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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 variety of modern bands and styles can be heard here. Denmark is amply represented by CRAP (post-punk), the RAZOR BLADES (thrash), the DEFORMED (punk), ENOLA GAY (thrash), WAR OF DESTRUCTION (thrash), and DIE KAPELLE (noisy post-punk); Finland showcases the thrash of the BASTARDS and RATTUS; Germany contributes GORILLA ACTIV (post-punk) and DER MODERNE MAN (jazz-punk); then there’s England’s DESTRUCTORS V with some punk. The sound is OK for a live effort.
Instead of garden-variety Swedish thrash, ARABENS ANUS opts for medium and fast tempos to augment compositions with minor key progressions, and even an occasional intrusion of synth. The result is different and quite good. “Himmel och Jord” and “Hjälter gÁ¥r Först” manage to intrigue and excite simultaneously, much as their countrymen ZYNTHSLAKT do. Recommended!
A shitload of German bands (HAWAII 5-O, ENOLA GAY, SICK PLEASURE, INFERNO, the NEUROTIC ARSEHOLES, PORNO PATROL, the UPRIGHT CITIZENS, BLUTTAT, and others), along with Italy’s WRETCHED, recorded at the AJZ. The sound isn’t great, which is too bad, because most of these groups are. The project itself is of an admirable non-profit nature.
A fun-loving bunch of drunkards from Holland. A lot of these 29 short tunes extol the virtues of getting fucked up on various substances. DE BOEGIES mostly thrash out, but they also do a number of slower, pub-style songs. Down the hatch!
Normally, I find GBH’s brand of metal-punk tedious, but this time around they sound pretty damn good, mainly due to the incredible production here. The title song and “Children of Dust” are both real stormers, and the dub mix of the former is particularly stimulating.
The EJECTED’s second album musters up loads of melodic pop-punk in a surprising array of styles, from chunky and fast punk to a few touches of reggae-flavored pop. “Stop, Look, and Listen” is a lilting, effective bit of UB40-ish reggae, but a brace of brisk rockers with catchy choruses make this record click. Despite a few dull slow numbers, this is basically solid Britpunk.
Winsome, lightweight pop in the tradition of the AU PAIRS, the MO-DETTES, the RAINCOATS, DIE MÖGEL, the WANDAS, etc. The occasionally reggae-fied bass is their heaviest instrument, and it nicely counterpoints the lilting female vocals, but nothing here is really meaty enough to sink your teeth into.
The first Norwegian band to appear on Rock-O-Rama’s “International” album series. They produce a brace of clean thrashers and an occasional slower, almost post-punky number (like “I Don’t Feel Anything”). There’s nothing radically different here, just a good amalgam of the tried and true. We’d have definitely wanted “1984” on our compilation if we’d known about SISTE DAGERS HELVETE earlier.
A garagy energy infuses the boisterous thrash on this six-song EP from NEBENWIRKUNG. The very short compositions here unfortunately have the vocals too far up front, but kinetic rockers like “Gewalt” and “Total Voll” triumph over the primitive mix with a guitar/vocal combination that really rips. Check this one out.
A new US album featuring material from several of RATTUS’ Finnish releases. The hot sound quality here emphasizes the band’s power and instrumental virtuosity, so anyone who found it difficult to obtain the original records should scarf this up immediately! (I’d swear that some of these versions are different than the originals, but I could be wrong.)
While some of the ferocity and offbeat humor of their debut EP is absent here, Winnipeg’s STRETCH MARKS still manage to come out with a creditable album. Breakneck thrashers like “Turnbuckle Stomp” and the title track are the standouts among these thirteen mid- to fast-speed punkers, though the cover of CREEDENCE CLEARWATER REVIVAL’s “Bad Moon [Rising]” also lives up to all expectations. A good basic record, aside from my perennial gripe about BYO’s sedate production.
This is a ska band from Fresno with some ex-MANIAX and THINK TANK members. Although I love heavy dub-style reggae, I’ve always felt that ska is to reggae what pop is to punk, so I’m not too wild about the lightweight sound and bouncy rhythms contained herein. The one exception is “Generation Gap,” a decent JAM-inspired mod number with fine lyrics.
