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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!
The thing I like most about both cuts are the vocals, which are eerie but not pretentious. The A-side is the song I like musically; it sort of reminds me of the more upbeat, listenable side of PERE UBU. Great bass runs.
TSOL may have mutated into something barely recognizable, but their great original punk sound lives on in the material of many current SoCal bands, including the VANDALS, NO CRISIS, and, as this record indicates, LOST CAUSE. That’s certainly not a bad thing, except that here the material lacks the punch of LOST CAUSE’s 7″ debut. There are a few hot moments in “Living in Hell” and “Firing Line,” but somehow I was expecting more from these guys.
OK post-punk from Boston. A loud, clean guitar combines with a heavy bass/drum sound and fine singalong choruses in the engaging “Down and Backwards,” but the lead vocals are too pretentious and the saxy B-side is weak.
Two hilarious novelty tracks from the “Egg Lady” in John Waters’ cult film, Pink Flamingos. The music on this picture disc is basic hard rock with dumb guitar solos, but the arrangements and lyrics are a laugh a minute. “Punks” is addressed to all the punks who are going nowhere fast, and the 300 lb. Edie’s version of the old FOUR SEASONS hit takes on an entirely new meaning here.
Oh no, the FLIPPER crud has spread to the heartland of straight-edge country. Actually, it’s more like FLIPPER meets early CABARET VOLTAIRE. The funniest song title is “Quincy Fights Punk Rock.”
Two people from thrash band ANTI combine with two others to produce a more experimental effort. It’s a 50/50 proposition. Some of it sounds like the earlier LA punk sound with its classic female vocals; other songs are in a post-punk or arty vein. Good change of pace.
Much better than their earlier tape. The sound is fuller, there’s more attack, and the lyrics are every bit as good. NOTA remind me a bit of ARTICLES OF FAITH, so drop them a line and order this tape.
Once again, the MEATMEN have managed to provoke “orgasms” of laughter. The same scrungy guitar and chaotic garage approach that stood out on their classic debut serve to propel these here garish songs about a variety of sexual hang-ups. It might be offensive if it weren’t so damn funny, and even though Tesco’s member shrivels up every time he thinks about “human rights” punks at MRR, we still like the silly savage.
“Conquest for Death” is a raw uncontrollable rage of rambunctious combustion. A fast, forceful frantically paced flailing stormer against competitive nature. An outrageous single venture before they release the upcoming LP.
Totally! Great bass-drums-guitar-vocals. This is one time that I’ll use the term “shreds,” because it says it all. As they say on the lyric sheet, “Play loud in math class.”
I reviewed their demo tape two issues ago, and now I have a chance to rave again. This soon-to-be-released EP has thirteen thrashing songs that run into each other at breakneck speed. Keep your ears peeled.
An uneven garage rock band from the hinterlands of Illinois. Their faster semi-punk cuts (“Tell Me Where” and especially “Too Easy”) have a loud and primitive drive that’s rather appealing, but the others are very boring songs in the traditional hard rock/heavy metal vein.
If you had the good fortune to come upon their EP, you know what this new four-song “live” cassette is like. If not, it’s not too late to pick up on this bone-crunching attack. Note, as go the FARTZ (now 10 MINUTE WARNING), so go the REJECTORS. This means that there are some heavy metal guitar licks on this tape.
Really cool. This band does a cover of the SONICS’ classic, along with other tunes ranging from straight-on thrash to thrash meets power-pop (in the good sense of the term). Great hooks, sharply delivered, and more gas than a bowl of Boston beans can produce.
Classical-style punk from Florida. The songs are catchy and the recording is raw enough, but the lyrics are about as retarded as you can get, even though they’re meant as jokes. “Wetback” is chauvinistic if not actually racist, and then there are your typical misogynistic, anti-gay, and anti-hippy songs. “More Beer” is a gas, but I bet Anita Bryant would be proud of these “punkers.”
More explorations into the territory they’ve been staking out over the course of their last couple albums. Even without Phil Spector, they’re still aiming for that Spectorian Wall of Sound, and they manage to get it. The material ranges from great new guitar-heavy pop tunes to lame versions of earlier classics like “Little Bit o’ Soul” and “Time Has Come Today.” I think it sounds real good, but if you’re only interested in “Blitzkrieg Bop Part 75,” this LP isn’t for you (except maybe “Psycho Therapy”).
This is bound to be one of the best releases of ’83. Dischord has really got their production down—it’s the best in punk. An unrelentless record, musically and lyrically, containing powerhouse thrash with great hooks, choruses, and vicious guitars. I don’t care much for the few reggae-ish cuts, but otherwise I can’t say enough good about this one.
The second full frontal assault of raw, rigorous rapidity from SSD. Seven more classic attacks of persistent manifestation. Springa’s harsh garroting vocals onslaught wild power as the band, now featuring a second guitarist, delivers some intense unrestrained material. The year’s best so far.
