Dementia It’s Funny cassette
A four-song release that sounds more American in some ways than English. There’s a mixture of punk, post-punk, HEARTBREAKERS, etc. here that makes this an unusual release.
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A four-song release that sounds more American in some ways than English. There’s a mixture of punk, post-punk, HEARTBREAKERS, etc. here that makes this an unusual release.
Many Swiss bands seem to be stuck in the punk past, and the VARWÄRTS are no exception with their ’78-’79 melodic punk rock sound. It’s cleanly produced and catchy, but there isn’t quite enough power to back up the prettiness of the tunes. Pretty good.
This five-song effort is both interesting and frustrating, especially for non-Italians. SOGLIA DEL DOLORE has a medium-speed approach with plenty of simple rhythm guitar, along with a couple of thrashers. What’s frustrating is that they rely a lot on the vocals, which are at times more like narratives. It’s our loss, though.
The IDIOTS are a primitive, alcohol-swigging bunch from Germany. They stumble between Oi-influenced sing-alongs (like the title cut) and sloppy, enjoyable thrashers (like “Edeka”), all the while preserving a sense of humor and fuzzy guitar backing. For fans of DTJ and DER DURSTIGE MANN.
Pretty rockin’ Dutch punk and thrash that reminds me a bit of the MISFITS, especially the vocals. But the lyrics are quite political, and despite a few post-punk songs that Henk Smit hates, the rest kicks ass. Thanks to Henk!
More rockish than punkish, DURANGO 95 reminds me of various ’76-’77 crossover bands. While most of their songs don’t really catch fire, and too many are about girls, a couple manage to stand out (“What Should I Do” and “Sandra Sez”). So much for the good ol’ days.
This unusual single by AUS 98 has a certain propensity for repetitiveness, but despite a tiresome dirge-like flip, “Alles Fällt” rips with a chilling guitar attack and some fine gravelly vocals. The extended song structures here provide an interesting change from the typical thrash formula. Pretty good.
This latest in a long series of so-called Oi compilations features some classic early punk sounds (which now often pass for “Oi”), folk rock, ska, and poetry. It’s all pretty progressive lyrically, accentuating the intelligent side of the perspective of working class youth. Among those featured are COCK SPARRER, the GONADS, NICK TOCZEK, PROLE, CROSSED HAMMERS, the BURIAL, ABH, and VICIOUS RUMOURS. Sounds good.
A combination of studio and live tracks. The songs are lonnnng, and I get bored pretty quickly due to the lack of invigorating, or even occasional jolting, musical aspects, If you’re into vocal/narrative primacy, this might be for you.
Five bands and six songs is what you get here. Most of the groups (ANGRY RED PLANET, the ENFORCERS, PRIVATE ANGST) turn in slower, heavier Michigan-style punk, while the GEMS and the FURY pick up the tempo with a bit of thrash. Nothing really stands out, though.
With its typical pop themes and music ranging from pop to pop-punk to ’60s punk, this anthology covers another side of the Boston scene. There are a couple of wimpy tracks, but most stand up pretty well if you like powerful guitar pop at all. My faves are by JOHNNY & THE JUMPER CABLES, CHAIN LINK FENCE, HOLY COW, the UNDERACHIEVERS, HOPELESSLY OBSCURE, CHRISTMAS, and 21-645.
This regional compilation put out by WNUR radio’s Fast ’n’ Loud crew showcases most of the more active, hardworking Chicago-area bands, including NAKED RAYGUN, SAVAGE BELIEFS, NADSAT REBEL, OUT OF ORDER, A.O.F., R.O.T.A., BIG BLACK, and the EFFIGIES. All varieties of punk are represented, and the recording is generally powerful, making this a welcome addition to anyone’s record collection. NAKED RAYGUN particularly excels, but I like almost every band here.
