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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. We reserve the right to reject releases on the basis of content. Music without vocals or drums will not be considered. All music submitted for review must have been released (or reissued) within the last two years. Please include contact information and let us know where your band is from!
This 45 from Australia’s SCIENTISTS is a fine new example of their distinctive fusion of influences from the ’60s, ’70s, and ’80s. “We Had Love” is a mini-classic with sneering CRAMPS-ish vocals, a pulsating rhythm, and a wall of feedbacking guitars in the true ’60s tradition; the less-impressive B-side has a garagy post-punk structure and some nifty slide guitar.
A remarkably enjoyable X-mas 7″ from DIE TOTEN HOSEN. The title cut has a silly spoken intro before breaking into their well-known brand of melodic funnypunk; “Willi’s Weisse Weihnacht” is slower and not particularly impressive. But “Knecht Rubrect’s Fahrt” is the really outstanding track here, with its clean, heavy instrumentation, indefatigable sing-along choruses, and hilarious theme.
An exceptionally fine example of contemporary German hardcore, combining full-tilt thrash power with TOTENHOSEN-size vocal hooks, catchy instrumental arrangements, and some “on target” political themes (especially in “Geld regiert die Welt”). “Massenhysterie” is a choice cut that’ll have you singing along and waving your arms all over the place. The TARGETS contain former members of SLIME.
A strong Britpunk release. Most of the songs are in the standard fast- to medium-tempo range, the lyrics are good, and the vocals are rather high-pitched, but it’s the quality guitar arrangements, some well-placed sound effects, and a clever bridge or two that make this EP stand out from the pack. “All Creatures…” is an exceptional track.
A good new 45 from INSTANT AGONY. “Nicely Does It” has a bouncy medium-paced beat, a boss guitar riff, and ironic lyrics; the flip lacks the latter, but adds a better chorus. Both cuts definitely grow on you.
Three bands appear on this flexi accompanying a recent issue of the ’60s-oriented 99th Floor fanzine. PLASTICLAND produce their delightful psychedelic pop, and the FUZZTONES do a more-than-adequate cover of the MOVING SIDEWALKS’ song “99th Floor,” but it’s the VIPERS that deliver the coup de grace with a wonderfully fuzzed-out ’60s punk rave-up.
A highly varied selection of tunes, all from records already or soon-to-be released. Ultra-demented tracks by the likes of VOX POP and the MENTORS may not appeal to everyone’s tastes, but I was delighted by the compositions from the MINUTEMEN, SIN 34, and the hysterical reworking of “I Am Woman” by ACIDHEAD. Enjoyable, by and large.
The non-hardcore equivalent of Get Off My Back. Not surprisingly, it ranges from the excellent (MOTHER MAY I’s moody psychedelic pop, PRETTY POISON’s haunting dance-oriented pop) to the decent (light ’60s-style pop by the IMPOSSIBLE YEARS, BOOK OF LOVE, and the RED BUCKETS, as well as BUNNYDRUM’s eerie post-punk) to the awful (SENSORY FIX’s annoying meanderings and the STICKMEN’s jazz-damage). The mixing and editing is courtesy of former LOS MICROWAVE David Javelosa.
From that blast furnace they call the “Central Valley” comes this collection of bands on CAPITOL PUNISHMENT’s label. Besides them, the bands that appear here are THINK TANK, the PROBLEM FISH, PRIMER GREY, the PTL CLUB, HARSH REALITY, the SUBTRACTIONS, BURNIN’ BOB, DEATH CAMP, the MERE MORTALS, ASSAULT, KAOS, NO LABEL, the DIRT HEADS, and the WAWONA BOYS CHOIR. It mainly features modern hardcore sounds, but also includes some unusual stuff.
A tremendous compilation of songs about the police, mainly consisting of Southern California bands that ought to know (except for the ostriches in WHITE FLAG). There are tracks from lesser-recorded groups like DR. KNOW, S.V.D.B., AMERICA’S HARDCORE, the GRIM, and NEW REGIME, as well as veterans like BLACK FLAG, G.I., and SADO-NATION.
A compilation put out by Last Rites fanzine that includes several Chicago-area bands (the NADSAT REBELS, R.O.T.A., A.O.F., OUT OF ORDER, NAKED RAYGUN, BIG BLACK), other Midwest acts (NO RESPONSE, S.U.M., DIE KREUZEN, SACRED ORDER, the FLESH COLUMNS, HÜSKER DÜ), and a couple of extraneous coastal bands. The NADSAT REBELS turn out some excellent songs, and are a new group to watch. About half of the tracks on this tape are live, so the sound quality varies accordingly.
