Chapter 23 Lights Out cassette
A three-song tape that’s got those raspy, ragged Minnesota vocals, backed by some fairly standard but competent thrash. Good for a start.
MAXIMUM ROCKNROLL
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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.
HATED PRINCIPLES’ song structures may not be as provocative as they really should on this five-song debut EP, but their lyric sentiments and engaging sense of humor add spunk to this effort. “Burn Those Churches” has a satiric outrage worth of GG ALLIN, as well as a welcome thrashy power, while the other compositions mine equally nasty concerns with less musical aplomb.
This limited-edition album from Sydney, Australia features seven bands (POSITIVE HATRED, VELLOCETTE, the KELPIES, QUEEN ANNE’S REVENGE, BOX OF FISH, WHAT?, and WORLD WAR XXIV) that push forth a certain energy, but swirls with that so-labeled ’77 sound. Raw and still humming with harmonies and chaotic knockabouts. WORLD WAR XXIV produces the standout tracks, with their raunchy vocals laced with heart-pumping aggression, spun into sing-along “skunk” chanters. For the connoisseur and collector!
This provocative tape contains material from a variety of political English punk bands. Although the sound quality varies (sometimes drastically) from cut to cut, the material by the XPOZEZ, the INFECTED, and SCREAM & THE FITS provide enough moments of interest to present an effective cross-section of British underground music.
Three songs whose high points are often dissonant, fuzzy guitar leads. The rest is nothing new, just fairly fast-paced punk with good production. Like I said, the guitar work is the SOLDIER DOLLS’ strength, and hopefully they’ll accentuate it even more in future releases.
Another hot EP from Denmark’s ELECTRIC DEADS. Their earlier speedballs have given way to even faster blasts, but without sacrificing their most unique characteristics—a screaming fuzzed-out guitar, and highly-distinctive female vocal styling. I’m so impressed that the redone version of “Fish in a Pool” will appear on MRR’s forthcoming “1984” compilation.
This new Long Beach hardcore group seems to have been influenced quite a bit by DRI The comparison shouldn’t be exaggerated, however, because TARGET OF DEMAND adds characteristic SoCal hooks to their intense thrash attack, and the results are startlingly good. Of the songs, “The Poor Rich” takes a potshot at wealthy Malibu residents endangered by mudslides, and “Judgement” and “Plastic Bullets” are particularly savage and to the point thematically. Quintessential American ’80s thrash.
This new Canadian compilation is very much like the English samplers that proliferated wildly in the ’78 epoch, in that it features a bunch of pop bands and one or two token punk groups. Of the latter, SNFU produces two powerful mid-tempo gems with crunching guitars and sing-along choruses (including the classic “Real Men Don’t Watch Quincy”), while DOWN SYNDROME offers a couple of raunchy garage punkers. Of the pop bands, the STANDARDS and the THIEVES stand out above the wimpy pack by virtue of a heavier guitar sound and an unobtrusive ’60s tinge. The overall effect is rather refreshing in our current era of musical segregation.
SECTOR FOUR exhibits a garagey mid-tempo approach on their debut EP. They’ve got a chunky guitar sound and the kind of goofy humor that seems to be common in Florida. “Jump on You” and “Time” are irresistably catchy numbers with cool choruses; “Heartbreak Hotel” is an absurd punked-out trashing of an old ELVIS song; the rest are nondescript.
Well, the newest TESCO VEE affair is predictably centered around “offensive” themes, including satires dealing with lesbians (“Lesbian Death Dirge”), television, evangelists (“God’s Bullies”), heavy metal goons (“Wine, Wenches, and Wheels”), new wave dance trendies (SLY’s “Dance to the Music”), and the rap phenomenon (“Crapper’s Delight”). The latter three cuts feature music related to their respective themes, whereas the first two have more of a garagey Meatmen approach. Entertaining as all get out!
Somewhat tame psychobilly, sort of a poor man’s METEORS. Actually, it’s on the same label, which caters to offbeat ’50s- and ’60s-sounding psych bands. The GUANA BATZ do play some twangy surf guitar, though.
A 12-song studio demo that’s well-produced. It’s got that chunky drumming that I don’t go for too much, but the guitar sound and vocals are real good, and it’s real powerful overall. The main problem with ENOLA GAY is that they rely a bit too much on the basic repetitive thrash structure. More variation would help.
A “greatest hits” tape from a band previously known as CRIB DEATH. I think this is what Jeff could call “garage punk,” since it’s obviously a product of Midwestern winter shellshock and deprivation. They have a slower, ominous sound.
A year-old tape by Chicago’s coolest young thrashers, which was originally supposed to be released as a 7″ on Version Sound. Except for the funky title song, the cuts are fast, frenetic, and a bit rough around the edges, but that’s no problem unless you’re overly concerned about professionalism. I’m not, so I wish someone would press this humorous trash. Yeah!
With a name like that, it’s gotta be “punk rock,” right? Right! It’s like a flashback to ’78 or something, which can be both fun and a bit tedious. The PUKES have an American style of early punk—slow, garagey, and sometimes silly. The cool part lies in being able to hear the snarly lyrics that jump all over jocks, patriots, and parents in a sarcastic manner.
A budding original approach from this new band (see Northern California scene report for more info). They combine certain aspects of the early Germs sound with garage and post-punk qualities, and have interesting lyrics. It should be fun to watch them grow.
PLAIN WRAP plays tight, trebly, frantic thrash and punk with melodies. They remind me a little of the DK’s, both musically and in the narratives, which sometimes are more like tales. An excellent beginning, so look out for them.
An eight-cut demo from still another young thrash outfit. It’s a bit generic and sloppy, as it seems to be a live recording, but remember that they’re from Bakersfield (home of MERLE HAGGARD), which is enough reason to support these lads. Actually, there are some sparks of originality—”Hey You” has a certain FEEDERZ feel—so give them time.
OUTERWEAR mainly presents slower, metallish thrash with lyrics that strain to cover the irrelevant. It looks as if these stimulus-starved Ohioans did too much LSD. Over the course of 24 songs, they scream and slither their way into the sicker corners of your heart. Outta sight.
Forty-five—count em—forty-five songs are on this tape, probably this Chicago band’s entire repertoire. Unfortunately, you can’t really hear too much because of the sound quality, mostly live and garage tracks that are almost buried beneath the rumble. You can barely hear some cool shit going on, but this one’s more of an artifact.
The KNUCKLEHEADS offer mostly mid-tempo thrash with metal influences. Again, there’s nothing new here—it’s well done but predictable, including the themes. But again, given where they come from, it’s probably not at all predictable and generic.
This is a pretty good thrash debut. While DON’T NO don’t break any new ground, they do have snap. The drumming and bass playing are hot, the vocals have back-ups, and the lyrics are pretty sharp, with a definite straight edge bent to them.
This is a well-produced demo by a group who were once called FUTURE RUIN. It’s no instant classic, but there are certain twists here that make for enjoyable listening. They’ve got potential, and the tape is well worth the “price” (S.A.S.E.).
A fairly original 15-song demo with some good musicianship, fairly non-standard structures, and really gruff vocals. Most of the tempos are medium to medium-fast.
Musical absurdity from some wild Northern Californians. Record some characters who are trying for that NEOS sound in their living room, and you’ll have the basic idea. Completely incoherent garage thrash, more experimental than listenable, though some of the lyrics are worth hearing.