There’s some first-rate American hardcore on this compilation, easily enough to compensate for an occasional so-so track. The FREEZE, BLACK MARKET BABY, KRAUT, GOVERNMENT ISSUE, and F.O.D. come across with some intense tracks, though my favorite may be the great live version of the DICKIES’ “Gigantor” that opens the album. I hope Volume Two of the series is as good.
This is a diverse DC-area compilation featuring bands from the ’81-’83 era, some of which are still around. You’ll get tracks from BLACK MARKET BABY, REPTILE HOUSE, 9353, LAST MINUTE, BRAILLE PARTY, VOID, G.I., DOVE, the CRIPPLED PILGRIMS, SCREAM, UNDERGROUND SOLDIER, and other lesser-knowns. My faves, other than SCREAM, are the mouldy oldies turned in by BEAVER, ASSAULT & BATTERY, and ARTIFICIAL PEACE.
Cowabunga! Volume numero two of Skate Rock slashes the vinyl terrain with some surfy-punky-metally-rocky sounds. None of this is thrash—it’s straightforward noise by JFA, the FACTION, Mcrad, TSOL, ANVIL CHORUS, the KINGPINS, BORSCHT, the BIG BOYS, and more. Fun, enjoyable stuff enhanced by good recording, but keep it for after the skate session. Good job, Mo!
Despite some truly intelligent lyrics and an admirable sense of rebelliousness, the LITTLE GENTLEMEN hit and miss on this release. Some slower punkish numbers, an occasional rock track, and even a few thrashers fill out this package, though the band doesn’t seem to have much of a knack for tasty melodies or ripping guitar riffs. “You Can Run, But You Can’t Hid” is an exceptionally powerful anthemic rocker in the ’77 tradition, and my favorite song on the album.
Now, this is my kind of record. It’s a rockin’ garage punk release with seriocomic lyrics. Nasty vocals, raunchy fuzz guitars, and basic 4/4 beats power MUSICAL SUICIDE’s goofy punk and thrash blasts. Intelligent, satirical songs like “Guns and Ammo” and “Power Trip” are classic Midwest funnypunk numbers. A+!
The NEIGHBORHOODS were one of the most promising late ’70s power-pop outfits, and this record would be great if the recording had more power. “Fire Is Coming” and their aggressive cover of “If I Had a Hammer” have a PURPLE HEARTS-style energy about them, but much of the other material on this disc seems more commercially minded, and therefore sacrifices its potential. Still, it’s an interesting find for rabid popsters.
This second N.O.T.A. EP follows hard on the heels of Moscow. Four of these five songs display the band’s trademarks—tight thrash power, choice choruses, and politicized themes. The title track is a slower, melodic number in the S.L.F. mold that shows an expansion of their musical horizons, without stylistic regression. A fine release that would have had more impact if it were released earlier.
This lively experimental release melds rhythm machine, synthesizer, and demented vocals to obtain a refreshing effect. It reminds me of the sort of thing MORGAN-FISCHER once did so well, but TECHNO-PRIMITIVISM boast a social sensibility that the open-minded should find delightful. Frenetic and fun.
A metal-punk band that’s short on wanking guitar solos and long on power and oomph. This is close to older bone-crunching punk than modern metal, which is fine by me. I can’t say much about the lyrics, though.
Now history, but this tape is supposed to be a living memorial. There’s obviously a lot of tight, kick-ass thrash here, although it’s got that echoey kind of “live” sound, that unmixed quality, that I don’t really go for much. This relic is all that’s left of them, so you archaeologists out there shouldn’t be too choosey.
With the gruff vocals and rockish punk instrumentation, I’d have guessed that SCREAMING DOGS were a Canadian band. The songs are all medium speed or slower, and they have a “heavy” feel to them. There are some appealing moments, but overall this tape didn’t get me too inspired.
Here are five sparse, simple, slowish pop-rock numbers with somewhat appealing singing. My favorite track is “Abandoned by History,” which is snazzed up by some CRAMPS-ish psycho vocals; the rest isn’t too startling.