A lame garage rock record which might have seemed funny back in ’76, but now sounds pathetic and out of date. “Rock or Die” and “Chop Up Your Mother” are pretty entertaining, but on the whole this is too calculated to be good garage punk. It comes off more like crass in-joke commercialism.
The second strong pop single from the ALARM. Their main claim to fame lies in an inventive, jangling guitar sound, though decent hooks and an unprepossessing organ also add distinction. Not up to the best ’60s standards, but much better than the TEARDROP EXPLODES and their ilk.
I’m not sure if the Small Wonder label is here to stay, but it’s real good to see this new record. ANTHRAX definitely has that CRASS-family sound, with its orchestrated highs and lows. This EP is musically and lyrically powerful, so watch for another soon on the Crass label.
Nowadays, one opens a single on the Crass label with a little skepticism. Does the classic sleeve conceal another ANDY T? Well, you don’t have to worry about ALTERNATIVE, because they rip. The title cut is an excellent show song that may not appeal to the unrelenting hardcore type. The others are dynamite and should be played over and over, as loudly as possible. Great record.
The AMEBIX are currently sounding very much like early KILLING JOKE. Both of these songs are characterized by ultra-heavy bass-lines, echoing drums, and the sort of agonized singing that Jaz is famous for. Now that KILLING JOKE has wimped out, there’s more than enough room for cool cats like the AMEBIX. The cover unfolds into a nice poster.
Heavy metal punk with superficial Satanic overtones, only vaguely related to the the type of thing popularized by such LA groups as 45 GRAVE, VOX POP, CHRISTIAN DEATH, etc. Not my cup of tea at the best of times, but BLACK EASTER are far more turgid than most. Useless really.
A timely reissue of CRISIS’s first two 7-inchers. This band’s trademark is superb melodic punk powered by two guitars, one fuzzed-out, one cleaner. The melodies and hooks are irresistibly catchy, and the political messages have never been more relevant. If you missed out the first time around, don’t be stupid and ignore CRISIS now. They exemplify all of the qualities that made earlier English punk so great, so demand this record at your local store.
Haunting guitar progressions and an impressive wall of noise distinguish both sides of this debut single by BUTCHER. While “Grow Up” wins points for its breakneck, amphetamine-paced instrumental attack, the flip maintains more dramatic power and distinctiveness. Good, rowdy hardcore energy throughout.
The second 7″ from this lot. Both tracks are in the medium-paced Britpunk style, but “Blitz” is a really superb song. The combination of a great sing-along chorus, drill-press guitar, and interesting lyrics make it a mini-classic. The flip is faster, less memorable, and rather dumb.
Not as bad as one might have expected after hearing their two dismal 7″ releases. The DEFECTS’ lyrics are generic at best, and their material certainly isn’t innovative, but the production is excellent and some of the songs on side one have catchy guitar parts or choruses (especially “Dance” and the title track). This album’s neither an upper nor a narcotic.
This LP’s got some punch. The music is faster and snappier than the UK norm, and some tracks really roar (“Born Too Late,” “Hillside Strangler,” etc.). Inexplicably, there are good anti-drug and anti-violence lyrics standing side-by-side with others having an unfortunate fixation on sex and violence. The guitars could be a little louder vis-Á -vis the snare drum, but on the whole the DESTRUCTORS album moves along at a brisk pace and keeps your attention, so give it a chance.
ANTISOCIAL sound more like an American outfit on their second single. One side is stop-and-go thrash, less DISCHARGE-like than most English thrash. The other side is slow, but also excellent.
Jello says that DISORDER has a live sound not unlike the pet-rock of FLIPPER. Maybe, but on record they continue to be a rip-roaring thrash band. The only trace of “pet” is in the screaming choruses and periodic yells. Cool.
I must confess that I like the new EJECTED EP, just as I liked their debut. It’s bouncy, catchy, loud, an all-around enjoyable. Nothing original, mind you, but boisterous and entertaining Britpunk.
This live EP renews some of my faith in ERAZERHEAD. They’ve recaptured their earlier snappiness and guitar power here, which suggests that bad production was mainly to blame for their recent vinyl failures. Check it out if you like(d) the LURKERS, and have a good laugh during “Get Pissed Again,” a punky rewrite of CHUBBY CHECKER’s big hit, “Let’s Twist Again.”
The six short compositions on this EP suffer from badly mixed, garage-style production values, with the guitars pushed way into the back. Too bad, because the subjects covered on this record demonstrated a high level of political astuteness and credibility. “Conscription” and “Laughable Attack” are especially topical.
I have a hard time finding fault with this album. Once again, if you don’t like your punk political, steer clear, because FLUX is dynamite. The whole LP is a marvelously orchestrated opera of poetic condemnations of our nuclear world that builds up to a climactic musical explosion. The production is superb, and a booklet is included. My copy’s grooves are already worn down.
