Membranes Andropov cassette
A three-song job that’s got the vocals clear and way up front, backed up by tight, cleanly produced thrash and punk. The intelligent lyrics are obviously being stressed here.
MAXIMUM ROCKNROLL
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A three-song job that’s got the vocals clear and way up front, backed up by tight, cleanly produced thrash and punk. The intelligent lyrics are obviously being stressed here.
How strange! You’d expect this album to mirror the manic ultra-thrash which characterized their debut efforts, but it’s almost exclusively Country & Western. It’s pretty good, too. The rock’n’rolly charms of “Split Myself in Two” are contrasted with gentle, melodic numbers like “Climbing” and the swingin’ “Magic Toy Missing.” Is there a C&W revival going on that I don’t know about?
The A-side of this well-produced album features a brace of tight, fairly basic thrashers, only a couple of which really stand out. But the flip has a way cool reggaefied jam (“No Guns”) which reminds me vaguely of older attempts to produce crossover material by groups like the RUTS, the MEMBERS, and the (LEYTON) BUZZARDS, as well as a far less successful dub track (“Forget Those Years”). The lyrics are more serious than I expected from a band with such a clever funnypunk moniker.
A marvelous new release from Dischord. MARGINAL MAN combines a potpourri of influences to produce a heady musical stew. There’s a fine D.C.-type thrasher with distinctive guitar parts (“Pandora’s Box”), a haunting pop number (“Friend”), two grinding “pain” songs that I find tedious (“Torn Apart” and “Fallen Pieces”), and a bunch of superb fast and tuneful punkers that have a ZERO BOYS feel, especially in the ’60s vocal inflections. Yeah!
This new SoCal group offers an EP full of garden-variety thrash (except for the death-rockish “In the Dark”). The main problems here are a serious lack of musical imagination and tinny production; the main advantages are a shrill guitar and sound lyrics. Overly typical.
Basically, this is a one-man production with aspects of modern punk and lost of art-damage on top. It’s also a studio tracks tape that employs over-tracking and echoes in a way reminiscent of PRE FIX, especially in the rhythms and guitar noises.
The other side of Gary (from ANTI and MOOD OF DEFIANCE) emerges in this classical experimental “music.” Actually, only one “piece” approaches music, as the rest consists mainly of tape loops, extended notes, and noise. So drop that ol’ LSD, have that thorazine near at hand, and venture out into the stratosphere.
Seven well-produced, tight, and blazing fast songs appear on ICONOCLAST’s debut release. The lyrics put them decisively in the anti-war/”peace punk” camp, and as far as I’m concerned, there can’t be too many bands like this. Get it.
Some pretty melodic punk and thrash with gruff vocals and tight musicianship emerges from this tape. It proves that more than tomatoes can grow out of the dust of California’s Central Valley.
A much poppier effort from HEART ATTACK. This EP is filled with all sorts of hooks and singalong choruses, but it retains their hard-edged punky guitar assault and serious lyrical approach. Here, they take on topics like sexism (“Man’s World”) and the genocidal wars against the American Indians (“Wheels Over Indian Trails”) with a great deal of intelligence. Recommended.
GRAVEN IMAGE’s thrash doesn’t always hang together, but when it does gel, they have a MINOR THREATish sound. Lyrically, the topics are interesting and, at times, more than a little confused. For example on “Nails and Thorns” they warn punks not to reject Jesus because one might need “Him” someday, and that being an atheist means paving the way for Communism. Huh?
At their best, 45 GRAVE excel at creating distinctive amalgams of pop and horror rock, but their debut album seems altogether limp and lacking in power. Sadly, Dinah Cancer’s vocal renditions are rather lackluster, and the best tracks here (“Evil” and “45 Grave”) have been released in far better versions on previous records. The annoying intrusion of synthesizers only serves to hammer one more nail into the coffin of this disappointing LP. Too bad.
Here they are again, this time with an LP’s worth of live material that sounds just like their studio stuff. A lot of their classic tracks are on here, sounding as good and raw and raucous as ever.
Back in the late ’60s and early ’70s, the GROOVIES were in my Top Five list of hard-edged rock ’n’ roll bands. Though not as generally acknowledged as the VELVET UNDERGROUND, CREEDENCE CLEARWATER REVIVAL, the MC5, or the STOOGES, their underground appeal led to an international cult following that still exists today, despite the many permutations they’ve since undergone. Here, they’ve been captured in their heyday in a live (and not so hot) recording, doing originals and covers. There are a few incredible moments, so if you love real rock ’n’ roll, give it a listen.
Another highly collectible item rescued from obscurity by Eva. Pittsburgh’s FANTASTIC DEE-JAYS (later SWAMP RATS) responded to the British Invasion with some wonderful fuzzy garage punkers like “Get Away Girl.” Their album has some other great ravers, but there are a few too many Beat ballads to win over non-believers in ’60s punk. Nevertheless, the slower tracks sound like GERRY & THE PACEMAKERS produced by Darby Crash, so one is still able to enjoy most of them.
