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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!
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.
A mixed bag of punk (very little), rockabilly, post-punk, blues rock, etc. CRANK is the only real standout.
For my money, the most essential ’60s compilations beside the Pebbles series and Nuggets are the two Back from the Grave collections. Unlike other releases, there’s never any psychedelic sounds, just primo teenage punk served up with plenty of guts, enthusiasm, and anger. Reams could be written about classics on this album like the UNRELATED SEGMENTS’ “Cry, Cry, Cry,” the BANSHEES’ “They Prefer Blondes,” the LYRICS’ “They Can’t Hurt Me,” and “The Crusher” by the NOVAS. Not a duff cut, but plenty of fuzz. Truly amazing.
More older-style punk from Spain’s TNT “Guernika” isn’t too exciting, but “Gilmore 77″ has charm and drive. The bass playing is excellent.
Mind-boggling growls of speedy Danish hardcore. WAR OF DESTRUCTION hit hard with a swirling rapid barrage that claws forth high, grinding vocals, abrasive guitar, and slashing cymbal splashes. This debut vinyl offering shows an inspiring promise of cranking aggression and quick sonic blasts, the type of sound that has made current Finnish, Swedish, and Dutch hardcore so earth-shattering. Put a check by this one.
Very militant, political punk and thrash that comes with a bilingual lyrics booklet. The A-side of this tape is a little tinny-sounding, but the other side has a full production sound and really blows out the windows. It’s like night and day—weird!
A fairly average Oi release from Germany. Most of the songs are in the medium-tempo vein and the guitar could be a lot grungier, but the speedy “Skins” and “Freiheit” are catchy little blasts with ambiguous lyrics that make it worth a listen.
Extremely powerful French in the medium-tempo ’77 tradition. The guitars are really cranked up, the female singer adds a lot of spunk and color, and the tunes grow on you more with each listen. “Oublions l’Amerique” is terrific.
This isn’t what one expects from a Finnish punk band. 013 play guitar-heavy rock ’n’ roll that’s greatly influenced by both early UK punk-pop and ’60s-ish garage rock. I think the early UK-type material is the strongest, but all their songs are delivered with power. If you like raunchy punkish rock, check this album out.
Canada’s YYY play real fast punk rather than thrash. The tempos are driving, the guitars are plenty loud, the singing exhibits a lot of emotion, and the lyrics are very thoughtful. I like every song individually, but then played back-to-back, they tend to run together a bit due to the unusually consistent tempos and vocal inflections. It’s a high-powered debut, though.
A potpourri of modern punk styles can be found on this fine new compilation, from thrash (the UPRIGHT CITIZENS) to older-style punk (the BUTTOCKS, SS ULTRABRUTAL) to rousing funnypunk (DEUTSCHE TRINKERJUGEND) to Oi (DAILY TERROR). Many of the best bands—BOSKOPS, RAZZIA, ZSD—play more than one type of punk, but it’s their thrashers that really stand out. An illuminating introduction to some old and new German hardcore outfits.
As the title indicates, this compilation contains a mixture of Paris bands. Stylistically, it ranges from loud, tasty post-punk (GUERNICA, ZONA, and PEGGY LUXBEURK) to funny Oi with mutated rockabilly beats (the SWINGO PORKIES) to strong fuzzed-out mid-tempo punk (PROP SACK) to pretentious new wave (ICE). All in all, a “mixed” blessing.
By the look of things, Punk Etc. will put Belgian hardcore in the minds of all dedicated fanatics. This is an outrageous cassette collection of six bands (MORE ACTION, ZYKLOME A, SUBVERSION, KRANK, FIXATION, and the DIRTY SCUMS), featuring vigorous approaches to power and speed, each exceptional in its own way. Support this label, because their attitude is what punk is all about.
I missed this when it first came out a few months ago, but better late than never. Six of Toronto’s best bands contribute two-to-four songs each, and it’s well worth getting. The bands are APB, CHRONIC SUBMISSION, DEAD END, DIRECT ACTION, the YOUNG LIONS, YOUTH YOUTH YOUTH, and ZEROPTION. A real good sampler.
West Berlin’s SICK PLEASURE produces a raw style of punk with cynical lyrics about desperation and street life. They combine gruff vocals, heavy guitars, and distinctive song structures which steadily build in power and intensity. Down and dirty.
Frantically paced thrash, with traces of metal guitar and structures, and wild vocals. This band exhibits finely controlled madness, and will run you ragged. I don’t know what their message is, but SHOTGUN SOLUTION shred musically.
With a name like SS ULTRABRUTAL, I at least expected an ultra-hardcore sound, but it was not to be found anywhere here. They should change their name to SS ULTRAWIMPY, because most of this is boring ’77ish stuff with flat guitar tone and few hooks. There are a couple of strong songs (like “1236Y-Atom”), but not enough to make this album worthwhile.
The most thrashed-out French group I’ve heard. Songs like “Chemical War” and “Why Not” have a drum-heavy rhythmic emphasis, while others (especially “Disorder”) really rip. The music is pretty hot; too bad about the stupid shock value band name.
These two bands thrash to the max, although they are a bit ragged around the edges. But that sloppiness is more than made up for by their intensity and excitement. FLERE have a wailing female vocalist, the RAZOR BLADES a gruff male singer; both have hot guitarists and plenty of potential.
Oi from France. Although derivative from a stylistic standpoint, this EP has an appealing garage quality. The songs are almost evenly divided between mid-tempo numbers and real fast singalongs. I prefer the latter, especially “Chasse Á l’homme.”
RAZZIA were one of the better German hardcore bands on the Underground Hits vol. 1 collection, and their first solo album continues in the same basic direction. They produce medium-speed punk, fast punk, a bit of thrash, and one weird rhythmic tune (“Barriere/Karriere”). Overall it’s a solid release, and some songs really stick in your head (like “Kriegzustand” and “Nacht im Ghetto”).
The second EP from Italy’s PEGGIO PUNX features frenetic, disjointed thrash. It has an exceptionally loud snare drum track (à la DESTRUCTORS), intense paint-stripping singing like that of TERVEET KÄDET’s Läjä , a relatively clean guitar tone, and a stuttering rhythm reminiscent of the MEAT PUPPETS. A weird record that could use a louder guitar track.
OBERKAMPF have an archaic punk sound with traces of the NEW YORK DOLLS (the title song), the DEAD BOYS (“Maximum”), and PLASTIC BERTRAND (“Poupee de cire” and “Tout ce fric”). The latter song is an especially appealing pop-punk number, but nothing here is likely to cause much of a stir.
This Swedish four-piece must have problems getting gigs, as their sound is pure ’60s-style garage punk. Their main influences seem to be from the Pacific Northwest, most notably the SONICS and the WAILERS, yet the NOMADS also display some rockabilly tendencies. They are modern masters in the war of distortion, and fans of the CHESTERFIELD KINGS, the UNCLAIMED, and the FLESHTONES should check them out.
Boy, what a turnabout! The NIKOTEENS used to have a slow Oi!/punk approach, and now they’re out there thrashing with the best of them. The guitar tone here is extremely trebly and piercing, and the general sound quality is hot, so their stronger material (like “Frieden,” “Cowboy Song,” and “Geisterfahrer”) really blasts off the turntable into your gut. This album proves that musical changes can lead to major improvements.
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.
