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!
A compilation of Arizona bands. One side is arty/experimental, which I’m not competent to comment on. The other side is a mix of thrash, punk, new wave, and experimental. Probably an up-to-date anthology of Phoenix today. Faves are JODY FOSTER’S ARMY, SOYLENT GREENE, and the MEAT PUPPETS.
Four very well produced tracks of slower, more powerful British-style punk, without the Oi posing. At first it didn’t do much for me, but after seeing them live I like the tape a lot more. Watch for wax.
If the CONTRACTIONS were from New York and sung about typical teenage themes, this is what they’d sound like. The AFFECTIVES play inoffensive pop-rock with an occasional good hook, but there’s nothing here that’ll make you sit up and really pay attention. “You Hate Me” is a catchy teen lament.
Are the AMPS one of the missing links between the ’60s and the ’80s? Perhaps. “Flowers is ’60s-style garage rock with overlong guitar leads and anti-censorship lyrics. But buzzsaw guitars, a gradually accelerating tempo, and one of those goofy axe solos that only untutored musicians can produce make the flip a stronger and more modern song. Pretty cool record.
The most intense thrash album from LA in quite a while. The music is pretty generic, but it’s also plenty loud and fast. Lyrically, ANTI range from intelligent (“Fight War, Not Wars,” the title track, and “The Cycle”) to the semi-moronic WASTED YOUTH level (“Poseur” and “I Hate You”). Go for it if you can’t get enough thrash punk, but not if you’re searching for something unusual.
Hey, this is even better than G.G.’s usual garage punk offerings, being faster, tighter, and minus sexism. Amazing! The background choruses turn “No Rules” into a classic, but this guy still serves as a constant reminder of how absurd people can be. That’s a recommendation.
This Chicago band produce an original sort of quasi-industrial sound reminiscent of early PERE UBU and DEMENTIA PRECOX. There’s all sorts of weird frills and noises that suggest hammers hitting anvils and pistons driving machines. But don’t think these guys are arty—their music has a vague punky sensibility and primal hypnotic rhythms. If depressed factory towns like Gary, IN ever need a theme song, they should turn to BIG BLACK.
Musically, this is sorta like early TSOL or BAD RELIGION, which is nothing to complain about. Lyrically, it has your basic punk themes, but there are a few lines that almost negate the sentiments because of the ignorance displayed. For example, on “Achtung,” a don’t-drop-the-bomb song, they say, “The Russians say they don’t want war, but that’s because they’re on top.” They then go on to say that you can’t believe anything the government says, so why do you believe the Russians have military superiority, which most experts deny. Also, in the anti-police song (“I Hate Cops”), the line “cops are all niggers” comes up. Huh? Then how come they’re always busting and hassling Blacks? Wise up, guys! A little knowledge is dangerous, but the record still sounds good.
As unlikely as the name of the band is, their music turns out to be really cool modern day thrash, albeit quirky. Seven songs which are a bit under-recorded, but that is more than compensated for by the fun and energy put out.
A real mixed bag. The BIG BOYS are at their best when they play punk (“Fun…”), thrash (“Apolitical”), or jittery punk-funk like the MINUTEMEN (“Nervous” and “Prison”). When they branch out, they totally blow it. Here they butcher KOOL & THE GANG’s “Hollywood Swinging” and do awful PIG BAG imitations (“We Got Soul”) that must be aimed at audiences in New Wave discos or something. This gets a qualified recommendation at best.
A garage rock record with punky and psychedelic overtones. Most of it is pretty uninspiring (especially Side 2), but they do come up with occasional nuggets like the punked-out “Let’s Go to Hell” and the catchy, scathing “Minimum Wage.” The lyrics are more intelligent than usual for this genre. Worth a listen.
