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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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Record of the Week: CADAVER EM TRANSE LP

December 16th, 2014 by


Based in São Paulo and featuring members of RAKTA and SPEED KILLS, this is a refreshing take on goth-inspired post-punk that escapes some of the vampirical trappings that tend to mark this style. I’m reminded of CHRISTIAN DEATH, but with the driving quality of KILLING JOKE. The vocals, however, sung both in English and Portuguese, are unmistakably and aggressively punk. For me, there is a certain musicality characterizing Brazilian Portuguese punk vocals and I can’t help but compare the singing here a bit to CÓLERA. My favorite track thus far is “Inverted,” where the infectious guitar lead woven through the whole length of the song strikes a delicate balance between chorus-tinged goth and the delightful jangle of surf punk. The rhythm is quite varied and takes the listener on a journey through hammering beats and slower, more experimental percussion. Everything comes together with groovy bass lines and intriguing soundscapes/effects: totally multidimensional and awesome. The record is well packaged too, featuring an insert with all the lyrics and some incredible artwork.
(Dama Da Noite/Nada Nada Discos)

—Lena T, MRR #380

Record of the Week: COPYCATS An Idea Died LP

December 9th, 2014 by


Listen up, because this one’s great, straight outta Granada in the autonomous region of Andalusia! Super catchy, poppy, guitar-driven garage rock, with unabashed punk ’77 flares and lots of very memorable, well orchestrated hooks and choruses. Their name and the post-modern subtitle concept of “an idea dies…another is born” matches the smart and excited execution of the COPYCATS‘ material, and each song makes me stir in my seat as I think of what might have inspired them: the GUN CLUB, WIRE, the FLESH EATERS, the VIBRATORS, the JAM. There are even moments when the singer sounds like an agitated Mick Jagger (and that’s not necessarily a bad thing, an homage perhaps to the ’60s influence they undeniably have but do not flaunt) though most of the time he carries off a blaze, cheeky attitude akin to Darby Crash, Jay Reatard, or Trent Ruane of the MUMMIES. Don’t let all these poached sonic trinkets mislead you. The songwriting is catchy and not overly complicated (yes, there’s an opening riff that sounds like “London Calling”) but they do a terrific and creative job of mixing their influences into something genuine, grander, and ultimately their own. Some bands end up being bad imitators of their heroes, and then some bands just do actually sound like they fell through a time portal. Socially conscious lyrics in English, great cover artwork and, all in all, a really nice surprise. After about 50 listens it still has me hooked!

Reissue of the Week: DEATHWISH Tailgate 12″

December 5th, 2014 by


Finally, one of the truly mythical, long-lost giants of American…nay, world… hardcore is unearthed from the sweeping sands of time. In December of 1983 this Boston hardcore powerhouse recorded seven songs with Jimmy Dufour at Radiobeat Studios in Kenmore Square, with the intention of mixing three songs — “Tailgate,” “Break the Chains” and “Condemned for Life” — for airplay on local college radio. They did just that. In 1989 those three songs ended up on vinyl via a semi(?)-legit 7” on the Armory Arms imprint, and again in 1992 on a much-less-legit repress on Lost and Found, along with the four unreleased tracks, assumed to be lost for good in a dumpster following the shuttering of Radiobeat. Noooope, this one jerkoff seems to have had ’em the whole time, knowing full well that the band was looking for them. They did eventually get ’em back, thank fuck. Anyway, DEATHWISH played within that classically Boston realm of nasty, first wave straightedge hardcore, fitting seamlessly alongside the bulldozing power of SS DECONTROL, IMPACT UNIT, DYS and LAST RIGHTS. With the huge guitars that Radiobeat was known for, the remix job here by Don Zientara (MINOR THREAT, et al.) sounds incredible. I highly suggest that if you think this record is just another attempt to milk American Hardcore’s glory days for whatever it is they are milking it for, you rethink that and cop this record ASAP. In my humble opinion, this material seeing a vinyl reissue is about as important as any other record that will come out in 2014, and I find reissues counterproductive and boring. RIP, Jordan Wood. Now we can all hold our collective breath until progress on the DXA record kicks back up.

Record of the Week: HOUNDS OF HATE Hate Springs Eternal LP

December 2nd, 2014 by


For anyone not familiar with HOUNDS OF HATE (smell the coffee, what’s with you?), they play masterful NYHC akin to BREAKDOWN, SICK OF IT ALL, WARZONE, and similar acts, and are experts at writing involved, memorable songs with huge hooks and production that precisely matches their influences. The same sound, production, and attention to song/riff-writing detail are all still here, and they have gotten tighter as a band, but this record strikes me as a little more cerebral and a little less straight-up nonstop moshy than their previous efforts, with definite hard rock influence seamlessly interwoven into the NYHC. It may or may not be a coincidence that the riff that opens this record very closely resembles that of “Alan’s On Fire” by POISON IDEA, but I hear some War All the Time at different points. “Teenage Blues” opens with a straight-up ’70s rock riff played at hardcore speed, with solo to match, gradually settling back into NYHC territory before briefly revisiting the opening riff at the end. The following song has an AC/DC-type riff at one point. They also use gang vocals for the first time in a few songs, adding a cool dimension. HOUNDS OF HATE avoid the common hardcore-band’s-second-LP pitfalls, where bands do shitty or undistinguished versions of their earlier records, or attempt a different musical direction that is at best beyond their ability or at worst generic and self-indulgent (also known as “maturing”). Instead, HOUNDS OF HATE follow up their stellar first LP with a second that retains everything that makes them great as a band, while switching up their sound in a way that is not only still raging and interesting, but also makes this record its own entity in this band’s discography.
(Braddock Hit Factory)

Record of the Week: NO FAITH Dead Weight EP

November 25th, 2014 by


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)