Modifiers Not This Time, Darlin’ cassette
Solid medium-to-fast-paced punk. The song titles are also in the older idiot punk mold—”She Won’t Cum,” “Jerk Off,” “Bust Yer Face,” etc. Hmmm.
MAXIMUM ROCKNROLL
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Solid medium-to-fast-paced punk. The song titles are also in the older idiot punk mold—”She Won’t Cum,” “Jerk Off,” “Bust Yer Face,” etc. Hmmm.
The MORAL MAJORITY DANCE BAND present raunchy slow-to-mid-tempo garage punk on their debut EP. The vocalist sounds demented, the production is nice and raw, and the lyrics to the title song are very provocative: “There’s a little bit of a Nazi / In all of us.” Unfortunately, that’s all too true, in the sense that everyone has occasional attacks of righteous intolerance. A pretty damn good record.
The long-awaited NAKED RAYGUN EP has finally been released, and musically it’s a beauty. The songwriting is extremely imaginative, the vocals are unbelievably catchy, and the unique fuzzed-out guitar work sounds wonderful. The only problems here are one klunky track (“Swingo”) and some suspect lyrics in “Tojo.”
Even though I don’t always agree with their opinions, the NIHILISTICS provide more food for thought than 90% of today’s hardcore bands. And their music is as brutal, uncompromising, and cacophonous as their lyrical assault. This great album is jam-packed with raw, intense blasts of a furor borne of futility. It certainly doesn’t make for easy listening, but it rivets your attention and makes for provocative listening, which is ultimately a hell of a lot more important. A mandatory purchase.
Pretty intelligent stuff from this Modesto, CA band (no relation to North Carolina’s NO LABELS). Their music is bass-heavy, slower, and fuzzed-out. Interesting.
Well-done—but fairly standard—thrash. NO DIRECTION’s lyrics cover a wide range of subjects and, compared to what’s generally available in America’s stifling heartland, they’re a breath of crisp, cool air.
This band has joined WHITE CROSS on the Zero Degree label. They play straight-ahead punk with some flair. The production is rather thin, and the themes are a bit silly, but I think these guys will develop further with time. For now, this is a pretty good effort.
A lot of Boston bands sound great, but few—if any—have the political sophistication displayed by the PROLETARIAT on their debut album. I would liken them to the early GANG OF FOUR, both musically and ideologically, though the comparison shouldn’t be overdrawn. They create equally complex structures, but they replace GANG OF FOUR’s sparseness with a full-bodied sound and punky guitar power. In fact, they’ve mixed several straightforward punk blasts (like “Torn Curtain”) in with the other stuff. A fabulous record that renews my faith in Bosstown.
These two Seattle bands have a side each to get across their points. Live, the REJECTORS are the stronger band, but on this record they lack a certain explosiveness and come off a bit generic. On the other hand, the ACCUSED seem to have more snarl, zip, and variety here. Oh yeah, you’ll also learn why all Seattle punks say “do the Frog.”
This band contains some former members of Y.I.A. The vocals and lyrics are the most noteworthy qualities, as the music tends to lack a certain zip. “Sid Is Dead” is a classic cut, though.
This self-produced debut album is a 50/50 proposition. Half of it consists of adolescent punky pop with a bit (like “Do to Me” and “Lady on the Radio”); the rest is made up of wimpier stuff, including ballads (“Something for a Friend”) and awful commercial rock (“Every Love Song Ever Written”). I sort of appreciate the SCORE’s blatant amateurishness and naïveté, but I’m not sure if you will.
Not as dumb as the title might indicate. Most of the lyrics are typically “hardcore,” as is the music, most likely due to the fact that this is a brand new band (featuring Orlando on vocals). There’s one hilarious song here called “Maggots,” which is a real horror show.
These L.A. STAINS have been around for quite awhile, but they’ve only now gotten around to putting out vinyl of their own. It’s hard-hitting thrash with a lot of metal influences, including sledgehammer rhythms and lead solos. I was expecting more of the slower metal-type songs, but this record kicks ass. Not to be confused with the Texas STAINS (now MDC).
Slowish punk in a CRASS-like style, done exceedingly well. Their sound is minimal and cleanly produced, and there’s some great moody guitar work. For more info on TRIAL, see the report under “Northern California” in this issue.
The psychedelic sixties, maaan. These guys are from the slightly goofy school, mostly in the SIR DOUGLAS QUINTET/SYNDICATE OF SOUND mold. They have Americanized Jagger vocals, psych guitar, and then lots of bubbly percussion, which gives the record a lighter sound than the punkier stuff I love.
This is an example of creative guitar-oriented post-punk with real drive. It’s forceful and engaging in its own right, and it marks a welcome change from today’s standard punk formats. ECHO & THE BUNNYMEN should sound so good. Recommended.
Although the sound quality varies, this is one of those must-have regional compilations. There are plenty of keen tracks here from the likes of DIE KREUZEN, SACRED ORDER, the TAR BABIES, NO, MECHT MENSCH, the CLITBOYS, S.U.M., the CRUSTIES, and many more.
