Disrupters Shelters for the Rich EP
OK, medium-tempo songs, a bit repetitious, but great lyrics.
MAXIMUM ROCKNROLL
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OK, medium-tempo songs, a bit repetitious, but great lyrics.
Generic English punk, but compared to 97% of what is released in the world these days, it’s OK. Everything is relative, right?
They’re back? Yes, but with a new vocalist, and two incompetently written and edited ’77-genre punk rock-outs. While I admired the hard guitar sound, the songs here (especially “Wolf at the Door”) go on far too long, and with surprisingly primitive production to boot. Was this the same outfit who did “Freak Show” and “Last Guitar in Town”? The old LURKERS are nowhere in sight.
Eight songs that combine Oi choruses and DISCHARGE-like lead vocals and guitars with a really fast-paced tempo. Songs are short and sweet. Good first effort. Not to be confused with LA’s infamous MAU MAUS.
Excellent four-song effort, great, powerful sound, fast-paced, what punk is all about. Get it!
The anti-war sentiments of this single are related with a good feeling for concise, compelling verbal imagery; too bad this effort veers into non-descript pop, especially on the flipside. While a song like “No Doves Fly Here” would have been right at home on the Wargasm compilation, its subject matter has been done more powerfully, lyrically, and eloquently elsewhere. Disappointing.
After a two-or-more-year vinyl hiatus, the NEUROTICS are back with a stirring critique of both the reactionary Thatcherites (“Tories”) and assorted violent headcases. They’ve abandoned their earlier garage quality in favor of more melodic, well-produced sound, but without completely sacrificing their appeal.
After their first dismal 45, I’m amazed to report that ONE WAY SYSTEM’s new release features great Oi music. The excellent production highlights their soccer-chanting and twin-guitar-powered songs, one fast (“Future”), and the other slower. A good buy.
Probably the weakest single ever from this long-standing Northern Irish punk band. Nothing could salvage that putrid piece of muzak, “Angel Face,” though their militaristic rendition comes close. The flip is a remixed version of an already-released song. This band is capable of much more than they display here.
Left-wing skinheads put out a great pair of untypical songs that deal intelligently with important political themes. “Peasant Army” is driving and anthemic; the flip is rhythmic and bass-heavy, almost funky. Recommended.
This respectable funnypunk entry by PETER AND THE TEST TUBE BABIES doesn’t have quite the innate charm of their last single, yet it’s still enjoyable hardcore fun. “Up Yer Bum,” with its driving guitar attack, rates as a fine example of hate-rock, though “Run Like Hell” strikes an amiable compromise between hard pop and Oi—with hysterical lyrics to boot. Recommended!
The POISON GIRLS, easily one of Britain’s finest post-punk ensembles, have translated a sense of rawness and snarling intensity onto this live LP which hasn’t yet been heard on their studio efforts. Commanding songs like “Persons Unknown” and “State Control” stand on their own, but familiarity with their material helps in appreciating this album. Elegantly packaged.
This delightful post-pop single represents the RAINCOATS’ definitive vinyl to date. While the A-side, “No One’s Little Girl,” impressed me with its subtle melodic sense, the SLY STONE cover on the flip is quintessential RAINCOATS—good-humored, loose, and charmingly amateurish. Good stuff.
This second single by UK’s RED ALERT would have been fine if the tracks had appeared on an album. The recording is powerful, the themes politically astute, and the songs above average; unfortunately the three Oi songs are far too generic-sounding to be on a single. “Take No Prisoners,” the best track here, is only mildly catchy.
No to be confused with the South African punk band of the same name, but will be confused with just about every other recent UK punk band. Know what I mean?
In ’64, Liverpool ruled, but not anymore. Boring.
One of the few recent post-punk records that I like enough to bother reviewing. Sure, it has the standard JOY DIVISION-clone vocals, but the drum machine’s hypnotic beat and the powerful psychedelic guitar in “Adrenochrome” are irresistible. The flip isn’t quite as good.
