Vorkriegsphase Auf in ded Tod LP
Yeooww!!! VORKREIGSPHASE launch a buzzsaw attack that’ll make you bleed! They’re totally manic, and I’m ducking for cover now. See you later…
MAXIMUM ROCKNROLL
For review and radio play consideration:
Please send one copy of 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. 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!
Yeooww!!! VORKREIGSPHASE launch a buzzsaw attack that’ll make you bleed! They’re totally manic, and I’m ducking for cover now. See you later…
The most brutal German thrash yet. VORKRIEGSPHASE rip through some ultra-fast numbers with a pile-driving rhythm section and screaming distorted guitars; the title song also has super sing-along choruses. A killer release.
The A-side on VARAUS’ second EP represents a shift from all-out thrash to raw, fast punk, whereas the B-side continues their earlier thrash approach. Although the recording here is more garagey than most newer Finnish releases, and the songs aren’t as manic as we’ve come to expect from that extraordinary country, this record has an endearing primitive quality.
The most applicable adjectives here are rhythmic, savage, and raw. This is mainly fast-paced thrash that is driven by steady drumming, and topped off with a totally fuzzed-out guitar and insistent, intense singing. The UNDERAGE is an anarchist band and, judging from this, have an abundance of commitment. Excellent.
A Spanish band that shouldn’t be mistaken for an identically named Swiss group. “1984” is a mid-tempo punkish cut distinguished by sound effects and a strong post-punk bass and drum attack; the flip is a more basic ’77-style number with a good melodic chorus which I quite like.
Chunky Swedish thrash. SÖTLIMPA have an attack that’s distinguished by a solid punchiness rather than shrill freneticism. “Öl” and “Miljöproblem” have nice anthemic choruses that stick with you; “3:e Världskrig” is good straight punk.
Belgian records aren’t very numerous or easy to get ahold of, but here’s one for you. The SEXY BOLLOCKS mainly perform medium tempo punkers with a certain rawness, but “(Oi) Stay in Hurt” is a chaotic, adrenaline thrasher. You’ve heard it all before, so why does it still sound good?
A three-song demo from Canada. It’s powerful, slower punk stuff with very strong vocals and intelligent lyrics. Even though S.C.U.M.’s music isn’t too contemporary-sounding, their commitment makes this tape sound very up-to-date.
A new thrash band from Italy. The song structures are appealing (though somewhat basic), and the anti-war lyrics are well-taken, but thin guitar production really takes away from REIG’s power. That problem can be easily remedied next time.
RABIES are an exceedingly primitive Dutch punk band with a ’77-ish style, a tinny snare drum sound, and older-type vocal inflections. I like the music a lot, but the themes are pretty silly. For “classical” punk fans.
While PERSONALITY CRISIS’ style of hardcore exhibits a number of influences, the most notable is heavy metal, which appears predominantly in the highly abrasive chord progressions. The music on this album, however, is very fast and aggressive (if rather uneven)—if you can get used to the distinctively gruff vocals, chances are you might grow to like it. I found it a hit and miss affair.
O.X. POW are a very powerful “classical” punk band. The guitars are really loud, the songs are dynamic and filled with creative frills, and the vocals are simultaneously anguished and belligerent. A great record in the mid-tempo punk style. Definitely go for this one.
The second EP from NOT MOVING has a less experimental and more pronounced ’60s quality. It’s mainly the twangy guitar that gives it that effect, but the melodies, chord progressions, and some of the vocal emphases add to it. “Behind Your Pale Face” is the most rockin’ cut, “Double Mind” the most psychedelic. Evocative.
The MANIACS play a combination of Finnish-influenced thrash and English-style punk. Some of the songs are somewhat garagy, while others have a steady ’77-style beat. Gruff vocals and a heavy bass make the MANIACS quite likeable, especially “Weltkrieg” and “We Want You.” Very catchy stuff.
A fiery eruption of clamorous urgency, storming out insistent pursuits of turbulent aggression into crushing unrestrained power. INFERNO boils over in flailing thrash excitement. A blazing outfit of riveting nitro speed and amplified havoc, much like the BASTARDS or the NEOS. Crank this one into the reels and explode.
Boy, these Spanish bands are really sticking to the ’77 sound, but the ESPASMÓDICOS add some new twists. The title cut has an annoying sax break, and “Ni Eficiencia, Ni Progreso” has an awkward, disjointed feel. The best cut is definitely the speedy “Estan Deseando Que Te Pongas A Temblar.” OK, but not destined to become the talk of the town.
More raving, unchecked psychosis from Hysteric Eric (of VOMIT VISIONS and ESOTERICS fame) and company. Here, completely garaged-out grunge meets thrash with that bathroom recording sound. “Hectic Epileptic” sums up this group’s approach.
