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Other than a few too-pop or rockabilly clunkers on side one, we are left with an excellent ’60s-punk-type compilation of various contemporary groups. There’s killer stuff from YARD TRAUMA, NADROJ & THE WOLRATS (doing the SONICS’ “She’s Waiting” with new lyrics), CHEEPSKATES, among others. There’s even Midnight owner, JD, doing his tribute, Á la Phil Spector’s Xmas LP, to the season.
So you’ve been crawling up the walls trying to get these classic 7″ EP’s, paying five times the original price for a copy, and now here it is for you all to experience. These are the roots of the original DC sound, with the TEEN IDLES (with Jeff and Ian of MINOR THREAT), S.O.A. (with Henry of BLACK FLAG), GOVERNMENT ISSUE, and YOUTH BRIGADE (not the LA variety ; this one had Bert of DOUBLE O/SECOND WIND) in their debut EP’s. Still classics, and should be part of your collection!
Eight songs (five bands) from upper NY State. The WRONG CROWD are like late-period VELVET UNDERGROUND, the PLAGUE are garage, RELIGIOUS INSANITY are mercifully short-song oriented, SUICIDE POETS are mysterious, and THRASH HAPPY are the furthest thing from thrash imaginable.
OK, this is more like it. After all that clean-cut stuff I get stuck reviewing, this is “reality”—totally garaged-out, fuzzed-out, raw-as-shit production, noise central. Love it.
The CHANNEL RATS’ side displays a “funnypunk” approach, though the music is more “down and dirty” serious-sounding slow than most in this genre. R.A.F. GIER is the real surprise, however, with great and unusual thrash, showing both imagination and power. Cool.
These goofballs from Reno cut loose with some hysterical thrashers on this six-song EP. “We Still Like Drugs” has loads of amphetamine thrills, though “ET Go Home” arguably rates as the funniest song of the bunch. My recommendation: go out and snap up this record and join the yuk-fest!
Who are these guys? Well, whoever they are, they really shred. TMA play totally fast, gnarly thrash with lots of hooks ’n’ tunes. Tight and clean, too. The lyrics are typical “punk rock,” bitchin’ ’n’ moanin’ ’bout everythin’.
England’s glam-punkers, the RAPED, finally release an album—and it’s out five years after they wimped out and became CUDDLY TOYS. This one has a side of pile-driving ’77 punk anthems, concentrating on kinky sexual themes, and another side of fair quality live recordings taped at the Vortex in late ’77. Mandatory for aficionados of vintage UK punk.
Well, “anarchy” about describes it. Beyond that, it’s a noise/free-form/HALF JAPANESE freak-out. Actually, there are distinct tunes, but it is rather too unique to describe. Oh yeah, it’s not wimpy! Creative.
Fuckin’ shit…they went too far—this is positively MOR synth for wimpy club DJs. This band has made some of the sickest, most intense music of the past decade, and to foist this crud on us is wicked bad. People who snort cocaine listen to this grunt, not cool people like me. Nuff said.
Intelligent, but somewhat heavy-handed political thrash. Reminds me of MDC meets Jeff Bale’s old band, WARZONE. The drumming and singing are a bit too stolid for my tastes, but if primitive is your bag, this thrash is for you.
Totally hot HC-type tape, folks. No let-up, meat and potatoes thrash, delivered with commitment. Lest you howl “generic,” go to a new wave show, then go home and play this. It’ll be a breath of fresh air.
The debut EP from this Belgian band proves to be a fairly innovative thrash-oriented release. Rather than conforming to expectations, DE WULPSE VARKENS occasionally confound with an odd fusion of modern hardcore elements. It’s hard to describe exactly how they’re different, but it has something to do with their combination of intensity and sudden musical shifts. Worthwhile.
A forceful deliverance of catchy hardcore rhythms from Germany. Coming off with a speedy STRETCHMARKS or G.B.H. sound, PORNO PATROL punches out quick harmonies with jumpy choruses and vocals that dominate the overall sound. Four well-paced songs that kick the walls down. Lots of power and storming prospects.
The pounding, abrasive punk on this Japanese five-track EP seems rather fuzzy and ill-defined—which may be a mutual function of uneventful songwriting and lackluster production. The title track is fairly strong, but this is a severely uneven follow-up to their creditable debut.
More political thrash from Holland (except for the slower “Shoplifting”). NO PIGS don’t really break down any stylistic barriers, but their trebly buzzsaw guitars and flailing, high-pitched drumming provide plenty of brain battering. Some of the lyrics here are particularly incisive, so grab this if thrash still moves you.
