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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!
An all-Belgium comp. featuring CAPITAL SCUM, KOYAANISQUATSI, WAR RISK 3, ZYKLOME A, VORTEX, and WULPSE VARKENS. This is also an all-hardcore comp, most of which is above average and well-worth obtaining.
A 50/50 proposition. The bands, with the likes of FRITES MODERN, PORNO PATROL, MAU MAUS, UPRIGHT CITIZENS, DOA, etc. are world-class, and the songs are uniformly excellent. Unfortunately, most of the recordings were culled from hand-held walkman cassettes, which doesn’t help the sound quality. I must admit that the excitement comes through, though.
Pretty plodding, sort of in a Britpunk style of a few years back. Not awful, but not very exciting, that’s for sure. Cosi-cosi.
Goofy punky rock new wave Á la ’77. Satirical lyrics combined with surfy/folky/jazzy music with an edge. Sort of like FRANK ZAPPA meets early MYSTIC KNIGHTS OF OINGO BOINGO.
Part of that unique mixture of rockabilly and ’60s punk that some modern bands are conjuring up, TALL BOYS’ blend renders a result that works. Purists of both genres might be unhappy, most rock’n’rollers will be mighty pleased. Interesting cover of “Action Woman.”
This is the last testament for the STALIN, a two-record live recording. Forsaking their earlier harder-edged punk and thrash, the preponderance of songs here are harder-edged post-punk/rock punk. While not a “weak” release by any means, I found myself bored at times with the long dirges, and not excited enough by the shorter slaps. I’m spoiled by their older records.
Excellent release that crosses post-punk with ’60s psych in a modern powerful way. Reminds a bit of fellow Australians LIME SPIDERS, and with this debut US release (this label will be presenting a lot of Aussie bands to the US) the SPIKES will make their mark.
Demented punk blues in the JESUS AND MARY CHAIN mold. Off-key, noise-laden feedback city, electric viola—a real painful mess that brings joy to one’s twisted heart. Good.
From the first blast out of your speakers, you know you’re in for a treat—wham!—out pours thrash ripper after ripper. Over a dozen raves in a straight-ahead style, much like the first DRI release. Wicked!
Yeeouwh! This is an absolutely amazing British thrash band. SPEAK AGAINST SOCIETY manages to generate an incredible wall of guitar power and attains a level of intensity rarely heard these days from that “sceptered isle.” No doubt they’ll be panned in the British music weeklies, the surest sign of greatness. “We Don’t Need It” makes your hair stand up!
Sadly, the wall-of-mud production detracts from this powerful band. Their songs have an obvious energy to them, which kicks along songs like “Helden” with its skittering guitar parts. All in all, not too shabby, but it would be really nice to hear them.
Well done punk in a more British style. There’s mostly fast punk (as opposed to thrash), with a couple of slower tunes to break the tempo. I can’t say I jumped up and down listening to this record, but fans of the Britpunk genre will be able to pogo.
A cockney accent set to an older style punk that’s got a slight bit too much rock guitar to it. Otherwise, it’s an OK release. Just don’t like that guitar much. However, it is, as advertised on the jacket, a “synthesizer-free product.”
Very good pop/punk with ’60s undertones, not unlike the SAINTS’ second LP, occasional horns and all. Rocks pretty good, as do most Australian bands in this genre.
Those expecting the charging thrash of their debut EP will be in for a shock. O.X. POW’s style has degenerated into a new wave pop reminiscent of a spare U2, or perhaps AIRSTRIP 1 without the catchy material. And while political pop is OK in my book, there’s no real songwriting skill in evidence here. Too bad.
Industrial post-punk hardcore? Whatever it is, it’s done with gusto and power rare for most post-punk bands. Also rare is the band’s imagination. Sort of like SONIC YOUTH meets the BUTTHOLES meets some nightmare you had after eating meat and taking acid for the first time in ten years (Ray Farrell, take note). Not noise!
Three of the four songs are mid- to slow-tempo hardcore, at times verging on FLIPPERISH drones. The remaining song is a thrasher, and all the tunes are powerful and gnarly. Good production, good record.
Probably the only English band to truly understand American garage trash, that wonderful mixture of R’n’B and white teen angst. These incredibly prolific guys couldn’t care less that it’s not 1963, whirling on in a world of their own fueled by surf, Mersey, DIDDLEY, KINK-dom, and KINGSMEN. Boss.
Both sides are up to the METEORS’ best standards. The A-side combines crypto-surf guitar and psychobilly, while the flip is an eerie cover of SAM THE SHAM’s hit. Echoes galore!
Back on the HC team, Vinyl Boogie has released a sizzling EP by this Berlin band. They play ultra-tight thrash with lots of melody and no fat. Four songs, all excellent.
Growling guitar havoc highlights this four-song Spanish EP with a sound similar to OLHO SECO. Power chords laced with chaotic-paced grinding makes for an interesting effect. Lyrics are translated on the inner sleeve, but the vocals are harsh with a rough edge that delivers the same bite as the guitar. A good dose to crank it up for raw vibrations.
It’s difficult to tell who’s doing what here, but both sides are powerfully done post-punk for the most part with song titles that describe both the lyrics and mood of the music: “Holocauste,” “1944,” “La Petite Horreur.”
An eerie, sullen filled slice of blue from Iceland with opposing male and female vocals. Very JOY DIVISION-ish in its attempt at a gloom-laden melody. Nice packaging as are all EPs through Diavlery Productions. Interesting and moody.
Scott says they sound like a cross between psychedelia and a trebly FLIPPER. Dogtowne says they’re pretentious pretenders to the VELVET UNDERGROUND’s second LP. Whatever, they do combine pop tunes with incredibly abrasive guitar noise and feedback to produce a highly listenable product.
