thinkin’ of the USA,” “Outside View,” and tons more. Get this!
Interesting. Like early PINK FLOYD meets middle ELECTRIC PRUNES meets late YARDBIRDS. In other words, highly produced but still abrasive pop/psychedelia. Other influences are BEATLES (Revolver), EASYBEATS, BEATLES again (“I Am the Eggman”). Okay, ’67 was a pretty good year, but ’68 blew, guys. Head back towards ’66.
Italian speed merchants going all out to zoom out the power chords in the rising Italian fashion. Gritty guitar sound with quick whacks and those tongue-in-cheek twisting vocals. Raw, intense, and to the hilt, this is one good record.
Full speed ahead, this gem changes with a rapid beat packed with storming drum action and quick metallic guitar licks. From Canada, it’s not what you’d expect, as each number is laced with energetic appeal and hollow vocals. For those who like it raging in the speedcore tradition, this baby sets the stylus afire.
Powerful sounding but emotionally unstimulating mid-tempo UK punk. It’s all quite competent, but there’s little gusto to separate DEMENTIA from the pack. I’d like to feel their anger through the music as well as hear it in the words.
I have to admit that I wasn’t all that impressed with this Montreal duo’s first record, but this new one really floored me. It’s a low-budget mixture of the CRAMPS and SUICIDE. They only use guitars and drums to get an eerie, psychotic sound that makes all their songs sound like old trashy covers. Self-described as “sludgeabilly.”
More post-punk from the ADK label, this time in a KILLING JOKE vein. It’s well-done, but ultimately unexciting.
This veteran German band treats us to a selection of mostly live and some studio material ranging from 1978-’81. Most of these tracks showcase the BUTTOCKS’ no-nonsense amalgam of aggressive punk and hardcore to good advantage, though the superior sound quality of their studio recordings (from their two EP’s) shames the rest of the LP. Limited edition of 1000.
BETON COMBO represents an earlier style of German hardcore, in which the power and hooks are more subdued than the work of their contemporaries. A solid piece of work; still, only the textured thrasher “Ich Krieg Dich” leaves a real impression on multiple listenings. This EP’s not as impressive as their best recordings.
For the most part, this is a pretty unaccomplished outfit, ragged around the edges. But on two of the four tracks, especially on “Fuck the Clumsy Metal,” their charm (and special effects) come through.
The fifth incredible barrage of music and ideas from at least some of the APOSTLES. Public airings of internal splits, extreme swings of hate and love, self-pity and vicious projections, diatribes against Left and Right, phony anarchists, women who’ve hurt them, drugs—you name it, it’s written about at length and in depth. Schizophrenic—maybe too sane—maybe…whatever it is, it’s one intelligently and intensely.
Entranced by this album, its stylings, approach, and aggressive musical attack makes for a very positive creative slice of energetic combustion. Dueling male and female vocals, sometimes either together or solo, make interesting harmonies as the lyrics really charge home the truth. A great piece in the tradition of ANTHRAX, INSTIGATORS, or the SUBHUMANS. Ravings galore.
Both sides of this EP are excellent sounding punk rock reminding me of classic NO ALTERNATIVE stuff. Lyrically, these guys are no geniuses. On the A-side, for example, they seem to be advocating capital punishment with a chorus of “Kill the killers”…I think. I say “I think” because it could be (no lyric sheet) “Kill the coloreds.” Hard to really tell. That wouldn’t be on purpose, would it…guys?
Every now and then over the last seven years, the TWEEDS have re-emerged with a tasty slab of pop vinyl. This latest release features an A-side that incorporates snarly ’60s punk vocals and sentiments with a pop-punk structure and harmonica wailing. The flip is more pop, but still okay.
There’s a fair amount of goofing off here, but when these guys get serious they turn out some great Texas-style ’60s punk like “You Need Love,” “Every Night,” and “Mad” with a great psych feel. Their cover of “Brand New Cadillac” shreds, too.
Folky-sounding rock that reminds me of YO a bit. I figured with a name like the SUBSTITUTES they’d have a WHO influence, but they’re more on the melodic side. Good sound quality.
Hmmm…they remind me of a slightly rougher ADOLESCENTS—definitely that SoCal thrash with shredding music, teen snotty vocals, and melody, too. If they keep working at it, they’ll put out some wonderful vinyl.
SHATTERED FAITH’s first LP was an embarrassing try at punk arena rock with its live recording and obnoxious MC. They’ve come back with a sturdy line-up and a respectable hard, fast sound. They’re aiming for that 1980 UK punk sound that has eluded SOCIAL D for years. Even a nice cover of the VIBRATORS’ “Baby Baby.”
Here’s an eccentric little oddity. Their earlier 45 had a charming mid-period KINKS sound, but this debut LP is just chock full of quirky songs and odd time-signatures. The real good spazzy melodies here might interest JONATHAN RICHMAN or BONZO DOG BAND fans.
An interesting eight-song tape that combines political consciousness with a VELVET UNDERGROUND perverse attitude. Musically, it’s quirky pop meets early V.U. (pre-first LP) meets no wave. Intelligent all the way around.
I thought these guys broke up, but here they are again with six tunes. Four are rippin’, two are slower punk, and all are snarled out with heavy doses of satire. Enjoyable.
Very aggressive post-punk might be the best way to describe this four-song release. These medium-paced songs are driven by punk singing, backed up by a melodic yet ravish guitar-oriented band. The lyrics are pretty cryptic/bleak, but the music is a bit less depressing especially due to the sometimes snappy drumming and ringing guitar.
