Neuroot Macht Kaput Wass Euch Kaput Macht cassette
Some pretty powerful thrash that I bet Pus would like: sloppy, energetic, and echoey, with cool guitar and vocals. Good sound quality too.
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Some pretty powerful thrash that I bet Pus would like: sloppy, energetic, and echoey, with cool guitar and vocals. Good sound quality too.
This is more like Finland ’82, since it’s totally thrashed out. One side has a previous vocalist, who’s good, but can’t come close to the ragged edge their new one has. Quite intense.
Side one is a re-release of their Slow Death EP of ’79, with two experimental tracks (down and dirty), and two full-on punk tracks. The flip is a long version of the title track, from their Live at Scala record. The Swedish equivalent of early PERE UBU.
Next to the LAMA LP, this is probably the one Finnish release that captures the best elements of rhythmic chord changes, whining guitar licks, and howling vocals. Frenzied compositions rip through thrash and punk, with some metallic overtones. KAAOS have been at it for some time, and this release shows their ability.
While their style is not my passion, they do ply their trade well. It’s in sort of a psychedelic-/pop-punk mode, and despite this, there’s still bite to it, well supplied by the pounding drums, aggressive guitar, and echoey vocals.
High quality post-punk on this one. It’s got a really good, driving, steady beat; neat whooshing guitars; and a lead singer who has a sort of FALL-type approach. Good job.
Somewhat brooding, lengthy punk songs typify this band. The tunes are mid-tempo, with somewhat of a “post-punk” feel, although they’re more properly “punk.” Decent, but somewhat dated in sound.
A very classy, powerful power thrash outfit that doesn’t resort to metal riffs. If anything, they owe more to earlier punk, but they’re firmly rooted in modern sounds, blasting it out with strong lyrics and hooks to boot—”live” proof that Vancouver is not dead. Hot!
Easily up to the standards of their fine cassette, this debut EP by Milan’s CRASH BOX contains some good examples of their piledriving thrash approach. “La Trappola” and the gut-wrenching “Morire Cosi” boast snarling vocals and a gutsy guitar attack, though some of the other songs here are more workmanlike.
A clutch of punk and thrash songs are delivered cleanly, tightly, and funnily (I presume). Sounds great to me.
This is a viciously intense and powerful tape—it’s a full-out, superbly recorded 18-song onslaught of thrash at its best.
With names like that, I frankly expected metalcore—but no, both bands are definitely on the lighter side. BITCH BOYS are post-punky, and remind me ever so slightly of TUXEDO MOON. DEATH FROM ABOVE is a bit more melodic, with a kind of surf guitar influence.
While solid all around, the ASEXUALS don’t write songs with overwhelming catchiness, either. “Wake Up” is a pleasant pop-punk amalgam with tasty guitar riffing, but the other three songs go at it with fairly quick tempos and a bit too much echo on the vocals. Decent, yet unspectacular.
The latest Pax compilation contains mostly unreleased material, and some killer tracks by the likes of the MAU MAUS, DESTRUCKTIONS, ONSLAUGHT, and the post-punkers LEITMOTIV. 20 songs, most of them good to excellent, and yet another thought-provoking editorial by Marcus Featherby on the back cover.
The textured, and often virtuosic musical trappings of the SUBHUMANS augment four compositions not quite up to this band’s ultra-high standards. “Labels” is an energetic dose of British thrash, and the EP’s title track contains some bracing changes of pace—all with the great SUBHUMANS lyrics.
The graphics and leaflets that come with this flexi contribute to an admirable project. Both bands have a distinct message orientation, and the music is slowish, basic peace-punk—English style. While the songs are a little on the dull side, the themes of peace and individuality are still important ones.
Another young Brit thrash outfit. Again, nothing dramatically new here, but their energy is a welcome relief to the “rock star” UK bands. Their female vocalist, Lorraine, belts ’em out in fine fashion. Keep growin’, kids.
These guys are prolific as fuck—with count ’em—five records in the past year. Does the term “dancable” turn you off? Tough toenails, cuz this is savage shit! The vocalist barks commands as the electro-beat grinds your ass into mandatory movement. Fucking awesome…
While nothing brilliant or startling, it’s good to see some fresh blood on the UK indie scene. Most real “punk” seems to really have gone underground (in the face of commercial onslaught), and hopefully will now be reappearing on small label vinyl, as this young thrash combo here.
While “Dead Man’s Dreams” mines a lackluster SIOUXSIE influence, the flip delights as a bouncy mid-tempo burst of catchy post-punk; it’s also very finely produced and executed. On this single, PARANOIA continues to explore some unusual and interesting musical directions. Pretty good!
