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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!
The second EP from MAHO NEITSYT comes on strong with gruff sandpaper vocals and an ultra-dense instrumental attack. It’s loud, noisy, and much more Oi-influenced than their debut, and I love every minute of it.
A gut-punching guitar yields a sonic storming of galloping action. Young, unyielding aggression pumps out some fast mayhem that crosses into dreary slow tempos, then pushes back in full maniac fashion. Reminiscent of early 7 SECONDS, this Missouri outfit needs to grow with the sound they are establishing. The enthusiasm and punch is strong, and there’s a dizzying barrage of splashing melodies, but the unoriginal drumming needs its own style. MENTAL CRISIS could be a potential menace.
A 26-song live collection that’s real nifty. Whether FLIPPER-ish noise stuff or MEATMEN-like garage semi-thrash, it’s all powerful, intelligent, and biting. The sound quality varies from track to track, but for lovers of feedback, it’s perfect. Recommended.
Some real silliness from this New York outfit. Musically, it consists of thrash, punk, metal, and reggae all thrown together in a humorous way. Lyrically, I wouldn’t want to think that these guys are serious, because the ideas are even more goofy than the musical arrangements.
A worthy successor to Volume 1. Eight groups contribute a total of fourteen diverse tracks on this compilation, ranging in style from straight-ahead rockers to power-pop and even Country & Western. While this album is a mite inconsistent from cut to cut, standout tracks by the JONESES, the MINUTEMEN, and the SCREAMIN’ SIRENS might make this eclectic, engaging record worth owning for some. I found its party mood delightful.
The new OTTO’S 7″ substitutes a much harder, almost punky attack for their earlier art-damaged approach. Here, the guitars are psychedelicized and a lot louder, and the song structures are basic and consistent enough to allow the listener to adjust to them. In sum, an interesting experimental punk release with some psych and funk qualities, not to mention a charged HENDRIX cover.
YDI continues to display a real intense thrash attack on their first solo release. Stylistically, they don’t break any new ground, but they’ve got a shitload of raw power and supercharged energy. Some of the songs are straightforward and manic (like the great “Friends”), some have an alternating slow/fast structure (like “Out for Blood”), and a couple are slower (like “Another Day”). Pretty impressive.
Heh, heh. After Pushead’s wisecracks at the beginning of his column, I can’t wait to review his band’s record. Unfortunately, it’s good. Oh, well. Actually, it’s ferocious. It combines the manic attack of the Boston bands with the recklessness of the best Finnish and Swedish thrash groups. Being a perfectionist, the Pus has worked long and hard on his debut, with excellent results. It should serve as a lesson for many young bands—wait until you’ve got it together before going public. This shreds.
An excellent compilation tape that takes a hot cut or so from many bands we’ve reviewed separately in MRR. Included are the OUTPATIENTS, N.O.T.A., PSYCHO, ZERO DEFEX, C.O.C., the LEPERS, NO LABELS, N.J.F., MOX NIX, the NILS, S.U.M., VIOLATION, RIGHT GUARD, EAT THE RICH, the MONEY DOGS, YOUTH KORPS, and the ACCELERATORS.
More careening thrash from Holland’s PANDEMONIUM. All three songs on this EP are manic as hell, although “No Reaction” has a slow/fast structure. The only problem here lies in the production—it’s a lot more trebly and echoey than their cuts on the Als Je Haar Maar Goed Zit 2 compilation, which makes them sound a little tinny. Recommended anyway.
This NEGATIVE APPROACH album has a slicker and much more powerful sound than their debut EP, but their music still has that blend of rousing thrash and Oi choruses which makes you want to sing along. The gruff vocals are distinctive, the lyrics are unexpectedly decent, and many of the songs are strong (including thrashers like “Live Your Life” and the title cut, and tension-builders such as the re-recorded version of “Nothing”). Although there are also a couple of losers (like the heavy metallish “Evacuate”), this is a very good record overall.
A nifty new thrash band from the Midwest. Their most noticeable characteristic is a vocal style that sounds alternately like the CIRCLE JERKS (“Figure It Out”), 7 SECONDS (“Erase the Thought”), or MINOR THREAT (“Too Bad”). The music is sloppy but exuberant, the production is suitably primitive, and the themes sometimes make you stop and reflect (especially in the title cut and “Up and Over”). Recommended.