The reissue of SIX MINUTE WAR’s first EP provides fans of intelligent political punk a great opportunity. Production here is very garagy, but more than compensated for by its thought-provoking lyrics and inventive arrangements. Standout songs like “Strontium 90″ and “Camera” contribute to the integrity of this abrasive, mid-tempo record.
Second release, pretty ordinary power-chord punk. Bring back early STIFF LITTLE FINGERS.
A brilliant punky follow-up to their excellent rockabilly-tinged debut. The double guitar power really grabs you, but the Straps also have a knack for writing dynamic, unforgettable tunes. “Brixton” is a mini-masterpiece dealing with Britain’s recent riots.
Like their last single, this latest EP by the SUBHUMANS (UK) offers one excellent ’77-style punk cut and three good examples of filler. There’s no doubt that “Religious Wars” has it all. Inventive guitar-work, manic velocity, and scathing anti-religious lyrics; unfortunately, the other songs imitate generic Brit-punk.
This record demonstrates improvements over the VARUKERS’ very good debut, and also a development from their early DISCHARGE influences. “Dance Till Your Dead” maintains a thrashy power with added melodic complexity, though “I Don’t Wanna Be a Victim” seems more ordinary. All in all, the VARUKERS mix energetic songs and powerful production with astute, intelligent lyrics.
The TV PERSONALITIES (a.k.a. the TIMES, the GIFTED CHILDREN, TEENAGE FILMSTARS, etc.) perform a truly charmed version of “Geoffrey Ingram” here, a perfect pop song from the HERMAN’S HERMITS camp of pop music. The wry human commentaries which made their early singles so disarming, however, are missing from “And Don’t the Kids Just Love It” and the mildly catchy, psychedelic “Three Wishes.” For TVP fans.
Some feel that VICE SQUAD is falling into the morass of contemporary post-punk. Not quite yet. Stand Strong Stand Proud, despite several throwaway numbers, clashes with social malignancies like vivisection (“Humane”), political passivism (“Freedom Begins at Home”), and the steady erosion of punk values (“Out of Reach”) with power and complete credibility. In addition, Beki’s point of view provides a welcome contrast to the typical male-dominance in modern-day hardcore. Highly recommended.
Slow punk verging on post-punk. These songs are powerful and rather hypnotic, but they don’t match the band’s irresistible “No War” on the Punk Is… cassette LP. Singer Tez is dedicated to disseminating obscure punk through his Retaliation Records enterprise, so support him and buy this 45.
One cut each by EXPLOITED, CHRON GEN, and INFA-RIOT. All I can say is, “Bring back SHAM 69!” Secret must have the worst taste in punk.
Not as accessible as the first two BIRTHDAY PARTY LPs, Junk Yard meanders into the nether realms of dementia, violence, and sex. The style here reminds one of the POP GROUP, but this is only a comparison of convenience; the predominately dirge-like song on this record captivate your attention with their originality and unusual lyric concerns. An acquired taste, though worth an investment of time.
Deathly industrial noise abounds on this well-recorded tape, a document of SPK’s last American tour. Simply the best band of its type, SPK runs through their disturbing pop music parodies and every manner of human atrocity, and always with that dynamic tribal beat in the background. The show must have really fried their brains in Lawrence, Kansas. This cassette is extraordinary.
SPK, utilizing their encyclopedic knowledge of sound and its relation to specific emotional states, hit the bull’s eye with this landmark industrial music release. Leichenschrei takes perfectly orchestrated chunks of noise, modulates them with a powerful percussion section, and even adds little shreds of humor for the hell of it. The result: industrial music-making that, instead of isolating the listener, involves them. One of the three or four best LPs of 1982, no question about it.
Classical punk from Holland. The vocals are nice and rough, but the guitar is too clean to scrape the wax out of your ears. Not as good as their well-rounded Dead Entertainment LP.
This compilation from the Netherlands features seven bands, the hottest being the OUTLAWS, NITWITZ, and AMSTERDAMNED. Runs the gamut from ’77 punk to full-tilt thrash.