Kinda folk-punk with catchy electric songs, not unlike a slightly less crazy SOFT BOYS. Poppy, but good guitar sound and not at all wimpy.
Containing some ex-members of STRES D.A., this band plays semi-tuneful thrash, unrelenting in pace and featuring raw and rapid lead guitar, hoarse vocals, and pounding toms. Well done.
Very English sounding, very female vocal sounding, very punk meets post-punk sounding. Seven songs, all chunky boppers with perky-jerky lyrics.
Smoking speedcore attack from Canada. Never expected this. Fast punching rhythms with metallic leads and mayhemic chord changes. Good vocals and drum smashing prove this LP to be one of the classic records that you can always pull out and play. First S.N.F.U., then DIRECT ACTION, and now HYPE—the Canadian assault is upon us!
HUNGRY FOR WHAT’s approach is molded by ’77 punk, but a certain sleekness of production imparts a contemporary feel to their songs. There’s some good music here; still, H.F.W. see-saw between moments of power and a sedate professionalism, with the latter winning out in most cases. A strong, yet unmoving release.
Thrashin’ Oi sounds from Germany. These tuneful tunes are delivered competently and powerfully, although there is definitely an amateurish garage quality to the playing, too. Can’t say anything about the lyrics, but I can say they’re definitely into their boots and rolled-up jeans.
Wall-to-wall, highly produced, powerfully delivered, and tightly played stop-and-go thrash. That sound generic enough? Nonetheless, these guys are good, do feature almost post-punk guitar work at times plus the tape comes with mini-zine Rancid Humanity.
The FALL are getting easier and easier to take on the first listen. This 45 chronicles a day in the life of a terminal loser over a scrappy, howling song with blasts of harmonica. This flip has the first cover tune they’ve ever done, and it draws more of a rockabilly sound out of this line-up.
Aaagh! It’s t-h-r-a-s-h, not t-r-a-s-h! Okay, now that that’s clear, onto the music. Most of the songs here are really well recorded, though there’s a few live ones with a slightly tinny sound. But all the songs shred—very powerful thrash!
The A-side is a pretty catchy, almost MOTÖRHEAD-type rockin’ metalish number with excellent lyrics. The flip is too plodding for my tastes, but again with good lyrics. While I don’t enjoy this brand of DISCHARGE as much as their earlier incarnation, at least the integrity of the thoughts is maintained.
Three post-punk tunes from this English band, all of which are fairly driving. I like “Ritual,” the best as it delivers the most oomph. For those into “death.”
Upbeat German punkers with a great sense of humor. They sing about the walking dead like it was an outtake from a Disney film. Lots of sing-along-style tunes with quick step guitars. Should appeal to MISFITS fans.
An interesting record from Mute, and definitely BIRTHDAY PARTY influenced. Did I say “influenced”? Why, it’s…Rowland Howard on guitar, Mick Harvey on drums, and Simon Bonny singing. There are some great tunes here: “Shaking Chill” is hopping and the rest grind on with apocalyptic moments characteristic of the style.
Clean live recording of the CULT MANIAX at their finest. Powerful Britpunk with crisp vocals in a chanting form. If you haven’t heard them before, they’re not thrash, just tight melodic aggression. But this live recording is too much; great sound.
Yeeeoowzza! This disc is a flailing sonic eruption! Fast teeth-gritting grinds of raw abrasive combustion with raunchy vocals that roar out in command. Sweden’s CRUDE SS storms six numbers so chaotic with a powerful raging beat that the power is the closest thing to actual destruction. One hot Swedish platter!
Denmark’s LE CRAP wanders through bewildering territory, indeed. While the guitar sound is hard and driving, the songs on this EP work with experimental song structures and off-beat percussion, with some unpleasant results. Not unlike France’s HUMAN BEINGS.
An organ-dominated ’60s punk sound in the Pacific Northwest tradition. Harmonies are okay, so’s the beat, but a bit more guitar is definitely called for. Too poppy.
Two of Brazil’s frontline HC bands share this live recording. CÓLERA are medium-to-fast-paced, while RATOS are more frantic. Both are tight but raw, in the music and vocals. Okay, if you’re into live recordings.
Unlike his former band SHOCKABILLY, Chadbourne’s solo efforts steer away from the head-first fuzzed-out psychedelic trips and goes for more personal (and political) subjects. There are some incredible lyrics here about nationalism, pornography, and criminals in coats and ties all delivered in a folky, sometimes spastic sound that really connects.
CARNAGE delves into a slower punk style on this release—an approach which unfortunately omits songwriting skill or instrumental punch. Some good lyric themes are addressed here, but the music is largely stolid. Too bad.
A very hot three-song release. “Seeing Through My Eyes” and “The Point of Agony” are especially good, capitalizing on metal punk with maxi-power and mini-solos plus sharp lyrics.
Various punk celebrities from the old days offer their talents for this album of slower, ’77-oriented material. The absence of energy in the tempos put me off initially, but there’s some very palatable SEX PISTOL-ian material here, albeit cleaner and more refined. A decent record.
They weren’t kidding, cuz this is a garage special. Kind of like a HALF JAPANESE goes punk. Enjoyable eleven tunes.
Somewhat garagy production, but still listenable. Features eight fast thrash tunes, pretty tight and melodic to boot. I think if they got into a decent studio they’d turn out something above average.
More tuneful than most Finnish thrash, this band employs melody, and clean production and playing; because of this, there’s more of a British feel to this six-song release. But by no means is this a sterile, plodding record; quite the contrary, it’s pretty strong medium-paced thrash and good listening.
A rockin’ minimalist guitar-oriented band here, who on the A-side sound like the BYRDS meet the FALL, and who are a bit less distinctive on the flip. Interesting.
