Hellcats Hellcats cassette
A high-quality studio tape from this funnypunk HC band. No accompanying info, so all I can say is that they play tight, fast, clean thrash/punk with good melodies and dopey lyrics. OK?
MAXIMUM ROCKNROLL
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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!
A high-quality studio tape from this funnypunk HC band. No accompanying info, so all I can say is that they play tight, fast, clean thrash/punk with good melodies and dopey lyrics. OK?
More competent but not truly inspired ’60s psych/punk. Lots of covers again (SONICS, KENNY & KASUALS, HAUNTED, and the great “I’m a Living Sickness” by CALICO WALL). While the choice of covers is excellent, and the originals are sturdy tunes, they never quite “break plain,” making it transcend. Maybe next time they’ll truly psych out.
Somewhat reminiscent of the CLASH at their rockin’ best. More like if they had maintained their early zest and knack for pop/punk catchiness and merged it with an ’80s thrash attack. Good and powerful.
This band has, with some justification, been labeled an all-girl FLIPPER. And FRIGHTWIG does have rather loose arrangements, but their sensibilities are more rock’n’rolly than arty, and there are some good songs on this LP (especially “The Wanque Off Song” and “I’ll Talk to You and Smile”). There are also some awful songs. Still, this record is recommendable through the sheer force of the band’s personality.
Fast-ass thrash, tight and powerful. The studio tracks shred, and the live are not really recorded well. Hope they get a record out.
An eight-song venture that showcases well this band’s older-style raw punk and the singer’s Johnny Rotten fixation. Live, I’ve gotten a bit bored, but this tape is quite well done and a good change of pace.
A six-song demo that shows potential in the power-thrash dep’t., but is lacking in the tightness dep’t. I’ve certainly heard worse, and these guys will get it together in time.
A good example of flexible energy without the thrash appeal. Nifty, grinding guitar work pulsates with each number as Gary’s vocals are polished and creatively sung. The DICKS are seasoned veterans, and show the maturity of the band with an overall fine performation. This LP does the DICKS justice.
Psych weirdness, ranging from musical treats in the line of TRUE WEST or PLASTICLAND to more “out there” experimentation. Sound quality is passable, but doesn’t allow for the best listening with this sort of group.
One of the tightest, more accomplished tapes I’ve received from a new band. This is stop-and-go thrash at its best. Excellent production to boot. Hot.
Sounds more like a ’76-era proto-punk band from Clevo. It’s hard-edged rock that slowly builds momentum, rocking in a VELVETS Loaded LP type of style meets the BIZARROS or something.
Sometimes when you go after a certain thing, you have to sacrifice something else along the way. DOA may be sacrificing a few of their earlier fans who don’t care or understand their new, cleaner sound. Or the sax. Or the keyboards. But they have a much more powerful sound than on their earlier records, and it is more of a “rock” sound. included: their cover of “Singin’ in the Rain” and “General Strike.”
This is the new band formed by ex-BLACK FLAG singer Dez Cadena; it also includes the rhythm section from the STAINS and Paul Roessler of TWISTED ROOTS on keyboards. This is really Dez’s baby, as he really stretches out into his roots and experiments. No thrash—just a big power trio sound from the ’70s with fuzzed guitar, ethereal keyboards, and rapid time changes. For fans of BLUE ÖYSTER CULT, HAWKWIND, VAN DER GRAFF, and KING CRIMSON.
This band plays hard country rock with a touch of swing, and writes some occasionally funny lyrics. When the CATTLE really let loose, as on “4WDORV” and the instrumentals “Finland” and “El Con Maio,” this outfit grooves with class. Unfortunately, only about half of this album has the kind of energy this style of music requires. An adequate LP.
It’s ironic that BRUNFUSS caricatured blacks on their album cover, because they themselves are a stereotypical ’80s New Jersey bar band. Aside from an occasional punk (“B.A.D.”) or “humor” song (“Brunfuss”), this record is filled with basic garage rock and metal leads, not to mention seemingly inane lyrics. I think it’s meant to be funny, but I wouldn’t bet on it.
Medium-to-fast snarling punk in a sort of SAMOANS style, without the thrash. And along with the older style punk comes older style punk lyrics. Can’t have everything, right? Good production; fun.
My turn to do a BLACK FLAG review already? Uh-oh. OK, Side one has a couple of tunes that grab me, full of power and with a full sound. The rest of the slower numbers, and most all of Side two, leave me cold. I think it’s got something to do with the thinness and cleanness of the sound, making me focus in on the jazzy aspects and lyrics, which don’t do much for me. Seems like those memorable, catchy, sing-along noise days are history, except for pale imitations like “Modern Man” or “Best One Yet.”
