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!
This four-song release came with the June/July issue of The B.O.B. The material is reminiscent of LOU REED’s early solo efforts—restrained, melodic rock ’n’ roll with lyrics that are on the esoteric side.
This is an excellent debut album that mixes and matches the best of the SoCal punk tradition. DECRY has that powerful, cleanly produced two-guitar attack and a knack for writing catchy melodies. Careful listeners will soon discern the musical influences of great bands like the ADOLESCENTS, THE CIRCLE JERKS, and M.I.A., and certain songs remind one of BLACK FLAG (“My Bloody Dream”) or the TOXIC REASONS (“Asylum”), but these guys are not mere borrowers.
Paul Mahern (ex-ZERO BOYS) comes forth with something completely different. It’s funky, poppy, jazzy, psych, and not too punky, but with just a taste of the old snarl in the vocals. For the eclectic-minded.
Perhaps not as continuously energetic as their fabulous debut EP, but CHRONIC DISORDER still manages to connect with some impassioned thrashers like “Eileen’s” and “I See Red.” My favorite, however, is a whacked-out send-up of JOY DIVISION’s “Isolation” (“Point/Counterpoint”), that shows this band to be quite versatile indeed.
What we have here is a bunch of medium-speed punk tunes with a melodic orientation. Songs like “Gun Control” and “Capital Punishment” (which has simplistic “law and order” lyrics) are straightforward numbers with good, strong hooks, but certain other songs are less memorable and lacking in energy. An uneven debut, but CIVIL DEFENSE has potential.
On BRAVE NEW WORLD’s tape, uplifting and intelligent lyrics about overcoming our societal problems are coupled with intense, driving, middle-paced music. The result is a punk/post-punk combo that hits home—they’re abrasive, musical, disturbing, and different.
This is the third weird-ass art-damaged band I’ve reviewed lately, but I find them to be more hard-edged and unique (and less self-indulgent) than the others. They remind me at times of the CRUCIFUCKS, SWELL MAPS, SACCHARINE TRUST, etc., as they utilize many types of instruments, tempo changes, breaks, moods, and styles (including jazz and rock ’n’ roll). There are also lots of eclectic lyrics that parody soldiers, heads of state, and people that think they’re cool.
I have always been a sucker for the BANGLES and their clean Rickenbackers and harmonies, so I therefore dig these vinyl grooves as well. No way as cool as their early stuff, but still enjoyable, to say the least. Also, considering that this is their first release on Columbia—”boo” says Tim Y—they could have done a lot worse.
No further explanation is needed about our dear friend Mykel Board’s insulting intent here. The title song is a droning yet rockin’ cover with a sax that isn’t bad at all; “How Much Punk Rock Do You Hear in Russia?” and “We Want Nuclear War” are remixed from the previously released German ARTLESS/GG ALLIN split EP. They sound much better here, and will probably go down in history as the two most witty punk rock things Mykel has ever done.
These little imps from west of the swamplands have come up with a really dense, “live” two-guitar sound here. Recorded while the band was in their underwear, they still manage to thrash wildly, humorously, and sarcastically. In the process, they prove without a doubt that there are more great items than pizza in the Garden State.
I half-expected this to be another uneventful American thrash record, but this EP contains some weirder material with unusual vocal inflections and some spastic structural shifts. “Service with a Smile” is particularly distinctive musically—dig the screaming guitar—whereas “Take from the Poor, Give to the Rich” provides some food for thought.
This French sampler contains a wide variety of punk styles—classical, garage, thrash, skunk (big in France), and drum-machine/synth punk (which the French seem to have cornered the market on). HUMAN BEING and HEIMAT weigh in with some choice thrash, and there’s lots of other good stuff from R.A.S., ELECTRONAZE, LES CADAVRES, the SUB KIDS, and a dozen more. Tres bien!
This compilation tape features some fairly unknown bands (TIN CAN ARMY, KATAFALK, V.N.W., VOICES OF PROTEST, MILZBRAND, and the MANIACS) that predictably display varying degrees of competency and power. The MANIACS and KATAFALK really kick ass; the latter prove to be an especially fine thrash band with lots of zip.
Some of these German hardcore groups are already reasonably well-known (INFERNO, the MANIACS, M.A.F., the SCAPEGOATS), whereas others are more obscure (ABZESS, VOICES OF PROTEST, TCA). Inferno leads a pretty good pack in terms of tightness and power.
A self-produced EP with material by four young Finnish garage punk outfits (PURKAUS, SOTAKULTTUURI, TERRORI, and PAINAJAINEN). The raw production further highlights the DIY raunchiness of the bands, all of which play more-or-less tuneless mid-tempo punk rather than thrash. PURKAUS is the best of a fairly inept bunch.
Not one of the New Underground series, but a new international compilation on Germany’s Weird System label. It contains two cuts each by RAZZIA, FANG, TERVEET KÄDET, RIOT SQUAD (South Africa), SAVAGE CIRCLE (Italy), SHIT SA (Spain), the INOCENTES, HYSTERIA (UK), and CIVIL DISSIDENT (Australia). The latter offers the most pleasant surprise—they’re a brutal thrash outfit—but the whole record smokes.