These guys have an angular, experimental sound with hardcore feeling. The vocals are nasty and they’ve got a few faster straightforward tunes (like “Dear Departed”), but in general they rely on too many time changes and awkward structural shifts for my gut-level taste. I listened to it at 3:00 AM, so don’t take my word for it. Find out for yourself.
Live, the TOXICS seem intent on following DOA into a rock-oriented rut, but this album is filled with sharp songs that lock in firmly on your memory. Most of them are mid- to fast-tempo punkers rather than thrashed-out blurs, and the production fully accentuates the power and subtlety of the band’s instrumentation. Unreservedly recommended for its relevant lyrical concerns and some outstanding cuts (like the 7 SECONDS-style “Powercrazed” and the melodic “Stuck in a Rut”).
Like APPENDIX, the DESTRUCKTIONS combine diverse influences and come up with a varied and distinctive hardcore sound. From full-tilt thrash with hooks (like “A Tale of the End of the World”) to fast melodic punk (like “Suicide”) to tense metallic build-ups (like “What Does It Matter?”) to memorable amalgams of all of the above (like “Do Something”), this album kicks ass. Highly recommended for imaginative arrangements and great drumming.
DEPRESSION’s virgin vinyl reveals a shift from the metallic thrash of their demo cassette to a slower, more grinding metal attack. The tempos are mostly slow and steady, the guitar leads are prominent, the lyrics are excellent, and the overall sound is very English. “World Leaders” is the fastest, most appealing cut.
A new release that exemplifies DOA’s movement toward traditional rock music (at least on record). The A-side is an appeal to people to stand up for their rights and join in a general strike, reflecting the mood in British Columbia in November of ’83. It’s set to music that “sounds like FOREIGNER,” according to a famous friend of ours. The B-side is that awful SINATRA song. Enough said.
Flailing guitars, a tight rhythm section, and choruses that stick in your head combine to make this new VARUKERS EP a stellar release. Every song hits you over the head, so snap this sucker up.
Skunking punk that chants, howls, and whines. In “Oppressed,” a haunting bass line echoes in the foreground as a whipping guitar cry plucks distorted noise in an early GANG OF FOUR-meets-Oi fashion, a very sharp arrangement with chomping drum spatters. It’s been a while since PROTEST have had a vinyl release, and with these singalongs and foot stompers, they come out sounding like a very mature SHAM 69 or COCKNEY REJECTS. An enjoyable dose of difference.
This six-track EP by a veteran skunk outfit fails to generate much in the way of interesting songwriting or forcefulness. While “The Revolution Will Come” rates moderately well for some tasty riffing and snippets of melody, the rest of the compositions here seem rather generic, and the lyrics are especially unchallenging. All in all, tiresome.
Yechh! I’ve already been put off by the many recent releases of recycled DESTRUCTORS material. But I can’t abide this new line-up (minus old singer Neil), which has regressed to the point of playing thoroughly boring rock. If this is their bid for commercial success, they deserve to fall flat on their shortsighted faces. Garbage.
CROWBAR is an amazingly dumb new Oi band. “Hippie Punks” is a reactionary diatribe against punks who are sensible enough to oppose militarism and jingoism, and the CLASH over undoubtedly takes on a right-wing coloration in this imbecilic context. So pathetic that it’s downright laughable.
The rhythmic, discordant compositions on this single plumb the same nether-regions of industrial music as SPK, but with more insistent repetitiveness. Both tracks here follow in the same path as the band’s Will LP, and while there are no revelations, the music is solid and often quite hypnotic.
PiL meets the SHAGGS, CRAMPS, and BUTTHOLE SURFERS on a bad ’60s acid trip, stumble over FLIPPER’s corpse, and rise (barely) above the basement. Enter the ghost of the 13TH FLOOR ELEVATORS, and you have it. These guys prove that SKY SAXON is dead!
This four-track effort presents thrash of screaming intensity and instrumental punch, addressing themes of teenage angst and rebellion. FINAL CONFLICT is particularly adept at compositions with dramatic yet subtle changes of pace, like the title song and the clever steamroller, “Self-Defeated.” Heartfelt, riveting, and therefore highly recommended.