A noisy garage tape, in terms of both recording quality and musical proficiency. As with many bands in a hurry to make their mark on the world, POST MORTEM may have released this a bit prematurely, but there’s potential in their thrashing. Keep on annoying those Birchers!
A timely release, both thematically and musically. PEEL, a veteran of the New York street scene (dating back to the 1960s), has come up with a modern jazz-punk-rock sound with the help of GG ALLIN and WAYNE KRAMER (ex-MC5). Sound bizarre? Not as weird as the world we live in, as these lyrics certainly bring home.
Heading into “damage” from their original thrash roots (but not as far gone as SSD or COC), this departure hasn’t stripped them of all spontaneity. I usually dislike the “power-metal” sound because of the zip that is sacrificed in getting that “heaviness,” but even the 24-tracks here haven’t deadened this release too much.
Musically, this is a great garage punk release. It’s got extremely raw singing, a biting guitar assault, and that appealingly boisterous, devil-may-care quality. It’s also funnier than hell, though I prefer not to contemplate the significance of the bizarre graffiti on the sleeve, inserts, and disc labels.
From the band’s name, you can probably guess that these guys are post-punkers inspired by JOY DIVISION. Actually, it’s not bad for that overused genre… sparse music, medium-tempo rhythms, decent guitar work, echoey vocals, and even a sax. Now you know what you’re getting into.
Highly polished FLIPPER? Yup, their parting shot contains all the usual FLIPPER ingredients, but with a “clean” production that takes the heart out of their dire messages. “In Life My Friends” comes the closest to their previous approach, but most of the rest leaves me cold. Where’s the feedback, Ted?
The FUZZTONES dig their claws into some mean neo-’60s punk with this single. “Bad News Travels Fast” delivers its good with nasty guitar riffs and Rudi Protrudi’s “lead snarl,” though the screaming lead break on the B-side turns out to be the musical high-point of the record. Primitive, raw, and raunchy.
A generally unlistenable pop-rock album. The lyrical sentiments are admirable, but only fans of cleanly produced, commercially oriented “modern” music will be able to sit through it all. The exceptions are a trio of nifty psych blasts (“World of Hate,” “Microwave,” and “High Noon 75″). A booklet and free single are included.
An eclectic garagy effort by a lesser-known band. KOR-PHU has a style that’s hard to pin down and classify—it blends elements of punk, psychedelia, hard rock, pop, and experimentation into one stew, and the results are mixed. The main problem is that there are a plethora of structural and tempo shifts within each song, which make it somewhat difficult for addicts of the straight-ahead (like me) to assimilate. Different but vaguely unsatisfying.
MEAT JOY viciously slices away at a variety of pop and rock genres on this curious and extremely uneven album. “Proud to Be Stupid” mercilessly chops apart punk nihilism with its dirgy hardcore attack, while “My Heart Crawls Off” pummels the BANGLES’ cutesy pop into submission once and for all. Too bad there’s also a large proportion of experimental and post-punk rot on here. It’s your money.
Spoken word. Side one is LYDIA LUNCH recounting a fictional (?) account of a woman getting fucked by a greasebag on a cold cement floor. Side two is a very disgusting account of a fat kid who fantasizes about his male boss, kills a bum in an abandoned building, slits him open, and eats the fetid intestines as he burps the beef. Art? Prose? Slop for slop’s sake? Well, the reader is in the SWANS, which probably explains it all.
This debut EP from LA’s STUKAS OVER BEDROCK contains a legitimate mid-tempo funnypunk classic whose lyrics extol the virtues of Yogi Bear as a youth role model; the two songs on the flip also exhibit real satiric charm and solid tunes. This should hold you over until the next DICKIES release.
In general, SUBTERFUGE plays mid- to fast-tempo British-style punk that’s cleanly produced and tightly delivered. The drums are way out in front of the vocals in the mix, which I think sounds good. Powerful punk with an undercurrent of humor.
