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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 newest release by these English Oi-sters stands head and shoulders above their debut EP. The lyrics have made a 360° turn from a focus on violence to calls for interracial unity, and the music is much improved as well. “Victims” is a strong fast Oi number, but the slower flipside, with its staggered anthemic chorus, is tops here.
A must for OMEGA TRIBE fans. The production isn’t great, but this tape includes most of their classic punk stuff (like “Profiteer” and “My Tears”) rather than their later psychedelic material. Since there’s little chance of seeing them live again now that they’ve broken up, this release is as close as you can get. Recommended.
IMPACT’s undistinctive brand of skunk lacks any discernible punch, and that absence of power hurts the title cut, an otherwise fast and engaging original with loads of X-mas cheer. Of the two songs on the flipside, “Law of the Land” musters some spunk and energy but, quite frankly, I expected more from this lackluster offering.
Musically, the six tracks on this intriguing EP are reminiscent of early KLEENEX, but the women in this band possess an encouraging independence of thought which other punk outfits should pay attention to. While hardcore fans will sure find favor with the rich guitar sound and some fascinating compositions, HAGAR THE WOMB could improve some of their melodies by deviating from the tonic of their chord progressions.
While the highly abrasive, metallic sound of this album has its own rebellious charm, most of the songs veer toward undistinctiveness, a problem traceable to the lack of musical changes of pace, and vocals which eventually become tiresome. Nonetheless, I enjoyed the stormier numbers like “Diplomatic Immunity” and especially “Rally of Death,” as well as some of the more inventive guitar figures on the mid-tempo cuts. Definitely a mixed bag.
Despite the confusion caused by their apparent change of attitude, and the hostility justifiably aroused by their rip-off of Pushead’s artwork for the cover, the EXPLOITED crank out some gruff, blistering thrash on side 1 of their new album. The other side is a lot weaker, but EXPLOITED fans will surely find this a worthwhile release.
Although this EP lacks the clever humor of past efforts, the EJECTED have opted for a resonant, bassy guitar sound to infuse their extremely catchy punk compositions. Of the three tracks, “Russians” and “24 Years” contain especially melodic instrumentals, and although this isn’t terribly vitriolic, it makes up for its lack of emotion with finesse and good arranging. Good basic record.
DISCHARGE’s patented wall-of-noise guitar sound seems inextricably entwined with severe heavy metal influences on this single, which admittedly has its moments of power. But those tasteless lead breaks, combined with utterly lame heavy metal vocals, help make these two medium speed offerings as disappointing as their recent 12″ effort. Adequate lyrics, but they can’t save the show.
It looks like this really will be the last from these guys. I’ve always admired their simple, dreary, and repetitive style, as well as their double guitar sound. Although their cover of “I Wanna Be Your Dog” is uninspiring, and the intro to “Nerve Gas” sounds like a Lydon rip-off, the rest is fine. “Khmer Rouge Boogie” is a great song.
This single won’t win any awards for power, but it’s still rather engaging in an inoffensive sort of way. The melodic “One Man’s Crusade” has evocative lyric concerns and catchy guitar progressions, but neither of the mid-tempo tracks here boast any of DEAD MAN’S SHADOW’s former abrasiveness or aggression. For fans of subdued pop-punk.
This debut combines a garage recording, psychedelia, and an early UK punk sound with a modern anarchist stance. It has spunk and scathing, cynical lyrics. Not exceptional, but raw and spirited.
I thought their first few singles made them seem like silly Oi boys, but this album is so well done that it’s given me faith in their ability to play gripping rock ’n’ roll. They have an English skunk style with heavy metal overtones, but the gruff vocals, sing-along choruses, and demented lyrics turn many of the songs into instant classics, especially “Degenerate.”
This EP precedes the one reviewed in MRR #10, and, as stated then, the APOSTLES are a very interesting band. Musically, they play slower, powerful punk with some distinctive variations; lyrically, they ooze with radical commitment. But one track (“Fucking Queer”) displays some confusing contradictions—self-hate?—which fly in the face of their otherwise virulent progressive and anti-fascist stances.
