U.S. Distress One on One cassette
A pretty intense but standard thrash tape. The sound quality is decent, and there’s lots of power to their blasts. Nothing new, but they’ll be a force if they stick with it.
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A pretty intense but standard thrash tape. The sound quality is decent, and there’s lots of power to their blasts. Nothing new, but they’ll be a force if they stick with it.
The TWISTED have a raw ’60s sound with psychotic vocals, a trebly, organ-based orientation, and twangy psychedelicized guitar work. “Sheez Wycked” is more demented; the flip is a spooky instrumental with human screams. Midnight does it again.
Yet another new band on the Mutha label. STISISM have a chunky, mid-tempo punk attack with a PISTOL-ian feel. The vocals have pronounced ’77 inflections, the sound is raw and garagy, and there’s more than enough belligerence to go around. Highly recommended.
It’s unfair to compare a very original band to another just to help explain their sound. But I will. A little like the MINUTEMEN, but fuller and less manic; a little like the FALL, too. The lyrics are offbeat and are used more for sound/mood than message. Most of them used to be a band called TOXIC SHOCK.
Bizarre—could’ve sworn this would be metal, judging by the cover. But as the ol’ expression goes, “You can’t judge a…” You want punk, you got it. You want country, you got it. You want garage, you got it. You want metal, you got it. You want experimental, you got it. And all done weirdly!
Some people and songs from SAVAGE REPUBLIC here, but in a different direction. 17 PYGMIES are quieter (even mystical) on this musical trip to Israel. Like SAVAGE REPUBLIC, a knowledge and love of ethnic music from all over the world comes through. At times, they sound like a Herzog soundtrack. I guess if you like BAUHAUS and their ilk you may like this, but there’s no inherent doom and gloom here.
A lot of this band’s material is on the softer side, not unlike some of the REPLACEMENTS’ current material. There’s some freak-out jazzy punk, too, and even some thrash that’s twinged with country, reminding me of MDC’s “Chicken Squawk” or something.
Another in the “Nardcore” series (although RKL recently moved to SF) of mini-LPs, and they kick. As with many of the younger bands these days, there’s a decidedly metal guitar influence. I choose to not hear it.
A ridiculous name and a ridiculous band. It’s that ol’ youthful attack, folks: slash and crash and make fun of everything, and “who gives a shit if it sounds horrible ’cause we’re havin’ fun!” Garage: love it or leave it.
Ever wonder what happened to Jennifer Miro, singer of the late SF NUNS? Well, she now fronts MARLENE (or is she MARLENE?), who produces one slow BLONDIE-ish side and one cabaret-ish side. Can’t really recommend this musically, but the lyrics are intelligent. And, of course, it’s historically relevant. Right?
Hey, it’s only been five years since their previous EP, and somehow several of the original members have regrouped with others for this reemergence. While I don’t believe they are a functioning unit (they haven’t played here where they live and recorded this), this is pretty tight. Description: punk rock, with the “rock” as stressed as the “punk.”
While this mini-LP boasts considerably more production finesse than past efforts, the songs by and large didn’t grab me. KRAUT use metal and punk power-chord figures with skill and taste—yet, it’s difficult to pick out a single memorable track here, or anything even remotely along the lines of past greats like “Bogus” or “Kill for Cash.” Disappointing.
Uh oh. More sun-damaged crazies have invaded our area from the desert. Sure this is difficult music; imagine a hybrid of the SEX PISTOLS and KING CRIMSON. What lifts these weeds into a high-energy bracket is their fat, metallic guitar crunch, and a warped sense of humor. Check it out.
A pretty nifty rock ’n’ roll tape with garage appeal. There are some ’60s influences here, but it’s rocked out in a ’76-’77 manner. Unpretentious, fun, and intelligent stuff.
Always turning out interesting slabs, this four-song job contains two originals and two covers (RESIDENTS and FUGS). All are creative, with a variety of sounds ranging from crypto to country blues to folk bizarro. Only “Get Real Loose” is a real rocker, but even it isn’t in their previous sometimes-thrash mold.
A new Chicago-area post-punk group. “Face to Face” has evocative, quasi-acoustic guitars and a magnificent break at the end; the flip is somewhat harder, and features a good, stirring chorus. Not bad at all.
Yet another in the “Nardcore” series, and this one has a definite “live” garage feel to it (might be because there were about 100 kids in the studio at the time of the recording). Actually, it’s being remixed, so it may sound cleaner when it’s released, but even this version is fun. Couple of covers, too.
