Featured Posts


“New Blood” is our weekly feature spotlighting new bands from around the world! See below for info ...

Read More

Maximum Rocknroll #390 • Nov 2015

It’s time for Maximum Rocknroll #390, the November 2015 issue! On our cover: AS MERCENÁRIAS, ...

Read More

Reissue of the Week: Disclose

Reissue of the Week: Disclose

DISCLOSE – “Yesterday’s Fairytale, Tomorrow’s Nightmare” LP This is a monumental record, even without considering its ...

Read More


MRR Radio #1472 • 9/27/15

Dan digs through the new bin once again, and guest DJ Liz revisits the last ...

Read More

Read a Book! A Wailing of a Town

Read a Book! A Wailing of a Town

A Wailing Of A Town: An Oral History of Early San Pedro Punk and More Craig ...

Read More

Reissue of the Week: Disclose

September 30th, 2015 by

DISCLOSE – “Yesterday’s Fairytale, Tomorrow’s Nightmare” LP
This is a monumental record, even without considering its place as the final DISCLOSE LP released before Kawakami’s passing in 2007. His death casts an enduring pall, particularly evident here in the new liner notes from Stuart Schrader. While Schrader primarily writes about the ill-fated DISCLOSE / FRAMTID tour, it is a far more insightful, nuanced and touching read than that might seem. Neither romantic nor cynical, the tone is simply reflective and personal: here are his perceptions of Kawakami’s experience in the US, not a verdict but a single opinion. The epilogue of the story, over a decade later, remains ambivalent. Kawakami, despite his legacy, was still a human being irreducible to the mythos that lives on after him. The continued care and commitment shown by those that knew him and called him “friend” are a welcome palliative, showing a more grounded context to the DISCLOSE legend. In that respect, the royalties from this reissue are going to Kawakami’s mother. Of course, for the vast majority of listeners, as Schrader is mindful to point out, the context is far less immediately relevant than the record itself. For those who ignore or simplify DISCLOSE as just some DISCHARGE-worship: you are missing the forest for the trees because these trees look like some other damn trees you saw in a different fucking forest. It’s just not that simple, and especially not with this record. Schrader’s track-by-track notes are much more compelling and attentive than anything I can comparably muster, so I won’t attempt too much here. Yesterday’s Fairytale is the pinnacle of “Disbones”-era DISCLOSE: fuzzed-out D-beat with increasingly more metallic influence in the guitar riffs. Without forsaking any of the raw energy, this style set loose the true hypnotic potential of the unrelenting beat that found its logical conclusion in the closing track “Wardead,” a nearly ten-minute opus of swirling chaos and perpetual solos; a psychedelic disengagement with time, a sonic inertial assault that is simultaneously as stupefying as it is doggedly transcendent. Noise, not music. Best listened to with a foggy brain. RIP Kawakami, Kawakami forever. (Shit Zoo)
(La Vida Es Un Mus)


Reissue of the Week: Conflict

September 24th, 2015 by

CONFLICT – “Last Hour” LP
If there were any justice in this world, punks would think Tucson, Arizona, not London, England, when they heard the name CONFLICT. The superior American band released a demo tape and a single LP in the early ’80s and the record gets the reissue treatment here, complete with a deluxe 40-page booklet. This is absolutely essential for all fans of classic USHC—think the thrash of early TSOL with intelligible MacKaye-esque vocals overtop, except now Ian’s called Karen and she’s a queer Japanese-American woman singing about things a hell of a lot more important and interesting than straightedge and post-adolescent disaffection. Not that there’s anything wrong with anthems about being merely out of step—some of the greatest punk songs ever written are about nothing more than that!—but at a time when being a hardcore band in the United States meant being anti-Reagan and anti-establishment seemingly by default, the political specificity of Karen’s vitriol must have been refreshing. She wrote lyrics about human trafficking, nuclear war, femicide, and her lived experiences as a psychiatric nurse, a woman, and a minority, always direct and never preachy. The flyer reproductions in the enclosed glossy booklet reveal that CONFLICT played with everybody who came through Tucson—BLACK FLAG, HÜSKER DÜ, DIE KREUZEN, DEAD KENNEDYS, MINOR THREAT, DOA, CRUCIFUCKS, MEAT PUPPETS, the GUN CLUB, and TOXIC REASONS, to name just a few. This group should be a household name like the rest of them, but as we all know, history is rarely just. Also reproduced are two interviews with the group from the archives of the greatest punk fanzine on the planet (ahem), one done in their heyday and the other ten years after their dissolution, conducted by the late great Lance Hahn. Comes with a lyric sheet and photo insert. Get it. (GA)