Here’s a strong follow-up to the excellent garage punk compilation The Chosen Few. Again, we’re given some of the most primitive, demented, fuzz-drenched ’60s punk ever unleashed on vinyl. Like volume one, this is extremely consistent, and it should hold some surprises for even the most knowledgeable collector. Some of the groups include the SYNDICATE, the PRIMATES, TERRY KNIGHT, the LEGENDS, the PLAGUE, etc.
The latest collection of neo-’60s bands to hit the record stores in recent months, and the second in a series. It’s about 50% lighter psychedelia and 50% punkoid stuff, with the gnarliest material emanating from the MIRACLE WORKERS, MYSTIC EYES, the ODDS, OUTNUMBERED, the FEZMEN, and the SHARP TURNS.
Paradoxically, most alternative compilations are either too monodimensional or too multidimensional to hold the listener’s interest, but this Massachusetts collection put out by Conflict fanzine’s Gerard Cosloy avoids that common pitfall by presenting diverse yet forceful bands. What we have here is basically an engaging mixture of thrash bands with special intensity and/or quirkiness (MOVING TARGETS, the OUTPATIENTS, DEEP WOUND, SORRY) and highly structured neo-psych groups (BUSTED STATUES, the FLIES, SALEM 66, BEANBAG), although they really shouldn’t be classified rigidly. CHRISTMAS is too weird for me, but some of these bands are indeed Godlike. A worthwhile investment.
Another well-recorded SKEPTIX release. They’ve contributed two more killer thrash numbers, one with some interesting drum parts (“War Drum”), the other with a metallic guitar solo (the title track). The EP is rounded out by a slower cut called “Another Day.”
Garage band fanatics will love this. Yup, it’s another trashy outfit that’s emerged from the psycho ward called the Midwest. Watch for these cool cats in your town—then run!
Live, they come out dressed in Indian madras bedspreads and masked faces like fundamentalist Islamic women, and launch into what sounds like the DOORS meeting SYD BARRETT. Unfortunately, this album lacks the charm of their visual presentation, and the “songs” are largely unstructured, like jazz or avant-garde stuff. For the way-out only.
The FIVE have some interesting ideas in the post-punk vein. On this new EP, they produce one lengthy, rhythmic track with rather annoying repetitive vocals (“How Many Times”), an offbeat cover version of MELANIE’s “Angel of the Morning,” and a cool psychedelic punkoid number with a faster tempo that holds the most promise (“Death Chord”). Worth a listen.
When I first heard this, I was a bit disappointed, but after only a couple more listens, those distinctive MIA characteristics clearly emerged—a tight, powerful instrumental attack, hooks galore, flashes of hot guitar work (especially on “Used to Know Me”), plaintive, evocative lead singing, intelligent themes, and some haunting background vocals (in “Modern Way” and “Boredom Is the Reason”). So you’d be a jerk not to go out and buy it, you know?
This amazingly great ’60s album has been reissued as a bootleg, and it’s well worth seeking out. It’s rare when a band does cover versions better than the originals (like the WHO’s “Legal Matter,” to name just one), and then manages to come up with their own teen punk classics (“Action Woman”). One of the best ever ’60s punk releases.
The WHITE PIGS are a young Connecticut band. Although their themes are somewhat predictable and their music is in the straight-ahead thrash category, the production on this EP is appealingly rough and many of the songs have both highly memorable vocal parts and WHITE CROSS-like intensity (especially “Dropout,” “Screamer,” “Early Grave,” and “Kill Kop”). That’s a recommendation.
This debut EP from Kalamazoo’s VIOLENT APATHY is much slower and more metal-influenced than their cut on the Process of Elimination EP, but it has the same piercing guitar sound. Several of the songs here are too close to heavy metal for my taste, but “Bought and Sold” and “Scathed” have more screechy punk appeal. For BLACK FLAG rather than MINOR THREAT devotees.
The finest example of late-’70s-style punk rock I’ve heard since LAS VULPESS’s 45. All of the songs here are unusually fast and rousing (except the slower fist-shaker, “Break Down the Walls”), with anthemic choruses and some shredding guitar leads. An epic Swiss EP.
Although quite poppish, SERIOUS DRINKING may have their finest moment on vinyl with “Country Girl Becomes Sex and Drugs Punk,” a hilarious novelty track with humorous lyrics and pre-eminently catchy instrumentals to boot. The B-side recalls SERIOUS DRINKING in their more rowdy, inebriated state, although the song isn’t as memorable. An enjoyable, upbeat record.