Another one for collectors. Sound quality varies a lot, but contains some unobtainable punk from Poland, Germany, Italy, Finland, etc. Including incredible hardcore from Brazil’s OLHO SECO.
26 hardcore punk and abrasive post-punk cuts from Sweden, Finland, Italy, Brazil, Norway, England, and the US. Sound quality varies. A must for those who want to keep up with the worldwide spread of the punk plague.
Twelve groups from Scandinavia presenting punk and thrash, including the great TERVEET KÄDET and KAAOS. Finland rules, OK?
Hard Finnish punk, ’77-style. “Totuus” is almost fast enough to be thrash; the others are slower. Nice buzzing guitar.
This group’s first EP had a certain charm that they have now replaced with a leaden sound like that of label-mates ANTI-PASTI. The result is pretty nondescript.
With a name like DISEASE and a song title like “No Future,” this record has to be punk, right? Wrong, it’s weak post-punk with squeaky-clean guitars. This is about as wimpy as ORANGE JUICE, so someone ought to sue them for false advertising.
Doom with a very fast beat. Don’t say that these guys didn’t warn us if someone drops the big one, because this is the second LP (they also have four 7″ers) that hammers away without mercy at the potential hell of nuclear holocaust. The songs here tend to be a bit similar (repetitive riffs and some heavy metal guitar), but the delivery is so powerful, the words so convincingly committed, that it’s a winner. Much like watching a huge fire—horrifying, but riveting at the same time.
A bona fide classic, manic thrash punk of the most intense kind. This EP demonstrates that DISORDER is the very best punk group in the UK and the only one that can even approach Yank outfits like MINOR THREAT and the FARTZ in terms of sheer power. If you get only one English record from 1981, this should be it.
The new release by the UK version of the PLASMATICS may contain the best song they’ve ever written (“Alternative”), with its snappy hook-laden chorus, raw power, and—perhaps strangest of all—intelligent lyrics. Unfortunately, the flip exemplifies their usual mediocre standards.
RAMONES clones who sound more like the LURKERS except for some obvious vocal touches. Even so, these are the type of good poppy tunes that “da brudders” don’t seem capable of producing these days. I guess that’s a recommendation.
Lots of really fast HC stuff here, but you can’t tell what they’re singing about—no lyrics sheet. But maybe it’s better this way. I’m afraid to know what these “geniuses” are saying. Cover says it all.
GBH are real fast and real powerful, but for some reason I’m not wild about them. Their songs just are not that distinctive and I have a nagging feeling that they’re all form and no content. Even so, “No Survivors” is one of their best efforts to date.
Disappointing. The sound is certainly heavy enough, but it’s too slow to keep up with their first thrash EP. Thematically sound but musically average, and I could do without another version of the HEARTBREAKERS’ “Chinese Rocks.”
Your basic English punk here—steady beat, drone guitar, political protest lyrics. B-side “Working Class” is catchy. Good-looking sleeve, but best part is the name of the label.
By no means special, but a vast improvement over their first heavy metal-punk release. Increased speed is the differentiating factor rather than improved songwriting.
A bunch of losers from the DAMNED, DEAD BOYS, and SHAM 69 band together and prove they’re not has-beens. This is a really original record featuring irresistible hooks, tasteful psychedelic guitar work and enough snottiness in the vocals to hold down the pretension. A pleasant surprise.
It’s got those UK punk choruses OK. Straight-ahead delivery, but not as supercharged as their first release.
Very clever and very funny, but all too typical from a music standpoint. Except for the thrashed-out “Got Any Wrigley’s John?”, it’s the humor that makes this one stand out. (Not the award-winning title: “I Lost My Love to a UK Sub.”)
Awesome thrash punk from DC. This band has the kind of power and commitment that most groups only dream about. Not only does this blast right off the turntable, but the songs really stand out. One of the two or three best releases of 1981, no doubt about it.