ANTISECT’s song structures ripple with hypnotic guitar riffing and a truly nasty instrumental sound, counter-pointed with lyrics that range from diatribe to poetry. What results is mesmerizing—radical and highly distinctive hardcore with an intensity that perfectly complements the album’s mood of outrage and horror. An exceptionally powerful release.
A really powerful, exciting album. The ACTIVES have developed into a somewhat Americanized thrash-style band, and the results represent an improvement over their earlier EP. The guitars and drums are way up front in the mix, and if there’s any fault here, it’s that the agonized vocals are somewhat buried. Recommended.
This is the best thing I’ve heard from this band in quite a while. They still trot along in the wake of the BANSHEES, although “Hook…” is very catchy and the fastest, most aggressive song since their debut. The other two cuts are OK pop-rock numbers. Semi-interesting.
This limited-edition album features punk music with a deliciously trebly guitar mix, some offbeat song structures, and a lot of musical variety. The mid- to thrash-tempo material here also boasts an engaging garage quality rare in British releases these days, and though I would have preferred more standout tunes, this LP still contains much of merit. Give it a listen.
The anthemic “Banner of Hope,” with its fast guitar work and melodic background choruses, recalls a more rock ’n’ rolly “classical” punk style, while the flip tends toward a slower, rockabilly-tinged flavor. Neither track really ranks with steamrollers like “Burn em Down,” but the material on this single is pleasant enough, I guess.
The three mid-tempo rockers on the A-HEADS second EP explore distinctly personal concerns related to love, disillusionment, and isolation—and with some success. “Love or Pain” features rich female vocals and catchy musical changes of pace, while the other tracks are more workmanlike. Nonetheless, it’s a punky, thought-provoking, and heart-felt disc, so I recommend it.
Here’s a wild ’60s garage punk compilation that’ll liven up any party. There are plenty of frantic rockers here, but what makes it a vital purchase are songs like RICHARD & THE YOUNG LIONS’ powerful “You Can Make It,” “I’m Gone” but the MAGIC MUSHROOMS, and the title track, an early B-side from the PLEASURE SEEKERS, an all-women band who’d rather drink beers than hang out with the guys. Neat stuff.
This neo-psych compilation is more out in left field than the Rebel Kind collection, but what it gains in weirdness it loses in raw power. There are some ’60s punkish sides (the LEFT—who are great—YARD TRAUMA, and BILLY SYNTH); some bluesy sides (SPLIT, the DOOTZ); a poppy side (the SLICKEE BOYS); and the predominant way-out psychedelic sides (the MAD VIOLETS, BEN WAH, BEATNIK FLY, the VELVET MONKEYS, and the LAST POETS). Despite its lighter overall punch, this album has its moments.
Another good Big City compilation. One side consists of New York bands (NO CONTROL, DISORDERLY CONDUCT, and ULTRA VIOLENCE); the other features groups from Connecticut (REFLEX FROM PAIN, C.I.A., and the VATICAN COMMANDOS). Even though these aren’t the best tracks by these bands, they’re all good thrashers. The great songs by NO CONTROL and the VATICAN COMMANDOS definitely make this record worth checking out.
A personal favorite. What’s nice about this new compilation, besides the usual amazing obscure groups like the SPARKLES, the WHAT-NOTS, the HANGMEN OF FAIRFIELD COUNTY, etc., is that it shows just how widespread the ’60s garage revolution actually was. For example, included are the Kings of Wimp, the COWSILLS, with their intense “All I Wanta Be Is Me,” and BEAVER (Jerry Mather, the Beav) & THE TRAPPERS’ “Happiness Is Havin’.” I wonder what Ward thought of this longhair nonsense! An added plus is the two tracks by the VAGRANTS from Long Island.
This compilation of ’60s sounds has been an instant hit among experts of the genre, and for good reason. The quality of the material is uniformly high, from the opening number by the GONN to the closing one by THEE WYLDE MAIN-IACS. Most of the bands here possessed the knack for creating a mad mixture of mind-blowing psychedelia and teenage garage punk. Pay close attention to the TIDES IN, the SHAMES, and the aforementioned WYLDE MAIN-IACS.
