Daily Terror Klartext / No Fun Is No Fun 7″
Oi in one country is enough, nicht wahr? Boring.
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Oi in one country is enough, nicht wahr? Boring.
The second album from an old Toronto punk band known for its cavalier offensiveness. Compared to their classic In Love with the System LP, which was filled with unforgettable satire like “Elvis Is Dead” and “No Beatles Reunion,” this new release is rather tame. Despite the personnel changes, the group retains its infectious pop-punk sound and its absurdly ironic quality, but the themes are much more pedestrian and much of the obnoxiousness is gone. I guess that’s “progress” for you.
Nine songs that absolutely rip. Very much in the DISCHARGE vein, as are many of the European hardcore bands. This one’s from Holland.
Punky pop-rock from Germany. The songs range from the heavy PROFESSIONALS-like pop of “Pest Club” to the PISTOL-ian “Rote Masque,” but they all have dense guitars and hooks aplenty. A mixed bag, but definitely worthwhile.
Cockney kids from Hamburg? Jawohl, mates! German teens from that city were highly influenced by the Brits in the ’60s—the BEATLES played the Star Club and the RATTLES emerged. In the ’80s, it’s NAPALM’s turn, right down to the accents and soccer chants.
A live recording from this German group. It utilizes a sax, but it’s not “arty.” The A-side has a hard-driving, sparse, “Peter Gunn”-like sound; the B-side is punkier and even stronger. They’re coming to the US in January.
This is the second album from this German group. It’s like meeting the VELVET UNDERGROUND and SUICIDE in a rainstorm. It isn’t gloomy either, it’s a lot of fun. They don’t get too wild but the rhythm is rigid. They even do “Louie Louie” without making it sound old.
Mid-tempo ’77 punk from this German hardcore band. If the guitars were turned up twice as loud and the vocals were more raspy, the NORMAHL might have something going here. This isn’t the case, so the results are less than satisfying. These is an appealing amateurishness evident here, but it’s not enough to overcome the above-mentioned shortcomings.
Four songs, each with a different style. One is in the UK post-punk style, one is a surf standard, one is CRAMPS-ish, and the final one tears it up. Good female vocals, but unfortunate intrusion of the synth.
Basic ’77 punk with no surprises. I’m not sure why, but most German hardcore groups are still mired in the slow ’70s punk tradition. The SYSTEM display little power, no intensity, and undistinguished songwriting. “Knall sie ab” is the best of this batch of material, but someone should send these guys a MINOR THREAT or NECROS EP to show them how it’s done in the ’80s.
This West German band plays tight, hard, powerful punk and hardcore. Great record, along with all their previous releases.
The best garage punk album of the year. The SAMOANS have once again produced a brilliant amalgam of 60s punk, 80s punk, and heavy metal. The punchy uptempo sound, buttressed by three guitars and extremely belligerent mid-60s lead vocals is so dense that it’s well-nigh impenetrable, but it’s the SAMOANS’ exceptionally retarded sense of humor that really accounts for their perverse appeal. This brain-damaged approach is vastly better than the commercialized punk and self-conscious Satanic crap which currently dominates the LA scene, so don’t miss out.
Nine-song debut from NYC. Furious-paced hardcore laced with heavy metal guitar solos and extremely short songs, much like the first CIRCLE JERKS LP. And like the latter it has confused lyrics which condemn much and beg for unity—but around what and for what? All in all, enjoyable.
Reputedly the last release from ZOUNDS, this 45 showcases an appealing change of musical direction. From punk origins to their rather post-punk phase to this, an ennui-filled variety of pop music particular to the English. Pick this one up if you’re a TV PERSONALITIES or SOFT BOYS fan.
Hey, it’s punk rock that sounds very much like the Canuck SUBHUMANS, even down to the Wimpy Roy-style singing. Most the punk bands in the US either wimped out or went thrash, leaving the last bastion of the older sound in England and the wilds of Canada, whence this group emerged. Fellas, it’s ’83, but your record is darn nice in a nostalgic sort of way.
Nine songs from this German group, mostly sung in English and sounding very English, too (ca. ’79-’80). They even do a cover of CRISIS’ “Holocaust.” The lyrics are great and the material is fine and dandy. An excellent debut.
The third in a series of German compilation albums recorded live in Hamburg. All of them have been uneven, and this one’s no exception. Basically, it contains boring rockers (SALINOS), art damage junk (LIEBESCIER), and unimaginative punk (the CORONERS). Even groups that have previously produced something worthwhile (the RAZORS, ABWARTS) are unable to rise above on this platter. For collectors only.
