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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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New Blood! ALLERGY, DESPERFECTO, and MODERN LOVE

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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Show Review! OTDEL SAMOISKORENENIA live in St. Petersburg


September 17th, 2014 by

Soviet-era anti-establishment band ОТДЕЛ САМОИСКОРЕНЕНИЯ (Department of Self-Eradication) played their first show ever this summer. Here is a report from by MRR contributor Alexander Herbert.

Otdel Samoeskrenenia

Otdel Samoeskrenenia

When I told a group of modern punk rockers that I was headed to St. Petersburg to see the first show of OTDEL SAMOISKORENENIA (OS), they all looked at me as if my accent was pronouncing something incomprehensible. OS formed in 1982 before Gorbachev introduced Pepsi, McDonald’s and other symbols of Western modernity (or mediocrity) to the country. In fact, ’82 caught the tail end of Brezhnev’s years, in which censorship and anti-Western bullshit was reinforced by Yuri Andropov’s love affair with state discipline and propaganda. With lyrics as straightforward as “Reagan and Andropov fucked all of Europe from both sides,” OS fell victim to that censorship in 1984. KGB agents seized, interrogated and threatened front man Fedor “Feddy Begemont” Lavrov before the band ever had a chance to set foot on a stage.

But in 2014 they managed to book their first show, in a symbolic club called “Kamchatka,” located across the Neva River in St. Petersburg. When the band formed in 1982, Kamchatka was a boiler room in which Russia’s most famous frontman, and friend of OS, Viktor Tsoi worked and practiced with his entourage, KINO. The walls inside the venue are lined with portraits and busts of Tsoi and punk ledgend Yegor Letov from GRAZHDANSKAYA OBORONA (Civil Defense), who are commonly thought of as the USSR’s first major punk rockers. The historic occasion, coupled with the venue attracted punks both young and old who wanted to recreate the atmosphere of Leningrad’s early punk scene.

I was born in the USSR / And I am aware of the country I have to live in / Values are renewed but the system is the same / And it’s against the self-governing of citizens.
—Feddy Lavrov, OS

With former members of AVTOMATICHESKI UDOVLETVORITELI (AU), NARODNOE OPULCHENIE (NO) and more, the OS lineup was a powerhouse of Soviet punk rock veterans. They played a number of songs that spanned the subgenres of punk rock — ’77, pop punk, hardcore, and politically charged songs loaded with lyrics that recant the unique psychological struggles weighing down on the Soviet Union’s disenfranchised youth. They opened the gig with their theme song, literally translated to “Department of Self-Eradication,” which became a repeating montage throughout the set, reinforcing the point of redundant, overextended state departments in the band’s former country. The hits of the night included “Voennaya Monarkhiya” (“War Monarchy”) and a song that predated the advent of Russian hardcore called “Voiny dlya Voinov” (“Wars Are for Warriors”). OS also played covers of AU’s “Utrennichek” and Brigandy Podryad’s “Chuvak v Kaiv.”

Feddy’s enthusiasm on stage, his joking and talent made him seem like little less than a veteran punk rocker retaining his teenage angst and dissatisfaction with the system that cut short his band’s success. Rather than falling into the trap of washed-up nostalgic showmanship that some older musicians fall into, Feddy, Andrey “Yurskii” Chernov, and Gosha Solov’ev still kept the set fresh and relevant. Feddy even changed the lyrics of one of his songs to address the current political situation in Ukraine. All musicians, from the axe carrying veterans to the young drummer Kirill Pavlovskii (MURAV’EDY, SEGODNYA NOCHYU) played these songs like they were never forbidden and forgotten. In fact, the show was so successful that Feddy is looking to bring the music elsewhere.

Watch the whole damn show right here!



Record of the Week: PROTESTANT In Thy Name LP


September 9th, 2014 by

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Hoooly shit! I’ve always loved me some PROTESTANT, but this new record is something else entirely, departing from their well-honed dark hardcore attack to embrace the hateful, raw filth of black metal. Cory’s unmistakable vocals (and the occasional massive breakdown) provide a link to the band’s previous discography, and the throat-ripping fury of metalpunk is definitely there, but they’ve rebuilt their sound from the ground up with some deliciously lo-fi production. The whole thing is overflowing with jaw-dropping riffs, played with the passion and precision of a band a decade into their existence. Easily one of the top black metal/crust crossovers I’ve heard—and believe me, I’ve heard far too many in the last several years. I would have to say that this is also PROTESTANT’s best, most consistent full-length to date. Trends come and go, but In Thy Name is the real deal. An instant classic.
(Halo of Flies)

—Will Blomquist



Monday Photo Blog: Hank Wood and the Hammerheads in Santa Ana, CA


September 8th, 2014 by

The Black Flame Collective sent over some photos of Hank Wood and the Hammerheads for today’s Monday Photo Blog. These photos are from their show at El Centro Cultural de Mexico down in Santa Ana, CA, this past July. For more about Black Flame, check out facebook.com/blackflamecollective.

