Immoral Roberts No Accident cassette
Yet another “power” HC band, combining heavy chords with punk and thrash structures. Nine “grinding” tunes for you crossover freaks.
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Yet another “power” HC band, combining heavy chords with punk and thrash structures. Nine “grinding” tunes for you crossover freaks.
Metal, punk, pop-punk, SoCal sound, DK’s—all mixed together in a powerful way. Despite the obvious influences, the results weren’t that imitative. Enjoyable.
Their first records will stay dear in my memory, but the new HONOR ROLE sound is much stronger and improved. Excellent production matched up with stuttering rhythms and great rough vocals make this a top-notch effort.
Wonderful spaz punk rock from the boonies of Colorado. They have a nice style of going from a weird instrumental with raspy guitar sounds into a goofy, ragged tune about something like a worm or something. Nice cover, too.
The A-side “Destroyers of Fun,” is excellent powerful older-style punk rock with smart lyrics. The flip is not DC’s G.I., and features “The Sellout,” a more uptempo punk tune that’s also quite intelligent lyrically. I suspect some of the same people are involved in both projects. Thoroughly enjoyable.
With more of a recognizable “D.C.” sound and a lot less metalish or rockish material than their previous release, this album rates highly with me. Although it’s supposedly a “live” recording, you’d never know it by the excellent sound quality, with all the detail there, cumulatively adding up to one powerful piece of vinyl.
This trio cranks out some cool ’60s punk, especially on the instrumental side. At times, they remind me of SYNDICATE OF SOUND, maybe even a bit tougher. But the singer tries to “sing” too much, instead of snarl, and I found that a bit annoying. Otherwise, cool band and record.
This release is their third, and continues along in the advanced stages of psychedelic damage. Combining psychedelia, progressive rock, metal, ’60s punk, and bad singing, this outfit is adventurous to say the least. The guitarist is the strong point, whipping out some occasionally gnarly runs (Á la ’69), but the singing makes me take the needle off.
Powerful dronola in the NO TREND/FLIPPER tradition. Gruff vocals and garage aesthetic combine to give a KILSLUG feel, or so says Jeff. Interesting at both 33 and 45.
Eerie, in the DR. KNOW tradition, but definitely not “death rock” by a long shot. On this 7″, the band progresses where their 12 left off; the lyrics are polished up and the guitar solos are at a minimum. All five cuts are catchy, but lack the power I hoped for. Damn good…yep, damn good.
Sounds like a less thrashy and slightly more serious VANDALS. There’s lots of catchy punk songs with lots of humor or satire, plenty of melody, tight playing, and even tinges of country. Good but not startling.
I believe this is what Jeff calls “funnypunk.” These 20 satire-laced songs are real crack-ups, and backed up by tight playing that incorporates funk, country, and lots of other styles Into their punk approach. Let’s go to the shore!
The ADOLESCENTS are often used as a milestone in describing the SoCal thrash sound, and this band with two ex-members of the ADOLESCENTS is the heir-apparent. They pump out nine tunes fast and slow, which epitomize the H.B. sound: clean production, melodic thrash, surf HC guitar, and nasal vocals. Some real classics here.
Zooming speedcore mayhem with wild metallic bites and machine-gun drumming. Rough, growling vocals float over this. CRYPTIC SLAUGHTER mixes the textures of DRI, SLAYER, CFA, and the POSSESSED to bring forth one monster of rapid-fire acceleration for this young band. Wild and intense.
Smack! Wallop!…Rough punches of raw lightning-fast metallic energy as this new C.O.C. broadens their audience range. Now a three-piece with bassist Mike Dean coughing out the vocals, the excitement never stops while Woody grinds out the gritty chords and Reed pounding that skin-kit. Might seem a bit different, but no band keeps it abrasive like C.O.C.
Really enjoyable pop/punk in an older punk style, not unlike the path STRANGLEHOLD took. Roughly translated, that means lotsa hooks, pop structures, clean production, pounding drums, vocal back-ups, and tough guitar. Good.
The “music” herein definitely falls without our normal range of coverage, but as its done by a person (playing all instruments, singing, artwork) involved in the scene who also has an ad in this issue, I thought I’d take a stab: surrealistic experimental, overdubbed, mellow weirdness, special effects, poetic print and lyrics—outside.