This fascinating document covers the career of RICHARD HELL from his early work with the HEARTBREAKERS in 1975 through various incarnations of the VOIDOIDS. Mostly studio material with a smattering of live recordings, there’s some first rate stuff here, much of it previously unreleased. Fans of RICHARD HELL and seminal US punk would be well-advised to get this one.
1/2 JAPANESE have been around since the mid-’70s and they still sound like a garage band. They’ve created a romantic jungle planet. Our Solar System is raw and crazy, and makes you sing along, while Sing No Evil is slicker and R’n’B-ish; it’s their Exile on Main Street. There’s also a new JAD FAIR solo record with the VELVET UNDERGROUND’s Mo Tucker on drums available by mail. If you’re in the mood for a V.U. record and want some fun, play these.
Billed as a mini-LP on 7 inches, this is the first of the “Nardcore” (Oxnard area) series, with plenty more to come. The idea is to beat the “high cost of albums, with these six or seven song jobs.” FALSE CONFESSION comes off on some tracks as America’s answer to the current DISCHARGE sound. On others, there’s less metal damage, and more of an amalgam of US and UK thrash. Powerful.
An excellently recorded tape, FVK came on with superior political lyrics (I say “came” on, because they lasted only during last summer). The first few tracks are fairly “heavy,” but after those they launch into a series of thrash stop-and-go killers. Fine.
Don’t be fooled by their title—they’re pretty cool. They remind me of early TELEVISION and DB’S pop, but without any love songs. I can’t call it neo-psych because it’s not ’60s-ish and they don’t rewrite Sam Shepard plays for songs. It’s real good.
Both sides are highlighted by great punk vocals, and semi-punk/garage/rock instrumentation. Sometimes the rock side (chunky rhythms and guitar solos) gets a bit much, especially on the B-side, but the A-side is an unqualified rocker.
CHRISTMAS area fun thrash-pop trio who love their rock ’n’ roll. Hardcore no, but thrash, yes. (Is there a difference yet, Tim?) “Ballad” has a wild country kick to it, and “Wilhelm” sounds a bit like MISSION OF BURMA. But believe me, folks, I’ve seen ’em and this disc is just the top of the iceberg. Hot damn iceberg!
This Ohio band is two guys—one sings, the other plays all the instruments. Hints of CHROME, but it’s more like the SOFT BOYS or early PINK FLOYD. Psychedelic.
Every once in a while, someone comes out of nowhere that doesn’t sound like anybody else. There are “Bat Cave” overtones here, but the music pile-drives along with ten times the balls of any SISTERS OF SEX SPECIMEN. The artwork is pretty deadly as well. If you’re lucky, their guitarist might send you a demented chalk sketch or two.
What it is is good NJ thrash ’n’ roll. They rock hard and tight, with lots of stop-and-go songs, neat guitar sounds, etc. I say NJ because they have a lyrical fascination with guts, gore, and death, as many other local bands do. Quite a few anti-war songs, too. Good buy.
Ahhh yes, but ven dus dis arrt becum self-serving obnoxious gaff? Most certainly when these twits are about the prognosis ain’t beckoning bright. I mean—saxophone? I though they outlawed dem tings. They oughta outlaw this grunt…
While most of the songs on this tape are a bit too much on the melodic side for my taste, fans of more pop-punk (Á la SoCal sound, like aspects of SOCIAL DISTORTION, TSOL) will appreciate their approach. Well-produced.
The same BLIGHT as before, with Scott (ex-CRUCIFUCKS?) singing/chanting/growling instead of Tesco. Long, slow, painful dirges are their forte, and they deliver with all the ugliness of an extreme downer overdose. Watch out—they’re on tour now!
Side one of this rather strange release contains a brace of spoken word recordings by BLACK FLAG, only one of which is graced by an instrumental backdrop, and most of which are OK as novelties. Side two has four metal-punk instrumentals, none of which are even passable. You have to be a pretty desperate BLACK FLAG fan to want to buy this LP.
BABY OPAQUE kicks up a dust-cloud of guitar and drums in a style that reminds me somewhat of mid-period UK DECAY, but with an added dimension of accessibility. The five songs here, which address themes of alienation, contain twisted guitar riffing, though my favorite is the spare pop number “Blue Crimson.” Quite out of the ordinary.
The stark, discordant post-punk on this cassette LP epitomizes the rebellious, satiric, and occasionally infuriating music of ASBESTOS ROCKPYLE. The compositions utilize slower tempos with mixed results; but when the vitriolic lyrics and music conjoin (as on “DC Deadcore”) the results are close to magic. Unusual.