An unexpectedly strong release. CRUCIFIX may look like English punks, but they definitely have that American intensity. “Prejudice” and “Rise and Fall” are two songs played at thrash speed that are both powerful and distinctive. Real great stuff! “Steelcase Enclosure” is far less interesting, and Sothira’s wonderfully raspy vocals are mixed a bit too low, but this 7″ stands spikes and shoulders above their 12″ debut.
This was recorded in 1980 with the SOFT BOYS as a back-up band. He covers old ghosts like “The Letter” and “September Gurls,” as well as R&B and rockabilly. Better sounding than most of his latest work. Chilton is the only guy that could musically give FLIPPER a run for the, uh… money. A current pick hit.
A young band hailing from the Philly area. Their sound falls somewhere between some generic English punk bands and 7 SECONDS. As they’re pretty new, I’m sure they’ll be refining that shortly.
A 15-song demo from a wine country band whose influences are M.A.D. and CODE OF HONOR, among others. They’ve got a real right, thrash-oriented attack. It’s not too distinctive yet, but I wouldn’t be surprised to see them develop into something special as time goes on.
Not one of the DK’s finer moments. “Halloween” is too rock-oriented and makes me long for the MISFITS’ song of the same name. “Holocaust” starts out like an art-damaged neo-psychedelic track on the WITCH TRIALS EP, then mercifully snaps into a fine older-type DK’s punk song. Good lyrics as usual, but…
This LA garage punk group bids farewell to vocalist Milo. Well-produced and snappy-fast, they are as tight and fun as they come, somewhat reminiscent of the DICKIES. The songs cover teenage problems like conformity, parents, drugs, and suburban life. One disturbing note—in “I’m Not a Loser,” they resort to the all-too-prevalent “you fucking homo” name-calling. Maybe these teenage insecurities will ease up after graduation.
The DKs are the only group around whose new releases I approach with the same expectation, apprehension, and critical ear that I did for each new STONES record 16 years ago. You just know a lot of thought, work, and possible innovation will be invested in the grooves. Whether a self-appointed or media-chosen representative of “punk,” Biafra must be carrying a lot of weight on his shoulders. As for the record, side one is more like their live selves and more like their earlier recordings. No real let-down, though there are no immediate “classics,” either. Side two contains longer, more dramatic, and varied pieces that, while bravely breaking the norm, can be very trying. I’ll try more later. Meanwhile, the DKs keep subverting middle America. Keep it up.
These are two separate “disques especiale,” as they say in the biz. They’re made up of demos from the real early days, as well as comical Chris Spedding sessions and the wild Chilton tapes. There’s live versions of the obscurities and B-sides of singles. This should satisfy you while Lux stays nailed to the parlor TV.
Minimalist art-noise meet hardcore attitudes, with some Japanese musical influences. Huh? They sound a bit like early TUXEDOMOON, the SCREAMERS, or maybe a rawer UNITS with intense lyrics.
These two live songs by New York’s EVEN WORSE are a bit sloppy and incorporate some heavy metal guitar damage, but the band’s sheer exuberance and chutzpah easily manage to overcome such piddley faults. They’ve got a chaotic, amateur charm all their own, and the singer’s sarcastic onstage raps sound frighteningly like mine. Yeah, I like this record, especially “Mouse or Rat.”
Even though I think that everyone in FLIPPER is an egotistical, self-indulgent asshole (except the ever-cool Ted), I’ve got to admit that they’ve put out some truly great singles. “Get Away” is no exception, with its powerful driving beat, noise guitar, and clever, venomous lyrics. The 33 1/3 rpm flip is another humorous, annoying novelty, but “Get Away” makes this one a must. Amazing cover, too.
Cool pop-punk, maybe the closest thing to hardcore that can be found in South Florida. All the songs except “Johnny” are real zippy and guitar-heavy, so if you’re looking for basic rock and roll fun, this is for you.
A strong, driving thrash sound with interesting twists and great lyrics. Another fine young band emerges from the South Bay, which was the home of punk rock in the ’60s. Tim Tonooka said they were excellent; he’s right.
