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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!
Nine bands and 24 songs worth of punk/hardcore from around Canada and the US. While the sound quality is a bit fuzzy, there’s tons of hot stuff here from the likes of FATAL EXISTENCE, RED TIDE, IMMORAL MINORITY, POLKAHOLICS, BILL OF RIGHTS, SILENT MAJORITY, DEAD END, and others. All the songs are of a serious/political nature.
Great Finnish thrash storms in unparalleled savagery, as this little 7″ delivers twelve slices by ten bands. Urgent commands of chaos scream as TERVEET KÄDET, HIC SYSTEEMI, RIISTETYT, KANSAN UUTISET, SEKUNDA, the BASTARDS, and more thrust a brutal display of effective stamina and potential. A well-chosen effort that serves as the prelude to an upcoming album.
Several German, Austrians, and Swiss bands appear here and, like those on many of the sampler tapes I’ve heard lately, most are releasing material prematurely. The exceptions are MOTTEK (again) and the NEW BORN BABIES. Other groups include KNALLSCHOTEN, A-GEN 53, DIE REGEL, VOLKERMORD, etc.
Most of the bands herein are at an early stage of development… too early to be recording, I think. The exceptions are HALSABSCHNEIDER (appearing before on one side of a split EP) and the FUCKERS, both of who come up with some cool blasts.
Seven bands (the DESTRUCKTIONS, TUOMITTUJEN JUHLA, KIIMA, W.D.M., KESKILUOKKA, P.C.B., and KÄYTTÖOHJE) share time on this tape. The first have already released a great album, but the others are younger whippersnappers. Some still have a way to go, although KESKILUOKKA has an outstanding screamer going for them.
The second in a series of good Dutch hardcore tapes features the mighty PANDEMONIUM and their brutal thrash assault, FUNERAL ORATION and their crafty manifestations of aggression, plus INDIREKT, C.K.N., SESAMZAAD, BLOEDBAD, and the ASPERITYS. Even though the sound quality is low, the effort allows the zesty music to be heard.
A mixed bag of various punk styles and recording qualities, but with no real surprising gems. My faves are MOTTEK, who now appear on vinyl too. This tape has eighteen bands, each of who do two songs, including INFERNO, DIE MIMMI’S, and a host of lesser-knowns like NOTWAR, AUS 98, SPERRFEUER, etc.
The second installment of this French skunk-oriented series is infinitely better than the first. For one thing, the production is generally more powerful; for another, there is more musical diversity. Along with the many “skunk” (a fusion of skin and punk styles) outfits, one can find thrash (MOPO MOGO, NO CLASS, and NANA BONNARD), CLASH-inspired ’77 punk (the BRIGADES), rock ’n’ roll-punk fusions (LES COLLABOS), pop-punk (the RATS), and Oi (SK NIX). Recommended.
This can be quite a confusing record. It features four Dutch bands of different varieties, but the organizational layout makes it difficult to find where and who (although there are booklets and info sheets about the groups). JETSET has a belting punk sound with female vocals and lots of diversity in the rhythms, like a quick CRASS or DIRT; whining guitars and repetitious drumbeats are the musical highlights. BLOEDBAD hits hard with an anti-war/anarchy thrash attack, using basic drum boomings that are mixed too high. MASSAGRAF and BARBIE’S BOYFRIEND both have a slower post-punk sound that utilizes different effects with strange results.
The GAS is another brutal Japanese metal-thrash ensemble, and they blast right along without hesitation. There’s a lot of instrumental power here, not to mention irrepressible choruses, but the production is too heavy on the mid-range to highlight the guitars and vocals.
Like GISM, G-ZET straddles the line between metal punk and speed metal, but definitely tend more toward the metal side. Moreover, their guitars aren’t as piercing and their vocals aren’t as demented, making this a less impressive effort all around. Headbangers should go for it; others won’t be as enthused.
ESKORBUTO and R.I.P. share this slab of vinyl. The former has a chunky, mid-tempo punk assault with sing-along vocals and some nifty, unpredictable guitar portions. R.I.P. has a heavy semi-thrash style and equally catchy join-in choruses; they’ve included a better mix of the song that appeared on our 1984 compilation (“Anti-Militar”) along with their other three cuts. Recommended.