A ’60s-type punk band from Minnesota—and what better place to hail from…the home of such greats as the LITTER and CASTAWAYS. Mostly covers here, in a NOMADS vein. Could this be the HÜSKERS playing a weird joke? Nah…
Well, GG has once again risen to a new low… “I Wanna Fuck Your Brains Out”? “I’m Gonna Rape You”? I dunno, he might be able to get away with that shit if there was any streak of humor in there but instead there’s a really nasty streak of misogyny here. I’m not sure which is more disgusting, the songs or the pictures of ALLIN masturbating and shooting up. It’s not even intelligent enough to offend. Just pitiful.
Mostly medium-tempo hardcore, this band utilizes both melodic structures and FLIPPER-ish noise to equal advantage. While raw and powerful, there are catchy tunes galore. Excellent.
This five-songer rips the hair outta your scalp. Intense, bloodthirsty, and fast. The ACCÜSED have added Blaine (ex-FARTZ) to vocal duties, and kicked in some speed metallic riffs, making this pure speedcore. I was so totally surprised at how good this came out—and they only made 500! This could sell much more.
Nothing especially mandatory here, although it’s not a poor collection either, with tracks from the QUID, SHAG, SATAN & THE D-MEN, and others. In 20 years, will Greg Shaw be documenting the current punk scenes as methodically? Will kids in 2005 even care what’s happening now?
Most of the bands here are from Scandinavia, with a smattering from the UK, Germany, and Belgium. There are anywhere from one to nine tracks each by such manic luminaries as MOB 47, EXISTENZ, ANTI-CIMEX, MODERAT LIKVIDATION, MOTTEK, ENOLA GAY, AKUTT INNLEGGELSE, and several more.
A European sampler featuring XPOZEZ, ANTI-DOGMATIKKS, KINA, WRETCHED, VARUKERS, UPRIGHT CITIZENS, MG 15, NEGAZIONE, and more. Sometimes rough sound quality, but comes with a neat magazine.
This altogether surprising duo of cassette compilations features well-known outfits like FRITES MODERN, PEGGIO PUNX, MOTTEK, and OLHO SECO—plus a variety of cuts from a clutch of promising new bands. The breadth of punk and hardcore styles represented on these two tapes, in addition to the general quality of the music, helps make these cassettes highly recommended additions to your collection. Intelligent and well-conceived.
A storming German sampler with all your faves and some new faces. Lots of different attacks with creative approaches, it’s a good slap of Deutsch hardcore. With the incredible INFERNO whose track “Ein Tag im Schatten” really shows their intensity, plus some classic tracks from the MANIACS, MOTTEK, TIN CAN ARMY, and RAZZIA. And new entries by the IDIOTS, LUSTFINGER, KSF, AUSBRUCH, and SCHLUCKSPECHTE. Well done musically, but why do these German labels always rip off Wrightson for cover art? Thanx Winni!
An incredible comp from Holland featuring seven bands with a good selection of several songs each. Lots of good Dutch thrash from NO PIGS, who continue the madness evident on their blasting EP, sheer havoc from S.C.A., power and energy of NOG WATT, the split second attack from GEPÁ˜PEL, the sonic thrust of DEADLOCK, and good tracks from HIROSHIMA NOODUITGANG and INDIREKT. In the tradition of Dutch samplers like Als Je Haar… this is a fine release.
The title of this comp isn’t strictly accurate, nor could it be with the likes of AVSKUM, XPOZEZ, SCAPEGOATS, and 15 other international bands. In fact, the song quality is quite good, with a political backbone braced with sincerity and honesty. Sound quality’s fine, too.
Their best release to date, as far as I’m concerned. Tez and the guys are really re-energized, pounding out five really memorable fast and snappy punk tunes. Where ya been, Tez?
Some classic thrash, stop-and-go variety, done well and powerfully, although the overall impact is diminished a bit by songs that are almost too fast for maximum effect, and by the limitations of production. Excellent lyrics.
The savage thrash of WAR OF DESTRUCTION blends a harsh vocal blast with an overall quick-paced ensemble of drum splashings and that unique barking guitar wail, which makes this the best release to come out of Denmark in a long time. Good production gives a fluid bolting feel, as the beginning track “Outro” starts the fire burining! Has a funny version of “Birthday” which is a complete offshoot from the rest of this scorcher! Great stuff.
Ramcharging cranks of aggressive power from Australia, sounding a lot like DEPRESSION or PORNO PATROL or STRETCH MARKS. Beefy vocals with active musical compositions, fast- to medium-paced, with a live studio-sounding recording. This band will soon tour the US, so watch out for this burst of energy.
