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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!
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.
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.