As a long-standing LURKERS fan, I can only wonder why Clay decided to release mediocre material that only serves to tarnish the memory of a once-great ’77 punk band. Side one contains two unexciting post-punkish numbers (one being a lame cover of WILSON PICKETT’s “Midnight Hour”); side two features a commercial synth-pop thang (“By the Heart”), a hot already released punky blast (“Frankenstein Again”), and a decent slower punk-pop cut. Sad.
LEITMOTIV seems more influenced by contemporary British pop than punk, but they’re excellent at what they do. “(Living in a) Tin” utilizes an intense drumming attack with a tasteful, spare use of guitar and synthesizer, while the B-side offers less kinetic energy. Infinitely better than the work of most of their peers.
Yet another example of one of this year’s new trends—cowpunk. In the tradition of GUN CLUB, BLOOD ON THE SADDLE, and the new MEAT PUPPETS, TEX & THE HORSEHEADS are taking countrified structures and attempting to infuse them with punk energy, and again the results are mixed. Songs like “Oh Mother” and “Short Train” are engaging amalgams with a driving beat, a bittersweet mood, loud but tasty folk guitars, and Texacala’s husky vocals, but their attempts at more traditional blues (JIMMY REED’s “Big Boss man”) and country (“Guitar Obsession”) fall flat.
The best thing I’ve heard in a while! This tape has tremendous ferocity and boundless energy, delivered in an almost psychotic and wreckless manner, but without any loss of tightness. Siege has a nasty thrash attack with insane vocals and intelligent lyrics, captured perfectly by Radiobeat’s Lou Giordano. Get it—it’s great!
Abrasive yet rhythmic post-punk with herky-jerky structures that are somewhat funky. Snarling vocals are the U-MEN’s most interesting facet from my prospective. For BIRTHDAY PARTY fans.
Musically, this debut is prime-sounding ’77 punk, well played and well produced. Lyrically, it would make Reagan blush with pride about the great job he’s done brainwashing today’s youth. They’ve got jingoistic lines like “I’m an American—I stand tall and I’m proud / I’m an American—and I’ll shout it out loud,” and unfortunately they’re not kidding. Duh! Maybe they’ll do everyone a favor and join the Marines.
Totally intense! This band hits hard with a modern thrash style not unlike that of certain DC bands, in the sense that they are very tight and write songs with good hooks. (Jeff thinks they sound more like Holland’s AGENT ORANGE). Their powerful music is capped by great guitar work and the most aggressive, psychotic, ragged female screamer yet to appear on a punk record. Phew!
A pleasant mixture of fast- to medium-speed punk and one thrasher (“Pega a tu Mama”) can be found on CODIGO NEUROTICO’s first release. Nothing here is mind-blowing, but some songs have catchy choruses (like the title cut and “Quema Tanques”) and the guitars really growl at loud volume.
Medium-speed Britpunk is not my favorite musical subgenre, but this particular album really hits a responsive chord. The UNDEAD manage to hypnotize and enchant here with measured drum-heavy build-ups, double guitar power, and superior songwriting. Although almost all of these songs have a similar tempo, certain compositions (like the haunting “Listen to the Wallbeat” and the energized “Terrorist TV”) stand out as mini-masterpieces. Unexpectedly good.
Fusing punk with noise damage, this release is much more accessible than I would have predicted, based on their earlier album. It features older-style punk riffs that sound nice and out-front, with really clear vocals, simple beats, and dissonance coming from somewhere. As the title might indicate, the songs focus on some of the nastier disappointments in life.
An unexpectedly good 45 by an upstate New York group. “She Wasn’t Home” is a tasty pop number with reasonably loud guitars and a strong ’60s-style chorus; the B-side is a moody, quasi-psychedelic cut with “heavy” lyrics, maaan. I like both, but the LUMPEN PROLES certainly won’t appeal to those who only like hardcore.
LOVE CIRCUS makes more raw psychedelic noise on their first 12″ effort, yet they generate neither notable songwriting nor a pervading sense of atmosphere. Even though “Live Forever” contains some pleasantly brooding instrumental touches, they’re usually more annoying than inspiring.
Although the superb re-recorded versions of “Don’t Give It Up Now” and “Help You Ann” alone almost make this album worth buying, a series of horrible cover versions (including “I Confess” and two KINKS kompositions—”Live Me Till the Sun Shines” and “Tired of Walking”) and uninspired originals conspire to undermine its overall value. Boston’s LYRES are potentially a great ’60s-style punk band, but except for a triad of gems (“I’m Tellin’ You, Girl,” “The Way I Feel About You,” and “Not Like the Other One”), they don’t live up to that potential here.