Although their compositions are longer than those of most contemporary thrash outfits, ARTICLES OF FAITH employ a fine sense of drama to create extraordinary tension within their songs. A screaming guitar sound, impassioned vocals, and their sheer velocity make for some great moments of noise and music, particularly on the pile-driver “American Dreams.” Of course, this is mandatory.
A four-song demo in the old no wave punk-funk tradition. Actually, it sounds somewhat refreshing now, though it sure got to be stale back then…
Quite a neat ten-song tape that really should’ve come out on vinyl. It’s classic SoCal thrash, reminding me a bit of what the MIDDLE CLASS might have sounded like had they continued from their thrash roots. It kicks!
Claiming influences that “range from BUZZCOCKS to DIE KREUZEN to early STONES to IGGY to MINOR THREAT,” it’d be hard to really go wrong. While by no means as singularly excellent as any one of these bands, they do indeed display a blended “punk/pop/with power” that all said influences have/had, and all without being obvious imitators.
Weird-ass rockin’ C&W-flavored punk. I hear LINK WRAY, BUTTHOLES, VELVET UNDERGOUND, and all kinds of stuff in here. Unfortunately, it’s only six songs long, but it’s still pretty neat.
Ah! The garage aesthetic—you either like it, or you puke. Now Jeff, he likes it (the aesthetic, that is). The Pus, it’s not his cup of disease. Me, some’s got charm, but in small doses, unless it’s pure rockin’ noise. This particular manifestation of the genre has its moments (more than not) but it does wear thin after a while.
The YARD APES demonstrate an arty, no wavish influence on these tracks, with varying effects. “Neurosis” mines a funky-rock approach without much success, though the flip’s poppy offering qualifies as a modest foot-tapper. OK, but no big deal.
Two regional English bands split a tape here, and they couldn’t be more different. DEFORMED’s recording is a studio demo, and their sound is “death punk,” cleanly executed (get it?), and effective. NO BRAIN CELLS do 30-second thrash numbers, and it’s a live tape that fades in and out (at least on my cheapo machine). It’s good to see such varied punk bands be able to cooperate though.
Another excellent 7″ (their third) from this Swedish unit. They play very fast punk with catchy tunes, cool singing, and hooks galore. While their style is not unlike some of the better Brit-punk bands, they deliver it with zest and feeling.
Two decent HC bands. Nothing really exceptional to distinguish them from the hordes, but they do pound em out.
FUNHOUSE specializes in mid-speed rock compositions with lead solos and angry lyric concerns. “Retaliation” has a tense, riff-laden approach that makes for powerful music, but rumor has it that these guys are now much better than these early 1983 recordings indicate. A promising band.
Although there’s a light post-punk atmospheric guitar touch to these three tracks, this is overshadowed by the driving beat and tough vocals (at least on two of the songs). Previously though, their approach had been more “punk,” but the results here are OK, too. Fine instrumentation.
This X is from Australia, and may have actually preceded the well-known L.A. group. On this new release, “Mother” is an overlong, unnecessary version of John Lennon’s old song, but the flip is a driving number with some super-penetrating bass runs, a loud guitar, and lots of overall power. It’s a killer track that alone makes this 45 worth picking up.
When I think of modern Icelandic music, I think of moody post-punk and some experimental stuff. That’s exactly what we get on this tape. Only one or two groups (VONBRIGDI, for example) really play driving punk.
An excellent cross-section of Montreal-area bands, most of which haven’t released any vinyl before. From the thrash of DIRECT ACTION and NO POLICY to the chunky pop-punk of the NILS to AMERICAN DEVICES’ weird, rockin’ stuff to fast punk by GENETIC CONTROL, the ABSURDS, and FAIR WARNING to the garage punk of PORCELAIN FOREHEAD to MORBID FIRE’s experimental garage thrash, this album provides listening enjoyment. The only musical letdowns are art- damaged numbers by ≠and IAGO NEON. The ASEXUALS, on the other hand, provide the lyrical low-point with their imbecilic pro-contra chant; their line “political morons without a fucking clue” must be autobiographical, since they apparently know nothing about Nicaragua, American foreign policy, or the circle-A which they employ in their moniker.
Quite a strong trash-oriented tape, with the likes of Germany’s MANIACS, UK’s THE FIEND, and Italy’s MONOPOLIO MENTALE. No let-up or let-down.
A split EP, on white vinyl no less. ENOLA GAY and WAR OF DESTRUCTION share this effort. E.G. are good, gruff fast punk (two songs), while W.O.D. are DISCHARGE-like on their one entry. The flip features LE CRAP, who are abrasive post-punk. The real surprise, though, is VI, who shred on their two tracks, sort of GISM meets CAPITOL PUNISHMENT. Good release.