“Ignore Me” is a hopping guitar-heavy pop song with a chorus you just can’t get out of your head. It sounds a lot like a much louder JAM from the All Mod Cons period. The flip is OK, but not up to the same standard. The GAS may be one-hit wonders, but this here A-side is it.
Despite Dig’s valuable warning that the GONADS are a phony Bushell non-band, I can’t help liking this ridiculous funnypunk offering, with its soccer choruses, punky guitar, and cocktail-party piano. All Bushell is good for is a few laughs over a beer, but this is clearly the best medium for his antics. A knee-slapper from a double-dealing rip-off artist; it should be taped, not purchased.
I don’t have much good to say about this. The GENOCIDES sound like a bunch of headbanging rockers that decided to go punk in an effort to gain an audience somewhere. The A-side is every bit as stupid as it sounds, and the HEARTBREAKERS cover tries hard to make up in speed what it lacks in interest. The only saving grace is that they managed to get a searing treble sound out of the guitars.
If you enjoyed the classic 12″ by GRANDMASTER FLASH, chances are that you’ll favor this scratch version of “Buffalo Gals” by SEX PISTOLS creator and music entrepreneur Malcolm McLaren. Demented, confusing, and very funny, this collage of tape loops and dubs definitely hits the mark.
VIRUS’s debut is hardly noticeable. “Salute” is a reggaefied pop-punk song with a passable melody, but the B-side might be the most tedious punk version of “Stepping Stone” ever recorded.
Four punky bands from Wessex participate on this strong compilation EP. The SUBHUMANS connect with “No Thanks,” their vitriolic commentary on “making it” in the music biz, while the PAGANS’ track (“Wave Goodbye to Your Dreams”) provides the high-velocity excitement here. Even the A-HEADS mix a satisfying melodic approach with their anti-government tirade. A very fine effort.
A new English compilation tape featuring a couple of bands with vinyl out (AD NAUSEUM and RIOT/CLONE) and a bunch of young hopefuls. The HIDEOUS MUSHROOMS tickle feet with some neat-o funnythrash, the GLIMPO SAUCERS provoke laughs with demented funnypunk, APF BRIGADE intrigue with drum-machine Britskunk, REBELLIOUS YOUTH annoy with overlong post-punk dubs, and HEALTH HAZZARD kick ass with some raw garage thrash. The rest produce more traditional stuff—thrash (LOST CHERREES, X-CRETAS), ’77 punk (PANIK, TOTAL CONTROL), and modern mid-tempo UK punk (WARNING). Pretty varied sampler.
An excellent release with varying punk styles and tempos, all the way up to thrash. It’s very tight and features good choruses, but the real strengths here are a great drummer and a guitarist who really cuts loose with some unusual licks and great, swooping chords.
Uncontrolled DISCHARGE-like thrash from Italy. This EP has loads of raw spirit, a chaotic instrumental attack, and really weird garage production—right in the middle of a song, the vocals or guitar will suddenly get louder and softer without rhyme or reason. It must be that world-famous MANIAX influence.
Not quite as manic as the RIISTETYT album, but every bit as good. Although APPENDIX has a very powerful hardcore sound, their material is more varied and distinctive than the norm. As a result, the songs stick in your head after only a couple of listens, whether they’re thrashers like “Paniikkia,” mid-tempo punkers like “Kuitenkin Kuolemme,” slow noisemakers like “Nöyrät Nuolee,” or combinations of the above like “Ai?” If you like DC’s SCREAM, you’ll get a rush out of APPENDIX. And dig that psychedelic cover!
Somewhere in between CHAOS-Z and DAILY TERROR we got HARNRÖHRER. They are a German garage band with heavy guitar sound similar to that of early U.K. punk. The production may not be great and the songs are rather monotone, but they are charming. Is this the real German underground?
This band must be the Finnish equivalent of DISCHARGE—metal meets thrash at 120 mph. There can be no winners of a nuclear war at that speed. Seriously, one side of this tape is studio and one side is live, but both are excellently recorded. Propaganda strikes again.
HONKAS are a very raw punk band from Germany, and the production on this record only accentuates their primitivity. Some of the songs here almost degenerate into an undefined mass of guitar distortion, but others (like the title track) have more focus and drive. Pretty sharp.
More hot Italian thrash on a DIY EP. INDIGESTI are fast, tight, and powerful. They’ve got one slow-fast number with heavy metal guitar parts (“Mai”) amid the thrashers, and a good snotty vocalist. The WRETCHED are faster, sloppier, and right out of the garage, production-wise. The Red Brigades could have made General Dozier’s ears bleed with music by these two bands.
These jokers have been around for a while, and they’re still peddling the same unprofessional funnypunk that they began with. The main difference is that now they’ve incorporated diverse influences like “Oi-Oi-Oi” background vocals (in the title song), rockabilly beats (“Gratissex”), a quasi-funk bass (“Regardez-Moi”), and even some artiness (“Nachts scheint die Sonne”). It’s kind of fun to listen to this album, but it won’t exactly etch itself in your memory.
