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!
RIISTETYT continues to produce insistent cranks of compelling aggression, an invasion of rapid-fire artillery frenzied in a blizzard of thrash. This time, they come out more musical, glowing with a metal appeal, strong leads, and creative arrangements, but still with the velocity of a speeding train bombarding the tracks in quick pursuit. Another overwhelming blitz of amplified mayhem that shatters the senses and leaves the body spasmodic.
Ten songs of a political nature, most of which are pretty long (perhaps too long). The music is eclectic and rockish, incorporating funk, pop, jazz, etc.
A really unique German record. SOILET GRÜN employ a disconcerting combination of chaotic drive, shrieking vocals, raw production, and an undistorted guitar tone. The songs vary a lot, and the overall effect is vaguely reminiscent of the MEAT PUPPETS.
England’s SKEPTIX and one of Germany’s premier thrashers share this four-track EP. While SKEPTIX’s “Got No Choice” boasts a scorching delivery and good, trebly production, OHL’s “Spionage” ranks as the best song on the record, with its catchy guitar progressions and clever stop-and-go arrangements. The mid-to-fast-tempo hardcore on this release earns a strong recommendation.
The A-side here consists of crude straight-on thrash-and-bash, whereas the flip contains two raw Oi-influenced numbers. STOSSTRUPP have really improved since their appearance on the Die Deutschen Kommen compilation LP, and the screaming guitar mix on this record should be the envy of every hardcore band.
This is a good basic album. Most of the songs are fast punkers with catchy choruses and a buzzing guitar wall, though there are also thrashers (“Teenage Frust”), songs with slow breaks (“Traumer”), and slower numbers (“Führer”). “Vakuum” sets the musical tone for the remainder of the record, and the lyrics range from broader subject like police states to more immediate, personal topics like teenage frustration. Recommended.
Wild blistering insanity. A whirlwind of pile-driving quickness blasting explosive vocals at a sonic split-second rate; crazed grinding and drum crashing rapidly storms this band into an invading blizzard of frizzling thrash extraordinaire like DRI. Brutal non-hesitant lyrics (especially “Misfits Are Innocent”) keep the nervous system running amuck. This tape is a must.
One of Germany’s better bands follows their 12″er with another mixture of thrash and punk. All of it is competent, and some of it is especially moving. I love the cut entitled “The End,” which is moody and scary until all hell breaks loose. As the UPRIGHT CITIZENS say, “fuck their wars.”
Eight bands from Ottawa and possibly Quebec. Some are thrash (OUTBREAK, HERGS CORPS), some are punk (RANDY PETERS, MODERNES PICKLES), one is garage (the LAST PRAYERS), and the rest are experimental or HALF JAPANESE-type noise bands. Another eclectic regional compilation for the archives.
Raw, full of energy, recorded live from the punk festival in Brazil (November 27-28, 1982), and featuring nineteen bands scratching the vinyl in a brutal assault of blistering fury. Attacking, incinerating numbers by OLHO SECO, COLERA, LUZIO FINAL, HINO MORTAL, and FOGO CRUZADO surge forth in a stampede of bulldozing mayhem that is hard and abrasive, carrying a heavy momentum of unrelenting power. The live recording is the only thing that mars this effort.
From 1977-79, the AVENGERS were the quintessential SF punk band. Fronted by the electrifying Penelope Houston and powered by Greg Ingraham’s amazing guitar playing, they were far ahead of their time and, like many others in that situation, unable to stay together. Finally, this 14-song memento has been released for those poor unfortunates who never saw them live in their heyday, never got their first 7″ EP (included here), and/or never got their 12″ EP (alternative versions included here). Other tracks include unreleased studio outtakes and an incredible live version of “Fuck You” that totally destroys. A must.
D.I. have well-executed, concise songs with interesting but not necessarily innovative arrangements. There are a lot of obvious influences here—FLIPPER, ADOLESCENTS, CIRCLE JERKS, MISFITS—but the witty lyrics and good production make it plenty entertaining.
