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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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MRR magazine's new-band section "New Blood" is now a regular feature here on maximumrocknroll.com! See below ...

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Carolyn's MRR #380 top ten preview!

Hi. This is Carolyn Keddy, film reviewer, record reviewer, top tenner with some highlights of ...

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Reissue of the Week: X Aspirations LP

Recorded in 1979, utilizing just a few hours of remnant studio time, X forever scarred ...

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

What a nice surprise! The two Oliviers. A record put out by Olivier Crapoulet featuring ...

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Record of the Week: GENERACION SUICIDA Todo Termina LP

November 4th, 2014 by


This band has done a lot in its three or so years, and I think it just keeps getting better. They play catchy, sped-up, undistorted melodic punk steeped in the late ’70s, but with a hardcore urgency — a style that seems to have had more of a following in Europe this last decade than in the US (to our detriment, in my opinion). That said, I’m stoked that GENERACION SUICIDA has caught and maintained people’s attention and praise despite these inhospitable conditions characterized by hardcore fever. Hailing from the predominantly Latino area of South Los Angeles, their songs are all in Spanish. However, more than Spanish punk, their sound draws from Sweden’s the VICIOUS (as the band name would suggest), though the music is also comparable to AUTISTIC YOUTH, NEON PISS and YOUTH AVOIDERS. I really dig the infectious guitar leads on this record. My favorite track is “Rechazados por la Sociedad” — very, very catchy, melancholic punk, just the way I like it, with a chorus that reminds me of GORILLA ANGREB. Their lyrics in general deal with alienation and frustration with their surroundings—this song specifically references LA’s marginalized poor and homeless populations. My mind immediately goes to Skid Row (Sweden doesn’t have one of those!), very real. The record contains a dope fold-out poster insert with all the lyrics. Don’t sleep on this one!
(Going Underground)

— Lena T

Records of the Week: MOIRA SCAR and LOW THREAT PROFILE

October 21st, 2014 by


MOIRA SCAR – Psychoid 12″
Being weird is a hard thing to synthesize. Being a weirdo is nearly impossible to impersonate. You’re either a weirdo naturally or you’re not. These days it feels like many bands are trying to artificially create weirdness, and when they do, it almost always resonates as shallow art school junk. However, when you come upon some true freaks and listen to and see the art they create…that’s the stuff that will set your mind on fire. Either positively or negatively (although sometimes it’s hard to tell which way you feel!). And that’s exactly what you’re getting with MOIRA SCAR. A wild hybrid of LYDIA LUNCH, goth, circus and space, all delivered in a cocktail that only a twisted mind could create. Is it punk? Does it make sense? These are the wrong questions to ask. It’s bizarre music for bizarre people. And it rules. Find your way to this record. (Cochon Records)

—Fred Schrunk


Largely a recording project that spanned decades, this relatively recent (2010) recording of SoCal’s LOW THREAT PROFILE is simmered down to its core two-piece lineup of Bob from LACK OF INTEREST, BURN YOUR BRIDGES and INFEST on drums, and Matt Domino from INFEST and MANPIG on guitar and now handling the vocals. Masters of a stop-start genre that they both played a hand in creating and sustaining, there’s also a powerful ’80s feel to this. The absence of Andy Beattie on vocals is a little less noticeable with the MANPIG recording surfacing between the last LOW THREAT PROFILE releases. However, Matt’s vocals also make this session feel a little more personal, as they thoughtfully and directly rage — and I mean rage — against junkies, lethargic couch potatoes, racists, nostalgia, people wasting their lives, and more. More succinct production than their debut or MANPIG, these nine quick tracks don’t step in wide variation from their previous 12″ recording, as blast beats and rapid-fire vocals drive intense thrash blasts, cornered with rock-solid, mid-tempo, fast-guitar-driven hardcore. The leads have an awesome bred-and-born-in-the-’80s quality, with their indirect, vague osmosis of BLACK FLAG, ’80s SoCal straightedge and some angular late ’80s/’90s post-hardcore rock abrasion, all springboarding into violent 60-second thrash fits. Awesome! Don’t make us wait so long for the next installment! (Deep Six/Draw Blank)