DECLINO present an EP’s worth of powerful thrash with sound political lyrics. The guitar could have been recorded louder, but the songs have flair and the band is exceptionally tight. In sum, the best Italian hardcore outfit since INDIGESTI.
LA BROMA DE SSATAN offer pretty well done punk, of both the ’77 and more contemporary varieties. The song titles, which include (in translation) “Pogo on a Nazi” and “You’re Gonna Die in El Salvador,” indicate their thematic concerns.
Holland’s AGENT ORANGE continues to flourish with rambunctious cranks of intense mayhem. Whining guitars leap forth as a savage ensemble engages in sudden rages of rigorous combat. A whirlpool of alarming breakneck speed and forcefulness, especially in blitzing cuts like “Herpes” and “K.K.K.”
This is the kind of chaotic, sloppy thrash that’s appealing in short bursts, but hard to take for extended periods. Although this EP has raw guitars and emotional vocals, the rhythm section sometimes falters and leaves only a grinding mishmash. The ABSURD need to tighten up a bit.
The first “psychobilly” compilation mainly features British “blood” bands. Side one is weird gothic post-punkabilly—the songs are miniature trash psychodramas that don’t really rock, ALIEN SEX FIEND track excepted. Side two has SCREAMIN’ LORD SUTCH, who sounds a lot like a local TV host for Chiller Theater; the STINGRAYS, OUTCASTS, and RICOCHETS, who rock out in a real punkabilly style; and the PANTHER BURNS, who thrash out an alternative version of “Red Headed Woman” recorded at a Memphis high school radio station with an orgone accumulator replacing the bass. SHOCKABILLY’s very best song (“City of Corruption”) closes the album.
The TOY DOLLS are in top funnypunk form on their new single. Not only are the themes and sing-along choruses typically hilarious, but the up-tempo rhythm and crisp guitar assault add more oomph than usual. If this record doesn’t make you crack a smile, you’re already dead.
A real potpourri of styles can be found on this latest TOTAL CHAOS release. There’s a cool guitar instrumental (“Blood on the Roof”), a pair of slow, rather unusual punk songs (“Bank of England” and “Where is the Fellowship?”), and three great post-punk numbers that I really like. Given the name of the band and their earlier style, this 12″ is really a surprise, but a pleasant one.
Well, these lunkheads have finally come out of the closet and revealed themselves to be blatant neo-fascists on vinyl. Unlike many others, I don’t use the term “fascist” lightly, but SKREWDRIVER are fascists, pure and simple. With titles like “White Power,” “Smash the IRA,” and “Shove the Dove,” it’s easy to surmise that they have ultra right-wing views on every important issue. The fact that they’ve written three catchy Oi chants is unfortunate, because some misguided souls will pick this up just for the music and inadvertently support these regressive attitudes.
Two clever funnypunk songs from a brand new outfit. The themes can be clearly discerned from the song titles, and the music is in the raucous mid-tempo vein. Good offensive fun.
Working class punk rock, chants and all. The guitarwork is tasteful and melodic, sort of like the early CLASH, and the vocals also have some Strummerisms. It’s funny to hear a band with that style today, but I’ll bet they don’t think it’s particularly funny.
The old POP GROUP singer meets Adrian Sherwood, and the result is absolutely incredible. Is it my speakers blowing out or was the studio burning down? I’ll never know, but I do know that the blend of Stewart’s killer voice and worldview with Sherwood’s distinctive dub editing and bass-heavy style is hard to match. Whether or not you ever liked the POP GROUP, this one is recommended.
A new scam by some members of CHAOTIC DISCHORD. Musically, the “SEX AIDS” play sing-along funnypunk with a rather PISTOL-ian guitar sound and COCKNEY REJECTS-type vocals on the title cut, and they do actually succeed in generating a few guffaws if you’ve had a couple drinks.
This group has a traditional UK anarchist band musical approach and stance, and they seem to be firmly committed. “Man” is a dramatic and unique song with an intense build-up that culminates in tense, maniacal thrash; the other two cuts are slower, but just as tense/intense.
Slower-paced, sparse, and more post-punk than punk, the music performed by this band is very foreboding. It’s often punctuated by longish guitar solos, but they aren’t annoying or egotistical, and actually add to the effect. The lyrics, while superficially offering nothing but a bleak view of the future, are certainly intelligent, and ultimately do encourage resistance to the 1984 horror show.
The first song is a blend of tribal disco-pop sounds and good lyrics. It reminds me of 10 CC, but the flip is in the early P. GIRLS style, with its stark, dissonant, and poetic attack on male sexual attitudes. Maybe they aren’t yet completely lost to the pop circuit.
This one really breaks the TEST TUBE mold. “Jinx” is a brilliant post-punk number with speed, power, and a smashing guitar riff; “Trapper Ain’t Got a Bird” is a humorous reggae jam. No standard funnypunk here.