(Puke N Vomit)



Record of the Week: Negative Scanner

September 23rd, 2015 by


The brilliant promise of that first NEGATIVE SCANNER single was the way it oscillated between moody, off-kilter rhythmic trance and classic “Moon Over Marin”-style hookiness, and I guess they could have gone either way with their full-length. It seems like they mostly stuck with the latter, which was the one disappointment in my first go-around with this record. Maybe I’m just more rhythmically inclined, so don’t let my personal temperament steer you away. If anyone ever tells you that Chicago is a zero-tracks kind of town (everyone’s an expert since Martin moved away from the MRR compound), you can tune them in to “Would You Rather” (it’s incredible) or “Ivy League Asshole” after you name-check the EFFIGIES. Something about the way the guitarists play here is really forcing me to make my first WIPERS comparison in my career as an MRR reviewer (I was hoping to make it at least ten issues before this happened). Specifically it reminds of that eerie Youth of America-era open-chord type of sound, an under-tapped vein of inspiration. The beginning of “Forget It” has this incessant chime that gets cut through by an underlying guitar line that sounds like a cello or something. The winding and cresting surf guitar riff that opens up “Saturday Night and Sunday Morning” is just sick; it’s raw, it’s classic. One thing really ties it together here: Rebecca Valeriano-Flores is an utterly devastating lyricist with a powerfully understated delivery, a tuff singer. All you other so-called songsmiths out there: step it up. More and more uncanny details come up as I spend more time with these songs. This one is either a winter record dropped in the wrong time of year or a summer record for that point late at night in a hot city when you realize you can’t stand it outside any longer. Backed. (Eli Wald)

(Trouble in Mind)

Reissue of the Week: Reatards

September 17th, 2015 by

REATARDS – “Grown Up, Fucked Up” LP
When this record was originally issued by Empty Records back in 1999, it felt like the REATARDS had already been around for a decade, at least (their first single is from ’97). The band seemed to jump into existence already in “mature phase,” which is the benefit of having a true maniac creative like Jay crafting your songs. It’s great to now slide back into the shitty, shitty, shitty, shitty, shitty, shitty pile of emotional bile that the best REATARDS tracks evoke, and realize the ability it confers, upon first needle drop, to discern fake punk from the real thing. It’s always going to be present on this record, the best full-length Jay Reatard ever pulled off. So, it still holds up as one of the ten best punk LPs of the decade, and the best ’90s party bummer LP I own outside of the BAD TIMES LP, and hey! Look who’s all over that fucker too. (Ryan Wells)

Reissue of the Week: Happy

September 10th, 2015 by

HAPPY? – “Anger” EP
This felt vaguely familiar upon first listen. That feeling turned into deja vu and I had no idea why. The previous day I had been thinking about leaving San Francisco after more than a quarter of a century and was going over all the wonderful Bay Area bands I had seen over the years and thinking back to the early days of powerviolence. Ah ha! Got it! This 7” was familiar because I had heard the vocalist many times before. HAPPY? was a Redwood City, CA band that I don’t remember ever releasing anything or playing out much. These tracks were recorded back in 1993 and the band contains members that went on to play in bands such as SPAZZ, FUNERAL SHOCK, BUG PEDALS, CANDY MUSCLE, and POWER PELLUT along with a few others. What you get is raw hardcore that is full of energy. It sounds like it was recorded live in a garage and the songs are sort of intentionally sloppy. These tracks were originally available on a cassette. “Biggot” is a bit faster and tighter and I love the vocals. This is a great historical release if you’re interested in some fast hardcore with vague sounds of the things to come from Redwood City. Think of it as a precursor to powerviolence. (Mike Howes)
(Flinch Lumin)