This unlikely effort incorporates elements of garage pop and ska, combined with a satirical punk attitude; the result is subtly entertaining. While CVB could increase their energy level a bit, the band’s intelligence and offbeat humor come through in tracks like “Lassie” and “Take the Skinheads Bowling.” Pleasant.
A fine slab of sludge rock from Durham, North Carolina. This music plants itself firmly in between the trashiness of the GUN CLUB and the garage sound of 100 FLOWERS. Three members dress in leather and one in paisley, and that’s pretty much the sound—3/4 punk and 1/4 psychedelic.
This band unveils a new variety of hardcore—”destructo rock”—which sounds for all the world like gruff and grungy mid-tempo thrash. ANTISEEN can’t boast great songwriting skills, but I still enjoyed the irrepressible aggro and rebelliousness of their output. A pretty good release.
This mostly female combo pounds out garage punk. Vocalist sounds a bit like TEDDY of FRAT GIRLS fame, and the music is classic anyone-can-do-it stuff with personality and vim. Enjoyable, with serious subject lyrics.
Definitely the punk equivalent of middle period JEFFERSON AIRPLANE. The “punk” side comes from the PATTI SMITH-ish vocalist, though both sides she and the male vocalist hit higher notes. Musically, it’s a jazzy/folky rockish band with tough, punkish power (at times).
Set to folk music anarchist punk, or weird post-punk, we’re assaulted with pleas, information, and harangues about the abuses to both the human species and animalkind. Can’t say I’m attracted to the tunes but those who are adventurous musically or inquisitive/passionate about the subject matter will be rewarded.
I’m a bit confused by the sentiments of the title, but not by the music that appears here. It’s had to go wrong with the likes of DRI, MDC, INFERNO, MANIACS, CCM, PORNO PATROL, ZERSTORTE JUGEND, etc. Lots of powerhouse punk and thrash here. It’s a good one!
A thrash extravaganza from stem to stern. An international comp, this includes ANTI-DOGMATIKSS, LÄRM, MOB 47, CERESIT 81, CÁ”LERA, CHRONIC SUBMISSION, NEGAZIONE, BURNING WITCHES, KROMOZOM 4, DECLINO, BRISTLES, SKULLDIGGERS, NIKOTEENS, and more. Quite powerful, excellent production, and high fucking energy.
Most of the bands here pump out pretty decent mid-tempo punk, but there are a few real gems interposed. KIDNAP turns in a wonderful sing-along, L’INFANTERIE SAUVAGE hits with a real up-tempo Oi number, and LES PORTE-MENTAUX turns in a really great pop-punk number that combines HEARTBREAKERS guitar riffs with a classic ’77 English punk-style tune. A good release from a new label.
A benefit tape comp for the Animal Liberation Front, this is a co-release from Bluurg and Sabotage tapes. Artists contributing are the SUBHUMANS, ATROX, INSTIGATORS, REALITY CONTROL, PSYCHO FACTION, POLITICAL ASYLUM, KULTURKAMPF, and several others. Good sound quality and good music and information.
Pretty decent but somewhat stilted thrash. I say stilted in that the drumming is so repressed in a chunky kind of way that the real power here doesn’t quite come across. Otherwise, it’s quite all right with excellent lyrics and some occasionally interesting changes.
Containing all the good characteristics of Finnish hardcore, this young band is coming into its own. Powerful and tight, this release has fine production that accentuates their wild vocals with neat echoes and underscores the fine guitar work. Excellent, with both thrash and slower tunes.
Despite Gerard’s rave about them in this issue, I find this tape good, but not overwhelming. Since I can’t understand the French lyrics, which admittedly would have a lot to do with a true appreciation of VERDUN’s impact, I can only comment on the music, which is power punk with buzzsaw guitars, mid-tempo speed, and good female vocals. Sound quality is OK.
Rockabilly in the GENE VINCENT & BLUE CAPS tradition. What separates this from psychobilly is it’s more traditional, except for the lyrics which on two of the four tracks deal with more contemporary themes.