Most of the current batch of younger Minnesota bands are represented here with a few tracks each. Burger Corpse contains garage punk, thrash, noise, and styles in between, and includes groups like GROUND ZERO, CHURCH PICNIC, the HYPSTERZ, BOY ELROY, and SKELTER HELTER. The sound quality is pretty good for this type of thing.
A shitload of bands from the far corners of the U.S. and Canada submitted their tapes, and these are the results—eighteen groups playing a variety of punkish styles (punk, garage, thrash, noise, post-punk). Some of the virgin-to-vinyl bands are RED TIDE, the KNOCKABOUTS, SEPTIC DEATH, DULL, the MASSACRE GUYS, B.I.U., DECRY, ABSCESS, and MAD PARADE. The album comes with a booklet and a Pushead cover.
YARD TRAUMA, featuring Tucson troublemakers Lee Joseph and Lance Kaufman, have managed to capture the essence and energy of ’60s garage psychedelia on this single. With a strong, upbeat, even danceable bass-line and an electric organ for flavor, they exhibit considerable madness. Good work.
The WIPERS have put out two other albums and several 7″ers since 1978, yet they continue to go largely unrecognized. I don’t know why, because they’ve always turned out great material straddling the fine line between punk and ’60s rock ’n’ roll (not unlike the REPLACEMENTS, the MICRONOTZ, and ARTICLES OF FAITH). Here, they again pound out tasteful guitar-oriented rockers that just grow and grow on you. Try it.
Another poorly-recorded VATICAN COMMANDOS EP, but that’s where the similarities with their debut release end. Whereas the first consisted entirely of good basic thrash, this new record showcases a much slower, garage-oriented punk style (excepting “Let Down Again”). I like it, but the muddy sound again detracts from this group’s overall impact.
A truly amazing record. UNITED MUTATION have combined the speed and intensity of basic thrash with some highly distinctive structural changes, a couple of nasty guitar leads, and the scariest vocals I’ve heard in a long time. Today’s trendy horror rockers will crap their pants and go into convulsions when they hear the singer’s raspy growl, which bears a striking resemblance to that of the demon in The Exorcist.
Some very intelligent and imaginative thrash from a band of Colorado college students. Named after that pathetic excuse for a national newspaper, these guys proved—they split up after graduating—that hardcore can be both incisive and energetic.
Goofy old-style punk with a pronounced garage flavor. “Punishment” has a heavy guitar attack, silly male/female backing vocals, and some metal-damaged leads; “In Crisis” is a short, fast cut with screams and a fuzzier guitar tone. A fun debut from a new SoCal band.
A classic case of a band softening up with age. It’s too bad, ’cause it’s not like they can’t pull out the stops if they want (as in “Jet Fighter”). This isn’t psychedelic music, but that prettier ’60s paisley pop that degenerated into the “Up with People” movement. I’m certain that they won’t get that lame, but if they think their SALVATION ARMY period was kid stuff, then modern corporate rock has a new group to chew up and spit out.
A seven-song demo with excellent lyrics. It’s on the raw side sound-wise, but otherwise it’s a fairly dynamic representation of this exciting new thrash combo. I hope they put out some vinyl soon.
Not your standard thrash fare by any means, but thrash nonetheless. Combining lightning fast and super-tight rhythms, vicious leads, and out-front singing (fine back-ups too), these SLUGS blaze their way onto the punk scene. Guitarist Steve DeMartis (ex-BAD POSTURE, and bass sub for a FLIPPER tour), a real vet of the scene, brings his metalish (but not grossly so) roots into play, which makes this debut both professional and distinctive. A good one.
These guys have been at it since at least ’76 (when they released their first EP), and they continue to produce some of the greatest garage/’60s punk/psychedelia ever. This latest effort contains a few tracks off recent compilations and EPs, but most are new and exhilarating. It may be too “pop” for some, but there’s a real bite underneath that format.
