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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!
Follow-up to This is Boston, Not LA LP. More great raves from JERRY’S KIDS, GANG GREEN, and F.U.’s, and some slower material by GROINOIDS, PROLETARIAT (great put-down of Reagan called “Voodoo Economics”) and the FREEZE’s classic “Refrigerator Heaven” that schizophrenically jumps from slow ’70s rock to thrash.
A good but somewhat disappointing sampler of New York punk bands. The main problem is that the compiler—Tim Sommer?—didn’t always use enough discrimination in selecting bands or songs. Especially impressive are KRAUT’s piston-driven punk, the BEASTIE BOYS’ primitive thrash, and intense experimental punk by both the FALSE PROPHETS and the long-defunct MAD; one should also note ADRENALIN OD’s ultrafast funnypunk and the female-led noise of EVEN WORSE. Most of the other groups should already be familiar (BAD BRAINS, UNDEAD, HEART ATTACK, NIHILISTICS), but there’s no excuse for including macho Misfits-clones like the FIENDS and leaving the great REAGAN YOUTH off this compilation. A lot of the material here is available elsewhere, but ROIR has provided a service by reissuing some hard-to-find and out-of-print items.
Four songs—one hardcore shorty and three more post-punky sounds, none of which are lightweight at all. Very raw, choppy guitars, raspy vocals; slightly dissonant. Along with CHAOTIC DISCHORD, one of the few new UK bands to break the mold.
The three supremely infectious pop-punk compositions on this EP are matched, unfortunately, but rather generic themes of teenage rebellion. “Steamroller” and “Numbers” ripple with fast melodies and enormously clever lyrics, and undoubtedly “Viva la Revolution” could have been a classic if only they hadn’t run the chorus into the ground. Very entertaining, but not very important.
A new release of old stuff by this English band on an American label. Two tracks are from the debut LP Drop Out with the Barracudas, but the best songs are previously unreleased trashings of the We Five’s “You Were on My Mind” and the Surfari’s “Surfer Joe.” The guitars and vocals are out of tune and the playing is sloppy. A must.
Definitely not as gritty and hardcore as ANTI-PASTI’s first album, Caution in the Wind opts for a greater emphasis on melody in the mid-to-fast-tempo compositions. This “classical punk” sound adds a new dimension of distinctiveness to the songwriting (especially in standout tracks like “Get Out Now” and “Mr. Mystery”), even if it does occasionally wimpify some of ANTI-PASTI’s best songs. Entertaining, but not particularly energizing.
BLITZ limps into their third single with two Oi anthems of only passing musical interest, especially in comparison with their past triumphs. Predictably, “Youth” whips through the familiar turf of teenage rebellion, but “Warriors” remains the far more disturbing of the two cuts; its lyrics, surprisingly, almost condone British gang warfare. Avoid.
CHAOTIC DISCHORD have fortunately stepped into the vacuum created by the demise of DISORDER, thereby showing that the English are capable of producing first-class thrash punk if they decide to. All these tracks are monstrously raw, and “Sold Out to the GPO” may even be too fast.
More medium-paced songs with double-tracked female vocals. Good production, but not real exciting.
CHELSEA finds the groove with an upbeat collection of melodic 1977-style punk anthems. Often inconsistent in the past, CHELSEA’s latest lineup orchestrates classics like “Cover Up,” “War Across the Nation,” and the incredible “Evacuate” with flair and authority. Best of all, the band fuels their political sentiments with a higher level of literacy than most rock outfits can muster. There is only one bad song in the bunch. Snap this record up.
CHRON GEN’s debut album derives most of its influences from CHELSEA circa ’78, though without as many of the catchy melodies to depend on. Originals like “Reality,” “Chronic Generation,” and “Mindless” are the class offerings here, but it’s odd that all of these appear on past singles. Nonetheless, the bonus free live EP is excellent, hinting at the excitement of their tight, powerful live performances.
This is fast, quasi-experimental punk with incredibly out-of-tune guitars with are bound to annoy the feeble-minded. The CLOCKWORK CRIMINALS transcend all Britpunk clichés and come up with a truly original sound. Hooray!
Two albums, one poster, and a splendid 28-page large-format booklet (all in a sleek boxed set) seems all too much to digest—especially from England’s most astute punk outfit, CRASS. The studio LP, ranging from unrestrained thrash to sophisticated post-punk, contains some of CRASS’s most astonishing compositions to date; especially exciting are “The Great Working Class Rip-Off” and “Tribal Rival,” two impassioned attacks on Oi violence, and the superbly written “Reality Whitewash” which exposes vicious sex stereotypes and roles. In addition to a delightful live LP, Penny Rimbaud’s extensive article in the booklet provides a historical background for CRASS that’s spellbinding, perceptive, and lyrical. This release is incredibly mandatory.
Of the four tracks on this record, “Wargames” blazes through familiar hardcore territory, anti-war protest, with economy and splendid production values, while “I’ve Had Enough” connects with a poppier approach. The other two numbers, more workmanlike and less inspired, still hold enough requisite punk energy to be recommended. A fine debut.
The incessant, no-holds-barred thrash on this EP surpasses on all counts CHAOS UK’s serviceable debut, Burning Britain, with a strong combination of intense vocals and a blistering guitar sound. All three songs set fairly high standards of quality, but fans of the VARUKERS should take special note of the vitriolic rocker “No Security.” This is loud, political, and uncompromising.
After two disappointing singles, the CRAVATS almost return to their true 1980 form with a pair of mid-tempo post-punk offerings. While “Rub Me Out” opts for a more hypnotic effect, the real stuff appears on the flip, with its spooky changes of mood and entertaining sax work. Quirky, inventive, and original, this single also has the most hilarious lyric sheet I’ve ever seen.
Don’t ask me how an unknown band from Wales emerges with a winner like this. Songs like “Woe-Man” succeed modestly in a slow, atmospheric vein, while “Fish” and “Faceless Rite,” mining the territory of light pop, deliver totally original melodies with complete finesse. I especially enjoyed Debbie’s unpretentious, nonchalant vocals, though the novel use of woodwinds was probably the deciding factory on this EP.
Despite a rather dreary B-side, DRONGOS FOR EUROPE injects genuine passion into the anthem like “Death’s a Career,” an angry tirade against military conscription. True, war is a rather easy subject to rebel against, but the message is important—even if this sub-genre needs more particular targets (take your pick) in the future.
Nothing special, not bad either. Basic ’77-style punk.
VICE SQUAD-ish—three medium-paced songs, one fast un. Got the picture?
Judged in comparison to their first two records, this latest EP by GBH is bound to register as a major letdown. Yet, in its own frantic, trashy way, songs like the rather hilarious “Sick Boy,” as well as the more serious compositions on the flip, grab your emotions by virtue of their sheer vigor and enthusiasm. While by no means a great record, this EP remains undeniably effective in its modest way.
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.