The inner wardrobe of the VIBES’ minds must contain a lot of the CRAMPS’ clothes, given the deep mutant rockabilly/psych influence on this record. At least they’ve chosen their mentors well, because this band has good material (though not as invigorating as the CRAMPS’) and perform it with verve (but without the CRAMPS’ personality). “I’m in Pittsburgh” is a killer.
This limited edition (1500 copies) disc contains 16 songs recorded in a board mix with good sound quality. The vocals are up-front, with the drums and guitars vying in the background for your attention—not an ideal state of affairs—but the VARUKERS’ material saves this from being “just another live album.” Adequate.
Like most Italian HC bands, UPSET NOISE is stronger on manic attack and noise than they are on melody (although this doesn’t hold true on all eight tracks). Lots of speed riffs, raging vocals, and ultra-fast snare drumming. They live up to their name.
Although the guitars are blazing fast, the rhythm tends to be slower, creating a mid/fast-tempo punk sound with aspects of thrash and even metal (especially on the ultra-gruff vocals and some guitar licks). Powerful overall, but that dichotomy creates a weird feeling.
This Yugoslavian thrash outfit sustains the requisite speed and aggro for a credible effort, but little of the distinctiveness their geographic origins might suggest. This is churning, repetitious hardcore which, oddly, sounds somewhat Italian—until you realize it was pressed in Bologna. Fine booklet sleeve.
FOETUS has done a lot of bizarre material in the past, but this LP is a classic. As always, this is all written and performed by lone FOETUS, and combines his morbid, poignant, biting poetry and an upbeat, precise musical inventiveness with out-and-out aggressiveness and recording skill. He is many steps beyond CREME & GODLEY, MARK STEWART, or NICK CAVE, although the comparisons are obvious. I can’t scrape it off my turntable.
SYSTEME D address their output to a mid-tempo pop-punk style that, with an added “something,” could be really special. “Loser” weds catchiness to a punky rawness of energy, but most of this has been done more convincingly elsewhere by fellow countrymen like KIDNAP, COLLABOS, REICH ORGASM, etc. An OK record.
Incredible thrash from the UK, without even a trace of the traditional UK sound. Sonic mayhem, quick and vibrant with great vocals and split second attacks, enough to be one of the best HC releases in ages. Packs the punches like the original Dischord releases did—it’s that insanely good. Stick on side A, “Elephant Man” scorches down the eight-song attack. Excellent!
The female singer of SPERMA has quite a sex-bomb reputation, but her singing doesn’t come across that way. She sounds like a weaker Poly Styrene, and even the band sounds a bit like X-RAY SPEX (minus the sax). Good older-style punk from Japan.
The SOLDIER DOLLS invest these recordings with vocal zeal, yet the instrumentals miss the passion and drive this band seems to be aiming for. Still, “Victims,” a slower ’77-style number, provides a measure of catchiness to save this well-intentioned EP from its uneventfulness. The two thrashers haven’t the punch they need.
Six shows from RAW POWER’s first US tour last year. Needless to say, it’s another excellent representation of this powerful Italian metal/thrash outfit. Watch for ’em on tour again.
Good mid/fast-tempo punk, albeit the noisy variety. Decent recording quality, but it does diminish their impact somewhat. Imagine they’re fun live.
Both sides of this flexi contain songs from a live show, with no separating grooves, and a fade-out on one side and fade-in on the other. It’s frantically-paced thrash here, which comes across OK “live,” but would be more cohesive in the studio. From Japan.
A three-song effort that’s really impressive. Really tight, assured hardcore with lots of tempo changes, but which doesn’t detract from the impact. Even the guitar solo is OK. Driving stuff—great thrash from Australia.
Pretty decent older, fuzzed-out English-style punk in the slow- to mid-tempo vein. Good production, especially on the guitar and vocals. Basic but substantial.
Yeeeoww! Definitely the ultimate hardcore/metal crossover, ONSLAUGHT charge with a hard-hitting assault of ferocious rhythms that melt the hair off your scalp. Heavy and fast, this UK sledgehammer barrage pushes an awesome guitar grind with great vocals and continuous action. Intense black speed torpedoes that rifle headlong into severe untamed abrasive vigor. Incredible stuff on COR.
A live EP that’s a bit of a letdown from their awesome Outburst. Four songs that are rockin’ R’n’B, but nothing to write Sweden about. “ESP” is the hottest track of the lot here.
NEGAZIONE musters up one of the most ferocious Italian EPs I heard in a long, long time. Crisp production adds an edge to frenetic thrash that reminds me of the great INDIGESTI, but with a more biting vocal attack. One would be well advised to get this record immediately.
