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!
Up-tempo hardcore with catchy rhythms from Sweden’s SÖTLIMPA. Driving pace but it keeps the harmony and beat. Fun, danceable stuff. Too bad it’s a muddy mix; still, you’ll never know as you fly with the music.
This four-song job has a heavy PISTOLS influence—almost embarrassingly so. They do, however, perform the style diligently. This 6″ record comes in an 8″ sleeve, which folds out into a glossy full-color poster.
This six-song Japanese release is pretty Britpunk in sound, with high-quality production, clean execution, catchy songs and hooks, etc. They even have the Union Jack as a backdrop in their photos.
These guys mine a ’60s type of lode (not load), but instead of the punk/psych vein of fellow Swedes the NOMADS, this is more on the pop side. There are some Mersey influences, early ’70s pop influences, even ROMANTIC influences. Actually, they go way too far in this direction for me. Maybe that wimp Jeff would like it.
I think this is what RIISTETYT evolved into. Both tracks are on the power/pop/rock side, yet are pretty catchy. This especially pertains to the A-side, which sounds like a Russian (Finnish?) folk tune rocked out. Sort of older-style punk-sounding, too.
Graunched out growlings that spit out the tonsils are the focus of this Japanese power unit that pours out the distortion and whining feedback. Speed and chaos in the vein of DISORDER/CHAOS UK, with thumping bass ferocity that will erupt your senses with this intense barrage. OUTO has a pile-driving, no-holds-barred approach to chaotic madness, your ears will never be the same.
Claiming to be the fastest band around, they’d like us to tell them who’s faster. That might be difficult, as they do totally shred on their recent tracks here. And even at such speed, they manage to hold it together musically, and even inject a bit of melody, too. Looking for a US label.
With thanks given to DISORDER and CHAOS UK, and an attitude lyrically not unlike CHAOTIC DISCHORD, you can get the general idea of where they’re coming from. Their punk and thrash is tight, well-produced, but not especially dynamic.
Aaa-haaa! here it is! A Finnish compilation with the best TERVEET KÄDET song yet, smokes while the stylus shoots out sparks. Great collection with KAAOS, VARAUS, APARAT, AIVOPROTESTI, KANSANTURVAMUSIIKKIKOMISSIO (say that three times…slow!). Don’t miss this!
The second Sydney compilation from that hard-working Bruce Griffiths (Trousers in Action zine), and it’s full of good material. While there is only one semi-thrasher (VIGIL-ANTI), there’s lots of garagy stuff (ROCKS, WRONG KIND OF STONE AGE) and other classic punk styles performed by SUICIDE SQUAD, EXSERTS, HAPPY HATE ME NOTS. But the most zapping tracks belong to ITCHY RATS, who’ll really grow on you. Super book-type cover, too.
This is a surprisingly strong representation of several Yugoslavian hardcore bands. While it’s hard to tell who’s who, nearly all of the material (tape EPs) by U.B.R., NECROPHILIA, SOLUNSKI FRONT, QUOD MASAKA, DVA MINUTA MRZNJE, and DISTRESS is a cut above the norm. There’s some real originality and flair here, along with lots of power. Excellent.
This is pretty much of a rave. All the bands thrash out wildly, with most of the bands turning in those noisy live tracks that remind me of S.U.M. In this category goes PUINHOOP, LAITZ, M.O.G., CHLORIX, ECHTE BOTER, G.V.D., ORGASM, and A. RELAXT. Top honors on this regional Dutch comp go to GEPÁ˜PEL, who present two studio tracks that remind me of 7 SECONDS more than a little. Keep it up, all of you!
This all-thrash comp is yet another international effort, and despite some relative unknowns here, it’s pretty consistently powerful. There’s EXTERMINO (Brazil), RÖVSVETT and MOB 47 (Sweden), BLANK SS (Heimat), and HERESIE (France), SAUKERLE (E. Germany), ONSLAUGHT (UK), THELLAY (Japan), END RESULT (Australia), SCAPEGOATS (W. Germany), and MELLAKKA (Finland). The compiler will take money ($2.60), but prefers a C-60 tape of bands from your country in trade.
This Party Animal follow-up is not quite as overpowering as the initial installment, but it’s still an excellent sampler. You get 41 bands from all over the US, with SoCal being predominant. Too many bands to even begin to list (see ad this issue), but there are lots of debuts here, as well as other recently recorded up-and-comers. And, there are grooves between the songs this time!
An eclectic conglomerate of obtuse sound and vision, some of it extraordinary, some self-indulgent grunt, but that’s the case with all compilations in this genre. It’s refreshing to see Americans pumping out intensity of this nature. This is quite similar in approach and content to the Rising from the Red Sand series from England, although the sound here is much better. Highly recommended.
