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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!
Finally, an heir-apparent to the DRIVING STUPID! What is it about Arizona that creates such warped people? Their music is your basic FUGS-style electric grunge-folk, and their lyrics feature some of the meanest put-downs of American consumer culture that I’ve heard in years. Includes “God Is a Groovy Guy,” “Pieces of My Poodle,” and “Cow of My Dreams.”
Maximum exhibits of brutal force zoom in turbulent aggression, as this Portland-based band savagely grinds out a storming spasm. A vibrant, discharging guitar sonance drives raucous melodies, swift and fluid, with metallic decibels that piledrive a crude invasion of exhilarating iron licks. A tight new outfit with outrageous appeal, so don’t pass this one up.
“Corpse in Disguise” comes out as a MISFITS-influenced tune with an unrefined rocky sound. It’s got all the catches and hooks, but like most FACTION melodies it lacks something which is hard to put the finger on. The entire EP has a metal/rock flavor, though the lyrics are getting more intelligent with each release. The FACTION drives a powerful, energetic set live; in the studio, what emerges isn’t usually the same. A young band that’s bound to grow.
Surf instrumentals are cool. Any hardcore musician who wants to branch out and play something besides heavy metal should check out this type of music. The EVASIONS’ 14-song semi-picture disc is part of a growing ’60s punk-style revival movement. These guys write almost all of their own material, unlike their better-known contemporaries like JON & THE NIGHTRIDERS. Banzai!
On this album, the EFFIGIES continue to develop musically, though not everyone will view this development positively. The material here is pretty diverse. Most of it has a post-punky feel and emphasizes Earl’s metallic guitar playing; only a few songs are in the traditional EFFIGIES vein (“Patternless,” “Rather See None,” etc.). I personally prefer these latter, but the other cuts have grown on me with repeated listens.
The first solo effort from DEAD KENNEDYS guitarist EAST BAY RAY, and it’s a good ’un. “Trouble in Town” would make a good theme song for a spaghetti Western, with its plucky Spanish-flavored guitar, siren-like backing vocals, and plaintive singing; “Poison Heart” is a bittersweet, atmospheric number with some semi-psych guitar. Tuneful and original.
This new DROOGS 45 features a classic ’60s-inspired original with belligerent singing, loud guitars, and boss background vocals in the choruses. The B-side has a suitably raunched-out live version of the old VELVET UNDERGROUND chestnut. “Change Is Gonna Come” is truly wonderful.
This is fucking great! This is fucking great! This is fucking great! This is fucking great! This is fucking great! This is fucking great! This is fucking great! This is fucking great! This is fucking great! This is fucking great! This is fucking great! This is fucking great!
DIAMANDA GALÁS is a performance artist who relies on multi-layered vocal effects à la LAURIE ANDERSON, but whereas the latter speaks in soothing tones, GALÁS screams, gags, and shrieks in the piercing ONO-esque tones of an animal being electrocuted. While smoother and less intense than her previous 12″, this album is essential for addicts of the truly primal. Besides, it’s the only record I’ve heard lately that’s left me standing in the middle of my bedroom sweating and staring at the wall.
An unusual release, both musically and lyrically, DEATH PIGGY’s sound is discordant and diverse, and ranges from relatively straightforward funnypunk with weird vocals (like “Fat Man” and “No Prob Dude”) to off-the-wall raps (“Eat the People”) to brief acapella chants (“G.O.D. Spells God”) to permutations of the above (“Mangoes and Goats” and “Splatter Flicks”). Not at all typical.
I can see Greg Shaw having multiple orgasms over this one! The CORSAIRS play soft, ’60s-inspired pop with some decent melodies and harmonies, but the wimpoid overall sound and obtrusive piano severely detract from their potential appeal. Someone should crank up their guitar amp and trash the keyboards.
Wild, abrasive power that blares out with growling punches of intensity. Snarling guitar distortion and rapid chord changes smack down crucial crunches of feverous exertion, as vocalist Eric rasps out harsh grumbles of throat-bursting ferocity. Fast thrash with raw sonic slaughterings of chaos, thrusted with convulsions of strong lyrical stamina. Only a few bands can excite with C.O.C.’s tough-sounding power. Earth-shattering and ear-blasting.