This New Zealand compilation consists mainly of live material by ’77-style punk bands. That’s not to say it’s bad, because there are some pretty cool tracks herein, especially by FINAL SOLUTION, RIOT III (who does some thrash), FLESH D-VICE, and ZYKLON-B.
Ten groups of varying punk styles and recording qualities appear on this compilation of South African bands. The most proficient and powerful are mid-tempo punkers POWER AGE, although the GAY MARINES, WILD YOUTH, and WILD JUSTICE also show promise. And, there’s an all-girl garage band called the LEOPARDS—Steve Spinali take note!
The cassette itself is only a small part of this package, which includes zines, literature, lyrics, pamphlets, addresses, etc., all relating to the horrors of animal slaughter. Even on the tape, all the tracks by the various bands (the INSTIGATORS, CHUMBAWAMBA, ANTIDOTE, ALTERNATIVE, ANDY T, and the LOST CHERREES, to name just a few) are interspersed with bits of information on this topic. Unfortunately, there’s very little punk music here; folkish and experimental stuff predominates.
A generally excellent sampler of Northern Virigina hardcore, metal, experimental, and ’60-inspired groups. It’s a well-recorded, non-profit project that contains band handouts by #1 PRIORITY, PUDWAK, MALEFICE, the STEEL KNICKERS, DEATH PIGGY, CONCENTRIC, MICHAEL, CAMP DAVID, YOM, and 007. Most of the material on side one is powerful and catchy, and PUDWAK’s “Boxhead” is a total classic with schizoid vocals.
A decent regional compilation from the California coast between SF and LA, very near the geologically unstable area where PG&E stupidly built its Diablo Canyon nuclear plant. The album includes various categories of contemporary music, from catchy teenage thrash (LOS CREMATORS, DEATH OF GLORY, and the CORRUPTORS) to garage punk (GROUP SEX, X-TORTION) to neo-psychedelia (PYRAMOD, MOOD ROOM) to ’77 punk (the USERS) to Finnish-style thrash (ASSAULT) to garagy mixtures of thrash and punk (the WIMPY DICKS and PEDESTRIAN ABUSE). The overall feeling is appealingly unprofessional, and the idea of giving new groups exposure is worthy of support.
The first Pebbles-type collection of lost garage/psych bands from the ’70s and ’80s. Compiled by Rat Race Kid, it features unreleased tracks by BILLY SYNTH and Australia’s LIPSTICK KILLERS. The icing on the cake is the first-ever vinyl appearance by ROCKET FROM THE TOMBS, a seminal mid-’70s Cleveland outfit that would later spawn PERE UBU and the DEAD BOYS.
This tape has a lot of hot material by the likes of MOX NIX, CANCEROUS GROWTH, ROSEMARYS BABIES, S.U.M., NERVE, N.O.T.A., the LEPERS, HUMAN SUFFERAGE, the CATATONICS, PSYCHO, and a half-dozen more. Some of it has been previously released, but it still adds up to fine listening.
Among the many ’60s reissue series, Back from the Grave has been the best because of its focus on the snarling teenage punk emanating from suburban garages all across America between 1965 and 1967. And fortunately, Volume 3 maintains this tradition of basement quality by presenting more of the most heartfelt adolescent rants about problems with gurls, gurls, and more gurls, accompanied by two-chord fuzz guitars, squealing organs, and ham-fisted drum beats. The obscure pearls by KEN & THE 4TH DIMENSION, SIR WINSTON & COMMONS, and MURPHY & THE MOB are just as cool as they can be.
Ian MacKaye-ish vocals, accompanied by crude, fairly standard buzzsaw thrash. CAPITLE play well, but they never really cut loose.
Two former members of thrashers STARVATION ARMY and another group called PARIS IN THE SPRING team up again (one on vocals, the other on all instruments), this time to produce some ominous, dirge-like STOOGES material. I found it somewhat less than moving, as is usually the case with studio projects.
Crunching metallic punk of the Midwest variety. Most of the lyrics are good, and occasionally even unique (as in the title song). They also send out an informative monthly newsletter.
Sort of a modern-day rhythm-machine version of a band one might have found on the bizarre ’60s label E.S.P., along with the FUGS, the GODZ, and especially PEARLS BEFORE SWINE. Rhythms and electronic organ dominate their garage-level instrumental attack, with lots of noticeable ’60s tinges. Actually, I think there are vocals, but just off-mike.
The ART THIEVES have quite a distinctive sound for a thrash band, due both to their raspy vocals (which remind me quite a bit of RIBZY’s) and their tasty, tight, and somewhat inventive song structures. Definitely a winner.
Galloping drums, weird structures, and snarly-ass vocals are the hallmarks of AEROBIC DEATH’s thrashy attack. They sound sort of like the early MEAT PUPPETS, right down to a slight GRATEFUL DEAD influence. “Ten Minute Fart” is the best song title.
AGAINST THE GRAIN is an intense band with an amazingly raw singer. Their material is in the non-melodic vein, whether fast and punky or slow and pet-rockish, and the guitar tone is nicely distorted.