Eight-song release that captures their older sound (somewhere between FLIPPER and CRUCIFIX) and a faster-paced raging style. Very tight, with lots of distortion, lyrics of a vague, cryptic, humorous, and sometimes dubious nature.
Medium-fast punk, FLIPPER-ish drone, sharp lyrics (“Reaganomics”), funny lyrics (“Gotta Piss”), and really dumb lyrics (especially in the xenophobic “It’s Time for the Bomb Again”). They also throw in the kitchen sink, and have a ’zine called Corrugated What.
A 44-second ditty that sums up my feeling about the depressing “holiday” season. The B-side is for the radio.
This refreshing, buoyant platter of pop-punk would have been highly recommendable even if it didn’t have one of the best songs of ’82 (“In America”) on it. Seattle’s FASTBACKS rely on amphetamine velocity and memorable songwriting to fuel their better compositions (“No Lethal Hope” and “Wait”), and on ingenious changes of pace for the stunning “In America.” Enormous fun!
More “Boston-paced” music from this Cape Cod outfit, no letdown from their previous material. The playing is solid, tight, and inspired, with good hooks all around. As the liner notes say, “this record has been inspired by warmongers, social pressures, police oppression, and rednecks… their necks are getting redder.”
A very hard-to-come-by EP by this San Diego group. The music is medium-paced punk with occasional rapid-fire outbursts. The production is very powerful and English-like, and the words are really good, covering cliquishness, religion, paranoia, and intervention in Central America.
This is it! The HÜSKERS have finally come up with a great studio album, and if it doesn’t put them right up there with the top bands, then everyone’s lost their hearing listening to too much FLIPPER. The LP has got the power of their live performances, combined with a clean, crisp recording quality. Even if they can’t play Risk too well, they sure can play music.
Wow! The LAST have finally reverted to their earlier fast and raw form on 2/3 of this EP. “Up in the Air” is a super cut with great ’60s organ swills and a short but sweet psychedelic guitar break. “Wrong Turn” is almost as good, but “Leper Colony” has an awful, pretentious chorus. Still, it’s good to see the LAST get back a bit closer to the roots.
From the foothills of Northern California’s Sierras come JUSTICE IN AMERICA, blazing a trail with great thrasing lyrical assaults on the contradictions of life in the USA today. Very tight, very powerful, and the sentiments are right on the money.
A good pop album that could have been a great pop album. The songs still have a thousand hummable hooks and the background vocals are as coy as ever, but what the fuck happened to the heavy dual guitars that feature so prominently in the MUTANTS’ live shows? Unfortunately, they’ve been almost obliterated in a mix which overemphasizes Fritz’s weird voice. The same “wimpifying” technique turned the GO-GO’S into stars, but I wish someone would make a bootleg out of the MUTANTS’ earlier demo tape to provide a contrast and illustrate their real potential.
The A-side has a very long slower punk song that rags on working; the B-side has three thrashers, the best being a great anti-drug song called “Mind Control.” They also do a breakneck speed version of “Lucy in the Sky with Diamonds.” But guys, why “just another bitch?” Are you just another bunch of “punkers?”
Perfect! Captured on record before they become a “good New Wave” band. Anybody that’s from New Jersey, has worked in a bakery, thinks California is funny, and will play one chord for an entire song is OK with me.
The Mormons must be shitting! This young band combines thrash pacing with elements of jazz, pop sensibilities, and intelligent lyrics to produce a clean (too clean?), distinct sound that you’ll hopefully soon find on vinyl.
This group from Connecticut decided to move to the sunny climes of SoCal, with its recording advantages. Their new release is a five-song effort that with a sound somewhere between early SHATTERED FAITH and the DREAM SYNDICATE. It has the edge of punk, the vocals of pop, and the structure of more melodic rock. A good effort.
Not as hot as before. In fact, this is contentabilly, or even “whichwayyougoinbilly.” Still, the PANTHER BURNS have that certain—dim the lights—”mysterious” edge. “Panther Man” makes the STRAY CATS sound like a showbiz snowjob. Keep cool, fans, cause ol’ Gustav is already lookin’ for a hotter band.
