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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!
Ach du Lieber! This is a shredsational record that mixes some incredible thrash songs with punk and post-punk numbers, and manages to pull it off. Sometimes the guitar work gets a bit too cute for me, but normally their stuff is killer. I bet the NEUROTIC ARSEHOLES are a hell of a live band.
An unusual release. The music on it ranges from rhythmic bass-heavy post-punk overlaid by a scratchy guitar (“Dance” and “TTA c’est finis”) to short bursts of raw semi-thrash (“Tes Bombes” and “New Rose”) to airy classical pieces (“Memorial Stakanov”). Adventuresome but rather awkward.
Manic explosions of blasting Belgian hardcore that fracture the sound barrier. ZYKLOME A quickly plummet into the realm of thundering chaotic excitement, as a frantic tearing guitar levigates the eardrums. If that assault isn’t enough, flip this monster 7″ over and prepare for MORAL DEMOLITION. Zooming brain-blistering speed breaks out into a rampage of devastating headlong exhilaration. Tongue-tying vocal rushes zero in on this thrash treasure, and “Killer Cops” brings down the house. Just when you thought it was safe, along comes fantastic Belgian hardcore. Thanks to Bart.
A mediocre band that mixes mod, punk, pop, reggae, and traditional rock ’n’ roll elements. The overall effect isn’t very exciting, though there are a couple of driving, melodic songs that click (like “Coeur de Bouddha” and “Salue les copains”). This record might have made a splash in ’78 or ’79, but nowadays it just doesn’t hold up.
HOUSE OF COMMONS play a mixture of punk and thrash, and have great lyrics to boot. The echoey, gruff vocals, atypical guitar work, solid rhythm section, and powerful production make for a fine debut.
LA HORDE have gained a lot of notoriety in France by peddling ’77-style punk shock value; one of the songs here (“Adolph mon amour”) was reputedly banned on French radio for its exaggerated Nazi imagery. Nevertheless, this superficially offensive record seems pretty harmless by today’s standards. The music includes catchy “classical” punk (“Ce n’est pas un probleme,” “Adolph mon amour,” and “Mesdames…”), tongue-in-cheek post-punk (“Les punks africains”), goofy political raps (“Campaigne Presidentielle”), and a satirical disco tune. Entertaining.
The only Sydney-style STOOGES devotees to be found in New Zealand. “I Got a Right” is a pretty good version, maybe even better than that of the MICRONOTZ, while the flip is a decent slab of DEAD BOYS-style garage stuff.
Retardo garage punk and thrash in the DAYGLO ABORTIONS tradition… that particular Canadian sense of humor. Unfortunately, the sound quality is not the greatest. Funny.
A guitar-oriented R’n’B band with a real basic approach, in the tradition of LITTLE BOB STORY and the SEAN TYLA BAND. This old-fashioned type of music requires a raunchy, almost “live” sound to really hit the mark in this day and age, and FIXED-UP don’t always achieve it here. “I Can’t Sleep” and “Miss T” are cool, though.
On occasion, we’ve carelessly labelled contemporary varieties of mid-tempo punk as ’77 punk styles, but France’s LES ELECTRODES exemplify the real ’77 sound, with their melodic guitars and well harmonized background vocals. The driving “Black Flag (No Flag)” is the best of this bunch, although the slower “Reflexion in a Cold Eye” has a nice acoustic guitar and tends to grow on you.
Another mostly mid-tempo punk band from Canada. DEAD END has more of a skunk sound. Some of the songs are quite long and rockish, which isn’t to my personal liking, but “No Rights” is totally great.
A rifling blizzard from Belgium rivets into intense bolts of heavy turbulence, jumping outward with immediate attacks of noise, insistence, and maniac brilliance. Emergent guitar leads and volleys of frenzied vocal clamoring thrust out flames of flooding fury and ignite this explosive combustion of harmonious Belgian punk.