This five-song demo may eventually appear on vinyl. It’s got hardcore intensity, but slowed-down, ominous instrumentation. Paris is almost FLIPPER-ish, especially in the vocal sound and lyrical darkness.
Speedy garage grunge from Chicago on ARTICLES OF FAITH’s new label. Although SAVAGE BELIEFS’ material is real primitive, both production-wise and structurally, I have a certain weakness of that type of thing. The lyrics make some clever social observations, and both “Pink Shirt” and “Big Big Sky” have special appeal. Listen before you buy.
These tapes have been rumored to exist (and been lost) for years, but, miracle of miracles, at last they’ve been located and pressed. The remains were perhaps the hottest US band of the British Invasion type in the ’60s, yet never got the recognition they deserved and split up. This album showcases their strong points—early Jaggeresque vocals, soaring punky guitar work, and an incredible rhythm section; only one track, the bluesy “Gonna Move,” is boring.
More weird punk rock from Western Massachusetts, where kids seem to be without a care in the world. Lyrics aside, this is mostly unstartling mid-tempo stuff, but they deliver one song (“The Last Angry Man”) which is quite unique and memorable.
The spirited thrash attack on this album recalls the work of the very best Texas bands, and reveals lyric concerns which mine a blend of youthful outrage and rebellion. “Fight Back” and the LP’s title song rate as my favorites, but the entire record demonstrates remarkable consistency—a factor in no small part due to the wild, raucous production. An exciting and distinctive release.
I’m not sure why, but I didn’t think I’d like this. So imagine my surprise when it turned out to be a unique amalgam with semi-thrash tempos, sung vocals in the NY style (like the MISFITS and the UNDEAD), horror imagery, synthesized sound effects, and a real fuzzed-out guitar backing. A sharp EP that breaks the mold by effectively mixing and matching styles.
The eerie, discordant compositions on this EP call to mind girl-bands like the SLITS and the RAINCOATS, but MORBID OPERA have their own varied musical styles and distinctly American lyric concerns. Most of these six tracks are quirky and unusual, but “Liar” probably ranks as my favorite. The open-minded will undoubtedly find much of interest on this garage-y and original release.
A fun-oriented South Bay bunch emerge with a rough-sounding 14-song tape. Although there’s no new ground broken here—just some suburban kids thrashing about in their garage to things like “Gomer Pyle” and “Drunk Fight”—there’s a lot of cool guitar work.
In contrast to their former grandiose ’77-style punk, the MISFITS have adopted an all-out thrash sound on this intense nine-track album. Nevertheless, their traditional horror-rock trappings remain, resulting in a consistently powerful, dynamic, and politically neutral effort. And on that level, the compositions here are marvelously effective, embodying the blistering speed and thunderous production values which complement their occult themes.
Shouting and screaming, lunging out with harmonious melodies and musical chording at foot-stomping speed, KILLROY charges forth. A Southern California outfit that definitely pushes forward chanting energy with twin crooners, thumping drums, and an overall sound that will remind you of rejoicing Englishmen like the COCKNEY REJECTS or LA’s YOUTH BRIGADE and ADOLESCENTS.
A loud garage punk band from Maryland. The title song here is a chestnut, with its sneering vocals, dense guitars, and ultra-basic rock ’n’ roll structure; “Basket Case” is similarly down and dirty. For fans of crudeness.
I know it’s gonna be hard to keep track of another band named JERRY’S KIDZ, even though this one formed first and ends with the letter “z”. It’s doubly difficult since both are tight, ferocious thrash bands. Got the picture? Now get the record.
More warpo thrash and punk from this weird combo, featuring some bizarre arrangements, pianos, and synths. Musically, it all comes together rather than being disjointed and annoying, but the lyrics leave a lot to be desired. Their earlier humorous approach has given way to some downright reactionary sentiments in songs like “White, Straight, and Male.” Too bad.
If you ever heard their classic “Sex Orgy with the Brady Bunch” from an earlier EP, then you know what a great garage punk band the GYNECOLOGISTS are. On this tape, they crank out ten more growling, grungy slices of Midwest dementia.