I think this falls into the industrial category because of its starkness, repetitive rhythms, loops of breaking glass, and obsession with radiation death, but it’s much more musical than most industrial music. “Maya” has a wonderful rhythm (even if the vocals sound too much like JOY DIVISION’s Ian Curtis), but it was this song that got me to listen to all of it, many times. A compelling effort, eerie and rather listenable.
Was it worth the wait? Fuck yes, says I! Song after song kicks ass with a metal-punk sound that doesn’t teeter over too far into lame guitar sololand. Lots of power, a tight delivery, and especially intense vocals add to a great release from the BATS.
This selection of material, recorded between 1982 and ’83, both reveals ANTI’s strong points and suggests areas for improvement. The upbeat compositions (like “We Will Die”) and the short thrashers seem to burst with energy, while others (like “Media Scam” and “Backfire Bomber”) seem lethargic and just sort of sit there. A decent, though inconsistent release.
Ach, mein Gott! This is a surprisingly good-sounding collection of 47 (!) German punk bands, compiled by Flocky from Sputnick fanzine. His purpose is both to provide a more thorough picture of the punk underground in the BRD and to undermine the credibility and commercial success of larger labels like Rock-O-Rama and ARP. I’m not sure if he can manage the latter, since this is a limited distribution tape sold at cost, but efforts to put pressure on the more established indies from below are surely worthwhile. Plus, you get to hear some great, little-known groups here. Go for it.
A collective effort by eight bands (CCM, the WARDOGS, I REFUSE IT, the USELESS BOYS, STATO DI POLIZIA, JUGERNAUT, TRAUMATIC, and PUTRID FEVER) from Tuscano, otherwise known as Gran Ducato—ergo GDHC. I’d lave to say that CCM sounds the hottest to me, with their outrageously distinctive vocals and unusual arrangements, but there’s plenty more to enjoy.
This tape is produced by Art Nouveau, an indie label/record store that specializes in distributing international punk in Greece. Side A contains tracks by GENIA TOU XAOUS (Chaos Generation), who have more of an older punk style and really garagy guitar work; They also do a couple of cleanly produced post-punk gems and one spychotic screamer. The B-side is by ADIEXODO, who’ve also adopted a late-’70s punk sound, but are younger and less proficient. Write to Art Nouveau for further information.
Eight Japanese bands, all recorded live, appear in various states of sound quality here. Side one consists of older-style punk and some noise damage (MASTURBATION, FULLX, ROUTE 66, MADAME EDWARDA), while side two blasts forth with a more modern metal/thrash approach (GISM, the COMES, LAUGHIN’ NOSE, GAUZE). GISM is hot, but the COMES come off the best with their killer thrash. The cover is a CRASS-style package.
A good quality collection of Finnish bands with an adequate sound quality. Some groups are very well known (RATTUS, the BASTARDS, and TAMPERE SS), others are not as familiar (MARIONETTI, HIC SYSTEEMI, PROTESTI, FUCKING FINLAND), and one is completely new to us (the quasi-pschedelic KAHLITTU VAPAUS). Most produce high-powered thrash (especially the BASTARDS), but my favorites are HIC SYSTEEMI, who have ultra-gruff vocals and a flair for writing join-in choruses.
A nifty international compilation put out by Germany’s Anti-System fanzine. The sound quality is uneven, but it contains 40 songs by 20 punk bands from all over the world, including Germany (CERESIT 81, M.A.F., the SCAPEGOATS, ZÜNDELLÄNDER, DISASTER, KOMA), Finland (FUCKING FINLAND, TAMPERE SS, KUOLEMA), Sweden (the BRISTLES, ANTI-CIMEX), Italy (P.S.A., EU’S ARSE, the WRETCHED), Yugoslavia (U.B.R., STRES-D.A., and ODPADKI CIVILIZACIJE), South Africa (POWER AGE), Denmark (the RAZOR BLADES), and Poland (REJESTRACJA). Anti-Systems purpose is to facilitate communication, not to make profits, so send away today.
On side one of this compilation, GISM lashes out with their metallic thrash attack—with the accent on metal—and nasty vocals, EXECUTE do ripping thrash, and ABURADAKO cross thrash with the POISON GIRLS’ quirkiness. On the flipside, LAUGHIN’ NOSE have one Britskunk song and one that sounds Finnish, while the CLAY adapt the early DISCHARGE style, and G-ZET close out with a slightly more melodic and metallic UK assault. All in all, this album has excellent sound quality and some songs that’ll knock you out.