Experimental punk from Denmark. A raw guitar assault and excellent lyrics are wedded to quite varied arrangements—some are thrashed out, some are slow, some are staccato, some are unrelentingly driving, etc. “Government, the Biggest Enemy” hurtles along at a breakneck pace and comes in first on the Bale scoring system.
This LP by an ex-ADOLESCENT has all the pitfalls of the decaying rock scene of the early ’70s—overproduction, solo instrumentation, sappy love songs, and self-indulgence to the max. I hope this doesn’t bode ill for the future direction of the LA punk scene. The lyrics are either romantic, tragic, or suicidal—Leonard Cohen, move over. The weakest release on the normally strong Frontier label.
Like their Alternative Tentacles 12″, this new EP has three metal thrash attacks on one side and a reggae composition on the other. The outstanding punk cut is the blistering “Joshua’s Song,” and the BRAINS are finally improving their previously poor reggae style. Politically, this record reveals the typical Rasta mixture of progressive (opposition to the Establishment) and reactionary (repressive religiousity) values.
A great re-release from the near legendary ’60s band. Distortion and power chords are the staple of this group’s sound, along with some great psychedelic guitar breaks. References: the early WHO, the mid-period YARDBIRDS, the MISUNDERSTOOD, etc. Includes great liner notes.
ESPIONAGE SABOTAGE SUBVERSION presents mostly stop-and-go thrash tracks here, but there is also one long arty song with tense dynamics. Continued proof that hardcore can grow in any climate, even the sandy soil of Arizona.
Great compilation of upper midwestern bands (except Boston’s F.U.’s). Some have previous releases—TOXIC REASONS, ZERO BOYS—but most are vinyl virgins (SLAMMIES, BATTERED YOUTH, DELINQUENTS, ARTICLES OF FAITH, REPELLANTS, LEARNED HELPLESSNESS, PATTERN, and DIE KREUZEN). More volumes are planned for the future. These regional collections of little-known bands are extremely important, so give the ZERO BOYS credit for organizing this project.
The follow-up to Charred Remains. This compilation features 26 bands, including JFA, the CRUCIFUCKS, RED SCARE, MOURING NOISE, BATTALION OF SAINTS, MECHT MENSCH, RIGHTS OF THE ACCUSED, SIN 34, NEGATIVE ELEMENT, the MOB, REBEL TRUTH, and on and on… You can’t go wrong here.
Surprise, surprise! This record sounds just like DISCHARGE. Actually, only “Doomsday” does; the flip is much slower, but structurally the same. You either like DISCHARGE and can’t get enough of them, or you say “never again.” They sound a lot better on record than they do live.
Psychobilly, that unique blend of rockabilly style, punk energy, and modern sound has produced a few outstanding records—some CRAMPS, GUN CLUB, PANTHER BURNS, and METEORS cuts. This latest single is a continuation of their great LP. Boss.
A really solid guitar-bass-drum attack anchors these highly intelligent blasts by a new Chicago band arising out of the ashes of DIRECT DRIVE. The singing is gravelly as hell, the music fast yet tight, and the songs infectious. A sure winner.
Mostly stuff you could find on other 45s or compilations, but nice to have with the 12″ sound quality. Title track is the only cut with vocals and is more contemporary; other three cuts—”Mr. Moto,” “Pipeline,” and “Miserlou” are Surf City Specials.
It could be the best girl group to come along since the SHANGRI-LAS. “Getting Out of Hand” is the standout cut with great vocals and sparse garage instrumentation. Sounds like everything you thought that “other” LA band was going to but didn’t.
Thrash garage punk with amazingly snotty vocals. The instrumental raunch perfectly complements the singer, who sounds like he’s right on the edge of sanity. You’ll be singing the chorus to “Beastie Boys” for days after hearing it, and the psychedelic (“Jimi”) and country (“Michelle’s Farm”) satires are really silly. The best of the new crop from New York.
A new punk EP with a sound reminiscent of some of DOA’s earlier material. The production is real basic and the songs grow on you with repeated listenings, but the overall delivery is too restrained for the angry anti-fascist lyrics on songs like “US Police State.” Enjoyable but not earth-shattering.
A dozen songs—highly produced punk with pop overtones. Not as frantic as their first EP (two songs are repeats). Southern California suburban angst.
Rock and roll retard JEFF DAHL is at it again! The guy may be a jerk, but it’s hard to fault this nifty garage punk record. “Power Trip” is older-style gutter rock, while the others are real fast punk blasts in the recent ANGRY SAMOANS vein. In fact, I’ll be anything it is the SAMOANS backing him up here.