The long-awaited debut of this medium-fast metal punk band. The songs are positive, spirited, and catchy, with lots of power to ’em.
A new East Bay band, including ex-INTENSIFIED CHAOS person Brad, Jake, and Jake’s mom on guitar. This is real good bone-crushing hardcore with a British feel. I’m looking forward to seeing them live.
Musically, I like it better than their LP, but the words are, uh, confused, to say the least. They put it best in one of their own songs, where it’s admitted that they “haven’t the faintest idea what [they’re] trying to say.” And they prove it—”666 Head” contains some retarded racist shit; “Revolutionary Worker” attacks the RCP for all of the wrong reasons; “Vampire Lady (Coke Whore)” is just plain stupid. I could go on, but it might be contagious.
Remember NEGATIVE TREND as they appeared on the old Tooth and Nail compilation? Well, Rik L. Rik was a member of that seminal outfit, and now he’s back with a new single. The A-side is an overproduced, almost syrupy psychedelic number. The B-side is better though, sounding like a cross between the early SLEEPERS and late Iggy.
The Kinman brothers could pull any sound off. The WHO, the VELVET UNDERGROUND, any real rock ’n’ roll. I’m biased. If I didn’t think the DILS were better, I’d really like this record. But there was something about the way the DILS could play “Mr. Big” right before the EVERLY BROTHERS’ “Cathy’s Clown” and be more energetic and original than RANK AND FILE will probably ever be. But Chip and Tony are different now. They’re friendly! Shit, they’re almost as warm as Springsteen.
A spirited young band from outside Chicago. They play a variety of styles on this tape, ranging from the FLIPPER-ish “Fucking Fashions” to the thrashed-out “I.R.S.” to the funnypunk classic, “Burn, Jane Byrne.” The lyrics to “Morton Grove” are a bit muddled, but SEISMIC WAVES have potential. I just hope they get some gigs.
These guys get “worse” all the time. They even make DEMENTED YOUTH and LENNONBURGER look good. If you don’t love the thrashed-out noise these jokers make, then you better go back to ’77. Armed with psychotic stuff like this, I’m ready for the future.
Alright! The REAL KIDS have ben resurrected for the benefit of all. Their forté—’60s pop-punk; their trademarks—heavy guitars, sizable hooks, and the plaintive voice of John Felice. Here the combination works best on the seductive “No Place Fast,” the driving “Senseless,” and the rock n’ rollin’ “It’s Been Real.” The production could be dirtier, but this is still super bad Bosstown bop.
Musically, this is a neat garagey record with both punk and rock overtones. In the midst of all the new political thrash bands, the SILLY KILLERS actually sound somehwat refreshing, even though they employ older stylistic devices. But the lyrics—yecchh! I’m getting real sick of all this sexist and homophobic shit coming out now. Just because you guys are insecure about your own sexuality, you don’t have to foist it on others.
A really unpleasant surprise. Musically, it’s more of the standard SHATTERED FAITH sound—mid-tempo punk with melodic choruses and occasional heavy metal guitar frills—but the production is too restrained and their newer material is less engaging. Worse, the live side is filled with standard rock and roll bullshit (Don Kirschner-like intros, artificially heightened applause, inane raps like “God bless you”), and the lyrics are unbelieveably stupid. The cliched songs about girls are bad enough, but “USA” plumbs the depths of ultra-patriotic retardation and makes it clear that earlier cuts like “Reagan Country” should be taken at face value rather than as satires. If this is LA, give me Boston.
Help! The SUPER HEROINES fancy themselves the cutting edge of oh-so-trendy “horror rock” now emanating from LA, but despite their pretensions, this LP showcases little more than regurgitated heavy metal. In a word, awful. Bemisbrain should concentrate on releasing more MODERN WARFARE material.