Strange. The STING-RAYS look rockabilly, act punk, and sound more ’60s than anything else (note their covers of the REMAINS’ “Hard Time Comin’” and LOVE’s “My Flash on You”). Actually, they are a rockabilly band in the instrumental sense, with their slapped bass, snare drum, guitar, and echoey vocals, but the material is more modern. Totally ungeneric.
The drawbacks of a live release—low fidelity and unclear sound—come to the fore here, but DASH and company have lots of power, which will hopefully come to the fore if and when they go into a regular studio. They play snappy and sometimes creative thrash, with lyrics geared toward making the average coal miner as angry as he ought to be.
Living up to their name, the G.R.I.M. produce some very down and depressing stuff. Their dark outlook is projected by slowish metal-laden punk and an occasional thrasher, as well as negative-outlook lyrics. I guess they’re bummed out.
A historic retrospective of this band’s work, recorded between 6/81 and 1/82. The production is pretty crude, but their thrash is both fun and ahead of its time.
Most of the five songs here are well-produced C&W ditties with a good beat and punch, sort of like a combination of RANK & FILE and LOU REED. But one track (“Marlboro Country”) is more R&B-ish, with a great “Louie Louie” beat and some tough guitar, making the whole effort worthwhile.
The press kit that came with this 45 touted the band as the “heartbeat of young America today” and the most exciting record to pass through my hands… blah, blah, which almost made me throw it in the trash compactor. But then I decided to listen to it, and found two ’60s-oriented folkish pop songs with occasional BEATLE-ish vocal inflections and a trebly BYRDS-ian guitar. A decent record, but nothing extraordinary.
The SIC KIDZ are a Philadelphia-area band who’ve been around for awhile and, despite deaths and other obstacles, have finally managed to attract the attention of an English specialty label, perhaps with the help of the CRAMPS. Their sound is indeed heavily influenced by the latter, though it expands from a narrow psychobilly base into the ’60s for inspiration. So if you like nasty, ringing guitars and echoey singing, give this a listen.
Strong, crisply produced modern hardcore is showcased on STRANGLEHOLD’s debut release. Their overall approach—including sung, ’60s-inflected vocals, irrepressible tunes, tight instrumentation, and boisterous but controlled delivery—reminds me a bit of the great ZERO BOYS, which can’t be a bad thing. “’Cause I’m Gonna” is an epic blast with an anthemic chorus.
A somewhat garagy production that, in this case, doesn’t add charm to the band’s sound. But in a studio, their sparse attack could be filled in nicely, and some of the tasty guitar and bass tricks would sound really cool (like those in “Resistance” and “Un-American”). There’s potential here.
A three-song demo. There are two lengthy sons (including a cover of the ZOMBIES’ “She’s Not There”) with funky rhythms, post-punk vocals, and instrumental overlays; the final track (“Lympdiccus”) is a rockabillyish thang with similar “cold wave” vocals.
Fine garage punk from the SF Bay Area. The guitars are raunchy, the singer is a smart-aleck, and the themes are often satirical. Songs like “Fellatio Sucks, It’s for Dicks” are real knee-slappers, whereas others (like “Senior Citizen”) are more sensitive and relevant.
The ENEMY have never managed to generate much excitement, and this new 45 doesn’t break with tradition. “Last But Not Least” is a fairly boring rock-oriented number with a dull lead and mannered vocals; the live flip isn’t much better, though it has a more piercing guitar tone.
OUTRAGE plays medium-tempo punk with quite a bit of punch. Their strong vocal and guitar work is highlighted by the powerful production here, so watch for them.
A ’60s-style guitar band from Britain. Both songs here have rocking beats, heavy guitars, and irresistible riffs. “Public Enemy Number One” is an instrumental, whereas the flip has tough-sounding vocals. SID & Co. have some musical guts.
An excellent album that mixes that irresistible French skunk—melodic mid-tempo numbers with soccer choruses—with a few contemporary thrashers that also have sing-along vocals (like “LVF”). The production is very powerful, and the lyrics reflect both a healthy cynicism about promises made by established political parties (including those on the left) and an obvious hostility to neo-nazi groups. Recommended.
This is an album shared by two Italian bands. CONTRAZIONE are a raw outfit with a punky instrumental attack, straightforward rocking beats (including a couple of thrashers), an occasional post-punk frill (like the inclusion of a sax in “Nausea”), and incredible male/female vocal interaction. FRANTI cover a variety of musical bases, from punk (“1984″) to SIOUXSIE-like post-punk (“Questa e l’ora”) to sparse, arty numbers (“Io nella notte”).
A tight new band that plays fairly unoriginal thrash. Give them a bit more time to develop.
This is the only Argentine punk record to date, and although it came out in 1983 and is definitely in the classical style, it’s a fine beginning. The production is of a very high quality, enabling LOS VIOLADORES to get across their anti-repression lyrics and guitar-heavy sound in the most powerful manner.
RÄKÄ is a young band from eastern Finland. They have an exceptionally primitive approach, with almost every song consisting of a single simple and repetitive riff overlaid by nasty vocals. Rude and pile-driving.