The PASTELS are a peculiar little psychedelic pop band in the late-period TV PERSONALITIES tradition. This release has a somewhat more solid sound than their earlier efforts, though it certainly won’t blow anyone’s speakers. “I Wonder Why” has a nice bouncy quality; the flip is wimp city.
An excellent second album from these guys. It mostly consists of medium and fast-tempo Britpunk, and all the songs are delivered with great power. “Corrupted World” and “Nightmare” really kick ass, though the latter is also on their recent 45. Recommended.
Most of the five tracks here don’t really grab me, though they’re not bad examples of mid-tempo Britpunk. However, “Frightened” has some real strength in its brooding, menacing development, and “Evil Faces” has nice drive to it.
More exciting mayhem from MAYHEM. “Gentle Murder” and “Lie and Die” are tense mid-tempo numbers with loads of power and dynamism; “Clean Cut” is a roaring thrasher like those on their debut EP. Stunning.
More catchy pop-punk from MAJOR ACCIDENT. Despite their occasional faster-than-usual tempo, all these songs have hooks galore. “Dayo” is particularly distinctive, with its repetitive sing-alongs and stampeding drum assault. Their best so far.
Finally, some vinyl from this eclectic, powerful band. This record has superb production, a speedy full-bodied guitar sound, and distinctive songs that are worth hearing over and over. Highly recommended semi-thrash.
A new English group with a folk-rock sound closer to that of LA’s contemporary ’60s revival bands than the genuine ’60s article. Still, both sides are rather tasteful. “Cold Steel Gang” is an engaging little ditty with a nice folk-rock guitar; the B-side isn’t as good, but has a decent hook. Worth a listen.
A real abrasive, guitar-heavy mid-tempo punk record. The title song, which they’ve borrowed from a newspaper headline, concerns a punk “riot” and has an amazingly cool Oriental-flavored guitar bridge. Real hot! The other cuts are more typical.
Have the EXPLOITED finally joined the “human rights” punk movement? Who can say for sure, but their first EP on the Pax label contains a sharp anti-Bushell tirade (“Singalongabushell”), plus two surprisingly strong anti-war compositions, “Army Style” and the title track. The latter are especially fast and thrashy.
“Monday” mines a neo-psychedelic vein with fair success, though it compares poorly with the ESCALATORS’ past output and other contemporary ’60s-style bands. The real treat is the flipside—a surf-influenced cover of the theme from the Munsters TV show—which is probably a must for fans of novelty releases. Lots of fun.
On their debut album, the CULT MANIAX seem to be veering toward a slicker post-punkish sound, though the guitars are still loud and punky. Most of the material here is slow- to mid-tempo, but there are enough good hooks to keep you listening, and there are re-recordings of some of their old chestnuts. The singer’s voice is quite a bit like that of T.O.H.’s Kirk Branden. An uneven release.
This is good English post-punk with hints of early GANG OF FOUR. Both sides feature a rhythmic bass/drum attack, a powerful, tasteful guitar, and semi-anguished singing. It may not be earth-shattering, but it’s surely uncommon enough to deserve a listen in this day and age.
The three very militant, confrontational, and positive songs on this EP demand that we take back what should already be under our control, be it our governments or the punk scene. The reason I say “positive” is that they stridently demand these rights. CONFLICT represent the real positive punk, and they are therefore justified in launching a spirited attack on bogus “Positive Punk,” the new trend fanned by the British music papers. The music here is also strident and powerful, making this an excellent acquisition all around.
Ugh! The title song urges capital punishment and stronger government action (to deal with rapists), whereas “The Right to Choose” accuses the C.N.D.—British peace organization—of facilitating a Communist takeover, supports the installation of American nuclear missiles, and appeals to people to honor the British Falklands casualties. This band backs up these amazingly reactionary views with fairly common Britskunk. Wanna buy my copy?
The APOSTLES are enigmatic. They are one of the most articulate and politically oriented bands I’ve ever heard, but despite their obvious intelligence, they’re a bit ominous. Their political philosophy is a strange amalgam of progressive (anti-establishment, anti-government, seemingly anti-racist) notions, and they advocate violence to overthrow the system. Musically, this record is raw, abrasive, punky, folky, experimental, and atypical, but the APOSTLES’ significance lies in their provocative ideas.
The ANGELIC UPSTARTS are one of those bands that write about one great song per thirty throwaways. Amazingly, both of these cuts are great punky pop jams with real catchy hooks, fine guitar leads, and fairly thoughtful lyrics. Does this mean we’ll have to put up with sixty mediocrities before the next winner?
The AMEBIX are not a thrash band, but they’re not wimps either. Their music is a blend of tense drama and plodding seriousness that gives me a feeling of impending doom. With its great production, distinctiveness, and angst, I think this 12″ is the best thing they’ve ever done. “Progress” and the title song are exceptional tracks.
