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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. We reserve the right to reject releases on the basis of content. Music without vocals or drums will not be considered. All music submitted for review must have been released (or reissued) within the last two years. Please include contact information and let us know where your band is from!
Well-produced eccentric pop punk. The B-side is a bit pop for me, but most of the A-side is interesting (save for some of the breaks, which get a bit “wavy”). Not run-of-the-mill at all.
I think maybe I could handle this super-produced punk-derived rock if it weren’t for the singer. He plays it totally straight vocally, sounding real mainstream, and that puts me over the edge. Maybe LOU REED or DAMNED fans could get by, though. Comes with a three-song flexi.
The A-side is decent but uninspiring ’77 punk, but the flip is a thrash ripper with cool choruses, though the lead singer doesn’t quite grab me—too clean sounding.
Grungy thrash with hints of Oi, Oi, Oi choruses but not falling into the sometimes wimpy character of a lot of Oi music. The good mixture of abrasive, distorted guitar and fast speed keep this record flowing smooth. Grade “A” thrash—good stuff!
This Swedish combo fails to enliven their mid-tempo punk format on their latest single. “Tragedy” is an uneventful ditty with lackluster hooks, and the flip sadly rates only as a mishmash of bad production and songwriting. SLAM has done much better than this.
A ten-song follow-up to their cassette (released in the US), continuing with ultra-simple and basic (primitive?) pop ditties. Well, the music is at least…but with song titles like “Banana Leaf,” “Chinese Song,” “Flying Jelly Attack,” and “Insect Collector,” I have a feeling these girls are not at all as sweet and innocent as they sound.
Medium/slow-paced but powerful, combining some of the better aspects of post-punk with the raw power of PISTOLS-type punk. Lyrically, the three songs deal poetically and philosophically with alienation, religion, etc. Good sound.
This Austrian band mines the same territory that the NOMADS do, and well-thought-out originals, but they do it on a less frantic level. There’s an overall enthusiasm that helps with the sound, but it might come over a little bit better if they’d work up a sweat.
Pretty cool and raw ’60s-type punk. Tight and powerful, with an obvious NOMADS influence, they rock hard and have a gnarly singer. Hot rock’n’roll.
While the FALL seems to be suffocating in their own style, MARC RILEY exploits the sound of his former mates and adds gusto to make a quartet of first-rate songs. Imagine Witch Trial FALL with an added dimension of life and catchiness, and you get an idea of what this fab disc is like. Get it!
If you’re a fan of that raw, early PISTOLS punk, as well as fast, well-done punk, you’ll want to locate this. Although it’s a live recording (good sound, though), there’s plenty of power and clarity, as well as excitement. Great guitar.
An above average neo-’60s disc that mixes Lux-type CRAMPS vocals with slightly more tight ’60s punk instrumentation. Maybe it’s the hot production, but the five songs here really stick out, including a cool cover of “Wild Man” and RED CRAYOLA’s classic “Hurricane Fighter Plane” (another CRAMPS rediscovery).
Thirteen mayhem raging tunes surface from the basement of this West German band. Vicious stop-and-go thrash compounded with several mid-tempo speed changeovers. The harsh bash/smash parts have a hard time keeping time, but the more melodic parts are quite enjoyable.
An English release that mixes bits of thrash with the sound similarities of GBH and ENGLISH DOGS, but with not the same amount of punch. Musically, it has a lot going for it, but nothing that makes it shine past the stack. Enjoyable and better than some UK releases, but needs that unique gusto to kick the brain around.
Two routine Brit-punk entries on their latest, but at least there’s rudimentary songwriting skill and punky energy in evidence. Adequate, though hardly up to the standards of their first two singles.
This is a 12″ reissue of PERDITION’s earlier release. Obviously, the catchy Britpunk musical style hasn’t changed, but the sound quality is a whole lot better.
Slow- to mid-tempo post-punk. Haunting and flowing mood music bordering on gothic, but not as trite. Weaving but simple melodies. The title-track is the star by far. If you’ve been following the bountiful post-punk bands from the East Coast, you’ll love these Brits.
Eccentric hardcore, ranging from FLIPPER-like dirges to weirdness that I thought only comes from Arizona or Texas. Pretty garage at times, too, on this five-song job.
Heavy rockin’ Aussie stuff with plenty of late-’60s and mid-’70s influences, and since the Detroit sound seems permanently ensconced Down Under, it should come as no surprise. OK.
Both of these EP’s are fairly crazed post-punk meets ’60s junk meets NAKED RAYGUN meets BUTTHOLE SURFERS meets BIRTHDAY PARTY etc., etc. I made the mistake of playing one record at 45 RPM instead of 33, and it sounded even better. Incredible production doesn’t hurt a bit either. Find these.
Thee MIGHTY CAESARS sound a lot like the MILKSHAKES on the A-side instrumental and a lot like ’62 UK R’n’B on their cover of JIMMY REED’s classic. Beat/surf/R’n’B stuff with a cool but simple trebly guitar lead. Basic crude and lightly produced rock’n’roll.
While I’ve liked a lot of their earlier releases, this one didn’t grab me. It’s really rock-heavy punk and post-punk that rarely cuts loose. On some of the slower stuff they do mount good power (“Lollipop”), but it’s not enough.
An interesting four-song effort, featuring an almost folk pop-punk sound like the NEWTOWN NEUROTICS. And; as with that band, you’ll find thoughtful lyrics and punchy delivery. Subjects covered are skinheads, glue, and standing up for your dignity. Fine-spirited punk.
