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MRR wants you as its next Coordinator!

Maximum Rocknroll magazine is seeking a Content Coordinator. This is an unpaid, full-time volunteer position. MRR's two Content Coordinators live ...

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MRR Presents: Friday Fuckin' Funnies! #65

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

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

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Video of the Week! Distorted: Reflections on Early Sydney Punk

This month's Maximum Rocknroll magazine features an interview with Des Devlin, the filmmaker behind the documentary Distorted: ...

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Record of the Week: CADAVER EM TRANSE LP

Based in São Paulo and featuring members of RAKTA and SPEED KILLS, this is a ...

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Carolyn’s MRR #380 top ten preview!

November 19th, 2014 by

Carolyn Keddy

Hi. This is Carolyn Keddy, film reviewer, record reviewer, top tenner with some highlights of things I am working on for the next issue — MRR #380, out in early December.

AUSMUTEANTS – Order of Operation LP (Goner) and “Fed Through a Tube”45 (Total Punk)
In the post-EDDY CURRENT SUPPRESSION RING Australian music scene there seems to be an endless supply of the “next best band out of Australia” coming across the Pacific Ocean. Sure, some of them are good, but there are some that aren’t. Most simply don’t fall into the “Best” category, no matter how many people tell me they do. Then there’s AUSMUTEANTS who just exceed all expectations. It helps that I got to see them live twice. When a band is amazing live it always enhances my record listening experience.

My current favorite song (it will probably change tomorrow) is “1982.” I like when the synths take the lead in AUSMUTEANTS songs. Decipher the lyrics for yourself:

Listen to the entire LP at ausmuteants.bandcamp.com

The Total Punk single:


GINO AND THE GOONS – Shake It! LP (Black Gladiator)
Being a radio DJ my number one problem is that I hook onto one song and I play it over and over until everyone in the universe is sick of hearing it. Then I play it one more time. I justify my obsessiveness because I can only play one song per band per show, so it may as well be the best one, right? That song for me right now is GINO AND THE GOONS “Got the Skinny.” It’s such a catchy garage punk tune, with the great chorus of “Oh well, I’m a-going to hell.” The other songs on this LP are equally worth listening to, but it’s that one that I’m stuck on right now.


MANATEEES – Sit n Spin LP (Pelican Pow Wow)
The front cover of this album is rather unappealing. I don’t even want to think about what is coming out of that mouth. The back cover photo of the “Fuck You” banner hanging behind the band on stage with their hair all drooped over their eyes makes me smile. That is more of the image of MANATEEES that I have when I listen to this album. It’s got a noisy, dark, ominous feel, but with a bit of playfulness and a who-gives-a-fuck attitude. Singer Abe’s vocals remind me of David Nudelman on a few songs, which makes me very happy too.


GHB – Dope EP (Die Slaughterhaus)
With GHB standing for GET HIGH BOYS, the first song being called “Dope,” and the band having a slight bro feel, I am amazed at how much I like this. Four fast songs of bratty punk attitude blasting out of the speakers. I keep turning it up louder and louder. The bands features Mike Koechlin, who seems to also be in/have been in every other Atlanta band.

Here’s a video for a song on their cassette, but not on this EP. I wish it was:


THE SEX RAYS “Midnight Caller/Where’s the Tambourine?” 45 (Piñata)
Usually I predictably play a record A-side first, followed by the B-side. Sometimes I pick up a record and have the desire to play the B-side first. When I saw a song called “Where’s the Tambourine?” I went with that first. It is a nice, groovy ’60s-style garage instrumental. It’s really catchy and just plain fun. “Midnight Caller” starts out in a similar style and although the vocals are pretty good I am wishing it too was an instrumental.


WHITE ASS – LP (Frantic City)
Probably not the best choice of a band name. CUL BLANC might have been subtler for our English speaking ears. I have been enjoying the bands coming out on Frantic City Records for a while now. WHITE ASS is no exception. Their music is a fuzzy blend of ‘60s garage rock with some surfy-ness and some pop stylings. As usual I really like the faster ones like “Fox Around.” WHITE ASS hail from Paris and feature current or ex-members of Teenage Moonlight Borderliners, Viscous Brothers, Crash Normal, Pierre et Bastien, T.I.T.S. and Feeling of Love. With a pedigree like that it’s hard to go wrong.


ANIMALS & MEN “Don’t Misbehave in the New Age/Machines” 45 (Danger)
The reissue of the incredible 1979 debut 7” from English post-punkers ANIMALS & MEN. Two minimalist and cold sounding songs that are so throughly great. Danger does an excellent job with all of their reissues. The sound is excellent and the covers look great.


Because I am The MRR Film Reviewer I have to tell you about a film you need to see. It’s Jean-Luc Godard‘s latest film, Goodbye to Language, which happens to be in 3-D. An arty French film in 3-D is intriguing enough, but as great as it is; the problem is there aren’t many theaters who can or will show this in 3-D. Bay Area people will have to trek up to San Rafael, CA’s Rafael Film Center tout de suite (ends November 20), but it is also playing in Ohio, Indianana, South Carolina, Florida and other states across the US, and in Toronto, Cananda. Get out and see it. 3-D isn’t the same on DVD.


Watch the trailer at goodbyetolanguage3d.com

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


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.

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

November 12th, 2014 by


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


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