What can I say? Wherever MINOR THREAT left off, FAITH might be able to step in. Even though I worry that they might be too much of a sound-alike, they’re cool. They play fast songs, slower songs, and songs with shifting tempos, to which they add interesting studio bits, a lot of spirit and energy, and sincere discussions about the day-to-day aspects of their lives. Could become a classic.
By now, everyone should know that DRI is one of the fastest, tightest, and most powerful thrash bands in history, and their new EP is a total killer. The title cut is a bit slow for them in parts, but the rest are faster than the speed of sound. If these guys aren’t intense enough for you, try pulling your teeth out with a pair of pliers. Awesome.
Here’s a budget-priced live album with at least sixteen tracks and a whole booklet with every fact you’d ever want to know about the MAU MAUS. The quality is definitely live, which they apologize for on the sleeve, but it’s got the energy that every live recording should have. This band is one of the first English bands to be inspired by US thrash, and they’re still good, though at this point somewhat ordinary. Regardless, if you like powerful punk, this is a good deal.
On this Australian post-punk release, a noisy fuzz guitar overlays heavy bass and drum rhythms, thereby setting an ominous tone. While it may be a bit repetitious, there are definitely some original ideas here.
The third 7″ from UPROAR isn’t bad, it just goes in one ear and out the other. It has great production, good lyrics, and I really like the song “Your Empire,” but it sounds like a million other English punk records.
Despite the all-too-obvious SIOUXSIE influences, SKELETAL FAMILY has managed to produce something of value here, mainly because of their tasty, haunting guitar work and snappy drum attack. The B-side is more intriguing, with its occasional shrieks, and if this band can hold onto their musical muscle, they could develop into an exceptional combo.
This new RIOT SQUAD record is in the predictable Britpunk tradition, but the damn thing sounds real good anyway. “No Solution” hits the mark due to its simple but classy chorus, while the flip relies more on speed. Both are improved drastically by a loud-as-fuck drum mix.
A slightly disappointing follow-up to their great recent 12″. The A-side is a passable but unnecessary cover of the old STONES classic; the choice flip has fantastic back-up vocals that remind me of the early SKIDS. The band’s guitar work is also as brilliant as ever, so axe aficionados should seek out this 45.
A superior post-punk—or is it “positive punk”—record from England’s MARCH VIOLETS. They’ve got an innovative guitar style, and a knack for writing rhythmic, up-tempo songs with interesting structures. “Snake Dance” is an exceptional tune not equaled by the flip.
Although nobody could respect CRASS’ political efforts more, I no longer have any desire to listen to their annoying music. It’s not that I object to bands experimenting in principle, but in practice I like to hear fast, raw stuff with a primal beat, and CRASS rarely provide it these days. Despite some intense moments and an out-of-character guitar solo (!), this EP doesn’t quite click.
After hearing the first three cuts on Side A, with their punchy mid-tempo attack, melodic high-powered guitars, and uplifting choruses, I was on the verge of raving about the survival of COCK SPARRER in top form. But despite the greatness of those songs (one of which—”Where Are They Now”—is a blistering critique of the punks of ’77), and one interesting track with a pronounced KINKS-ish feel (“Out on an Island”), the rest of the album slides into more pedestrian rock ’n’ rolly material.
YOUTH BRIGADE pays some homage to their native land by including many excellent Canadian bands (the NILS, YYY, the UNWANTED, SNFU, PERSONALITY CRISIS, the YOUNG LIONS, ZEROPTION, the STRETCH MARKS, and DOA) on this collection, as well as some LA newcomers (RIGOR MORTIS, the TOURISTS) and veterans like the BIG BOYS, 7 SECONDS, KRAUT, CH3, and themselves. A good sampling.
The DICKIES’ first vinyl in almost four years ranks up there near their previous funnypunk triumphs. Most of the eight songs here veer toward amphetamine pop, with irresistible layered choruses to boot, but the highlights include the poppish “Rosemary,” “She’s a Hunchback,” and an incredibly fast cover of LED ZEP’s “Communication Breakdown.” Buoyant and entertaining as hell!
A proficient debut EP from this LA band. The lyrics are thoughtful, the production is good, and the delivery is fast, but they tend to reduce the songs to a formula by throwing in similar breaks and changes of tempo that confuse me. Although they show potential, it needs to be developed. Not bad.