We’re talking high-class stuff here. The second TARGETS EP affirms that their debut was no fluke, as they deliver very powerful punk/thrash with pop sensibilities, great hooks, and choruses. I’d compare them to an English equivalent of the DKs, combining the finest aspects of both influences.
For real, it’s like a humongous swatch of pounding electric noise. Every time you play it, your neighbors will wonder where you’ve got the ship boiler…will swear you are fucked up…will wish they are like you. This disc is quite simply the absolute nuts, plain as that.
A three-song Japanese Oi record. Musically, it’s pretty good, with power and lost of catchiness. But to really appreciate this disc, you’d have to read the lyric sheet; the most bizarre translation to English I’ve seen yet.
An Australian psychobilly group that shouldn’t be confused with the old DOLLS offshoots whose album was recently—and posthumously—released. These guys have a piercing instrumental attack and wild vocals, but the song structures are a little too derivative to really get today’s kids stompin’ on each others’ blue suede shoes. It’s still rockin’, though, so go for it if you like to howl.
Seven quickly delivered songs with wild guitar whines, definitely inspired by DISCHARGE (or a speedy MOTÖRHEAD), with convincing raw power and sonic steerings of chaotic disorder. Fuzzy, distorted guitar overpowers each number that feeds back into stomping charges of mayhem. A band to watch for.
While there are no innovations in the basic thrash formula here, EXISTENZ employs good energy and production quality to fuel this ten-tracker well above the level of their debut EP. This outfit follows in the VARUKERS mold, albeit with echoey vocals and less intensity; nevertheless, “Fight For Freedom” qualifies as a classic pile-driver in the best Swedish tradition.
A fine puzzle record in the grand tradition of MORNINGTON CRESCENT, which can be played at 33 or 45 with equal ease. The lyrics are ultra-gruff, like fellow Japanese GISM, but the instrumental backdrop has elements of both metal punk and mid-tempo rock, with prominent lead breaks. “Shit Babies” is appealing, but the EP’s title cut is more memorable, with its classic vocal choruses. Good record!
Great! All four tracks here have a different sound, and all are cool. It’s punk/post-punk/ska/power rock/psychotic wailing, all in one. Very special.
A “live” recording that does have a “Western” feel to it in the rhythms. Don’t like this as much as their Government Don’t Care single, but it’s still pretty rockin’.
An exceptional record that features rapidly paced power punches on one side, while the other has an approach with raw, haunting harmonies. Side A contains an odd mixture of vocals/instrumentation that works well, especially for audience participation; both lyrically and structurally, the songs are intelligently written. Side B shows the versatility of FUNERAL ORATION’s show, screaming post-punk moods. Fun Dutch music for an exciting listen.
On their debut release, Canada’s GENETIC CONTROL displays a pretty rippin’ thrash attack. It’s not exactly original, but the trebly production and frenetic tempo evoke mucho head-shaking and foot-tapping; a couple of good choruses (especially in “Love Rat”) and a crunching metallic break in “Urban Cowboy” serve to provide some diversity. Decent lyrics, too.
COBRA sounds something like a Japanese version of the TOY DOLLS, with their high-pitched vocals and studied pop-punk trappings. “Real Now” is a delicious burst of power-chord pop, but in fact the whole EP demonstrates fine songwriting abilities. Atypical punk for Japan, but strongly recommended.
Australian post-punk. CLUB OF ROME has that heavy, rhythmic approach with a deep bass, a loud, biting guitar, and fairly aggressive vocals. “Germany” is the more engaging of the two cuts.
This EP has one band with three songs. “Punk Islam” has lots of effects and an ethnic style that paints a vivid picture of Middle Eastern strife—it’s slowish, slightly catchy but still intense. The other two songs are better, mining a sort of UK peace punk style: “Spara Jurij” is the best, most rockin’ song here. An enclosed booklet discusses international war tactics: I wish I could understand it. Interesting and worth tracking down.
A bizarre mixture of five tracks appears here. There’s one experimental, a thrash instrumental, a cover of “Green Acres,” and two stop-and-go thrash songs. All are well done, especially the title track. Interesting.
Not to be confused with the English band, this Memphis outfit is a punk/metal/rock amalgam. The overriding emphasis is on the punk side, but there’s a lot of guitar wanking and soloing, and you know how excited I get about that. But find out for yourself.
A very noisy but interesting tape. While punk to the max, this garage outfit employs some “special effects,” making this effort varied and enjoyable. Hope they make a record.
Crypto-cowboy music, maybe? Bizarre guitar playing meets poppy no wave? Not exactly pop; not exactly punk. You tell me.
