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Maximum Rocknroll #380 • Jan 2015

ATTENTION! This Friday only, get a super deal on a 12-month subscription to Maximum Rocknroll ...

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Create to Destroy! KnitPUNX

I found Breeann Schauffler of Kansas City, MO, on Instagram. She caught my eye similar ...

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Record of the Week: NO FAITH Dead Weight EP

More complete life annihilation from Western Mass, NO FAITH deal in harsh, sludged-out powerviolence, bookended ...

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Christ On Parade!

MRR Radio #1428 • 11/23/14

This week's radio show brings you Rob and an old MRR shitworker Paul revisiting the ...

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MRR Presents: Friday Fuckin' Funnies! #62

NOWHERE CITY by Vickie Smalls! More great comix by Vic at nowherecitycomix.tumblr.com LIFE IS POSERS! Loads more at lifeisposers.com Every Friday ...

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Record of the Week: NO FAITH Dead Weight EP


November 25th, 2014 by

NoFaithEP

More complete life annihilation from Western Mass, NO FAITH deal in harsh, sludged-out powerviolence, bookended by passages of haunting industrial noise. Featuring most of the same membership as VACCINE (still my favorite straightedge band of all time, sorry nerds), their knee-deep pedigree also includes time in SQRM, ORCHID, AMPERE, and RELICS along with countless others. Some referents from the powerviolence world would include, well, VACCINE, or at times perhaps a totally scummed-out IRON LUNG, but there’s an oozing quality to the production that puts this in a whole other world of sonic nastiness. Lots of MOSS-worthy amplifier worship for those of you who know how to get down, revisiting some of the same territory explored in vocalist Will Killingsworth’s drone/doom solo project the TOLL. The noise segments are fantastic on their own terms and complement the music perfectly, never once feeling like an add-on or afterthought. Honestly, this is just the best shit.
(Clean Plate / Vendetta)



Reissue of the Week: X Aspirations LP


November 19th, 2014 by

X_AspirationsRecorded in 1979, utilizing just a few hours of remnant studio time, X forever scarred the tough-as-all-hell history of Aussie rock ’n’ roll with Aspirations. Boasting ROSE TATTOO’s Ian Rilen and the roaring, he-man punk legend Steve Lucas up front, the LP begins with the classic pummeling of “Suck Suck” and only gets more severe from there. “Good On Ya Baby” out-struts a band like THE SAINTS — no easy feat. “Batman” is steroid-bolstered art punk that has rarely, if ever, been equaled. “I Don’t Wanna Go Out” is completely past-it and genius. Fourteen vicious, out-for-blood punk tunes, all of which are steeped in some supremely heavy, dark and daring shit. It’s a legit classic and one of the best punk rock albums ever made. Should any doubt linger in your mind, or if for some reason you have no clue what the fuck this LP is, there’s not a single record in these pages [MRR #379] more deserving of your immediate attention.
(Ugly Pop)



Record of the Week: LA FLINGUE/
ORNITORRINCOS Punk to Cross Borders split EP


November 18th, 2014 by

Flingue_split

What a nice surprise! The two Oliviers. A record put out by Olivier Crapoulet featuring a new band by Olivier Gasoil (HATEPINKS, IRRITONES, etc.). Two fine-twisted gentlemen and two of my favorite Urinepeeins. LA FLINGUE starts out like POW! with feedback and French obscenities (I think?). It’s the usual amphetamine, hate-filled punk rock with tight melodies you’d expect from this crew of degenerates. Excellent. I’m not familiar with Brazil’s ORNITORRINCOS but they start out with a GERMS sample? They play some really tight, melodic, SoCal inspired punk. There’s some hints of Oi! in there and they deliberately (I think) steal some famous guitar riffs for their songs. Good stuff.
(Crapoulet)



Reissue of the Week: SIN 34 Do You Feel Safe? LP


November 12th, 2014 by

Sin34_DoYouFeelSafe

Yes! This is the reissue of the sole LP by SIN 34, one of the first (the first?) Southern California hardcore bands to be fronted by a woman — and a raging teenage punk girl at that. Formed in Santa Monica in 1981, rumor has it that Julie Lanfeld stole most of a drum kit for Dave Markey (of We Got Power fanzine) after he told her he wanted to start a band. He learned to play without a kick pedal or snare, using a metal lampshade as a cymbal and literally kicking the bass drum when he wanted to use it. By the time they entered the studio to record this LP, Markey had upgraded to a “proper” kit, but the songs retain their somewhat desperate quality — these kids loved NECROS and DEVO equally (even covering the latter), saw and played with and absorbed the sounds of their co-conspirators TSOL and BLACK FLAG. Like all truly great bands, everyone here learned to play their instruments for this group — it’s not inept, but rather, chaotic. This is straightforward hardcore, but they are songs written via osmosis and immersion, rather than careful study, identifiable conventions twisted and warped as a result. They are funny and pissed off in equal measure. Julie switches from deadpan to aggressive in a second, sixteen years old and absolutely furious.