Here are three ditties that rouse all the “protest and survive” sentiments you might need. “No Fuckin’ War” is a slow, grueling masterpiece that’s simple but powerful, and will have you singing along before the end. The other songs are short, quickly delivered minor chord headbangers in the best of the new DICKS style. I especially like “I Hope You Get Drafted,” an unrelenting anti-stupidity song directed at “apolitical” punks, which I’d like to see being sung in the streets, busses, and homes all over the world. Somebody finally had the guts to come right out and say it.
Some classic SoCal sounds are captured on CONFEDERATE’s debut album. With its melodic guitars and songs, multi-tracked vocals, and fine production (courtesy of ex-ADOLESCENT Rikk Agnew), the listener is treated to a non-innovative but enjoyable release, not unlike the VANDALS’ debut.
I like C2D because they epitomize the late SF “vat” soul. Here, they offer six ripping semi-thrash numbers that are real spirited. The songs are good and rousing, but they constantly remind me of other bands. Still, it’s hard not to like them.
Primitive mid-to-fast-paced punk with a garage aesthetic and some fetching guitar parts can be found on this debut. The production is uneven at best, and the music is occasionally sloppy, but the BURNT display enough enthusiasm to make up for these shortcomings. “Industrial Accident” is a minor classic, due in part to an amazingly cool chorus.
The long-awaited release by an inactive band featuring Steve Miller—ex-FIX guitarist—and dear ol’ Tesco (MEATMEN), getting down and dirty in a slow, noisy, art-damaged, and—dare I suggest—FLIPPERish drone with the purity of true nihilists. I find it a little refreshing in a musical sense, and a fine way to start my day if I don’t want to get out of bed.
The eight tracks on this release showcase BAD POSTURE’s hysterical brand of aggressive funnypunk to its best advantage. The title song and “Time for Smack” are good examples of this band’s abrasive, mid- to fast-tempo hardcore assault, and while I admire their on-target lyric sense, the song structures could use more catchiness and originality as a rule. Nonetheless, there are some nice, gravelly vocals on this entertaining disc, so give it a listen.
“Underground” bands from Tucson, volume two. This runs the gamut from arty to wimpy, but has a healthy helping of neo-’60s psych and garage bands like the HECKLERS, ROTE KAPELLE, and YARD TRAUMA (yea!) to make it all worthwhile.
An excellent well-produced sampler of new French hardcore bands. Although REICH ORGASM and KOMITERN SECT contribute some irresistible chunky mid-tempo punk, and the weaker NO PUB offers a splendid little ditty called “Viol-ence,” KIDNAP steals the spotlight with some amazing bone-crunching stuff. Their “No SS” is one of the most brilliant, dynamic songs of 1983, with its dense fuzz guitars, tense build-up, and haunting background vocals; their other tracks are also killers, and the politicized lyrics go straight to the heart of the matter. Much better than Chaos Productions’ earlier Chaos en France compilation, so order it and support a valuable independent label.
Where to begin? Well, there are ten bands on here spanning the years from 1978 to the present, all of which contain overlapping personnel. Stylistically, the music encompasses garage punk, old-style punk, post-punk, and thrash. The sound quality is fairly primitive, but the concept is interesting and there are enough good tunes to hold your attention.
Much stronger than their first release, this Dutch ensemble now drives to the hilt. Quick, effortless, and savage shrills of gut-grinding stormers with bulldozing power chords combine to create a vivacious delight. NV LE ANDEREN come off like BGK, without so much speed and closer to the VOPO’S metal edge. Interesting rhythms and concentrated riffs.
Three amazing albums that chronicle the exciting musical history of the L.A. youth underground. Volume 1 (1965) presents the raw ’60s punk sound that once blew my young mind, and includes such items as the blasting Colony classic, “All I Want,” and the neanderthal sneer of the AVENGERS’ “Be a Cave Man”; Volume 2 (1966) features some overt anti-police teen protests by TERRY RANDALL and the “PEOPLE OF SUNSET STRIP” that’ll strike a familiar chord among contemporary punks; Volume 3 (1967) offers a mixture of trippy “flower power” cuts and nasty psychedelic punkers like the HUMAN EXPRESSION’s “Every Night.” And dig KIM FOWLEY’s philosophizing on “The Canyon People.” This stuff transcends nostalgia and serves as a timely reminder that cultural rebellion didn’t originate in 1977. Highly recommended.