In general, this is much stronger than the first Eastern Front compilation album, especially in the production department. There are good performances by WASTED YOUTH, JFA, CH3, the FARTZ, CIRCLE ONE, BATTALION OF SAINTS, FREE BEER, the LEWD, and England’s CHRON GEN. The only drawback (again!) is the lack of an info sheet on the bands.
Nine bands from all over the US are featured on this compilation tape from a new alternative label. Most of them are in the thrash vein—the CLITBOYS, VIOLATION, the VATICAN COMMANDOS, POISON CENTER, the SKOUNDRELZ, EAT THE RICH, and CULTURAL BREAKTHROUGH—but MR. EPP appears to provide some humor and variation. Good show.
Two bands with pervious tapes of their own team up to share this one. VIOLATION offers standard thrash, rather thinly produced; ZERO MENTALITY stands out more, thanks to better production, more imaginative arrangements, and a great bass player. Definitely worth the investment.
Superior guitar-oriented post-punk with psychedelic overtones, sort of like the SCREAMING DEAD’s newer material (but not quite as good). This is really powerful stuff, and the eerie guitar effects add an additional touch of class. The vocals are a bit too restrained and calculating, but ACTIFED are also quite capable of cutting loose when they want to (as in “Exit”). Produced by ex-GEN Xer Tony James.
Bizarre! Who is this? The METEORS? The liner notes create a mystery, stating that this is a genuine ’60s band that just happened to do songs later covered by the CRAMPS, but I doubt that. Whatever, this modern psychobilly release definitely outdoes the CRAMPS by presenting even more frantic renditions of “Love Me,” etc. Great!
These guys are pretty catchy in the INSTANT AGONY or DEAD WRETCHED mold, but their new single is missing the fast hooks that characterized their debut. “Stand and Fight” is a good track; the flip is pretty boring.
I was about to term this drum and vocal combination as a real innovation in punk till I remembered SF’s NOH MERCY, who did it years ago. Actually, I think the latter’s approach was more exciting than this, because D&V’s drumming tends to be quite repetitive, and the vocals are too poetic and even in their delivery. Still, it’s refreshing because it’s different.
By now, everyone should be aware that the DESTRUCTORS generally combine thrash speed with some metallic twin guitar action. Their new album features live versions of many of their earlier hits and, unlike most live efforts, is actually more hard-hitting than some of their studio releases. It’s too bad they disbanded, but at least they’ve gone out with something of a bang instead of a whimper.
More 24-track mundanity from DISCHARGE. They’re getting slower and more metallish these days; “Anger Burning” is hardly more than a standard rock song. It’s OK for a band to change styles, but why follow the same boring route that so many others select? Give me DISORDER any day.
Mostly all mid-tempo punk (save two thrashers), this album contains several tracks off their 7″ers, and some new material. None of it immediately grabs me, perhaps because of the accent on production, leaving a sterile-sounding product devoid of real commitment and excitement.
It’s not always fair to make comparisons with well-known bands, but in this case the sound is just too close to let it slide. The fast tempos, metallic guitars, lyrics, and vocal delivery all add up to… GBH, so decide on that basis.
Another FITS release with a mixture of fast and slow songs. I like the thrashed-out “Breaking Point” the best, but the slow, measured title cut manages to create quite a build-up of tension.
This British all-girl trio emerges from relative obscurity with a delightful album of hard pop reminiscent of early GIRLS AT OUR BEST. Songs like “Drunk Problem” and “Barbara Cartland” counterbalance a gutsy guitar sound with irresistible melodies, but even ballads like “Thinking of You” connect with a vengeance. Comes with a free four-track EP.
The A-side reminds me a lot of something the SOFT BOYS might have put out. It’s almost the punk equivalent of folk rock, which is not to say it’s no good because it’s actually very catchy. The flip is sort of a poor man’s WIRE—stripped down post-punk with a bit of tension, but lacking enough build-up.
Powerful slow-to-medium-tempo punk. Some of the music almost ranges into rock, but OMEGA TRIBE always retain their distinctive guitar riffing and overall impact. Lyrically, they are in the “Peace and Freedom” school of punk, constantly stating their amazement at mankind’s total idiocy. The great “Man Made” exemplifies that logical standpoint.
A whole LP’s worth of this veteran group’s pop-punk style. It’s got very melodic singing, classic early punk power-chording, and incredibly incisive lyrics, all of which add up to a refreshing change of pace. I can’t help but like them.
Slow-to-medium-tempo stuff with no special spunk. “State Control” has a great memorable chorus, but the sluggish drumming holds ONSLAUGHT back.
Despite the ponderous tempos and predictably narrow Oi themes, this release rises above the vast majority of its Oi-boy contemporaries by virtue of an exceptionally primitive guitar sound. “Run from You” is especially raw and appealing, except for the dumb lyrics.