Nine bands, only one of which—ZMIV—appeared on the Als Je Haar… compilation reviewed last issue. Yet all of these bands are terrific as well, and indicate the depth of the new Dutch hardcore scene. On this 70-song tape of varying sound quality, one can hear the SQUITS, LÄRM, ZWEETKUTTEN, the VIKINGS, STANX, GLORIOUS DEATH, KNAX, and LA RESISTANCE.
Here are ten new hardcore bands from West Germany, without a sleeper in the bunch. Most of the bands thrash—E-605, RAZZIA, MASSAKER, SS ULTRABRUTAL, and HH MILCH are all great; OXENSCHWANZ is totally weird, and the others go off in a variety of directions. Well worth the time and money.
A contagious masterpiece. DEPARTMENT OF YOUTH SERVICES ricochet outrageous doses of full horsepower across the cranium. Strong instrumentation provides an invincible attack of intense staggering speed, rawness, and momentum. An unrelenting, sustained guitar growls and whines, as crushing vocals lunge out notes of gnashing abrasive melodies. From Boston, the DYS rate high with the likes of SS DECONTROL and NEGATIVE FX. A shimmering release.
A very strong new release from Ohio’s NECROS. This album contains a few slow-fast metallic numbers; the rest consists of power-charged thrashers, including a remix of “Police Brutality” from their long-out-of-print debut EP. I don’t understand why Barry devoted so much lyrical attention to petty in-scene squabbles when he’s obviously capable of writing highly intelligent critiques with broader themes (like the title track), but this record should nevertheless appeal to all fans of forceful hardcore. Way cool!
Double-LP, to be exact. Out at last, seemingly a year in the making, it features 19 bands, most from the Midwest, and a few from the East. There’s some great stuff, so so-so stuff, and lost of variety in aggressive, abrasive punk styles. It’ll take too long to run down who does what, but you’ll undoubtedly find out for yourself, as it’s really affordable, and definitely necessary. But it’s murder on disc jockeys (finding the correct tracks).
From the City of Brotherly Love comes this great compilation. It features a few songs from ten bands (see the Philly scene report for a list), and includes all kinds of modern punk sounds. There’s out-and-out thrash, quirky punk, slower punk, faster punk, jazzy punk, etc. Mandatory listening.
This great band from Japan has been putting out records since 1979 (five 7″ers, one 12″ EP, and two LPs), but they’ve somehow escaped notice in the West until now. Their latest picture disc album is amazing, like those of the best Finnish bands. The slower songs are wickedly powerful and tuneful, with great wrenching guitar work, and the more numerous thrashers are awesome. Plus, Japanese production is the best in the world, so order them when Rough Trade begins distributing them.
The B-side is the star track here. It has the powerful, thrashed-out VARUKERS we’ve come to expect. They slowed it down on “Die,” which is somewhat disappointing, but it’s still tuneful and well produced. Watch for an upcoming album.
The STILLBORN CHRISTIANS, NO LABELS, BLOODMOBILE, and COC contribute about three songs each to this exceptional testimony to the variety and power of the North Carolina hardcore scene. Don’t miss out.
Real fine thrash from New England. It’s high-powered, creative, and fairly intense, but the melodies and semi-sung vocals still manage to escape obliteration. Add a strong production and some memorable hooks, and you end up with a release rivaling those of the LOST GENERATION and CIA in overall quality.
Five Florida bands share this record. HATED YOUTH are full of clichés, but have a really intense thrash sound; SECTOR 4 do both thrash and fast punk; MORBID OPERA are simultaneously weird, melodic, and garagy, and have female vocals; RAT CAFETERIA offer thrashy punk with gruff singing and some cool guitar leads; and ROACH MOTEL (who put out this entertaining EP) return with more garage thrash, including “My Dog’s into Anarchy,” the best funnypunk song to have appeared so far this year.
Where did they find these recordings? This tape contains lots of long-lost original psychedelic bands, including the BAD SEEDS, the CHOCOLATE WATCHBAND, STILL ROVEN, the LOST TRIBE, and a bunch more. Anyone interested in obscure psychedelic punk from the ’60s should look for this.
