Johnson Unit Triangular Effect cassette
A pretty nifty rock ’n’ roll tape with garage appeal. There are some ’60s influences here, but it’s rocked out in a ’76-’77 manner. Unpretentious, fun, and intelligent stuff.
MAXIMUM ROCKNROLL
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A pretty nifty rock ’n’ roll tape with garage appeal. There are some ’60s influences here, but it’s rocked out in a ’76-’77 manner. Unpretentious, fun, and intelligent stuff.
Always turning out interesting slabs, this four-song job contains two originals and two covers (RESIDENTS and FUGS). All are creative, with a variety of sounds ranging from crypto to country blues to folk bizarro. Only “Get Real Loose” is a real rocker, but even it isn’t in their previous sometimes-thrash mold.
A new Chicago-area post-punk group. “Face to Face” has evocative, quasi-acoustic guitars and a magnificent break at the end; the flip is somewhat harder, and features a good, stirring chorus. Not bad at all.
Yet another in the “Nardcore” series, and this one has a definite “live” garage feel to it (might be because there were about 100 kids in the studio at the time of the recording). Actually, it’s being remixed, so it may sound cleaner when it’s released, but even this version is fun. Couple of covers, too.
This fascinating document covers the career of RICHARD HELL from his early work with the HEARTBREAKERS in 1975 through various incarnations of the VOIDOIDS. Mostly studio material with a smattering of live recordings, there’s some first rate stuff here, much of it previously unreleased. Fans of RICHARD HELL and seminal US punk would be well-advised to get this one.
1/2 JAPANESE have been around since the mid-’70s and they still sound like a garage band. They’ve created a romantic jungle planet. Our Solar System is raw and crazy, and makes you sing along, while Sing No Evil is slicker and R’n’B-ish; it’s their Exile on Main Street. There’s also a new JAD FAIR solo record with the VELVET UNDERGROUND’s Mo Tucker on drums available by mail. If you’re in the mood for a V.U. record and want some fun, play these.
Billed as a mini-LP on 7 inches, this is the first of the “Nardcore” (Oxnard area) series, with plenty more to come. The idea is to beat the “high cost of albums, with these six or seven song jobs.” FALSE CONFESSION comes off on some tracks as America’s answer to the current DISCHARGE sound. On others, there’s less metal damage, and more of an amalgam of US and UK thrash. Powerful.
An excellently recorded tape, FVK came on with superior political lyrics (I say “came” on, because they lasted only during last summer). The first few tracks are fairly “heavy,” but after those they launch into a series of thrash stop-and-go killers. Fine.
Don’t be fooled by their title—they’re pretty cool. They remind me of early TELEVISION and DB’S pop, but without any love songs. I can’t call it neo-psych because it’s not ’60s-ish and they don’t rewrite Sam Shepard plays for songs. It’s real good.
Both sides are highlighted by great punk vocals, and semi-punk/garage/rock instrumentation. Sometimes the rock side (chunky rhythms and guitar solos) gets a bit much, especially on the B-side, but the A-side is an unqualified rocker.
CHRISTMAS area fun thrash-pop trio who love their rock ’n’ roll. Hardcore no, but thrash, yes. (Is there a difference yet, Tim?) “Ballad” has a wild country kick to it, and “Wilhelm” sounds a bit like MISSION OF BURMA. But believe me, folks, I’ve seen ’em and this disc is just the top of the iceberg. Hot damn iceberg!
This Ohio band is two guys—one sings, the other plays all the instruments. Hints of CHROME, but it’s more like the SOFT BOYS or early PINK FLOYD. Psychedelic.
Every once in a while, someone comes out of nowhere that doesn’t sound like anybody else. There are “Bat Cave” overtones here, but the music pile-drives along with ten times the balls of any SISTERS OF SEX SPECIMEN. The artwork is pretty deadly as well. If you’re lucky, their guitarist might send you a demented chalk sketch or two.
What it is is good NJ thrash ’n’ roll. They rock hard and tight, with lots of stop-and-go songs, neat guitar sounds, etc. I say NJ because they have a lyrical fascination with guts, gore, and death, as many other local bands do. Quite a few anti-war songs, too. Good buy.
Ahhh yes, but ven dus dis arrt becum self-serving obnoxious gaff? Most certainly when these twits are about the prognosis ain’t beckoning bright. I mean—saxophone? I though they outlawed dem tings. They oughta outlaw this grunt…
While most of the songs on this tape are a bit too much on the melodic side for my taste, fans of more pop-punk (Á la SoCal sound, like aspects of SOCIAL DISTORTION, TSOL) will appreciate their approach. Well-produced.
The same BLIGHT as before, with Scott (ex-CRUCIFUCKS?) singing/chanting/growling instead of Tesco. Long, slow, painful dirges are their forte, and they deliver with all the ugliness of an extreme downer overdose. Watch out—they’re on tour now!