At first, I couldn’t believe that this beautiful dance-oriented post-punk music was even produced by the OUTCASTS. However, once I got over the initial shock, I began to enjoy it tremendously. All three versions of the title song feature a hypnotic rhythm, extraordinarily evocative guitar frills, and a haunting overall effect heightened by chimes. The punked-out version of KENNY ROGERS’ “Ruby” is more pedestrian.
The PARTISANS are getting slower and slower with each new release. On this EP, there are two plodding numbers and one better mid-tempo ditty (“Change”). Aside from an occasional quirk, none of the songs are particularly memorable.
Trad punk bands like this are best taken in small doses on 7″er instead of entire albums. “In the Future” is weak, “Society’s Fodder” really picks up the pace, and “Friday Night Hero” tops it off with great power. All the songs express progressive and hopeful sentiments, though.
A brilliant mixture of modern punk and psychedelia. Despite SCREAMING DEAD’s trendy horror rock trappings, they manage to deliver highly distinctive songs with clever arrangements, strong hooks, and plenty of overall power. The frequent inclusion of mind-expanding organ runs adds personality, and the guitar playing is extraordinarily fine. One of this issue’s best.
Although this here album resides spiritually in the glorious British funnypunk tradition (which includes such diverse luminaries as the ALBERTOS, JILTED JOHN, the TV PERSONALITIES, JOHN COOPER CLARKE, the NOTSENSIBLES, the GONADS, JOHNNY MOPED, etc.), it’s more in the goofy ska vein from a musical standpoint. There’s too little raucous punkish stuff to appeal to the bash brigade, but anyone with a bemused sense of the ironic should enjoy SERIOUS DRINKING’s understated English wit.
It shouldn’t be necessary to describe the UK SUBHUMANS’ basic approach. Once again, their combination of semi-thrash tempos, peculiar guitar embellishments, and radical lyrics hits home, and in a 12″ format, the production accentuates their power. There’s a couple of turkeys on this record, but the roaring “Get Out of My Way” and the psychedelic “People Are Scared” really stand out; “I Don’t Wanna Die” is an OK Yank-style thrasher.
Well, the SKEPTIX seem to have found a label in their own country, and this new release again displays their tasty thrash attack. “Born to Lose” is slow and metallic, but the others zip forward and feature some nice lead fills. Their level of sincerity remains impossible to discern, but I have my doubts.
The high-velocity insanity of this debut album by the TOY DOLLS brings to mind the work of great funnypunk bands like the DICKIES and the NOTSENSIBLES. Virtuoso guitar work, unforgettable melodies, and patently hilarious lyrics raise Dig That Groove, Baby to instant classic status, especially clever ditties like “Spiders in the Dressing Room,” the title track, and “Glenda and the Test Tube Baby.” Spirited and (s)punky.
There’s a little bit of everything here. First, there’s a little punk, some acoustic “pretty” music interspersed throughout, and some moodier post-punk stuff too. Some of it reminds me of pre-punk rock groups like the STRAWBS. In any case, the punk material here is mostly mid-to-slow-tempo, rhythm-oriented, and not very fiery.
Anyone who promotes this hokey, moronic heavy metal shit has no fucking business criticizing any punk bands for their supposed “6th-grade naïveté.” Know what I mean? The sad part is that these assholes have more energy than a lot of current British punk groups.
The Pax label is doing some valuable work with the best of intentions. They’ve gone international on this, the follow-up to their Punk Dead? Nah Mate compilation. This time around, they include four uropean, eight English, and one American band (SAVAGE CIRCLE). Most of them are real strong, but CRUDE SS (Sweden), PSA (Italy), ANTI SYSTEM (UK), and the MAU MAUS (UK) really tear it up. There’s a total of thirty tracks, so don’t miss it.
A “Britskunk” record from Sweden. The BRISTLES combine Oi and thrash musical backings with English-style vocal phrasing, and the recording has a lot of abrasive power. The “Bristles Song” would make a classic Oi satire, but I think it’s meant to be serious! Loud and proud.
Throngs of grinding guitar intensity, distinctive disorderly grates echoing subcutaneous rips of emergent power. CRUDE SS defiantly blaze impetuous rawness, a sonic inferno of chaotic crunchers bolting forth storming drum booms and menacing guttural vocals. A brutal untamed force, unrestrained outrageous wailings of frantic guitar cavortion highlight this fierce arrangement that exhilarates to the maximum with a strong character of stimulating popularity. From Sweden this is rapidly delicious.
The proceeds from the sale of this 45 are going into the Vancouver Five’s defense fund, so that’s enough reason to buy it. Still, it’s a mixed bag musically. “Burn It Down” is a slow, boring rock song that I prefer to ignore, but their version of the SUBHUMANS’ “Fuck You” (written by Hannah, one of the Five) has spunk and power, which makes this a worthwhile audio investment.
This is basic meat-and-potatoes ’77 punk from Spain. Although ESKORBUTO sound slike dozens of older bands, the vocalist is exceptionally belligerent and the songs contain more highly memorable choruses.