With a name like that, you know it’s got to be silly. Actually, it’s the Stepe brothers (ex-NEGATIVE ELEMENT) and company “Doin’ the Jerry Lewis” and other topical subjects in their basement. Thrash that’ll drive the cows crazy.
The EDGE is a Midwestern garage punk band with some poppy vocal hooks. The production is primitive, the rhythm guitars are suitably grungy, and the overall effect is amateurish (in the positive sense). Humorous and spirited.
The A-side is kind of a teen rock-pop number in the old Boston tradition, with its jumpin’ rhythms, R&B beat, punchy guitar, and insipid lyrics; the flipside is a very uneventful cover of the EDDIE COCHRAN classic.
The DEPO-PROVERA side features some very catchy tunes, both slow and thrashed-out. They’re powerful, melodic, and intelligent, and worth the $1 price all by themselves. The TEMPERAMENTAL PSYCHOTICS, on the other hand, play slower, leaden punk that doesn’t do much for me.
Classic garage punk of varying goofy styles and descriptions. The music is simple, straightforward early-style punk, and the lyrics cover a whole range of teen topics. Fun.
These guys alternate viciously between FLIPPERish “pet rock” and all-out thrash—usually in the same song—to produce some fine noise. A good first demo.
The A-side is pretty tame, so let me rave about the flip for a minute. It’s classic psychobilly with lots of echo and oomph—the CRAMPS at their best.
CIRCLE SEVEN has sort of a measured mid-tempo post-punk approach. They have a basic guitar-bass-drum lineup, some seductive drum-heavy rhythms, distanced singing, and good lyrics, but the music is a bit too much under control for my taste (except maybe on “Look What You’ve Got”). If they got wilder, more heads would turn.
A rough garage-quality tape of basic melodic thrash with fairly intelligent lyrics. Given time and decent production, these guys will be good.
A three-song tape that’s got those raspy, ragged Minnesota vocals, backed by some fairly standard but competent thrash. Good for a start.
Self-described “funny punk,” but it’s got more of a creepy-crawl feel to it. This slow, punchy, lurching rhythmic music, with the vocals mixed way clear, sounds like it should be from Texas or Louisiana. Maybe it’s the proximity of that hot Mexican sun.
The BOAT PEOPLE are an amateurish garage punk band from the wilds of Nebraska. Given that rednecky environment, they deserve a lot of respect for having the guts to be punks, especially with radicalized lyrics. Unfortunately, the music here needs a lot more guitar power and vocal intensity, although the drumming, which approximates Indian tom-toms, adds a unique touch.
BLACK FLAG have worked long and hard to break ground for punk, and weathered a lot of legal harassment in the process, so it’s impossible to casually dismiss them for putting out a bad record. But that temptation certainly exists with the release of this album. To me, it sounds like BLACK FLAG doing an imitation of IRON MAIDEN imitating BLACK FLAG on a bad day. The shorter songs are rarely exciting, and the three tracks on the B-side are sheer torture. I know depression and pain are hallmarks of BLACK FLAG’s delivery, but boredom too?
Even though one member of this band erroneously believes that his personal taste represents some sort of universal standard of quality, it can’t be denied that the new BIG BLACK EP is vastly better than their debut, which was itself very good. Here (except for “Jump the Climb”), they drape the same rhythmic, quasi-metallic tone over a much heavier musical skeleton with real drums and a loud guitar, and the effects are quite stunning.
A totally fucking excellent release on A.O.D.’s label. BEDLAM display lots of energy and excitement here, with buzzsaw guitars blazing the way, and gruff vocals to boot. The lyrics are both serious and hilarious. Buy their records!
These energetic San Diegans have always had a very powerful instrumental sound. And even if their metal-punk attack isn’t exactly my can of Coke, the title song here is so intense that it blows me away. That alone makes it recommendable.
Now, this is weird. The punked-out guitarist on the cover doesn’t exactly prepare one for the music—a unique amalgam with drum machine, synth, psychedelic guitar, and alternately sung and treated vocals. “Bombs” is almost folky, but the uptempo flip has mucho abrasive power and plenty of appeal.
This Pennsylvania band has a nice raunchy sound and excellent lyrics, but I find their extended heavy metal guitar leads all but intolerable. Heavy metal damage permeates the entire EP to such a degree that only metal maniacs could fully appreciate it. It’s too bad, though, because I think there are some good ideas lurking beneath the guitar wanking.
This is a great band in the abrasive experimental punk vein. Loud guitars, heavy drumming, and interesting rhythms bring groups like NO TREND to mind, but these guys are definitely original. Aware lyrics and a couple of fast blasts add further fireworks, so send away for this today.