7-song tape for a mere $2.50 from this Arizona HC outfit. Female vocals fronting some really ripping music that doesn’t let up at all. Great value.
A split package by these transplanted Floridians—two metallic rock songs and two thrashers. Although the vocals on the former pair remind one of the late Jim Morrison, the real strength of this EP lies in the others. “Male Domination” is a particularly outstanding cut, with its adrenaline kick and vicious anti-chauvinist lyrics.
A-side is very reminiscent of the earlier DK’s sound—words you can hear, slower but extremely powerful and clear instrumentation. B-side is more thrashed out, and again very strong production. The excitement generated by them at live shows comes across on both cuts. Great graphics too. Should be out domestically on Faulty.
Wisconsin thrash punk with more structural complexity than usual. Choppy rhythms, fluid guitarwork, and spastic vocals are the distinguishing characteristics here. DIE KREUZEN (formerly the STELLAS) provide further proof that the Midwest is no longer slumbering, so give them a listen.
Texas garage punk. “Hydro-Head” is sort of slow with a memorable chorus and one of the worst guitar solos I’ve ever heard; “Johnny” is a much faster and punkier song with a basic rock and roll bridge. Fun stuff.
What more can be said about this record that hasn’t already been said? The power contained in this record is awesome. Guitar distortion and feedback, along with great songs make this one of the best discs of ’82. Reviewers have said it sounds like the VELVET UNDERGROUND, but your best bet is to listen for yourself. Watch for new LP soon.
Two distinct bands share this wax. VOID has all the intensity one expects from a Dischord DC band. Some ferocious attacks and at other times sounds like SOA meets LED ZEPPELIN. FAITH is more standard-type thrash, meat and potatoes ’80s punk. Buy or die!
Hard-edged experimental punk with a lot of intelligence, the second release from this New York crew. Vocalist Stephan Ielpi is one of those rare individuals who doesn’t allow himself to be restricted by conventions, punk or otherwise, and it shows in the grooves. “Fun” is loud, fast catchy, and highly critical or ignorance and violence; “Functional” is slower and filled with romantic bitterness. Strongly recommended.
The undisputed king of New Hampshire raunch rock returns with yet another trashy garage offering. G.G. may be predictable in his excesses, but when the results are this loud and absurd, it’s OK with me. This type of bone-crunching guitar-heavy stuff is as American as mouldy apple pie, but don’t expect the Reaganoids to invite G.G. to perform at the White House.
A hot garage punk album by a hitherto unknown bunch of nerds. Their uptempo sound, which is driven by two or three guitars and a synthesizer wall-of-sound à la METAL URBAIN, is extremely dense and chunky. The lyrics are satirical and usually funny, thought some songs (“Nazi Snotzy”) go too far and make them sound like insensitive geeks. The final verdict? Entertaining as hell!
This well-produced debut album by LA’s LEGAL WEAPON presents a solid collection of hard rock numbers in the same general style as 45 GRAVE, but without the satanic overtones. Compositions like the kinetic rocker “Daddy’s Gone Mad” utilize Kay Arthur’s rather plaintive voice to good advantage, even though the highlight of Death of Innocence is probably the haunting “Wanna Be”—a ballad. This album definitely grows on you.
Bass- and drum-heavy post-punk from the state of New York. “Screaming” has a basic rock’n’roll-rockabilly influence, while “Naja” is a pulsating quasi-psychedelic chant. I’m surprised this band hasn’t received more attention.
The first release on a Touch and Go subsidiary label (Special Forces) that apparently will not be restricted to hardcore punk. Detroit’s L-SEVEN has a unique neo-psychedelic sound that features an exceptionally fluid, almost jazzy guitar style. It works especially well on “Clear Visions,” which begins with an annoying sort of art damage before kicking into high gear. Interesting.
Nowhere as garagey and psychotic as their first EP nor as arty as their cassette in a can. Highly produced with background soundtrack, raw guitar, catchy rhythms.
The two songs on the B-side didn’t do much for me, but the A-side by this NY group is pretty neat. Slowish post-punk, off-beat production, anthemic vocals, a Chris Stamey production.
Ultra-primitive thrash from New York. Lyrically, the NIHILISTICS live up to their name, but the instrumentation sounds like a runaway vacuum cleaner and can be strongly recommended for that reason. This record is guaranteed to make musicologists puke, which increases its value substantially.
The kind of quintessential California beach punk that usually appears on Posh Boy’s label. The songs here range from slower pop-oriented numbers (“Scene”) to fast bursts of punk, but all of them have enough strong hooks to accommodate a large wardrobe. Cool music for a hot summer.