This “live” quality tape gives you a decent idea of what this band is capable of—a lot. Their melodic material has good hooks and vocals, whether delivered fast or slow. Wait until they get into a studio.
A Japanese band that seems to be heavily influenced by MDC in terms of both moniker and lyrical concerns, though they’re far more superficial if not fatuous. Their sound, however, is a dense metallic buzz underlying raspy, zombie-like vocals (especially on the title song). I think the singer is American.
In contradistinction to most new Japanese bands, COBRA is sticking to their punk origins rather than speeding up. This record showcases a basic mid-tempo guitar-heavy assault with melodies and backing choruses. “Oi Tonight” is particularly engaging.
CHAOTIK TH are a garagy punk band with crude instrumentation, inept drumming, and satirical themes. TIP-EX are an experimental punk-pop outfit with a sax whose only saving grace is a lack of polish. Nothing special.
This tape isn’t up to the quality of their Don’t Give Up EP, since it lacks a bit in the production power and the vocal choruses aren’t quite as tight. They do a strangely British form of thrash with lyrics in English and cool chants. A new EP is on the way.
Big production showcases an awesome range of style. Ethereal, enigmatic, and all the while defying an adequate label. Without the “follow-the-leader” instincts of the Yanks and the trendy posturing of the Limeys, many a Kraut combo is finding its way into my heart. BELFEGORE is numero uno, so check this one out, pongos.
This is mostly very intensely delivered thrash with sharp lyrics. Yet there are some experimental diversions that sound like they were produced by a different band altogether. Bizarre.
A raw, mid-tempo three-track EP from Norway. On their first vinyl release, AKUTT INNLEGGELSE displays a primitive, amateurish punk attack. It kind of slouches along without noteworthy choruses, but the lyrics are good and the guitar lead in “Superstjerne” is awkward enough to be really cool.
A whole host of young bands debut here (PRIMITIVE, VICIOUS HAMPSTERS, ACID ATTACK, OI POLLOI, DEVOID, ABDUCTORS, CATCH 22, CRIMINAL JUSTICE, FUNGUS, 4 MINUTE WARNING, CLERGY, DEAD ON ARRIVAL, OBSCENE FEMALES, and ROUGH JUSTICE). The hottest, most powerful tracks belong to OI POLLOI, DEVOID, and CRIMINAL JUSTICE, while the rest are not great/not bad. This label, Sane Records, is a non-profit, dedicated to releasing unrecorded bands.
This could be the 45 of the month. “Do the Ghost” is an amazingly great punky-pop song with a driving tempo, loud guitar riffing, animated singing, and classy join-in backing vocals; “Talk” is a bit less frantic and basic, but still rockin’ and fun. More, please.
Nothing but intense, powerful British thrash can be found on this excellent eight-track EP. The VARUKERS mine that middle-peroid DISCHARGE sound and do an even better job of it, especially in vitriolic streamrollers like “The Last War,” “Deadly Games,” and the superb “Seek Shelter in Hell.” The best vinyl yet from this consistent band.
Well, you can’t spend too much time analyzing the TOY DOLLS, and they’re as humorous as always here. “We’re Mad” isn’t a typical song for them; it’s a bit heavy-handed with lots of reverb and a metallish guitar solo, but I’m sure that’s part of the parody and it’s starting to grow on me. “Deirdre’s a Slag” is remixed from the Strength Through Oi! compilation. Still great fun.
There’s one live and one studio side here, neither of which display any great excitement. Although there are some catchy moments, it’s your basic ’78-style plodding punk.
Raw guitars grind and repetitious drums beat, as a raspy vocalist shouts out intelligent lyrics. S.A.S. has a sound similar to early Finnish thrash, with more deliverance added for the foot-stomping pace. Not rapid, but powerful and with a capacity for sing-alongs. Good.
This new RIOT SQUAD release may display more of their standard Britpunk attack, but the amazingly powerful production lifts it head and shoulders above the norm. The guitars roar, the drums beat on your head, and their ringing choruses pick you up and drag you right along. Surprisingly strong.