Listening to this, one gets the impression that Australia’s ACID DROPS are trying to fuse psychedelic and CRAMPSish influences, but the results are not generally satisfying. “Rattle My Zulu” lacks the raunchiness to make for effective psychobilly, and their cover of ’60s classic “Outta Sight, Outta Mind” isn’t up to the trashy standard set by the OUTTA PLACE’s recent rendition; only the punky title track, with its snarling female vocals, really connects.
While in the psychobilly vein that’s becoming more and more popular, these guys kick ass a bit more than most of their contemporaries. Even the slowest number, “Mini-Skirt Blues,” has got good power. Plus, they do a great cover of the COUNT FIVE’s “Double Decker Bus.”
If only this wasn’t November 6th (the day before this issue goes to press and, coincidentally, election day in the US), maybe I’d find this British “peace punk” outfit inspiring. But it is, and as I watch Reagan taking 49 states on TV, I can’t help but wonder why the SEARS or anyone else even bothers to try to increase awareness. Unfortunately for all of us, the world doesn’t operate on the basis of morality or, indeed, rationality. Oh yeah, their music is alternately haunting and powerful, so try and ignore my pessimism.
More rockin’ rollin’ from the METEORS. Both cuts here are uptempo numbers with raunchy vocals but overly clean guitars; the sound effects in “Electro” are particularly cool.
Another more-than-competent release from these lads. For your money, you get three medium-fast punk tunes, and one thrasher. They handle both styles well, though seem better suited to punk, making them sing-along-simple.
I’ve only occasionally enjoyed the British pop-punk of MAJOR ACCIDENT in the past, but this rather bootleggy sounding live LP sacrifices the primary merits of past recordings—production quality and layered instrumentation. Only for diehard fans of this outfit.
This is their first LP after two strong EPs and they’re lyrically and musically just as strong as they ever were. In the tradition of the RAINCOATS, their four female vocal harmonies really stand out—you’ll either love it or hate it. They do mostly somber, melodic ballads but every once in a while they pick up the pace and sound almost psychedelic. “Nervous Breakdown” is especially good.
Sorry kids, but I could only make it through one and a half sides of this “rock ’n’ roll” record. Not my cup of tea. Amazingly, though, Jeff actually liked it (I worry about that boy sometimes) saying it was “funny” and had “some OK music.”
Fucking egg, were you at that gig? Fucking 50,000 bleeding punks jammed into Madison Square Garden for this one-time performance. A wall of sound, the punks cheered and clapped all night, giant thrash circles, the pit, it was fuckin’! VAN HALEN was the opening act. But when CHAOTIC DISCHORD came on stage, the crowd went fucking apeshit. If you’re gullible enough to believe this fucking mess, then those thrashing CHAOTICs wanked a joke on you. Oh yeah, say “fuck” every other word. The best fucking novelty fucking thrash fucking album yet.
“Boneshaker Baby” is a real neat CRAMPS-type rave, rockabilly beat and echoes to the max. Boss. But the A-side is that post-punk dreck that I can’t handle at all.
It’s touching to see old bands hang in there, although I’m not too ecstatic about this case. Maybe I’d like a slightly less-produced version of some of the songs (way too clean and sparse for such slow-tempo stuff), but some of the songs are just plain lame. Splodge does a good job on the vocals though.
This third Big City compilation EP features solid, aggressive material by ULTRAVIOLENCE, ARMED CITIZENS, UNJUST, and in particular, NO CONTROL, who delivers a gripping mid-tempo blast reminiscent of the AVENGERS live. Some rowdy, biting material here (although some has been previously released, and all are slightly dated)—so give it a listen!
Three former members of Houston’s PISSED YOUTH moved to NY, joined with a fourth party, and put out a real gem of a thrash record. If you love fellow former Houstonites DRI, then you know what you’re in for here. Short, sweet, and vicious blitz attacks are the vehicle for their assault on hypocrisy, apathy, and fascist behavior. Get it!
Norb reminded me that on an earlier review of one of S.U.M.’s gnarly tapes, I said “I fear the day they get into a studio and we get to find out what is underneath all that noise”. Well, that time has come, and according to Norb, it’s “more noise.” Not quite. S.U.M. has managed to maintain their “noise” on this studio LP, but we also discover some great, frantic, crazed thrash “music.” No let down at all.
This spirited release contains loads of wildly satiric funnypunk, with dabblings into C&W, funky rock, and similar musical madness. A lyric sheet is desperately needed to enjoy this album (none is provided), but a few songs, like the hysterical “Mohawk Town,” provoke laughter without such assistance. In the same general mood as their debut 12″, and therefore recommendable.
They look punk, but sound more rock. There is some early punk-sounding stuff, but about half the material is sort of pre-punk or else has a lot of wanking guitar solos. Those songs that are “punk” are pretty good (and powerful), and those that aren’t are pretty bad. Note: not too enlightened (as in sexist).