A rough-quality four-song demo that contains some excellent material. It’s tight, with intensely gruff vocals and a great, almost BUZZCOCKS-like poppy thrash attack. HOMO PICNIC contains a kernel of ex-KREMLIN KORPS personnel.
This three-track EP presents slow to mid-tempo rock with a dense guitar mix and throaty female vocals. The record’s title track is irritatingly dirgy, but the two songs on the flip (especially “In the Shadows”) contain basic, semi-engaging melodies and a certain aural richness. Fair.
This record is a bit confusing. The A-side is an unappealing, slow rocker that sounds like the BREEDERS might be listening to too much LOVERBOY or FUN BOY THREE; the two other songs are fun thrashers. “Fuckheads” has great sentiments about people who play too rough in the pit, and seeing them live might clear up the confusion.
Slightly quirky thrash and pop that’s .:. .:.. .. . ….:.. .:. … ::. ..::. .:.. So check it out.
A very powerfully recorded album that’s got plenty of that CHAOTIC DISCHORD zip to it. It features still more of the humorous, idiotic subject matter we’ve come to expect form this send-up thrash band, and they leave us with these pearls of wisdom: “You’ve Got to Be Obscene to Be Heard.” Slap those knees!
One of Ray Farrell’s faves. These jokers perform a kind of demented R&B on one side, and funky cajun music on the flip. Neither is done with the certified psychosis of the BUTTHOLES, or the sparkling pop sensibilities of the CRAMPS, and therefore don’t really grab me, but lovers of those genres might be enthused.
An unusual release. Sorry are able to merge thrash power, distinctive song structures, and high-quality musicianship to produce some material comparable to that of certain other bands who are pushing back the frontiers of punk. Many of their songs are too jazzy or disjointed for my taste, but others hit home with ringing guitars and poppier sensibilities (like the MEKONS’ “Where Were You”). Listen before buying unless you have broad musical interests.
The singer for the STALIN appears here on his first solo vinyl effort. The A-side is a fine driving mid-tempo punker, whereas the flip is a slower, more unusual number with spoken vocals. Both cuts have crisp production.
A sonic crossfire of furious mayhem. Lightning-fast guitar riffs storm with raging thrash appeal, as PLASMID strikes hard with torpedoing speed in the vein of CHAOS UK or ASYLUM, perhaps the fastest disorder to come out of the UK yet. Strong political and personal beliefs are thrusted forth in this maniac barrage and, though the sound quality lacks slightly, this effort is sheer exhilaration for a four-song demo.
A tight German thrash-oriented outfit with imagination. These guys burn at high speeds, but also add complex, tuneful elements without even batting an eye. Someone should help H.O.A. put out vinyl immediately.
Whoa! This is a terrific medium-speed punk release from New Zealand. The guitars are really dense, there are good sing-along parts, and the lyrics are very radical (particularly in “Govt. Don’t Care”). One of the better old-style punk records I’ve heard.
KLAXON breaks with the Italian thrash and Oi traditions by adopting a poppy punk sound. Songs like “Prisoners” have a ’78-’79 punk approach with their medium speed and hummable backing vocals. Decidedly different in this day and age, but really refreshing.
Some ex-members of Switzerland’s TNT come up with a totally unique and powerful sound. It’s mainly just a couple of raw guitars and female vocal harmonies, interspersed with weird and abrasive breaks, eruptions, and outbursts. One song runs through both sides, and it represents punk at its most innovative.
This Melbourne band was likened to the FALL or KILLING JOKE, which isn’t too far off, but they also do songs that sound like CRISIS or some of the more raw, inspiring ’77 punk bands. A couple of these five cuts (like “Atom Age”) are especially likable due to the killer drum and bass lines; the others are more poppish but still really good. Recommended.
On this two-track flexi, MASTURBATION does one slow, steady punk number and one basic thrasher. Once again, the Japanese display some considerable power, but these guys aren’t as original as some of their compatriots.