Fairly evenly split between US and UK outfits, between live and studio, between good and inaudible. Faves: SEARS, RON CREATE, CHUMBAWAMBA, BODY COUNT.
Frantic and jazzy, while unrelentingly pounding, this is yet another recent attractive entry to the hardcore world from Italy. The songs tend to be longish (and remind me ever-so-slightly of REALLY RED), but there’s enough melody to sustain that, especially given the power with which they hammer home the material. Good.
Uh-oh, Swedish thrash madness strikes hard here. Wild and grinding, with a Japanese speedcore flavor to it. Outrageous stuff, with crazy vocal antics and lots of laughter and wicked thrills to bend your brain at. Yes, this has potential; blasts the wax right out those ears. INGRON HUTLÖS is a name to remember.
Textbook definition of what a great single is. Once you hear the chorus, you’ve got a friend for life. 2:48 of pure pop pleasure for saps like me. Why isn’t this a hit??!!
Maniacal Japanese speedcore with a lot of bass, driving some outrageous power to the forefront with a mayhemic beat. Metallic guitar riffs, garroting drum pulsations, and that sonic bass blistering. Both songs are instrumentals and each has its own charisma, nothing lost without the vocals.
Don’t ask me what that means! The seven tracks here are in an early (’76-’77) punk vein, with elements of the STOOGES and pre-punk pop/rock thrown in. Not great/not bad, and from Japan.
Quite a noisy thrash/punk band. The overall sound seems a bit early English, but a lot of the hooks seem more late-US. Very enjoyable, and the rock hard.
This band reminds me most of the earliest incarnation of the FLAMIN’ GROOVIES (circa 1967-’71), with their rockin’ R’n’B. The singer has a definite ROY LONEY feel to his voice, which has to be more than a coincidence. OK, but not as cool as the originators.
These folks are among the world’s leading proponents of industrial noise, utilizing instruments, jackhammers, concrete mixers, etc. But somehow, these live recordings didn’t shake me up. ZEV makes better rhythms beating on his springs, SPK used to make more intense, demonic sounds, and ENO makes better ambient music. Not that I’m any expert on this stuff, but after reading Tesco’s article, I thought this genre would change my life. Guess I’m too weird already, ’cause it seems tame.
Ramcharging ferocity from Japan. Wild distorted guitar howls, punching out sonic rage, fierce power with scowling vocals. Intense stuff, quick with crazed leads. “Criminal Flowers” features some eerie abrasive melodies with booming front-running beat. EXECUTE hold their own without a repititious cycle. By far my fave Japanese band.
Whoaa! A mighty impressive debut EP by this Edmonton punk outfit. The mid- to fast-tempo material here far surpasses their earlier cuts on the Innerspace compilation. With its skads of guitar power, strong tunes, tasteful lead parts, and intelligent lyrics, I can’t think of any reason not to scarf this fucker up.
Leader Eric Hysteric claims the most revelatory moment in his life was when he heard the GERMS’ “Forming.” He proceeded to pump out some of the trashiest, most barbarically brilliant stuff with his original band VOMIT VISIONS, on his own, and with his new assemblage. Here these guys are really sounding slick enough to enter the world of commercial jingles and the like. Don’t get me wrong, it’s still boss (the bossest).
Records from Japan seem to come in all sizes, shapes, and degrees of elasticity. This 7-song, one-sided job is a tough bit of thrash, combined with ultra-gruff, throaty vocals that make it quite good. A political theme record.
Very fast and very noisy! If it weren’t for the ultra-repetitive drumming, this would be pretty snappy; but somehow, it doesn’t hold together this way. Excellent lyrics.
Both of these tracks are on the rock’n’roll side of punk, not unlike the quasi-rockabilly approach of NO ALTERNATIVE several years ago. The A-side rocks harder, but neither track is really that gripping.
Gut-crunching power thrusts a titanic wallop as the CLAY do their brand of Japanese hardcore. Fast, with enjoyable chord changes and strong leads, has metallic edges broken in with thrash punches; still, it screams with incredible bursts of energy. Potent lyrics on the political side. This is tasteful and scorches. Be sure to get this!
Yowl This one blisters! From start to finish, this is one long string of Pushead adjectives. Check it out!
ANGOR WAT alternate between a heavy, powerful post-punk sound and excellent, powerful thrash—both coming off excellently (especially on the studio tracks…the live are weaker). BANNLYST have a more metal sound, with some pop sensibilities, reminding me a bit of some Japanese stuff I’ve heard lately, especially in the ultra- gruff vocals. Both bands are hot!