OMEGA TRIBE relates lyric concerns of alienation and discontent into a strictly MOR/New Wave format, making this formerly vital outfit seem something like the STYLE COUNCIL. “Young John” has a moddish pop appeal, but the disturbing addition of a synth and wind section make this release greatly disappointing on a musical level.
The MEMBRANES hold a stylistic position somewhere near the likes of the METEORS and the INCA BABIES, but they rely less upon a recognizable rockabilly format and more on a raucous post-punk sensibility. Otherwise, one can compare their trashy, guitar-heavy approach with psychotic vocals. “Spike Milligan…” is up-tempo; the flip is a longer, droning number.
Don’t be fooled by the cartoon of the guy in a RAMONES T-shirt on the back cover, or the frantic maniac on the front cover: this is not wild shit. It’s more of a BIRTHDAY PARTY-type minimalist rock. Well done, but not crazed.
For the most part, three of the songs here fall into a CRAMPS/BIRTHDAY PARTY beat—sparse and rhythmic, but on “The Ballad of Vincent Croft,” they really take off, sounding very much like NAKED RAYGUN. All in all, it’s pretty rockin’ stuff.
I’m not sure if the world needs another BIRTHDAY PARTY clone, but as far as these clones go, this outfit is one of the best at carrying out that demented tradition. This new 45 has a rockin’, hard edge that gives it an R&B/CRAMPS feel, and of course there’s lots of screeching vocals.
The second 7″ by this band continues along with their accent on heavily rhythmic, rockin’ melodies. There are tinges of more “erratic” groups like the FALL or BIRTHDAY PARTY, but the approach here is more straightforward. B-side rocks hard.
FACTION reminds me of a cross between early vintage SIOUXSIE and the A-HEADS, and the themes here address issues of personal politics. “Turn Away” contains a pleasantly pop-punk ambience, though none of the songs cover any new ground with much authority or power. A fair, basic release.
Originally a lighter-weight RAMONES pop/punk band, they’ve gotten even lighter (BEATLES, STONES influence) with a folkish influence. Simultaneous with that though, is what I’d call a BUZZCOCKS influence of occasionally great hooks and melodies, and “noise” freak-outs. Bizarre.
Missed this one last issue. Maybe that had to do with the lame cover, but the contents aren’t bad at all. While they do sound like GBH-clones (early period), they do it well. Lots of power and drive, with lyrics that are more intelligent (or intelligible) than their mentors.
A four-song release that sounds more American in some ways than English. There’s a mixture of punk, post-punk, HEARTBREAKERS, etc. here that makes this an unusual release.
Many Swiss bands seem to be stuck in the punk past, and the VARWÄRTS are no exception with their ’78-’79 melodic punk rock sound. It’s cleanly produced and catchy, but there isn’t quite enough power to back up the prettiness of the tunes. Pretty good.
This five-song effort is both interesting and frustrating, especially for non-Italians. SOGLIA DEL DOLORE has a medium-speed approach with plenty of simple rhythm guitar, along with a couple of thrashers. What’s frustrating is that they rely a lot on the vocals, which are at times more like narratives. It’s our loss, though.
The IDIOTS are a primitive, alcohol-swigging bunch from Germany. They stumble between Oi-influenced sing-alongs (like the title cut) and sloppy, enjoyable thrashers (like “Edeka”), all the while preserving a sense of humor and fuzzy guitar backing. For fans of DTJ and DER DURSTIGE MANN.
Pretty rockin’ Dutch punk and thrash that reminds me a bit of the MISFITS, especially the vocals. But the lyrics are quite political, and despite a few post-punk songs that Henk Smit hates, the rest kicks ass. Thanks to Henk!
More rockish than punkish, DURANGO 95 reminds me of various ’76-’77 crossover bands. While most of their songs don’t really catch fire, and too many are about girls, a couple manage to stand out (“What Should I Do” and “Sandra Sez”). So much for the good ol’ days.
This unusual single by AUS 98 has a certain propensity for repetitiveness, but despite a tiresome dirge-like flip, “Alles Fällt” rips with a chilling guitar attack and some fine gravelly vocals. The extended song structures here provide an interesting change from the typical thrash formula. Pretty good.
This latest in a long series of so-called Oi compilations features some classic early punk sounds (which now often pass for “Oi”), folk rock, ska, and poetry. It’s all pretty progressive lyrically, accentuating the intelligent side of the perspective of working class youth. Among those featured are COCK SPARRER, the GONADS, NICK TOCZEK, PROLE, CROSSED HAMMERS, the BURIAL, ABH, and VICIOUS RUMOURS. Sounds good.