MOTTEK are one of the new generation of high-quality German hardcore outfits. They combine full guitar power, an extremely tight instrumental backing, and good songwriting. Whether thrashing or punking out, MOTTEK manage to come up with memorable hooks, and the crisp production on this album only accentuates these qualities. Very good indeed.
There’s something downright pure and mystical about the straight-ahead, no-frills rock that originates in Australia, and this thoroughly powerhouse slab of vinyl by the NEW CHRISTS amply demonstrates that magic. Both tracks display forceful, ringing guitar plowing over an amazingly propulsive rhythm section that creates a wailing, detonating attack. A perfect loud and crunching record that even humbles the SAINTS, the LIME SPIDERS, or anything else of that sort.
Despite their thrasher on the Chaos en France 2 compilation, NO CLASS concentrates on fast skunk on their solo debut (except for the slower “Jah”). However, their sound isn’t quite as chunky as it could profitably be at this point. Pretty good.
I’m sure that OBERKAMPF feels that this new album represents “progress” in relation to their earlier sleazy punk style, but the addition of overly slick production, echoey BAUHAUS-type vocals, sound effects, and unoriginal post-punk rhythms only leaves me cold. Aside from an occasional glimpse of their former straightforward power (in songs like “Au present,” “Johnny sois mauvais,” and the classic “Tout ce fric”), this record is a step backwards into pretention. Sigh.
Not a thrash album, but a good old-fashioned punk LP. Holland’s OUTRAGEOUS displays a fast, heavy, two-guitar punk attack with strong hooks on most of this record, but they also play occasional poppish ditties (like “Beziers”), rockabilly thangs (“British Bikes”), or thrashers (“Say Cheese”) to mix up the stew and keep things interesting. I found myself happily singing along with many of these tunes, which is as good a recommendation as most.
Aaargh! RAW POWER’s debut album clearly demonstrates that they’re among the world’s best hardcore bands. It also shows that they are more versatile than one might have been led to expect—along with ripping thashers with paint-stripping vocals in the tradition of “Fuck Authority” (like “Repression”), there are some slower, more controlled cuts (such as “Hate”). Although the production here is too muddy to bring out their full power—you’ll have to see them live to witness that—their merciless lyrical and aural assault should not be missed.
Summoning Swedish insurgence that discharges a quick spasm of invasioning disorder and brawling vigor. Jerker’s throat vibrates in growling wails as he wrings out a forceful vocal assault. Compelling guitar structures keep the action alive with hammering drum exertions, as these reels spin off alerting mayhem in that Swedish acceleration tradition. Good stuff to watch for.
An extreme thrash barrage with screeching female vocals that scorch out rapid bulletins of TERVEET KÄDET-ish madness. Featuring TK bassist Piäsky, it’s not surprising that the sound is similar, with roaring drum smacks and driving guitar speed. RUTTO’s second EP is a half-sider packed with three songs that push the frenzied energy outward, but Känä’s vocals steal the focus, as she speedily cries out in shrieking agony. Wild.
Austria’s SCHUND launches into a mid-tempo garage attack on their debut EP, combining a totally raw guitar sound, a female singer, and a tuneless, amateurish approach. The crude production also adds something, and “Aufstand” has special appeal.
What we see is Aussies passing Weird 101, but hold off on the ground-breaking ceremony. Here’s pre-recorded between-song gibberish (Á la the WHITEHOUSE bunch), vocal frivolity (Á la the LEMON KITTENS), and occasional pounding electro-chop (Á la S.P.K.). Redundancy is no modicum for change, but since stuff from the land “down under” is “in”—C+. (PS—their 12″ sucks.)
Lightweight pop-punk from Spain. SINIESTRO TOTAL appears to be trying to mine a funnypunk vein, but “No Somos de Montforte” lacks sufficient power and panache. “Luna Sobre Marin” is a straightforward cover of the DK’s “Moon Over Marin,” sung in Spanish and lacking accreditation on the label.
