Stagnant Era Socially Acceptable cassette
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.
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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.
Totally drunken, power-chord punk rock, folks. It’s straight out of the DEAD BOYS/STOOGES school of intense, fuck-it-all snarl and self-destruct. These Sacramento are good at it too. Recommended.
An organ-dominated neo-’60s band. “Yeah!” is a dippy instrumental with awful sax accompaniment, but the flip is a sharp ’60s punker with belligerent vocals and traces of psychedelic sound effects. The latter saves this debut.
This collection of B-sides, non-LP singles, etc., is really aimed at the hardcore garage fanatic who has to own everything (like myself). There’s obvious trash here (like “When I Was a Cowboy”), but there are plenty of others that are sheer genius, most notably “Riot on Sunset Strip,” “Get Away from Here,” and “Rari.” But, looking back, that’s what the Standells were usually like, brilliant one moment and mediocre the next. For what it’s worth, I’m glad this STANDELLS record exists, but if you’re not totally blown apart by the sounds of ’60s punk, then try to hear it before spending your hard-earned cash.
A four-song tape that delivers punky/moddish pop music. I found the vocals a bit too falsetto, and the songs run on a bit, but there’s some decent music here.
SPIKE HAYTRID hailed from ’81 or so, and were pretty trashy. SHADES OF GREY are much tighter, more powerful, and less poppy—but still trashy (in the good sense of the term). Both are the products of one Matt Burnett.
More geeks from San Pedro! Yeah! At first, their pop guitars make them sound as though they’d like to get on MTV, land a big recording contract, or imitate insipid Euro-pop bands. But you’ll soon see that this is just another bunch of self-indulgent weirdos (including Rob Holzman of SACCHARINE TRUST) playing a mixture of pop, post-punk, and jazz, with a slight dash of psychedelia and occasional keyboards and saxes. If you like TRAGIC MULATTO, you’ll love Slovenly.
Lightweight semi-psychedelic pop. SALEM 66, who appeared on the Conflict sampler, manage to produce some delicate, tasty tracks with folky guitar strumming. It can be downright pretty at times, but they’d need a lot more guitar firepower and punch to really move me.
A.O.D.’s drummer, members of NEW JERSEY’S FINEST, and other point some fingers at various outrages perpetrated on us all, ranging from New York’s “Lunkheads” to the corporatization of a town (Johnson & Johnson’s takeover of New Brunswick). Thrash that’s not generic, and delivered with oomph and wit. Excellent recording, too.
Heavy power-chord punk—without the metal. Some of this has a gloomy edge, but not the self-conscious JOY DIVISION type. Ultimately, they do rock hard, and the lyrics seem to be quite intelligent.
These here PEASANTS remind me somewhat of a more metallish version of DIE KREUZEN, with scratched-to-hell vocals and a fairly musical back-up. But the chunky rhythm detracts from their overall power.
Yep, live it is, as well as one intense noise rush for us lovers of pure electricity. The MUTES have that manic S.U.M. feel to them. They might suck with a clear recording, but this way it’s great.
The title cut here exemplifies the earlier MISFITS style, with its distinctive combination of melodies, roaring metallic guitars, and clear singing, whereas “We Bite” and the live version of “Mommy, Can I Go Out and Kill Tonight?” reflect their newer, thrashier attack. Together, they constitute an undeniably impressive slab of vinyl for ghoulies and ghosties and beasties that go bump in the night to party with.
MENTAL DECAY specializes in a raucous, somewhat raunchy hardcore attack reminiscent of A.O.D. and BEDLAM. The themes here are alternately humorous and rebellious, but I found clever numbers like “You Suck” and the near-classic “Love Story” the highlights of this entertaining disc. Fans of aggressive, stop-and-go thrash should snap this one up pronto.
A weird debut that ranges from abrasive, punkoid blasts (like “Terminal Art” and “Action Speaks”) to the worst excesses of atmospheric pretension in the later ZAPPA vein (“Now What Have I Done?”). Most of their material falls into a less than satisfying middle ground that combines elements of UK post-punk, horror rock, and soft San Francisco psychedelia. They need more focus.
Help these guys put out an LP by buying their tape! It’s not like you’ll be a martyr, because there is lots of great hard-edged, intelligent punk and thrash out there. I can’t wait to hear their projected album!
Here are some rousing numbers that prove to be a good follow-up to KILLROY’s previous 7″. They have a mid-tempo, somewhat ’77-ish English style that combines good arrangements, choruses, and that LA spirit (especially in “The Battle,” the title cut, and “The Scream,” which sounds like YOUTH BRIGADE). A little derivative, but an enjoyable effort.
Another New York noise outfit in the same ballpark with SONIC YOUTH, LIVE SKULL, and HOSE. The guitars put out a fearsome wall of metallic buzzing, while intense vocals spout off above the din. Personally, I like this band more than both their peers and their mentors (FLIPPER). Headache city.
A live recording with ten songs. It’s somewhat garagy in terms of sound quality, and since it’s live there’s a lot of wanking going on. The music is sort of jazzy, metallish thrash, with quirky parts and post-punky vocals that remind me a bit of SF’s old WOUNDZ.
Garage punk from Colorado. The drummer seems to be incredibly young (judging from the cover pic) and the guitar lead in the title number is so lame it’s cool, but the songs have entertaining lyrics and plenty of primitive drive and spunk. For fans of unprofessionalism (like me).
Hmmm. These guys are a guitar pop band with some psychedelic pretensions. They’re pleasant enough and a bit clever, but the songs don’t quite stick and the guitars could be heavier. The biggest problem, though, is that the songs often shift into a weak commercial pop mode just when they start rockin’ (as with “Double Standards”).
This album witnesses an evolution in G.I.’s style from thrash to a decided “rock ’n’ roll” approach, and is not the band’s best moment. Their hilarious cover of “These Boots Were Made for Walking” aside, the songs here are largely un-catchy and lacking in punch. The lyrics provide intelligent commentary on social/political issues, but I’m still disappointed.
The eleven tracks on this EP plow into a maniacal thrash attack with frequent metal lead breaks. The lyrics are remarkably funny, but the song structures aren’t as memorable as they should be. “Rock Jam” and “Zombies” are solid rockers, though I feel that GOD’S WILL can more effectively develop musical distinctiveness in the future. Pretty good.
Cutesy-pie pop version of the old JAYNETTS’ classic. The GIRLS are an all-female band who do pretty straightforward vocal and semi-instrumental adaptations. It’s not really bad, just unnecessary.
A classic US garage band with seriocomic themes dealing with adolescent life. The GAY COWBOYS have that irresistible mixture of precocious wit, raunched-out guitars, and demented vocals that I find irresistible. The primitive production and wacked-out guitar leads provide additional bonuses, and how can you ignore songs like “Big Fat Baloney Sandwich”?
Put out by Spamm fanzine, these are two of the current crop of Sacramento hardcore bands. FORCED TRADITION weighs in with their sarcastic, FLIPPER-metal “fuck you” approach; good noise. The LAMOS thrash out more, but the recording isn’t as clear. A pretty enjoyable excursion.