The TOXIC REASONS’ latest EP features some scathing commentaries on contemporary American life, though the songs don’t quite rate with their best material. “Can’t Get Away” is a bracing shock of ’77-style punk, while the two other tracks invade D.O.A.’s territory of pile-driving political rock. Timely and heartfelt.
Neo-’60s psychedelia has a good outing with this release from New York’s VIPERS. “Never Alone” rates as a winning amalgam of cheesy organ, mildly snot-nosed vocals, and distinctive songwriting that should leave you singing the melody, whereas the flip seems somewhat less catchy. Still, a respectable and entertaining record.
Where does one draw the line between “different” and just plain “bad”? It’s subjective of course, and partially based on prior contact with a band’s music, which prejudices expectations to a degree. This new WHIPPING BOY album evidences a major departure from their previous ordinary thrash to a potpourri of post-punk, blues, ska, and droning. I can’t say that I like it, but I can’t say I’m being objective, either.
A box set of two 12″ discs and literature documenting—via an Orwellian philosophy—the human struggle. Inordinately powerful, overwhelming, and mind-boggling in its successes, this package must be heard. I only need leave you with this quote from the record: “People submerged by the commonplace, programmed by a technology whose language of command, analysis, and control strangles the mind with a cold logic.” Indeed…
A nine-song collage-like effort. The sound quality is pretty high, and for a band with mid-tempo songs, clear but powerful, layered instrumentation, and critical narrative lyrics, that’s really important. At times it’s a bit too “mellow” for me, but other invigorating tunes make up for that.
QUEL DOMMAGE specializes in spare, slow post-punk with the typical complement of chorused guitars, arty lyrics, and utterly uninventive songwriting. Their sound recalls minimal pop outfits like the early CURE, but with none of the latter band’s clever stylings. Boring.
This Knoxville hardcore outfit gyrates dizzyingly between forceful thrash and basic heavy metal punk, lead breaks and all. What redeems this uneven debut are the highly satiric lyrics on songs like “Skateboards Suck” and the ultra-vicious “Businessman’s Lunch.” My favorite cut is the demolished version of JOHNNY CASH’s “Folsom Prison Blues.”
More melodic punk from Boston’s STRANGLEHOLD, yet with considerably more production bite than on their fine debut 12″. “Same All Over” features the band’s trademark guitar riffing to bolster a rowdy, engaging pop-punk composition, while the flipside recalls mid-period STIFF LITTLE FINGERS with its gravelly vocals and varied instrumental flavorings. My advice—get it!
Joseph at Systematic described SOUL ASYLUM’s sound as “thick,” and given that Bob Mould of the HÜSKERS did the production, I think you can figure out what that means. Most of the songs have a dense, rockin’, chunky sound with some power and gruffness behind them. They’ve got decent drive, but they’re more rockish than punky.
More humorous sense and nonsense from Joe Pop-O-Pie. This time he does another version of the DEAD’s “Truckin’,” explains the real story of the POP-O-PIES, and embarks upon a series of rap, punk, thrash, and noise satires, all of which are well-produced. A definite cult item that should be in the Rhino label.
NOT FOR SALE is sort of a garage pop outfit with punky sentiments. They have political lyrics and a certain aggressiveness, but the clean guitar sound and bouncy songs lessen their overall impact. Still, I found myself humming along and tapping my feet, especially to “Too Late to Worry.”
This Milwaukee-based band is sort of an Americanized equivalent of the BEATLES during their Revolution period. It’s filled with folky psychedelic pop, and the reason I say Americanized is because there’s a hint of punkiness in the vocals and the fuzzy guitars at times. Their pop sensibilities clearly prevail, but not quite to the point of wimpiness, so they still manage to leave us with some real classics (like “Elongations”).
’60s pop with distinct hard rock trappings. MOD FUN’s general tone of aggression has to be admired, but neither of the songs on this 45 are raunchy or catchy enough to sustain much interest. “Happy Feelings,” the better of the two, offers pleasant background vocals, some jangly guitars, and not much else.