Outside of HUVUDTVÄTT, the BRISTLES, ZYNTHSLAKT, and E.A.T.E.R., all of the other bands featured on this collection (SNUE-SLAPP HJÄRNA, SVEA-SKANDAL, FAXE, PÖBEL-MÖBEL, SS PLEKTRUM, and ANTI HUND-MINA) are new to us. Most of these younger bands do standard punk (though some do thrash), but none seem that memorable, especially considering the high standards set by the likes of E.A.T.E.R.
A rewarding French sampler with eight underground bands. The styles represented here are diverse—straight punk (LES ELECTRODES, DIVISION LECLERC, FUCK WAVE), ’60s punk (LES CORONADOS), garage punk (STAKANOV SS), thrash (MEMORIAL VOICE), garage thrash (LES STILLERS), and abrasive synth-punk Á la the great METAL URBAIN (DISKOLOKAUST). The latter is my fave.
A Dutch sampler that states “Never Mind the Quality,” when you shove in 70 tracks of pure brutal mayhem and sonic thrash appeal, the results are raw and rambunctious, as nine bands haul their way into the speed record books. The SQUITS, ZMIV, STANX, ZWEETKUTTEN, the VIKINGS, GLORIOUS DEATH, LÄRM, KNÄX, and LA RESISTANCE all break out with full-tilt raptures of intense velocity. Yes, yes, yes!
A pretty rip-roaring demo, mixing thrash with a few slow, powerful songs. Not much is new, but for some reason KLIMAX sounds more like and English thrash outfit than a Finnish band.
The lead singer of Japan’s the STALIN has put out a very well-produced nine-song tape that comes with a high-quality book that includes multi-colored photos. He does many ’60s songs here (like “Born To Be Wild,” “I Wanna Be Your Dog,” etc.), along with original compositions in styles ranging from intense thrash to straight metal to almost BEATLE-esque material, and the band (who sounds like the STALIN) really crank it out. Excellent.
The recording quality here isn’t so hot—it’s like “live” from the garage—so I hesitate to judge this new thrash band. They say that there’s a better-quality cassette to come, though.
An audio version of the Situationist philosophy, whose message is “subversion can be fun.” And indeed it can, as this album demonstrates. Musically, it’s very diverse, combining fast semi-thrashers with undistorted guitars (like “Imitation of Life” and “Subscription”) with a variety of theatrical pieces (like the schizoid “Gut Rage” and the creepy “1984”), all marked by Frank Discussion’s sneering vocals and sarcastic humor. Undeniably entertaining and provocative, arguably brilliant and revelatory. A classic.
This new DROOLING IDIOTS tape doesn’t sound as melodic as their first thrash-oriented demo, and the production isn’t especially hot. But their lyrical content has really come on strong, with both “personal” and “political” themes that do beneath the surface.
BYRDS-style neo-psychedelia—minus the 12-string guitar—meets DUANE EDDY-ish twanginess. Despite the singer’s sometimes annoying vocals, there’s interesting stuff on this half-sided picture disc, especially “Sniper on the Rooftop.”
It was hard to get past the overlong heavy metal intro, but the rest of this tape contains teenage garage thrash with exaggerated, high-pitched vocals and funny lyrics. The EPILEPTICS are obviously having a lot of fun here, even if they are a little on the retardo side, so people with wacko senses of humor will probably like them—except maybe Frank Discussion, who gets slagged off.
CANCEROUS GROWTH deliver fairly unoriginal thrash and slower hardcore with quite a bit of gusto. They’re pretty tight, but more of their own personality needs to evolve. I especially like the guitar work.
“Ruined by Technology” is more like it. This record provides the best argument since the 100 FLOWERS album that garage punk outfits should dissolve rather than trying to “progress.” Here, the AUTISTICS seem to be aiming for the trendy rock ’n’ rolly dance audience with that addition of slicker production and a hokey sax. It’s a shame that they decided to discard the rawness instead of the idiocy (manifested here by “Asian Drivers”), although I do like “Mirror.”
Like it or not, GG represents the authentic spirit of “rock ’n’ roll.” After half a dozen 7″ers and an album, you’d expect him to mellow out, but he’s more primitive and disgusting than ever. I mean, the production on this garage release is almost as distorted as GG’s values! With a homemade drawing of an ejaculating member on the cover and reflective song titles like “Fuckin’ the Dog,” “Clit Licker,” “Drink, Fight, and Fuck,” and “Cock on the Loose,” this would make a perfect gift for Sunday School teachers all across America.