Powerhouse drumming is the only thing going for this Oi-punk release. ACTION PACT’s style changes so little from song to song that this four-track sounds like a retread of old material, except with plodding tempos and even a sax section on the title track. Boring.
“Bad Boy” is an incredibly boring CLASH-type “rock” song which is best ignored; the flip is a much faster pop-punk number with some sparkle to it. I still think the ADICTS are rapidly in decline, but it’s a bit too early to be certain.
Mediocre production hurts this otherwise intense thrash attack. There aren’t any musical surprises, but it’s delivered with exceptional power, and that makes all the difference. Good debut.
CONFLICT return with more CRASS-like pile-driving punk on “Berkshire Cunt,” along with a very heavy anti-vivisection theme throughout this EP. Both are immensely powerful in their own distinct way, and the gruesome pictures should stimulate some animal lovers into action. Not for the faint of heart or weak of ear.
Oh boy, six more tracks from these guys. Though none of the songs here grab me as much as the two on the single, all are still worthwhile. They’ve got a European tour in the works, so they may be the next Aussies to be heard on our shores.
Another Sydney ’60s-influenced psych band. This one owes more to the BYRDS than to the punkier elements, but it is very catchy and worthwhile all the same.
Thrash with a weird metallic sound to it, almost like an electrified acoustic guitar or bass. Sometimes it seems overcrowded—too much noise at once, too repetitive. The slower thrash numbers have more impact on this new cassette, but personally I like their first tape better.
A fine tape’s worth here. It reminds me of what a cross between 7 SECONDS and the VANDALS would sound like. I really go for it in a big way. DERANGED DICTION is originally from Missoula, Montana, but they’ve relocated to Seattle.
A fine garage debut from a band out of (relative) nowhere. The LATIN DOGS specialize in chunky ’77-style punk propelled by an abrasive sheet-metal guitar sound, though some cuts have a more accelerated tempo. Their themes are predictably anti-establishment, but the lyrics reflect more awareness and sensitivity than the norm. A-OK.
Blistering rough-arsed metal thrash! Untamed havoc of shimmering propensity, thrusting wild whines of alarming guitar wails into glass-shattering breakneck speed as chilling vocals by the storming crooner Mike Muir claw forth a devastating attack. SUICIDAL TENDENCIES are a screaming cyclone of sheer power and determination, and this LP shows why they have such a strong following.
Excellent guitar-oriented rock and roll. This EP contains three well-crafted pop-rock songs with good quasi-’60s hooks (all of side one and “Micro-Wave Mother”) and one faster punkish number which rips heavy cocaine users (“Kola Sketch”). Clever and not easily classifiable, the TAZERS deserve your attention.
I seem to be having a flashback. Is this early PINK FLOYD? The WATCHBAND? No, it’s a current band that’s gradually become more original and biting than those LA copycat psych groups. The guitar etches notes green and purple inside my brain. Please shut the window.
Entertaining garage punk from Florida. If “Nixon” is a satire, it’s a good commentary on gross ignorance; if not, these guys must have gotten A’s in the right-wing “Americanism” course that all Florida high school students have to take in order to graduate. “Dead Air” is faster and considerably better.
Five varied hardcore bands appear on this Nevada sampler. SUBTERFUGE play mid-tempo British-style punk; TWISTED MORALS OF AMERICA have a slow hard sound with a wicked raw guitar; the infamous MIA (who’ve recently reformed) employ their furious thrash attack; F-8 sound primarily like full-on DISCHARGE; and SELF-ABUSE attend the 7 SECONDS school of tuneful thrash. Great!
There are eleven bands on this latest compilation from Chainsaw fanzine, mainly from New York state and Pennsylvania. It contains a lot of thrash, some punk, and some art/noise material. The musical competence varies from band to band, but most are good. They include the REVENGERS, NO THANKS, SOCIAL DISEASE, WASTED TALENT, the FATALITIES, SUBURBAN AGGRESSION, SMERSH, CRACKED ACTOR, NOTA, and others.