Side one of this rather strange release contains a brace of spoken word recordings by BLACK FLAG, only one of which is graced by an instrumental backdrop, and most of which are OK as novelties. Side two has four metal-punk instrumentals, none of which are even passable. You have to be a pretty desperate BLACK FLAG fan to want to buy this LP.
BABY OPAQUE kicks up a dust-cloud of guitar and drums in a style that reminds me somewhat of mid-period UK DECAY, but with an added dimension of accessibility. The five songs here, which address themes of alienation, contain twisted guitar riffing, though my favorite is the spare pop number “Blue Crimson.” Quite out of the ordinary.
The stark, discordant post-punk on this cassette LP epitomizes the rebellious, satiric, and occasionally infuriating music of ASBESTOS ROCKPYLE. The compositions utilize slower tempos with mixed results; but when the vitriolic lyrics and music conjoin (as on “DC Deadcore”) the results are close to magic. Unusual.
Although their compositions are longer than those of most contemporary thrash outfits, ARTICLES OF FAITH employ a fine sense of drama to create extraordinary tension within their songs. A screaming guitar sound, impassioned vocals, and their sheer velocity make for some great moments of noise and music, particularly on the pile-driver “American Dreams.” Of course, this is mandatory.
A four-song demo in the old no wave punk-funk tradition. Actually, it sounds somewhat refreshing now, though it sure got to be stale back then…
Quite a neat ten-song tape that really should’ve come out on vinyl. It’s classic SoCal thrash, reminding me a bit of what the MIDDLE CLASS might have sounded like had they continued from their thrash roots. It kicks!
Claiming influences that “range from BUZZCOCKS to DIE KREUZEN to early STONES to IGGY to MINOR THREAT,” it’d be hard to really go wrong. While by no means as singularly excellent as any one of these bands, they do indeed display a blended “punk/pop/with power” that all said influences have/had, and all without being obvious imitators.
Weird-ass rockin’ C&W-flavored punk. I hear LINK WRAY, BUTTHOLES, VELVET UNDERGOUND, and all kinds of stuff in here. Unfortunately, it’s only six songs long, but it’s still pretty neat.
Ah! The garage aesthetic—you either like it, or you puke. Now Jeff, he likes it (the aesthetic, that is). The Pus, it’s not his cup of disease. Me, some’s got charm, but in small doses, unless it’s pure rockin’ noise. This particular manifestation of the genre has its moments (more than not) but it does wear thin after a while.
The YARD APES demonstrate an arty, no wavish influence on these tracks, with varying effects. “Neurosis” mines a funky-rock approach without much success, though the flip’s poppy offering qualifies as a modest foot-tapper. OK, but no big deal.
Two regional English bands split a tape here, and they couldn’t be more different. DEFORMED’s recording is a studio demo, and their sound is “death punk,” cleanly executed (get it?), and effective. NO BRAIN CELLS do 30-second thrash numbers, and it’s a live tape that fades in and out (at least on my cheapo machine). It’s good to see such varied punk bands be able to cooperate though.
Another excellent 7″ (their third) from this Swedish unit. They play very fast punk with catchy tunes, cool singing, and hooks galore. While their style is not unlike some of the better Brit-punk bands, they deliver it with zest and feeling.
Two decent HC bands. Nothing really exceptional to distinguish them from the hordes, but they do pound em out.
FUNHOUSE specializes in mid-speed rock compositions with lead solos and angry lyric concerns. “Retaliation” has a tense, riff-laden approach that makes for powerful music, but rumor has it that these guys are now much better than these early 1983 recordings indicate. A promising band.
Although there’s a light post-punk atmospheric guitar touch to these three tracks, this is overshadowed by the driving beat and tough vocals (at least on two of the songs). Previously though, their approach had been more “punk,” but the results here are OK, too. Fine instrumentation.
This X is from Australia, and may have actually preceded the well-known L.A. group. On this new release, “Mother” is an overlong, unnecessary version of John Lennon’s old song, but the flip is a driving number with some super-penetrating bass runs, a loud guitar, and lots of overall power. It’s a killer track that alone makes this 45 worth picking up.
When I think of modern Icelandic music, I think of moody post-punk and some experimental stuff. That’s exactly what we get on this tape. Only one or two groups (VONBRIGDI, for example) really play driving punk.
An excellent cross-section of Montreal-area bands, most of which haven’t released any vinyl before. From the thrash of DIRECT ACTION and NO POLICY to the chunky pop-punk of the NILS to AMERICAN DEVICES’ weird, rockin’ stuff to fast punk by GENETIC CONTROL, the ABSURDS, and FAIR WARNING to the garage punk of PORCELAIN FOREHEAD to MORBID FIRE’s experimental garage thrash, this album provides listening enjoyment. The only musical letdowns are art- damaged numbers by ≠and IAGO NEON. The ASEXUALS, on the other hand, provide the lyrical low-point with their imbecilic pro-contra chant; their line “political morons without a fucking clue” must be autobiographical, since they apparently know nothing about Nicaragua, American foreign policy, or the circle-A which they employ in their moniker.