Schmaltzy ’50s R’n’R meets DOORS meets simple punk—and I don’t think I like the results very much. Total noise it ain’t.
Actually, this is a 45. Both are fast punk with fuzzy guitar, a bit experimental sounding at times, but by no means groundbreaking. Decent.
Their first album contains three previously released tracks and eleven newies. And like their other recent material, this new stuff contains numbers that melt perfect simple pop melodies with a wall of guitar noise—a sublime combination only approached before by the VELVETS.
A three-song one-sided effort, this bands’ name translates as “A Whole Family Suicide.” Fans of fast-paced UK thrash will like this one, as it’s well-produced and crunches. Good debut.
This Swedish four-song EP is more than a little influenced by new speed-metal bands. However, the rough, crunchy production helps to overcome that avenue.
Melodic early British punk influence. Two songs, both with upbeat tempos and sing-along chorus. The vocals are done with a perfected slurring technique which gives this record a lowdown party punk feeling. Good.
Both sides are rockabilly-influenced punk, decently done but pretty country-fried. Definite CARL PERKINS influence.
Both A-side tunes are slick, mainstream punk (if that’s not a contradiction in terms), and are to be played at 33 RPM. The flip is a 45-er, though, and is thrashy, making it hard to believe this is the same band. That song rips, and the cover is also a grabber.
Containing both live and studio material, this tape demonstrates HEX’s powerful anti-state message as well. There isn’t as much bass as I’d like to hear, the sound quality is good and there’s plenty of powerful music, as well as chants, rants, interspersed sound effects, and literature. Concerns are predictable: bomb, anti-vivisection, politicians. Good chaps.
Fans of eclectic hard punk should appreciate this release. Combining funk, rock, and jazz influences. LES GNOMES have a punchy and herky-jerky sound which could have been too distracting had they not delivered it with such force.
In reality, just two songs, both highlighted by melodic punk Á la PENETRATION, complete with a clear singing female vocalist. Quite good, actually, with excellent production and simple but well-done mid-tempo instrumentation.
GIRLS AGAINST SEXIST HYPE aren’t fuckin’ around at all! Great smashing hardcore, sharp lyrics, powerful production—too much. Imagine a POISON GIRLS approach with thrash power, and you got it. Get it.
Rock punk with crooning female vocals, metalish rock guitar, and overall late-PENETRATION sound. Singer bugs me a lot with her “sweet” singing.
Sounding a lot like the FLAMIN’ GROOVIES in both their early ’70s “Slow Death” sound and their later jangly guitar stage, this single is pretty rockin’. While they don’t flip out totally, it’s good, powerful R’n’B rockin’, especially the B-side.
Both sides are typically rockin’ Aussie stuff, with a DOLLS sound updated by Motor-City-type late-’60s rock. Rock’n’roll, dudes.
Maniac accelerated speedcore and the bites are intense. Their third release has head-choppin’ activity which never backs off, their best yet. Laced with metallic thrash and abrasive vocals and produced with a booming sound, this crossover ignites to drive you mad. Take off this buckled jacket, I want to flail.
Great! Who are these guys? Awesomely powerful English-style thrash meets almost a DC-like hardcore approach meets DOA at their best! Great lyrics to boot.
This French band has put together an impressive package with photo cards and cover booklet. The single is right in the JOY DIVISION, early NEW ORDER, experimental vein, although “Santa Maria” is a little more rockin’. I know this doesn’t sound great, but they’re not bad. Needs more edge to make me happy, though.
A wonderful noisy and crude assault on your ears. While the musicianship is basic and loud, there are structure, changes, and thought behind it all. Good and intense, political as well.
The A-side sounds like the SAINTS (second LP) meets ’60s pop-punk—OK. B-side is way rad, a snarling ’60s punker with SKY SAXON-ish vocals and nasty instrumentation. Once again, Sweden leads the way in this genre.
The debut vinyl from this German band has eleven hard, tight, melodic thrashers, and a good, steady fast beat with several speed changes that give the music a memorable identity. There are some serious metal-edged guitar leads, but the songs are structured well so they’re not overpowering. Excellent production creates the impression of the music being in 3-D! Worth looking into.
This year’s Original Packaging Award winner, this single comes in a cardboard X-mas stocking. Is the music as zany? No, but it’s rockin’ R’n’B-type ’60s stuff, especially on the B-side. Fun.
The EXPLOITED of Japan, believe it or not. The music has a simple marching, pounding beat and the vocals have a nice gravely flavor to them. Some of the song titles include “Insanity,” “Sex,” and “Barmy Rat.” Get the picture? Nothing too exciting that already hasn’t been done.
Both tracks are from previous LPs, and while both are OK punk, they certainly aren’t so superior to warrant separate release. “H-Bomb” captures live energy, though.
Beki Bondage, formerly of VICE SQUAD and LIGOTAGE, falls flat on her face on this EP. She has a great voice, but the music is completely characterless and bland pop and rock. TOYAH has done music in this vein infinitely better.
Pretty decent older punk styles, both live and studio. Lots of melody, raw rhythm guitar, choruses, etc. Good music to file records to.
The ADICTS show the return to their hallmark pop-punk style, replete with snappy arrangements and solid hooks in three of the four songs here. Almost up to the quality of their first few records, though admittedly they have softened their sound.