This is probably the last DOA release I’m going to like, so I decided to review it as a gesture of friendship and respect for a band that’s made some great music and raised a lot of people’s consciousnesses throughout the years. Bloodied But Unbowed is a retrospective greatest hits album featuring re-mixed versions of material culled from most of their earlier (now out of print) 7″ records and LPs, so it serves a very valuable purpose. And a lot of classic stuff is on here—from “The Prisoner” to “World War III”—so it would be positively stupid not to pick it up if you never got the originals. If you can find Hardcore 81—their finest hour—grab it; otherwise, this is essential.
Now released in the U.S, these excellent Italian bands provide further proof that Italy is producing some of the most exciting and powerful hardcore bands around. The sound quality is excellent, so each group has the opportunity to really kick ass. C.C.M.F.’s “400 Fascists” is a minor classic.
A morbid, metallish melange meets a mental breakdown in a dark basement. Not unlike horror rock in sound and content (if the translated titles are accurate), it’s a bleak scene generated by Johnny Concrete and friends. If you like that genre, this is a well-done example.
A new Italian band that reminds me a lot musically of a rawer EXPLOITED. I mean that in the positive sense, because CANI have a growling singer, double-tracked guitar power, and the kind of singalong tunes you can have fun joining in with. The lyrics concern important issues, as is common with Italian groups.
There are some rippers on this tape, but CHRONIC SUBMISSION mainly produces mid-tempo punk. The high-quality recording highlights the guitarist’s fine licks.
This is a Dutch anarchist band that’s been strongly influenced by the approach of their cousins across the English Channel, but they’ve also added some American-type thrash in a few songs. Each track is in a different style, and some are quite innovative, though most are derivative. I personally enjoy listening to this well-executed and well-meaning album. Still I can only give it a “not bad” rating, so check it out for yourself.
The BRIGADES seem to be one of the few politically concerned bands in France, and songs like “(There Are) No Communists in the Kremlin” and “State-Controlled Paranoia” show considerable awareness. But the music, which is mired in the mid-period CLASH tradition, doesn’t do the lyrics justice. Aside from some shimmering guitar work and an occasional strong song (like the aforementioned “…Paranoia” and “Saturday Night Murder”), this EP is pretty uninspiring.
Classic, well recorded thrash with excellent lyrics. The hallmarks here are the solid guitar work and the unusually gruff vocals. A good buy.
Another hot new Swedish release. I must confess that I think Sweden has a higher proportion of killer thrash bands than any other country these days, and ARROGANTA AGITATORER are among them. Along with the standard adrenaline instrumental attack, they produce some damn good hummable tunes and choruses. Send away today.
Some of the well-known Finnish thrash bands are running out of ideas and getting more and more generic, but APPENDIX are not one of them. This tremendous EP maintains the diversity and panache of their fine album. “Huora” is a tense medium-speed track, and both songs on the B-side are terrific thrashers with hooks and/or sing-along choruses. Don’t overlook this.
This six-track EP contains material primarily from past singles and compilations, but it nonetheless represents some of the highlights from this skunk outfit’s intriguing career. “Die With Dignity” and the classic “Gangland” epitomize the VIOLATORS’ highly dramatic, accessible style—so if you don’t have the original releases, you should find favor with this inventive release.
Beki Bondage may adopt any pose in her efforts to become a rock star, but there’s no denying that the new VICE SQUAD single is an excellent one. In fact, it’s their best release since their first two EPs. “Black Sheep” is a melodic mid-tempo number that’s right up Jack Rabid’s alley; the flip is a more rhythmic cut with haunting Gregorian-style background chants.
Back again with fervor. This is what got me listening to punk in the first place—powerful, unrelenting rock ’n’ roll. “MX America” is a great song with heavy production, good lyrics, a breathtaking bass line, and a drumbeat that whacks you upside the head; the weaker B-side is more of a ballad. Pick it up anyway.
More funnypunk from these jokers. I don’t like this one quite as much as some of their previous records, though the vocal symphony on the A-side is delicious. The flip (not the TOMMY JAMES song) sounds like a JILTED JOHN outtake and is appropriately ridiculous.
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.