The TOY DOLLS return to vinyl with a display of outright mania unlike I’ve ever quite witnessed. While the general song quality is a bit lower than on their classic debut album, the band’s crisp pop-punk style and Olga’s unforgettable high-pitched vocals make this record a must. “She Goes to Fino’s,” “My Girlfriend’s Dad’s a Vicar,” and the hilarious “Commercial Break” are classics. Hysterical.
Even though I find the drumming a bit distracting, the great guitar work and vocals make up for it. There’s TK’s usual short blasts of thrash, as well as some metal-influenced slower tunes and even a cover of the STOOGES’ “Search and Destroy.” Go see em this summer in the US.
Both tunes are organ-dominated pop-punk, not my fave type of ’60s rehash. The B-side is a bit snappier, sort of CASTAWAYS meets B-52’S.
While both tracks here are fine examples of fuzzed-out ’60s punk, “Make You Mine” is the real stand-out. With strong influences by raw R&B rockers like THEM, this one totally wails. Excellent.
Well-done but uninventive on their four thrash tracks here, but get a little more adventurous on a long droner. Also try their hand at a more melodic fast punk tune. Okay.
The SEX PISTOLS re-emerge from the vaults on this three-tracker, which features the guitarwork of CHRIS SPEDDING. Mainly a curiosity (better demo tracks appear on their A&M sessions), this EP boasts good sound quality and some interesting instrumentals on “No Feelings.” A nice item for PISTOLS fans.
Hot German thrash with instrumental punch and gravelly vocals Á la INFERNO. Also, the songs have good hooks and incorporate elements off other styles, e.g. a reggaefied break in the title track and a rockabilly-tinged lead in “Bruno.” The results are excellent.
Hey, you! How about some more goofy punk from Germany? The music? Well, it’s pretty much the standard balls-to-the-wall thrash band. Still, they’ve got a song called “When the Beer Was Forbidden” that’s pretty cool. And they steal from guitar riffs from the MONKEES, and that’s pretty funny. And they label the record sides Hansel and Gretel…and… Hey, come back!…
Six screams of revulsion make up this debut, and welcome shouts of frustration they are. Most are poppy thrash tunes, straightforward in delivery, and done with lots of energy and commitment. While the songs do tend to run on a bit long, they are still quite enjoyable.
Totally tuneless noise thrashing. I think that even if I could hear what was going on through the raw, unmixed recording, I’d think the same thing.
’60s punk meets wah-wah and early punk snarls. Both sides pound away at you, though the B-side is a bit more ripping, with a rave-y ending. Only detraction is the bass-heavy production.
I’ve been a POISON GIRLS fan from the beginning, but even I have to admit that this album is their first really poor one. The song structures are funk/new wavish and unfortunately lack the melodic or rhythmic punch of past efforts; there’s no real heart on this LP, either. Ultimately, nearly all of this album is uninvolving, despite some subtly written lyrics.
Quite a turnaround from this band’s earlier flaccid release. Don’t be fooled by the rockabilly image of the cover or title; this baby’s got some classic Australian R’n’R, containing elements of ’60s punk, BIRTHDAY PARTY, RADIO BIRDMAN, etc. Rocks out, and comes with a free 12″. Cool, and right up there with the NOMADS. Coming out soon in the US on Sounds Good.
While the tape quality is decent, the music is more than that. The 14 or so songs are killer thrash, on the noisy side, but tight at the same time. Hope they do vinyl.
This seven-song effort from the (NEWTOWN) NEUROTICS once again demonstrates their adeptness at the ’77 punk style, though with less consistency than past efforts. “This Fragile Life” boasts a strong melody buoyed by a brass section, but it’s the high point in a selection of more subtle pop-punkers. Pretty good.
At their best, the NEUROTIC ARSEHOLES display some stylish and melodic punk compositions supported by clever instrumentals. While less aggressive than their debut LP, this one connects most of the time it remains in that melodic mode; happily that’s the majority of the time, and classy ditties like Du Russe” and “Kern Tag Ohne Liebe” attest to that.
The MAU MAUS display an adeptness at a wide variety of punk and hardcore styles from thrash to sing-alongs, pop-punk, and slow/fast numbers. Happily, they perform it all with authority and intelligence; I can recommend this varied album without reservation.
Definitely on the KILLING JOKE side of life, this band’s forte is driving, pounding, straightforward rhythms and agonized vocals. For this genre, they do it well.
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.