A combination of studio and live tracks. The songs are lonnnng, and I get bored pretty quickly due to the lack of invigorating, or even occasional jolting, musical aspects, If you’re into vocal/narrative primacy, this might be for you.
Five bands and six songs is what you get here. Most of the groups (ANGRY RED PLANET, the ENFORCERS, PRIVATE ANGST) turn in slower, heavier Michigan-style punk, while the GEMS and the FURY pick up the tempo with a bit of thrash. Nothing really stands out, though.
With its typical pop themes and music ranging from pop to pop-punk to ’60s punk, this anthology covers another side of the Boston scene. There are a couple of wimpy tracks, but most stand up pretty well if you like powerful guitar pop at all. My faves are by JOHNNY & THE JUMPER CABLES, CHAIN LINK FENCE, HOLY COW, the UNDERACHIEVERS, HOPELESSLY OBSCURE, CHRISTMAS, and 21-645.
This regional compilation put out by WNUR radio’s Fast ’n’ Loud crew showcases most of the more active, hardworking Chicago-area bands, including NAKED RAYGUN, SAVAGE BELIEFS, NADSAT REBEL, OUT OF ORDER, A.O.F., R.O.T.A., BIG BLACK, and the EFFIGIES. All varieties of punk are represented, and the recording is generally powerful, making this a welcome addition to anyone’s record collection. NAKED RAYGUN particularly excels, but I like almost every band here.
There’s some first-rate American hardcore on this compilation, easily enough to compensate for an occasional so-so track. The FREEZE, BLACK MARKET BABY, KRAUT, GOVERNMENT ISSUE, and F.O.D. come across with some intense tracks, though my favorite may be the great live version of the DICKIES’ “Gigantor” that opens the album. I hope Volume Two of the series is as good.
This is a diverse DC-area compilation featuring bands from the ’81-’83 era, some of which are still around. You’ll get tracks from BLACK MARKET BABY, REPTILE HOUSE, 9353, LAST MINUTE, BRAILLE PARTY, VOID, G.I., DOVE, the CRIPPLED PILGRIMS, SCREAM, UNDERGROUND SOLDIER, and other lesser-knowns. My faves, other than SCREAM, are the mouldy oldies turned in by BEAVER, ASSAULT & BATTERY, and ARTIFICIAL PEACE.
Cowabunga! Volume numero two of Skate Rock slashes the vinyl terrain with some surfy-punky-metally-rocky sounds. None of this is thrash—it’s straightforward noise by JFA, the FACTION, Mcrad, TSOL, ANVIL CHORUS, the KINGPINS, BORSCHT, the BIG BOYS, and more. Fun, enjoyable stuff enhanced by good recording, but keep it for after the skate session. Good job, Mo!
Despite some truly intelligent lyrics and an admirable sense of rebelliousness, the LITTLE GENTLEMEN hit and miss on this release. Some slower punkish numbers, an occasional rock track, and even a few thrashers fill out this package, though the band doesn’t seem to have much of a knack for tasty melodies or ripping guitar riffs. “You Can Run, But You Can’t Hid” is an exceptionally powerful anthemic rocker in the ’77 tradition, and my favorite song on the album.
Now, this is my kind of record. It’s a rockin’ garage punk release with seriocomic lyrics. Nasty vocals, raunchy fuzz guitars, and basic 4/4 beats power MUSICAL SUICIDE’s goofy punk and thrash blasts. Intelligent, satirical songs like “Guns and Ammo” and “Power Trip” are classic Midwest funnypunk numbers. A+!
The NEIGHBORHOODS were one of the most promising late ’70s power-pop outfits, and this record would be great if the recording had more power. “Fire Is Coming” and their aggressive cover of “If I Had a Hammer” have a PURPLE HEARTS-style energy about them, but much of the other material on this disc seems more commercially minded, and therefore sacrifices its potential. Still, it’s an interesting find for rabid popsters.
This second N.O.T.A. EP follows hard on the heels of Moscow. Four of these five songs display the band’s trademarks—tight thrash power, choice choruses, and politicized themes. The title track is a slower, melodic number in the S.L.F. mold that shows an expansion of their musical horizons, without stylistic regression. A fine release that would have had more impact if it were released earlier.
This lively experimental release melds rhythm machine, synthesizer, and demented vocals to obtain a refreshing effect. It reminds me of the sort of thing MORGAN-FISCHER once did so well, but TECHNO-PRIMITIVISM boast a social sensibility that the open-minded should find delightful. Frenetic and fun.
A metal-punk band that’s short on wanking guitar solos and long on power and oomph. This is close to older bone-crunching punk than modern metal, which is fine by me. I can’t say much about the lyrics, though.