The EXTREM side is extreme! Raucous cycloning mayhem from Austria, enough driving power and insistent quickness to hurl you into a venture of mega-speed craziness. Savage guitar grinds charge out a brutal slaughter of aggression and combustion, crammed into a wild seizure of raw energy. EXTREM escalate with each zooming slice. MICKEYMAN is Austrian reggae done well, and their punk song is basic and humorous. Don’t miss this album—the EXTREM stuff is drastic plastic.
A defunct band from the small town of Korpilahti in central Finland. The EXPLODED have a raunchy mid-tempo instrumental attack and gravelly Oi-style vocals (like those of Maho Neitsyt). This primitive but unremarkable tape is already sold out.
Very minimalist rockabilly/R’n’B with just drums, guitar, and voice. It never gets crazy like, say, Suicide, and with a derivative genre like this, that’s a real necessity. Still, it’s fun.
Unbelievable. How often have you heard shades of CRASS, DRI, RITCHIE BLACKMORE, traditional Chinese music, Hungarian folk dancing, violin solos, and abrasive electronic noises all on one record, let alone one song? A challenging breath of fresh air. I wonder what else is going on in Hungary? Is a new cult brewing?
These guys started out doing bad covers of good English ’77 punk songs, but now they’re doing bad covers of bad songs, including their own. Here, they mix older-style punk material with awful rock compositions, and the gutlessly produced results are boring as hell. Please don’t judge Japanese punk on the basis of ANARCHY’s releases.
As their name suggests, RESISTANCE 77 utilize a “classic” punk approach, one that’s rich with strong melodies, irresistible background choruses, and an aggressive guitar sound. “Will They Survive?” and “Advance Factory Units” are the most intriguing of the four tracks here and, although the lyrics aren’t as inspired as one might hope, aficionados of good ’77 punk will fond something to their liking. Very fine.
The slow- to medium-speed Oi anthems on the OPPRESSED debut album lack any sort of lyric originality, but stand-out tracks like “Gun-Law,” “Don’t Look Back,” and the hilarious “Skinhead Girl” add a certain dimension of personality to this release. Nonetheless, it could use a dose of energy and inspiration.
The WARDS maintain their politically oriented garage approach on their second EP. Musically, it’s more punky than thrashy, with a dash of art damage thrown in. Well worth it.
Amateurish thrash and punk straight from a garage somewhere in the “garden” state. These teens have spunk and a good, albeit dumb, sense of humor, but don’t expect any musical miracles. “Hay Ho Ha” is the most intense cut; “Disgusting” is the most ludicrous.
Despite the controversy over SACRED ORDER’s supposed homophobic, sexist attitudes, the music on their new demo tape is an invigorating mixture of garage raunch, brain-damaged metal guitar parts, psychotic vocals, and funnypunk themes (as exhibited in songs like “Funky Mr. Penis” and “3 Testes”). I think SACRED ORDER sound like a gas, and it’s hard to imagine how anyone could take them too seriously.
The energy and hard guitar sound here approximate the spirit of mid- to fast-tempo punk quite admirably, but there’s very little memorable material on this varied release. Despite the frenzy of “No Time for Losers” and a very solid rendition of the MONKEES’ “I’m a Believer,” I remain unimpressed.
A five-song demo of this young band’s crisp thrash style. OUT OF ORDER have both DC inflections and LA influences, and they play well, but without any special enthusiasm or uniqueness. Still, I expect that by the time they get vinyl out, they’ll have developed their particular peculiarities, so watch for them.
A four-song debut that exhibits a chunky thrash style. Stop/go parts, semi-jazzy drumming, and vocal harmonies are all prevalent, and it might come out on vinyl later.
NRG is an immensely powerful mid-tempo punk band from Denmark. “Kulturel Forwaltning” is a chunky blast with an ultra-dense sound and memorable vocal parts that I love; the flip is slower but equally bass-heavy, and it has some nifty melodic guitar breaks scattered here and there. Terrific.
This French record has exceptionally echoey, growling vocals and choruses, very engaging guitar work, and a crisp sound. Jeff thinks these guys are inept and annoying, but I particularly appreciate the strange song structures and the drumming, which seems totally out of it. Thrash that’s a bit “off.”