SLAM’s first album is a self-produced release limited to 500 copies, with silk-screened covers made by the band. The music has a forceful presence that captivates as it catapults out impressive rhythms. Twin guitars electrify and head-bopping drum splashes keep a pace that puts the control of the ensemble in high-velocity zest-appeal. Not a thrash record, but a musical bonanza of headlong excitement.
I’m not sure if this is actually the name of the band, since most of the writing is in Japanese, but they really fucking shred—wildly and adventurously. The tape comes with a sleeve appropriate for a 7″ EP, making it even more confusing. World class.
SOVJET WAR is a Belgian band with political lyrics and a sound incorporating punky vocals, fuzz guitar, synth, and post-punk rhythms. They remind me somewhat of the early EX or ABWÄRTS, and I’d recommend them unreservedly to fans of those groups.
These two Italian bands describe themselves as anarchists, and from what I can gather, they are to be admired for their dedication and efforts. STALAG 17 play pretty good thrash and slower, ballad-type songs; IRAH do pretty intense, fast songs that are catchy. Even though translations of the lyrics would be nice, musically this is a record worth tracking down.
Picture a warped-looking sicko in a wheelchair, name of TOMMI STUMPFF. Hear my fave 12″ of 1983 and so far in ’84. Vicious electronics are splattered onto this sucker’s twisted screeching, like mental treatment with a backbeat. Fucking incredible… produced by Conny Plank even.
A live recording of a trashy ’77-style Japanese punk band. The tempo is generally fast to medium, the guitarist sprouts some tasty licks in the HEARTBREAKERS vein, and the themes are mainly satirical and silly. Some of these songs (like “Middle Class Freaks”) are superior examples of an increasingly rare punk style, and are thus bound to have a certain nostalgic appeal, but Tokyo won’t be reduced to rubble by STAR CLUB.
This debut album from Spain’s TNT is a mixed success. It contains a brace of melodic mid-tempo punkers with bouncy appeal, but there are also a couple of catchy pop ditties (like “Deberías Tener Cuidado”), silly commercial numbers (“Radio crimen Charleston”), post-punk things (“La Noche…”), and even synth muzak (“El Jardin Extranjero”). “Habitacíon 101,” “Sin Futuro,” and “Nadsat” are the most appealing of the previously unreleased cuts.
It sounds like these guys recorded pretty early on in their existence, since the drumming is way repetitious and the sound is primitive and sloppy. But as with many Swedish bands, the guitar is gnarly and the vocals are raw and powerful, which provides a glimpse of their future.
The VERMINES are a French group that performs more than one contemporary style. “Sometimes” is an English-sounding guitar-oriented post-punk song with a steady beat and a bittersweet chorus; the two cuts on the B-side are fast punkers with sing-along parts and an exuberant, satirical feel.
Here it is, the craziness of TERVEET KÄDET with their speed-merchant approach and Läjä’s frenetic vocal ramblings. This album consists of material that was supposed to come out in Finland as two 12″ EPs and a live side of escalating cuts. It features the late Walde on drums, and his superb participation gives the “lightning” to the TK sound on this record. This licorice pizza continues the savage invasion of hectic seizures and spewed-out speed that makes TK so classic.
The second Raptus compilation is superior to the first edition. The production is better, and it contains material by REIG, the WRONG BOYS, STIGMATHE, the CRAPPING DOGS, RAW POWER, the ACID COCKS, and CANI. Once again, RAW POWER dominates the record—check out their awesome “Army”—but REIG and CANI can also burn, and the CRAPPING DOGS have a couple of sing-along Oi-type chants. Blue vinyl.
A new German compilation out independently by the former singer in SICK PLEASURE (now in PORNO PATROL), and it’s one of the BRD’s best so far. It shifts from high-powered thrash (the REST and PORNO PATROL) to good standard punk (TOXOPLASMA and T.B.C.) and back again. The big surprises here are the increased speed of BETON COMBO (though they still write catchy numbers), and the REST’s blistering roars. Look for this.