Quite a strong trash-oriented tape, with the likes of Germany’s MANIACS, UK’s THE FIEND, and Italy’s MONOPOLIO MENTALE. No let-up or let-down.
A split EP, on white vinyl no less. ENOLA GAY and WAR OF DESTRUCTION share this effort. E.G. are good, gruff fast punk (two songs), while W.O.D. are DISCHARGE-like on their one entry. The flip features LE CRAP, who are abrasive post-punk. The real surprise, though, is VI, who shred on their two tracks, sort of GISM meets CAPITOL PUNISHMENT. Good release.
An historical document of sorts, this live tape is dedicated to those courageous and dedicated punks of Milan, who managed the Virus collective (now defunct by force). Besides the many bands (ALTERNATIVA, KOBRA, F.D.M., WRETCHED, STRAGE, M.A.F., RAPPRESAGLIA), there are interviews with various people (in Italian), speaking about an action of occupation they did (where this was recorded) to protest, where eventually they were dislodged by ten tanks! Raw as reality, but the fight goes on.
An international collection starring PLAIN WRAP, SVART FRAMTID, PANDEMONIUM, MOB 47, WRETCHED, TIN CAN ARMY, SIEGE, CRASH BOX, INFERNO, and several newcomers. It’s a solid thrash release—you know what you’re getting.
Another savage onslaught of that brutal Japanese hardcore. Featuring those masters of growling ferocity, GISM, with two power-crazed cuts. OUTO speeds rapidly with harsh vocals. BAWS come off as an aggressive COCKNEY REJECTS, with lots of chants and Oi stylings. ZOUO plunge into some metallic pieces like a young GISM, with lots of effects. LAUGHIN’ NOSE strikes with a melodic punk appeal, like current YOUTH BRIGADE numbers. MOBS is GISM Jr.—grinding, growling, with all that iron grit edge. COBRA hits with some early garagy punk sounds. And LIP CREAM charges forth with some manic thrash assaults, fast and furious. A great compilation where most songs are longer than what’s in “fashion.” Thanks, Hannah!
Here we have a new Italian compilation distinguished by its diversity and general quality. The “green side” features a few experimental punk bands (GREY SHADOW, NOISENOISENOISE, and MIND) that illuminate some paths that can be taken out of the generic morass “hardcore” often finds itself in; they adopt unusual structures without losing bite and guitar power (except maybe MIND). The “orange side” features somewhat more conventional punk and thrash groups (CANI, JUGGERNAUT, and PUTRID FEVER), and one rhythmic synth duo (FUNNY FASHION).
A whole lot of current UK bands (eleven to be exact), each with a track or so, and bizarrely, one US band (KILLROY). We get some mid-tempo tracks from ANIMAL FARM, SICK VICARS, ENEMY, RESISTANCE 77, THOSE OBNOXIOUS TYPES, and PARANOIA. Not earth-shaking, but solid Brit-punk.
41 underground acts delivering the message of peace and their anger about the corrosion of society. A variety of musical styles, ranging from readings and folk to punk. Loud and aggressive, it carries it all and holds strong. The poster cover features an informative segment on each artist’s lyrics and beliefs. As the cover states, “Don’t expect music when the melody is anger, when the message sings defiance.” With a haunting illo by Naomi!
Welcome to the X-Centric Noise Cassettes’ “greatest hits” LP—all their best stuff grooved into a fiery wax platter. Many of your favorites first appeared thru X-Centric, and now you can experience the storming energy of TERVEET KÄDET, UPRIGHT CITIZENS, NEOS, HUVUDTVÄTT, OLHO SECO, PROTEST, RATTUS, POWERAGE, CÓLERA, CULT MANIAX, and more. For fanatic and neophyte alike. Support Shesk’s efforts (he’s helped popularize international music for years) and help keep that energy flowing.
The follow-up to Blood on the Cats, this comp again features trash/garage/rockabilly/R’n’R. There are a few well-known bands (METEORS, SIC KIDZ, MILKSHAKES), a few up-and-comers (KING KURT, STINGRAYS, TURKEY BONES AND WILD DOGS), and absolutely no manic psychobilly. Just OK.
A real gnarly, kick-ass compilation consisting of such luminaries as PUNK FLAMINGOS, PRENATAL LUST, BILLY BOB FAGGOTS, FEARLESS IRANIANS FROM HELL, TOEJAM, and three others. It has good sound quality, too. More than decent.
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.