PLAY DEAD have tempered their approach, but the basic elements of that approach are tried and true. Yes, perhaps the lost bravado of optimism rears its unsavory head. But feareth not, loyal “blacken clad in a blue funk slaves”—the dank death dirge marches on into the abyss of the human struggle with a grunt and some grunge for all ye open-minded enough to sample a sip.
This fascinating release presents inventive, discordant post-punk with poetic lyrics. While some of the songs have a lilting, unmelodic approach that goes nowhere, “Dismembered” is a chilling aural composition, as are the instrumentals that finish both sides of the album. Not for the closed-minded, for there is some really beautiful music here.
The INCA BABIES’ songs cop the BIRTHDAY PARTY’s maniacal dementia almost to a note; the song titles, lyrics, and cover jacket all aim for the same impoverished slant; and they even attempt the same silly kind of haircuts. Fans of the BIRTHDAY PARTY will find it hard to forgive these transgressions, but may also find themselves immersed by this band’s considerable mimicking skills—their blare is pretty substantial, but not very original in conception.
This live 4-SKINS album has far more excitement than any of their studio releases, perhaps because the band is feeding off audience participation. The production is remarkably good for a live recording, bringing out the dense guitars and vocal growls fully. Although some of the banter and lyrics are predictably imbecilic, you might want to give it a listen.
Long-term followers of the UK music scene are well aware of the strict regimentation that has been firmly established there, and they should be equally aware of the increasing rarity of bands that actually dare to ignore all the predetermined guidelines for acceptance. It seems like the FOLK DEVILS are one such band. These guys play furious, uproaring rock with a very hard-edged R&B feel. Not overbearing, but simply destructive in an almost subtle way. A real band concerning itself with real music… not empty words.
Hey, I like the DAMNED as much as the next person, however, their latest single is no great shakes. It seems as if the DAMNED, of all bands, are in some sort of musical rut. Both songs seem to be out-takes from the Strawberries sessions. In fact, “Thanks for the Night” strikes more than a striking resemblance to “Ignite,” the opening track on that LP. Nevertheless, I’m still looking forward to their upcoming album.
This three-track EP of mid-tempo British punk delivers little in the way of excitement or clever songwriting. “Psycho Rocker” has some diverting power-chord progressions, but the other compositions are strictly routine stuff. The lyrics, too, are pretty lightweight, as they primarily satirize old youth fads.
After a long layoff, a second LP. Their best product to date is the tough-to-find Homunculus Equinox cassette gem. That tape evidences more insanity than one can handle, but the albums seem to layer their intent within the vehicle of the song itself, most times coming out on top. Fans of the obtuse revel.
BROKEN BONES manages the British metal-punk sound more effectively than most of their peers, but many of these compositions blend into one another, much like recent GBH material. “Big Hard Man,” “Terrorist Attack,” and the humorous “Dem Bones” qualify as solid hardcore, yet the repetitious song structures and guitar solos detract from this record’s overall charm.
Only contemporary Clevo bands are featured here. Many have appeared before on other compilations on their own releases (the PAGANS, the AGITATED, PARIS IN THE SPRING, the OFFBEATS, and the PINK HOLES), so I’ll just say a few words about the rest. ONE MAN’S HEAD has a female screamer, and she sounds good on the two faster songs; FAITH FACTOR plays garagy post-punk; and JUNGLE PARTY are a fun garage pop-punk band with potential.
Somewhat better than volume 1 of this series, this compilation contains material by the DICKS, the BIG BOYS, JFA, DRI, and MDC, along with a few others. The MINUTEMEN have a winner with “Fake Contest,” but DRI’s “Madman” and the MDC tracks rate as the highlights on this varied sampler. Inconsistent but still worthwhile.
This spirited sampler of Nevada bands features both the scene veterans (7 SECONDS, Urban Assault) and the relative newcomers (the REMAINS, SUBTERFUGE, the EXPELLED, JACK SHIT, NO DEAL, and the YOBS, who have an incredible singer). There’s some fine punk by SUBTERFUGE and the REMAINS, and some churning thrash from JACK SHIT, but most of the rest of the groups suffer from that perennial Skeeno problem—lousy production.
