For review and radio play consideration:
Please send vinyl (preferred), CD, or cassette releases to MRR, PO Box 3852, Oakland, CA 94609, USA. 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. Please include contact information and let us know where your band is from!
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.
The MINUTEMEN have packed 45 of their minimal, funk-punky songs onto this very satisfying twin album. Most of the compositions here rate from fair to very good, and utilize some combination of melody, guitar riff, or interesting lyric twist to sustain the listener’s interest. The seven or eight really excellent numbers live up to the MINUTEMEN’s best standards—”Corona” and “My Heart and the Real World” have superb melodies, while cuts like “Nothing Indeed” employ the typical MINUTEMEN formulae very well.
With vocals reminiscent of early STIFF LITTLE FINGERS, tough, tight hardcore instrumentation in various styles, and intelligent lyrics, this band is a welcome addition to the scene. There’s plenty of power and commitment here too, making this a fine non-generic alternative to standard thrash and its far lamer cousin—metal punk.
This is one of those super-cool punkadelic records that’ll probably never get the acclaim it deserves. Like YO, THEE KATATONIX manage to combine some of the best elements from the ’60s to the ’80s—punky guitars, snarling FLESHTONES-like singing, some semi-psychedelic melodies, and haunting background vocals—in a highly original, unselfconscious way. That’s what differentiates them from the legions of more derivative outfits. Refreshingly good.
A four-song job in a ’60s pop-punk vein. There are also hints of early TALKING HEADS (“How Long Have I Been Asleep?”) and even the ANIMALS (“Roar”). OK, but not too rippin’.
LOST GENERATION is back! These forerunners of the Connecticut hardcore scene totally kick ass and thereby prove that they’re still alive and well. There’s great, tough punk here—no frills, melodic but crunching tunes, and hot vocals. Don’t miss out.
Try as they will, the modern cowpunk bands can’t begin to approach the psychotic C&W on this disc. The LEGENDARY STARDUST COWBOY specializes in a music that sounds like a cross between HANK WILLIAMS and the late-period MEAT PUPPETS on a “drug train”; if you think you might like that kind of stuff, songs like “Paralyzed-’80″ and “Radar” should tickle your funnybone and send your feet a’dancin’. This is the real thing.
A little of everything comes from this wise-guy garage punk outfit. They kind of epitomize the genre—you either like the charm or are put off by the unprofessionalism.
A fairly uninventive, unappealing seven-song EP from Switzerland’s KIE-13. “Anarchie in CH” has some pleasantly diverting guitar progressions, but the medium-speed songs on this disc plod along without any discernible passion or excitement. Rather monochromatic and tiresome.
This six-track EP from Norway’s SVART FRAMTID features finely arranged thrash with some trademark staccato guitar figures and lyrics touching on the basic anti-religious, anti-war themes. The highly textured sound contributes to making just about all of the songs pretty remarkable, so get it!
A new German release with a different band on each side. The MANIACS have a thrash attack that mixes British and American elements; TIN CAN ARMY has a somewhat raunchier and more intense thrash sound with diverting lead parts inserted at just the proper moments. Both groups utilize political perspectives, and have a couple of slower sing-along numbers. Good.
I was anticipating basic Britpunk, but instead this is a reasonably hard-edged release combining pop and post-punk song structures. PARANOIA’s crisp instrumentation is of a high order, and their haunting compositions grow on you with repeated listenings. One can discern some obvious SIOUXSIE influences herein, though a number of the songs are more driving (like “1984,” “Graveyards of Hell,” and “My World”). Good, if somewhat spotty.
There is one song on this extremely hot-sounding thrash album that attacks in-scene violence and bashing as the Nazi activity it is (“Fascist Attitudes”). Great! But unfortunately, much of the narrow-mindedness, fanatical nationalism, and violence that has destroyed the New York punk scene seems to have revolved around AGNOSTIC FRONT. Is it too little, too late? I hope not, but I’m approaching this band with caution.
Some people can’t stand this record, but I think it’s quite good. Jonithin’s voice is still pretty snotty, Mike’s guitar playing is better than ever, and the rest of the band doesn’t miss a beat. Even more importantly, the songwriting is more accomplished, and there are all kinds of textures that one normally doesn’t find on a “punk” album. Although a couple of turkeys here make me wonder about their next release, this one’s expansive.
This ultra-produced effort by CH3 is very disappointing in comparison to their past output. All four tracks are unfortunately oriented to the college and commercial new wave radio markets, with their rich instrumental sonorities, acoustic breaks, and studied poppishness. In that context, songs like “I Wanna Know Why” beat the hell out of the competition, but it’s definitely a step down. Beware!
APPENDIX’s new album seems to slip into that morass of genericness that many of today’s Finnish bands find themselves mired in. Occasional swipes of driving, well-written thrash (“A Man,” “I’m Scared,” and “An Ass Licker”) largely fail to enliven an LP that suffers from lackluster songwriting and a guitar sound bereft of real bite.
An excellent debut. The band is tight, their thrashers are not at all mundane, and their singer spits out searing lyrics like a younger Doc Dart (CRUCIFUCKS). Hot!
After My War, I was expecting the worst, but this new BLACK FLAG album is much better. Many of these songs have more streamlined drive and less self-indulgent pathos. Greg’s metallic guitar playing is generally too discordant and frenetic to fall into the heavy metal junkyard, and Henry seems to have brought his most annoying pretensions under control (except on “Rat’s Eyes”). Although nothing here approaches classics like “Nervous Breakdown” and “Jealous Again,” songs like “Wound Up,” the title cut, and “The Bars” are new reminders of BLACK FLAG’s power.
From Chicago comes this promising young band. On their debut 45, they do two raw, atmospheric post-punk numbers with a basic guitar-bass-drum backing. The lyrics are alternately existential (“Echoes”) and political (“Nuclear Fear”), and the singer is female. Atypical.
N.O.S. have two fairly unappealing cuts in a slower, brooding vein with some rich and bass-y guitar accompaniment. ZYNTHSLAKT, however, write powerful mid-tempo tunes with some deft touches in the arranging department, as on the excellent “Paga,” with its nifty two-channel alternating vocals. In fact, that one cut makes this Swedish EP well worth buying.
As far as ACTION PACT’s output goes, “Yet Another Dole Queue Song” combines fair pop-punk stylings with solid production to achieve a hummable, though unremarkable, end result. Their cover of the RAMONES’ classic, on the other hand, is so dreadful as to provoke laughter. Uneventful.
“Attempting to extract the wickedness from society without crushing that society” is ARTACUS EAGHT’s credo. They do this by thrashing and noising their way through a variety of subjects. This mission isn’t too melodic or artistic, but then these demons need a good whuppin’ anyway.
Phew! All three songs here are fast, blistering punkers with piercing, one might even say shimmering, guitar playing. ELECTRONAZE is frankly incredible, though it’s not easy to indicate their quality verbally. A fantastic wall of sound.
Mykel Board compiled this for ROIR, and the outcome is by far the best and broadest international compilation yet. Not only does it have a wide variety of styles, it also has a wider variety of countries represented (27 in all), including the Eastern Bloc, South Africa, and South America, but excluding the US and UK. There are excellent hardcore and garage bands on side one, and on side two are some really great pop-punk and post-punk groups. A new wave band from Columbia is hard to get through, but I can’t think of any other bands here that I don’t like. Check this out.
While hardly up to the standard of their fine debut EP, these four skunk-style anthems definitely grow on you. The standout here may be “1984 Reality Today,” with its pop-reggae to punk change of pace, but the thrashing title track also packs a real wallop.