Two of the four tracks here are pretty eclectic, utilizing jazzy and rock structures, and punctuated by occasionally tough female vocals and sudden up-tempo punk surges. The other two are a lot more ballsy, especially “You Should Read More Books.” The super-clean production turns me off a bit, but the singer’s snarls and intelligently cryptic lyrics save it a bit.
Ripping! These RICH KIDS ON LSD whip out thrash with some slight metal tinges, lots of changes, and tight musicianship. The production is excellent, too, which along with the occasionally special effects really helps out matters. Great live band, too.
Good production really helps sometimes, and it’s nice to finally really hear this band. All four songs, whether thrash or punk, feature plenty of melody and musicianship, making for hot listening. Really like “Sad.”
It’s gonna be really hard to be kind on this one. What you have here is a live “jam” recorded last year in San Francisco. Basically this constitutes an SST supergroup with members of BLACK FLAG, SACCHARINE TRUST, and the DESCENDENTS. And the music is pretty much sludge, making this probably a lot more fun to make than to listen to.
Really quite good for a debut. Their sound is charging hardcore, but with plenty of melody and full guitars, not unlike fellow Midwesterners HÜSKER DÜ. That touch of psychedelic/metal adds a lot to thrash when it’s not overbearing.
MOOSE AND THE MUDBUGS recall the halcyon days of power-pop with these four songs. Most of this EP is unnotable—instrumentally adept but somewhat geeky in the vocals department—though I enjoyed the Farfisa/guitar combination on the pleasant rocker “20 Ashford.” Somewhat below the standard.
MOD FUN had an earlier single that had a sharp, snappy sense of fun. Therefore, I was really looking forward to this. The band seems more contrived now; the press release describes them as a cross between the CREATION and the JAM, but I hear more of the SMALL FACES and 3 O’CLOCK. Some good hooks, but all pretty bland.
With a title like that, I was expecting to end up on Jupiter after listening, but instead ended up asleep in bed by 10 P.M. Must be weak acid cuz I didn’t hardly get a buzz. Very tame shit, cut thin. Gonna complain to my dealer… Gimme Swedish or Australian for a real flash… this ain’t pure ’60s Owsley!
MIHR means “peace” in Russian and that’s what preoccupies this intense thrash band. Both subject matter and music are delivered with lots of energy and commitment. Kicks ass!
A semi-serious stab at making hit records. So once you get past the shock at hearing horns, guitar breaks, and longer songs on a MINUTEMEN record you discover that they’re writing incredible songs. “King of the Hill” is the centerpiece with a full, complex structure and lyrics that bring politics onto a more personal level. Also a nice mantra-like psychedelic feel to “Tour Spiel, Part 2.”
MENTAL ABUSE performs thrash within some longer punk song structures, and what results is a gritty, kinetic, and highly enjoyable album. It’s difficult to pick standout tracks here, though “Rat Race” works well in the ’77 mode. Rambunctious and a hell of a lot of fun.
Outflanked by G.G. ALLIN on the outright perv side of punk, Tesco and co. uphold the intelligent irreverent side of the genre. And even if musically they venture into metal, flamenco, and other forms, this is really humorous/satirical punk (attitude) at its incisive best, although there are some pretty dark overtones and self-indulgent meanderings (musically and lyrically). Wish I could play most of this on the radio.
A chunky punk instrumental attack characterizes the latest LOST GENERATION LP. Despite some overly rockish parts, Victim’s solid mid-tempo sound, multi-dimensional songs, strong hooks, sung (rather than screamed) vocals, and sometimes thoughtful lyrics make it the best release by this band since their awesome debut EP.
This second LP by GREEN ON RED pushes the guitar sound up front and uses the keyboards only for emphasis. This is one of the few bands lumped into the “American Western” style (TRUE WEST, LONG RYDERS, etc.) that really go after their own style, using other influences (NEIL YOUNG, BOB DYLAN, even LITTLE FEAT) as reference points.
One of the more accessible releases Happy Squid has put out in a long time, this band existed briefly in early ’83, then they went the way of the buffalo. Musically, and even lyrically, they are so close to early GANG OF FOUR that it’s not funny. I doubt it was meant to be, though.
With the exception of the SUICIDE COMMANDOS and the REPLACEMENTS, Twin/Tone has had a reputation for releasing really wimpy pop records. So it’s good they’ve picked up a band like the FORM. This is just a straight guitar garage band that makes no excuses but does make catchy, driving songs. I can even forgive the pedestrian cover of MOTT THE HOOPLE.
For a band that claims to be “from nowhere,” they certainly are “somewhere.” There’s a lot of accomplished and powerful HC on this tape, and while most is fairly generic, there is ample evidence of future distinctiveness.
A different kind of thrash band, consisting of vocals, drums, and… lead synth and bass synth. Does it work? Almost. It’s an interesting change, but the power just isn’t there. Synth worked great in some early punk (SCREAMERS), because the tempo was slower and the power came across better. In this case, perhaps better equipment and recording would enhance their impact. Hope they keep experimenting.
Even though the artwork on the back tries to tie the songs into a concept album, this is just another cool effort from a band that keeps cranking out trashy records. This one is a little more mellow than their last disc, but it’s still worth the effort of finding.
Imagine Doc Dart of the CRUCIFUCKS (his sharp wit and bizarre voice) singing for the VANDALS with a ’60s punk guitarist and a little ANEMIC BOYFRIENDS thrown in for good measure. The result: totally enjoyable punk and thrash, with intelligent and satirical lyrics.
A nice bit of melody mixed with a great trashy guitar sound, somewhere near the DB’S but with more balls. The flip howls along like a drunken REPLACEMENTS song.