Your basic stop-and-go thrash with gruff-as-hell vocals. It’s tightly done, and there is definitely a spark of potential specialness in the guitarist’s work, so given time they could be hot.
Outside of some weak Britpunk material from BLABOIZ, we’re presented with some excellent tracks (studio and live) from the VANDALS (not the US band), INTENSIFIED CHAOS (again, not the US combo), and SABOTEUR. Vigorous stuff!
The up-and-coming Rot Records label presents largely unreleased tracks for your holiday “enjoyment.” Good, strong material from ANIMAL FARM, VARUKERS, NO CHOICE, SKEPTIX, RESISTANCE 77, ENEMY, PARANOIA, and RIOT SQUAD. What, no BOBBY HELMS?
One cut each by four excellent rock ’n’ roll (in the good, teen rave-up sense) combos. The MILKSHAKES, PRISONERS, STING-RAYS, and TALLBOYS all turn in crisp, up-tempo rockers with varying influences (R’n’B, psych, mod). So don’t be no “skwayer,” and pick it up.
Here be the newie of the VARUKERS, sounding more like their first LP than that last blast of a speedy DISCHARGE riffs. High snare in the mix, but that doesn’t hold this back. Fast, powerful, and clean in the VARUKERS tradition, but what happened to Bruce??
A dozen very, very powerful and desperate thrash tunes out of the studio. These guys are “newcomers,” yet they deliver like old pros—tight, and with confidence. This band, among a few others, bodes well for Britain’s HC future.
A four-song mid-tempo Brit-punk style tape. It’s OK, but not very inspiring. I think this style reflects too closely the depressed nature of the English working class. Their lackluster, unimaginative lives come across, not so much lyrically, but in the dull repetitiveness and unexciting music. Somehow, punk should attack that existence with hope and verve. I dunno, maybe I have no right to say this from afar.
While the two B-side tracks are nothing special, it’s the A-side’s “Why Do You Have to Eat Me?” that grabs me. It’s about one-half spoken word (a woman reciting various facts about edible animals’ unhappy encounters with mankind, set to eerie sci-fi-like music), and then breaks into a classic punk chant song.
A better release than I expected. While there’s some so-so stuff, many of the tracks have that “something special” that makes them jump out at you, and stick, too. Catchy tunes, powerfully delivered, and with zip!
NO ONE’S PROPERTY is an undeniably English band, sporting mid-tempo songs with both a male and female vocalist. Well-done, well-produced, and to-the-point lyrics. BOMB CULTURE is a vocalist and rhythm machine combo, also with intelligent words. Both outfits are now, unfortunately, kaput.
The NEWTOWN NEUROTICS again display their complete command of the ’77-style punk style with these three highly melodic up-tempo bursts. “Suzi” qualifies as a finely honed bit of pop-punk in the best English tradition, and the two songs on the flip are almost up to the same standard. Is this band capable of putting out a bad record? No.
I feel burned, Jack, cuz three-quarters of this friggin’ thing is the old singles, and if they wanna keep breaking new ground with their collective pinkys, then my green’ll be clinging wallet-side cuz their last single sounded like fuckin’ X anyway.
A three-song UK mod release with all the prerequisites: vocal harmonies, R’n’B guitar licks, up-tempo beat. There’s just a hint of the unusual on “A Shot in the Dark,” but otherwise they’re just a pale version of the JOLT.
This is a posthumous release of demos this band recorded on cassette, so the sound quality is raw—but that doesn’t bother you. Their music is fast pop similar to the SWELL MAPS and early XTC. You can probably find some of their old singles used.
There’s three new records by these guys, and it’s all like this LP. They’re faster and funnier than ever. Mark Smith maintains his tradition of never really “singing” the songs. They confidently thwart trends. They laugh while their peers join mindless tribes or dress up like gauchos just to get on MTV. All three records are available on one cassette.
Yowsaaah! You say ENGLISH DOGS equals GBH clones, a ho-hum mucacho. You ain’t heard this! Blisters with speedcore franticness, mean with whining licks as it kicks into a maniac pace. Well-organized melodies that cry out in terrorizing metallic thrash. While some bands are trying to be metal, ENGLISH DOGS are just the dawning of speedcore. Put that on again, chalk one up for Rot!
The DISRUPTERS continue their treatment of fascinating lyric themes with their second LP, but the music is considerably less impressive. The plodding tempos and sluggish guitarwork impart a certain lethargy to the song structures, which mine a basic Brit-punk influence. “Surfshock” qualifies as a pleasantly abrasive, mid-tempo rocker.