I’m currently reading a book about Naomi Petersen, the staff photographer for SST and one of the lone women in the hyper-masculine orbit of Black Flag. It was a gift, and the inscription describes it as “Carducci’s hesitant capitulation to feminism, a typical man-apology.” A lot of things about the text are infuriating but it’s also one of the only documents of the role women played in what was both one of the most macho and most influential punk scenes in history. The importance of women like Naomi and Julie cannot be overstated and their histories have largely been erased. Tobi Vail contributes liner notes to this reissue, reclaiming Julie and the other women like her for the history of USHC and the global punk and wider cultural movements it influenced. They are required reading. An excerpt: “[This record] is irrefutable proof that teenage girls actively participated in the creation of American hardcore… Briefly, so the story goes, after women helped invent punk/new wave in the ’70s we were pushed to the sidelines in the ’80s when the music and dancing got too aggressive and “hardcore,” i.e. too masculine for us to hack. Then, in the early ’90s riot grrrl supposedly came along to rescue girls from male oppression and we have ruled the pit ever since. Bullshit. Girls were there the whole time. We just didn’t have the visibility or respect we got later on. We fought to be taken seriously and we won. We all deserve credit for this cultural shift but the women involved in ’80s hardcore punk especially need to be recognized for their contribution to the evolution of culture. This history does not deserve to be obscure.”

Hopefully it won’t be any longer. Released on CD (with three unreleased tracks) for the first time ever, and back in print on LP (with the original track listing) for the first time in many decades later this fall, it also includes commentary from Dave Markey and Thurston Moore (whose contribution is mercifully so short I almost missed it). I’m thrilled that this record will be recirculating in the world.
(Sinister Torch)



Record of the Week: PLASTIC CRIMEWAVE/
SPEED GURU split EP + book


November 11th, 2014 by

speedguru-plasticcrimewave

This is a killer package containing a split 7” of totally bonkers heavy psych featuring Japan’s SPEED GURU with Kawabata from ACID MOTHER’S TEMPLE and Tabata from AMT/ZENI GEVA/BOREDOMS. PLASTIC CRIMEWAVE is outta Chicago and has been playing variants of psych and space rock since the late ’90s. The record comes with a comic book that is packaged like the old Power Records comic book LPs (Planet of the Apes, Spiderman vs. The Lizard People, etc.). SPEED GURU lays the smackdown with a ton of distortion on “Speed Guru Theme,” which is just the band saying their name over and over while fast and heavy psych plays over it. It’s essentially the same song that PLASTIC CRIMEWAVE does on their side, only with a different self-shoutout. They later get into a wild hippie/improv trip, which is much better than it sounds, I assure you. PLASTIC CRIMEWAVE’s opener also has simple, heavy fuzzedout bombastic wah-wah and the second song is even more fuzzed out and distorted to hell. Musically this isn’t punk like you know it but it’s certainly DIY, which I can dig, ya dig?

The enclosed book is a rad action comic illustrated by Plastic Crimewave (the person), which he co-writes with Kawabata. Crimewave also has done incredible work with his book-sized zine Galactic Zoo Dossier, which covers loads of psych/proto-punk/space rock knowns and unknowns, and is all handwritten and hand drawn. The cover shows Kawabata as an “electric samurai” wailing his guitar into the outworlds. The line work, especially the used of cross-hatching and shadows is fantastic. The story of various psychedelic/garage rock superheroes starts with Speed Guru not being able to draw comics after a bike accident. He goes to see Ancient Asahito (who’s drawn like Keiji Haino as a monk) at the Acid Mother’s Temple who tells him to “channel the elegant vibrations of the Cosmic Force of Electricity” (and probably the ability to release a million records). This also features some great drawings of Kawabata, who is the Speed Guru and student of Asahito. Eventually, Speed Guru and Plastic Crimewave come to blows as Plastic attempts the “Mystic Garage Punk Chop” (which is likely a nod to ACID MOTHERS TEMPLE’s love for pro wrestling and the fact that they often choke-slam guitars during shows). The story continues on with the battle of sound waves and space jams. I won’t spoil the rest as you’ll have to get this…and soon!
(Prophase Music)

— Justin Davisson