Jeff says this is great garage punk that’s gonna end up on his Top 20 this issue. Jeff also says that BORN WITHOUT A FACE is a politicized version of the MEATMEN, and he loves their horror-movie moniker. So why the hell isn’t he writing this review?
A great example of the true spirit of DIY punk, the likes of which haven’t been heard in many a year. The music here is primitive, stripped-down punk rock Á la ’77-’78, recorded at the singer/guitarist’s house in two days with vocals sounding like they’re coming out of the closet and no remixes. On the plain cover, the same fellow describes the course of his socio-political self-realization, which ultimately led to the making of Catch the Plague, and the results are ten times more honest and relevant than 90% of the stuff produced by various modern “hardcore” cliques. “This Is the Punk” says it all.
A New York band that doesn’t do thrash? Yes—this three-song release features metalish punk with poppy vocals and lots of guitar work. The best track is “Out Group,” which provides commentary on the local scene, and there’s also a good instrumental. Give them points for trying to be different.
Although they ended up being nothing more than a schmaltzy pop band, the NEW COLONY SIX started their career in the mid-’60s with this mighty, near-perfect punk album. The group had a solid rhythm section, no-frills guitar breaks, and, most importantly, a domineering organ. They were also blessed with the ability to sing in harmony, which probably contributed to their eventual downfall, but the vocals here perfectly offset their crisp garage sound.
MY 3 SONS is a young experimental band from New Jersey. “Starving Artist” is a droning metallic cut Á la FLIPPER, and it’s quite good if you like that sort of thing; the flip is an overlong mood piece with chimes and stream-of-consciousness lyrics that I find unlistenable. Not really my cup of tea.
A loud, abrasive post-punk group with pretentious lyrics and a unique, metal-edged guitar sound similar to—but not as extreme as—that of BIG BLACK. Most of LIVE SKULL’s songs are measured, droning thangs (except for the faster “Boil”), but it’s the distortion and controlled feedback emanating from the two guitars that really lift them above the pack.
Like label-mates CHOIR OF PAIN, EXTREME HATE makes for uncomfortable listening—noise, distortion, the wrong speed…in other words, “pet rock” at its most annoying. Buy and die.
Aaargh! ILL REPUTE may not extend the thematic or musical limits of modern thrash very far, but this album is so fucking ferocious that it doesn’t matter. The band wails, the guitar screams, the vocals are really snotty and impassioned, and the production has an edge that further accentuates all of these advantages. A wicked release that’ll motivate you to try stage diving off of your kitchen table.
A live recording that mostly consists of long, extended jam-type songs. They integrate jazz and funk rhythms into a sort of cockeyed bluesy rock ’n’ roll format. Although they’ve come a long way from their charmingly psychotic teen-torture years, I personally wish they’d go back. Then again, most of us “grow up” sometime, for better or worse.
HÜSKER DÜ’s version of the BYRDS’ psychedelic classic is an impassioned, screaming track which combines their live fury with a certain studio sophistication; the flip is an intense live version of “Masochism World” that loses a bit of its spunk due to rather bootleggy production values. Yet another iconoclastic release from the HÜSKERS.
A new thrash outfit distinguished by a clean, undistorted guitar tone, unusually youthful vocals, and some clever bridges. The overall sound is too thin to generate a spastic head-banging response, but some of the tracks have exuberant choruses (like “New Hope” and “I’m a Nerd”). Give it a listen.
If you don’t like this amazing slab of vinyl, don’t even pretend that you ever liked thrash punk. GANG GREEN’s assault is unbelievably tight and intense, and Mr. Doherty’s guitar work flails away mercilessly. “Terrorize” is particularly awesome, so nerds should steer clear.
A very impressive potpourri of “redneck” rock, garage metal Á la STOOGES, punk, and parody makes this FIENDS debut a must-have. Instead of parroting the form of various genres of rock ’n’ roll, these guys manage to transmit its cocky, devil-may-care spirit. The guitars are loud and punky, and the decadent humor that shines forth on jams like “Riot in the Men’s Room,” “Battle Axe,” and “Rock All Night” simultaneously promotes and pokes fun at adolescent “drink-fight-fuck” fantasies. If you don’t think they’re a laugh a minute, you must be one of the zombies on the cover.