An excellent DC compilation which deserves a much wider distribution than it has so far received. It contains diverse material from a number of relatively obscure bands, including garage thrash by MEDIA DISEASE, raw experimental punk by CHALK CIRCLE and the NUCLEAR CRAYONS, powerhouse thrash in a Dischord vein by SOCIAL SUICIDE, NEOS-type 78 rpm thrash by UNITED MUTATION, and garage rock by HATE FROM IGNORANCE. The gritty production accentuates the good music, so look for this.
These guys might be punk’s answer to FRANK ZAPPA. The music ranges from garage punk to heavy metal to metal-punk to rock to thrash to experimental stuff to just plain ridiculousness, and is interspersed with talking, interviews, and blank space. This album is simultaneously imaginative, challenging, and dumb beyond belief.
The re-release of this LP, since the Stern brothers weren’t too happy with the first and were determined to put out a true quality product. Features only four songs off the first, and when these guys do something right, they go all out! This totally enjoyable slice of black vinyl is perhaps one of the best records money can buy. Lots of diversified touches, variations, and good harmonies from punk rap to hardcore speed and energy, which has all the melodies rumbling in your head. When you get bored of the rest, this performance will still reside on your turntable.
A great compilation of tracks from the vaults of Poshboy Records. There are many gems here, but the CIRCLE JERKS’ “Wild in the Streets,” the CROWD’s “Modern Machine,” and TSOL’s “Peace Through Power” rank as highlights in an album that also includes chestnuts by AGENT ORANGE, BLACK FLAG, and UXA. Good variety and quality make this record mandatory if you don’t have the original recordings.
A cool collection of skateboard bands compiled by Thrasher magazine. The pure “skatecore” sound—thrashed-out music with melodic teenage vocals—is represented here by the FACTION, JFA, and the SKOUNDRELZ; LOS OLVIDADOS and Canada’s RIOT .303 offer powerful older-style punk, the former fueled by a truly bone-crunching guitar, the latter by engaging choruses; MINUS ONE have a great ’60s pop approach (especially on “I Remember John”); the BIG BOYS present an awful throwaway “rock” cut; and the DRUNK INJUNS favor slow metallic songs with built-in tension.
Penny Rimbaud’s distinctive production spices up four new compositions by ANTHRAX on their second EP. “Violence Is Violence” and the title track boast fast tempos and a blistering guitar sound which underline well-taken lyric concerns; the two cuts on the B-side aim for subtler effects, with equal success. This is political punk that’s both unusual and exciting.
If this release is representative, the ABRASIVE WHEELS are already in decline. The A-side is a pathetic punky cover version of ELVIS’s old hit; the flip is a pedestrian Britpunk song with a decent chorus. Whatever happened to kickers like “Burn It Down”?
This is a profoundly different sort of CRASS album. It counterpoints a thrashy, wild instrumental backdrop with an extensive lyric essay attacking the politics of power, nuclear escalation, organized religion, and especially our sheep-like passivity that allows it all to happen. CRASS apparently feels that their message hasn’t sunken in yet—hence the numbing music and emphasis on words—and they obviously hope that action will replace boredom and endless posing in the contemporary punk scene.
A rich, abrasive guitar onslaught provides an aggressive energy to this debut EP by the ACTIVES. The recording seems a bit muddy here, but two songs in particular (“Riot” and “Out of Control”) suggest that this group can emerge from a standard Britpunk style with catchy, change-of-pace instrumentation. Recommended.
The A-side here includes slightly modified versions of two songs that appeared on their recent Forces of Law 7″ (reviewed in MRR #6); the flip has three fine new thrashed-out cuts that have that distinctive DESTRUCTORS mix, with its highly exaggerated snare drum and hi-hat. Add a Pus cover and better sound quality, and you end up with a damn good show.
Easily more powerful than their first two EPs, Unrehearsed Wrongs contains some fine mid-tempo punk compositions including “Gas the Punx” and a catchy reworking of their classic anti-vivisection song, “Animal Farm.” Some of the tracks seem repetitious, but I enjoyed the poetic changes of pace and the guitar-heavy production. Check this one out.
