For review and radio play consideration:
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!
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.
The talk of Florida, these adolescent people come across in the funnypunk garage tradition. Their music is mostly in the PISTOLS and MODERN LOVERS vein, with dashes of Country & Western and thrash.
This tape features mostly mid-tempo melodic hardcore, not unlike the characteristic SoCal sound. The straight-ahead rhythms, hard-hitting drumming, and committed vocals make the DROOLING IDIOTS quite listenable.
Stop and go thrash with very good vocals from the foothills above Sacramento. They’ve got that early Greg Ginn guitar sound too, so a lot of this is pretty gnarly and distorted.
Some good psycho thrash noise with distinctive vocals, reminiscent of the MEAT PUPPETS, the BUTTHOLE SURFERS, and the CRUCIFUCKS. The recording is fine, and it makes for interesting listening, but the lyrics are as goofy as their band name indicates.
A fairly professional and distinctive effort for a band that just came out of nowhere. The CHAPPAQUIDDICK PLUS FIVE deliver very tight punky mod stuff with varying tempos, melodies, numerous subtleties, and an emphasis on singing. Depending on the cut, that approach can be a strength or a weakness.
These guys have a great crunching garage punk and thrash sound here, and they come down hard lyrically on middle class mores and problems ranging from the effects of Reaganomics to psychiatric conditioning. The production is hot, and the record comes with all sorts of weird inserts.
One of Boston’s most inventive and aware punk outfits, the FREEZE connect on this album with a clutch of viciously satiric youth anthems. Land of the Lost is chock-full of cleverly written melodic thrashers (all superbly produced), but “Megawaki Cult” and the hilarious “Food Lava” rate as my favorites due to their sheer kenetic abandon. Too hysterical and wild to be true!
Buzzsaw fuzzed-out guitars, pounding tom-toms, nimble bass playing, echoey singing, slightly metallish arrangements, and “destroy the system” lyrics characterize the first release by this Windsor, Ontario band. Most of the songs are more punk than thrash, though the tempos do pick up at times. This record has a ’78 feel to it, which makes it a nice alternative.
Pop-punk cum rock from an old Florida band that has already released two 7″ records. There’s nothing too exciting here to my ears; get their vinyl if you can find it.
Listening to this reissue, Im sure the DIMENSIONS used to terrorize high school dances in the Chicago suburbs back in the swinging ’60s with their crude re-workings of yesterday’s hits. The songs, such as the KINKS’ “I Need You,” the Stones’ “Empty Heart,” and the RAIDERS’ “Just Like Me,” are all familiar, but the DIMENSIONS’ spirit makes them worth adding to your record shelf.
If the VOIDOIDS played noisy thrash, this is what they would have sounded like. DEATH ROW plays very intense music with unique vocals and lyrics. Recommended.
This UK-only release offers the title cut (taken from their LP) and three live tracks. I’ve heard them play a lot wilder than this. “Tell Me When It’s Over” presents the band in one of their earliest and probably tamest performances, as if they’re afraid they won’t hear each other if they turn up the volume. So you gotta play this loud enough to make any sense of it. Here, they kiss their garage band days goodbye, and the comparison to the VELVET UNDERGROUND holds less water. Great liner notes, though.
Some very intense metal/thrash in the fine Minnesota tradition of HÜSKER DÜ. BOY ELROY certainly aren’t imitative, but there are certain noticeable similarities, which is OK by me. This disc is quite well-recorded, original, and very powerful.
Spooky, sparse punk that’s only slightly marred by double-tracked vocal harmonies. The A-side is a hypnotic grabber; the flip is less exciting, but has really cool screeching guitar work. Interesting, especially for VELVET UNDERGROUND fans.
AGENT ORANGE again clock in with that irresistible ’60s surf-rock sound on this new EP. Two engaging instrumentals spice up the package (“Out of Limits” and “Bite the Hand…”), but the real surprise here is a rockin’ rendition of the JEFFERSON AIRPLANE’s “Somebody to Love,” which AGENT ORANGE make uniquely their own. Solid, catchy, and fun.
A five-song job that really does it! Most of AGENT 86’s material is raunchy garage punk, but there are also a couple of thrashers. This group has been struggling in the wilds of far northern California for a while now, and it’s gratifying to see that their efforts have finally paid off. Get their zine Counterpeace, too.
The first couple of tunes would lead one to believe this band is firmly rooted in the early ’70s sound of the STOOGES/DOLLS. But further on they display their punk and hardcore side. Since this is a garage quality tape, it’s hard to tell exactly how together they are, but I suspect they’re a good outfit live.
This mostly live tape was recorded in early ’82, and features PROGRESSION CULT, NO SANITY CLAUSE, POSITIVE HATRED, ANIMALS IN DISTRESS, FEED TIME, and ANTI-HIERARCHY. It consists mainly of older-style punk, with some “skunk” material by ANIMALS IN DISTRESS. The sound quality is so-so, so this tape should be regarded primarily as an historical artifact. You had to have been there.
Fast ’77 punk with some pronounced ’60s influences in the chord changes and vocals. “Azaria” is a song about a mom whose kid was supposedly eaten by a dingo, and has some raw leads and high-pitched screams; “Y Bother” is a song in a similar vein with anti-political lyrics that may or may not be satirical.
The acknowledged leaders of the Sydney psychedelic revival scene. The SCIENTISTS seem to have more influences than just ’60s music, thought, as I detect a bit of BIRTHDAY PARTY and the CRAMPS here. Each song starts out kind of slow and plodding, but just when you think it’s not going anywhere, ka-boom!! That idea goes right down the drain in a mind-boggling whirlpool of leafy musical sewage. It’ll definitely grow on you.
This Aussie EP is sort of a mixed bag. The SKUNKS do a sleazy modified version of “Silent Night” entitled “Violent Night,” a fast punk blast with sarcastic lyrics (“Dance with the Führer), a dynamic mid-tempo punker (“Mad Song”), and a totally mundane ’77-type number (“Persian Radio”). It’s hard to make an overall judgement when faced with such unevenness.
Remember when punk was supposed to be about moving in new directions? Well, here’s a punk band with no drummer. I don’t know whether this would appeal more to avant-punk fans or industrial aficionados, but both would probably like these long, scathing dirges. Not for the squeamish.
On this 45, snarling, brooding vocals are spit out over fairly average punk instrumentation. This is medium/slow-tempo stuff, but it has some bit and excellent lyrics.
Four songs which are definitely inspired by ’60s punk, specifically by Montreal’s HAUNTED, whose “1-2-5″ gets covered here. The LIME SPIDERS play loud chord-oriented punk with tough vocals and fuzzy guitars. “25th Hour” is a killer song with the same guitar riff as the LIPSTICK KILLERS’ classic “Hindu Gods of Love.”