This should have been reviewed two issues ago, but we bungled somehow. Sorry. In any case, the new BREAKOUTS line-up, with its incredible double-guitar power, is far superior to all their earlier incarnations. The material here includes hook-filled mini-classics (like the title track and “Trouble”), chunky thrashers (like “Join Me Don’t Join Me”), and even a loud quasi-experimental number (“B.D.A.”). Many of the arrangements are terrific, the production is unusually strong, the lyrics are timely, and the overall effect is uplifting and engaging.
Nine songs in a melodic thrash mold that’s more reminiscent of certain SoCal bands like the ADOLESCENTS than the East Coast approach. Musically, it’s really tight and fairly zesty, and the lyrics are also generally coherent (though there are occasional examples of retardo stuff, both intentional and unintentional).
FATAL VISION performs decent basic thrash, but writing lyrics is their real strong point—the themes of alienation and manipulation are handled with far more sensitivity and sophistication than one normally finds. The music could benefit from further development, though “The Grass and Sheep Saga” is an outstanding track.
A bogus honky disco band whose sole claim to fame is that they are hated. That explains Mykel Board’s interest, although after listening I can understand why no one liked them. For novelty collectors.
Nine somewhat sloppy thrash songs with a pretty decent recording quality, but the intelligent political lyrics, which go far beyond the superficial, are the highlights of this tape. Among the subjects discussed are women (“We Love Girls”) and Poland (“Poland Crisis”).
An enigma. The band is English, and all we know is that this EP was recorded in ’77 and has just now been released. It’s not half-bad either, sort of a cross between the early AVENGERS and X-RAY SPEX, with its catchy tunes and a female vocalist.
Two Dutch bands join efforts on this four-song maxi-EP. ALERTA’s earlier material was extremely dissonant, but here they join the ranks of the SEX GANG CHILDREN/X-MAL DEUTSCHLAND school of new Euro-hits. On the other hand, the EX is now more aggressive than they’ve been in a while, even though they’ve always produced interesting post-punk. “Crap Rap” is a fast, thickly layered chant that sounds as if CRASS merged with the FALL, and I think it’s really great. An interesting and worthwhile offering.
Rapid-fire spears of crunching velocity and severing vocals of raucous scurry carry this Swedish band into blasting raids of accelerating eruptions. Forged in raw, harsh power and torpedoing speed, NYX NEGATIV continue the growing headlong attack of Swedish thrash intensity. Buzzsaw guitar slices hack out chaotic rhythms that rip the flesh in bloody convulsions. Full steam ahead!
This release marks a big change of direction for Finland’s NUKKETEATERI. They’ve moved from fast, hook-filled punk to irritating post-punk with a scratchy guitar, a fluid bass, a spry tempo, and an exceptionally annoying trumpet! I can’t figure out which song is which, but I like this band a lot better before.
This young Norwegian band originally intended to put out an EP, but they weren’t completely satisfied with it. Here, they sound fine to me. The vocals and guitar kick, and the rhythm ain’t bad either. AKUTT INNLEGGELSE will soon become one of the many startlingly hot Scandinavian groups, in my opinion.
Some of the most intense yet catchy thrash to come out of Australia thus far. This well-produced tape bodes very well for the scene “down under,” even if it does have a heavily produced English accent.
An old-style punk release from Holland with a chunky guitar and a garagey feel. “Zwart geld” has the slowest tempo of the bunch, “Hollandse signaal” sounds almost exactly like Texas band AK-47’s “The Badge Means You Suck,” and “Wie speelt…” is a relatively fast, driving number with some powerful double-guitar work. Good, but not exactly “glorious.”
An excellent long-player’s worth of British Columbia’s current crop of bands. The NEOS appear with some previously released material, but the rest (AUTOMATIC SHOCK, CHRONIC SUBMISSION, JERK WARD, LSD, HOUSE OF COMMONS, RED TIDE, the INFAMOUS SCIENTISTS, SS TOP, DA JEEP, and the cool DAYGLO ABORTIONS) all chip in with new material, most of which is fine. Very little filler.
Strong mid-tempo punk can be found on this single by Spain’s KGB. “Treblinka” is a straightforward blast with a distinctive bass line and a great guitar break punctuated by screams; “Luftwaffe” alternates between slow portions and accelerated parts with a catchy pop-punk chorus. Good stuff.
Tight, hard-edged punk (and some thrash). WHITE NOISE has that full-sounding rock ’n’ roll attack Á la DOA or CH3, to which they add extremely gruff lead vocals and strong drumming. Don’t overlook these guys.
A 7″ shared by two Danish bands with the same personnel. ZERO POINT performs one melodic hardcore tune and one guitar-oriented stop/start number with a synth accompaniment and bright lyrics. HA! have a somewhat slower punk attack and raspy vocals like Jake from STIFF LITTLE FINGERS, though “Working Class Zero” is a speedier blast with an epic chorus. There’s some quality material here.