—Ken Sanderson

Record of the Week: P.I.G.Z. Bloody Belgium EP

October 14th, 2014 by

PIGZ_EP“Belgium is a mess. And that’s not half bad!” spits Yves Lafere before an anthemic guitar creeps in, finally breaking out into what can and should only be considered a Punk with a capital “P” classic! From the catchy riffing to the biting, emphasized vocals and jittery drums that seem to want to race ahead, “Bloody Belgium” is to P.I.G.Z. what “Blitzkrieg Bop” was to the RAMONES: an emblematic magnum opus epitomizing their sound and aesthetic. “Is this Democracy, or is this blindness?” he chastises and squeals, everything sounding charismatically shambolic but utterly electrified. On the flip, “Stooges” slams in with an attitude-filled riff, not unlike the way “God Save the Queen” does, and has a distinctly heavy tone akin to that of the STOOGES or MC5, with steel-hard chords and Lafere snarling, “Too many problems in my life, too many problems ’cause I wanna be me!” Closer “Shall I” is the snottiest of the lot, a short, severe, hand-clapping reaction to societal expectations and identity frustration—timeless teenage rampage! JW’s Records originally pressed these three crown jewels of Belgian punk to a 12″ after the band won first place in 1978’s First Belgian Punk Contest, and they were rereleased once again by German Payola Records that same year. Both are apparently rare as fuck, so Ugly Pop has done us all a massive favor and made these three perfectly p-u-n-k masterpieces available yet again; remastered and packaged beautifully, with pictures, reprints of newspaper clippings and an intro text framing this seminal, absolutely essential record.
(Ugly Pop)

Record of the Week: GRAND COLLAPSE Far From the Callous Crowd LP

September 30th, 2014 by


From the stock of legendary Bristol anarchopunk, a style that is emulated over and over, comes this new LP from GRAND COLLAPSE which is the most uncontrived, unexpected bright D-beat thrash that the punk rock timeline has to offer. There are even blackened melodies underneath proficient PROPAGHANDI-style riffage, creating an excellent genre mash-up for what is basically an anarcho-punk album. The strangulated vocals are spat out like a rabid Templeton at the veritable smorgasbord. The vocal pitch reminds me of Bay Area contemporaries ELEGY, actually. The production is perfect. The musicianship of GRAND COLLAPSE is so skilled that they cannot be pegged down to any one clichéd style. The heavy D-beat under flailed-out endless chords, into bellowing NYHC beatdown styles, will make you want to retrace those steps like a book you just skimmed over and felt like you missed a lot of what was going on. Then you will relax and enjoy something new. This album really has everything. Melody, angst and attitude, and does not let up for a moment. Heart, soul, guts and brains. I predict every band is going to want GRAND COLLAPSE on their tour. Far From the Callous Crowd is destined to be a classic. I’m very proud to have done the interview layout for GRAND COLLAPSE and now to be able to review the proficiency and vehemence behind their convictions. This is how you pole-vault the sound system.
(1859 / Anarchotic / A World We Never Made / Pumpkin / Riot Ska)

— Jason Ryan

Record of the Week: FRAU Punk Is My Boyfriend EP

September 23rd, 2014 by


FRAU write songs like the inside of your brain — fragmented, wild spurts of genius and disgust, an embodiment of the freedom that punk could be but rarely ever is. Frantic and charged, like the first NURSE flexi meets “Girl on the Run” but with a TEENAGE JESUS AND THE JERKS “fuck you” swagger. In short, yes, this band is the first, last, and best — the only punk band. They’re totally falling apart, but so fucking together at the same time, you could dance to this or collapse to it. It’s got this earth shattering quality, the feeling of a million ideas, but also a sneering nihilism… London really does have the coolest bands right now. I think every member of FRAU is in at least three other bands I love, and yet they still make this essential.
(Static Shock Records)