Yet another cleanly produced compilation from Mystic/Ghetto Way and, like Copulation, it contains a well-balanced mixture of thrash, punk, metal, and their permutations. I especially like DR. KNOW’s “Boys Life,” CRANK SHAFT’s cuts, and RIGOR MORTIS’s metallish “In the Trenches,” but overall it provides a good introduction to current developments in the Southland. Marc Rude’s grotesque cover art provides an additional bonus.
Now what the hell’s goin’ on here? Well, it’s an electric sampler containing a bunch of psychotic Texans doing all sorts of weird shit. The FEARLESS IRANIANS FROM HELL, NAPALM, FEAST OF FOOLS, and TOEJAM perform demented experimental thrash, then you’ve got some incredibly inane hard rock (HEATHER LEATHER), schizoid psychedelia (SCRATCH ACID and the TECHNICOLOR YAWNS), “country thrash” (the HICKOIDS), metallic sleaze (the JEFFERSONS), doodling (MEAT JOY), and powerhouse thrash (the OFFENDERS). This must be what the BUTTHOLE SURFERS listen to all day.
A sampler with four SoCal bands, all of who have that crisp, melodic semi-thrash style. M.I.A. and DECRY are particularly excellent musically, and M.I.A. definitely make the most acute lyrical observations, but there’s nothing to be ashamed of on here.
I’ve always had a fondness for Ohio ’60s punk, and this is a wonderful collection. One can hear all kinds of wild sounds—pure punk, folk-rock, psychedelia, British beat style, instrumentals—that reveal that Ohio was one of the more interesting scenes. Some of the stars include the DEADLYS, the SQUIRES, the CHYLDS, and of course, Cleveland’s “BEATLES,” the CHOIR, one of the finest groups this country has ever produced. Please, A.I.P., we need more volumes from Ohio!
It’s been a tough chore for ’60s punk fans to learn about the Southern scene, and this volume from one of the best of the reissue series helps to fill in a few of the many holes. A lot of Southern bands were pretty lame, as they concentrated on a more soulful approach with dopey horn arrangements. This release proves that there were also some tough punkers, like the RAVIN’ BLUE, the GAUNGA DINS, the ROGUES, and the HAZARDS, whose funny version of “Hey Joe” is alone worth the price of the album.
Legendary Texas group ZAKARY THAKS were obviously inspired by British bands like the KINKS (they even covered “I Need You”), ROLLING STONES, and YARDBIRDS, as they delivered suburban R&B with a healthy dose of rhythm guitar, angry lead vocals, and some decent lead solos. “Bad Girl” was probably their best shot for national recognition, though other tracks are equally impressive. There are a few overly bluesy or psych numbers, but this is still a must for any collection of ’60s punk.
A melodic charge of harmonious exhilaration and robust energetic stamina. YOUTH BRIGADE continues the sing-along flavor with excellent musical ensembles, a highly professional approach to delivering a strong drum beat, hypnotizing bass plucks, flowing guitar chords, and the maturing of Shawn’s crooning. Some might say pop-punk, but what is handled here is a fresh, creative sound that will enter the hearts of a wider generation.
Lately, there have been a whole string of neo-’60s releases that have successfully captured the genuine punky spirit of the times, and this new YARD TRAUMA EP is among them. Although they’ve adopted that acetate organ-based approach rather than a fuzzed-out guitar assault, they have enough raw power and snottiness to compensate. “I Got a Girl” and “Over and Over” are modern teen classics, so get down with these swingin’ cats.
A six-song release that emphasizes poppy punk with lots of guitar and vocals, the sort of thing that was popular five or so years ago. At times it’s a bit too rockish for me, or maybe too laid-back, but on several tracks they really cut loose.
This new garage-psych band might be a bit too laid back for most readers of MRR, but I hope a few brave souls will venture out and pick it up. The Things have obviously been influenced by the likes of the BYRDS, LOVE, and maybe QUICKSILVER MESSENGER SERVICE, yet they retain a raw garage sound that keeps them from sounding mushy. Steve Crabtree has a knack for writing infectious tunes that make excellent use of his voice and melodic guitar style. A gem of an album.