Hank Wood and the Hammerheads at El Centro Cultural de Mexico, Santa Ana, CA, July 2014 (photo by Black Flame)

Hank Wood and the Hammerheads at El Centro Cultural de Mexico, Santa Ana, CA, July 2014 (photo by Black Flame)

Hank Wood and the Hammerheads at El Centro Cultural de Mexico, Santa Ana, CA, July 2014 (photo by Black Flame)

Send your tour photos, bands that have come through your town, the best of your local bands, etc. to: photoblog {at} maximumrocknroll(.)com. Include your name, a link to your website (or flickr, Facebook, or whatever), and the band (or subject), date and location of each photo. Just send your best photos — edit tightly. Three to seven photos is plenty, and it’s best to send pictures of different bands. Please do not send watermarked photos. Please make your photos 72 dpi and about 600–800 pixels at the longest side. Not everything sent in will be posted, and a response is not guaranteed, but we do appreciate all of your contributions. Feel free to submit more than once. Thanks!



Record of the Week: ACCIDENTE Amistad y Rebelión 12″


May 13th, 2014 by

Accidente_12-inch

Socio-political melodic/pop-punk from Spain. Wait, sorry, really amazing socio-political melodic/pop-punk from Spain. If it wasn’t for the fact that the lyrics are in Spanish, I wouldn’t have been surprised if you told me this band came up through the New Brunswick, NJ basement scene—or at least were from somewhere on the East Coast. Equal parts melodic hardcore and straight up pop-punk, with beautiful vocals by Blanca. All of this together sounds like something in between the earnest swagger and jangle of the MEASURE [SA] and WORRIERS and the infectious, angered energy of LA FRACTION—or maybe like the too short-lived Syracuse band NO CONNECTION. The liner notes have the lyrics in the original Spanish, along with English translations—always awesome. The lyrical content is especially great. While most anarcho punk bands are simply anti-this and anti-that, and most pop-punk bands are just, “I love my friends and partying,” ACCIDENTE splits those sentiments right down the middle. “Que motivos no son pocos amistad y rebelion (There are plenty of reasons to fight for friendship and rebellion).” If you like bands like RVIVR ’cause they’re injecting a little social thought and politics into the current pop-punk scene, you’ll love this. I just listened to this record five times in a row, and I’m only getting more and more into it.
(Blondes Must Die / Contrastzi / Distribuidora Soroii / Grita o Muere / Halo of Flies / In My Heart Empire / La Agonia De Vivir / Pifia / Tranzophobia / Veganismo es Respeto / Walking Is Still Honest)



DEZERTER — Samobójcza Determinacja


May 9th, 2014 by

For our Polish-speaking readers, here is the original version of our interview with the great and legendary DEZERTER from the February issue of MRR, which you can order from our back issues page HERE

Dezerter logo karabin

Czy przesadzę mówiąc, że Dezerter jest najważniejszym zespołem w historii polskiego punk rocka? Bo raz: ma za sobą tę legendarną „jarocińską” prehistorię lat 80-tych, byli prekursorami punk rocka sensu stricte w Polsce, pierwsi wydali punkrockową płytę w tym kraju (epkę w 1983 roku). Dwa: na przełomie lat 80/90-tych byli jedną z głównych inspiracji sceny niezależnej hardcore/punk, choćby dlatego, że to oni już w 1985 roku sami próbowali wydawać swoje kasety i mieli mesydż który dokładnie odpowiadał „scenowemu” mesydżowi lat 90-tych. Trzy: zarówno w latach 90-tych, jak i w XXI wieku, jak żaden (ŻADEN) inny z tych „legendarnych zespołów lat 80-tych” w Polsce, regularnie wydawali nowe udane, ciekawe, inspirujące PUNKOWE płyty i grali znakomite, energetyczne koncerty. I do dzisiaj to robią.

Dla czytelników MRR rozmawiam z Krzyśkiem (perkusja, teksty) i Robertem (wokal, gitara, muzyka) – duetem od początku prowadzącym ten okręt. (Bezkoc / Pasażer)

Dezerter_001

MRR: Polsce rzeczywistość lat ’80-tych oprócz całej swojej uciążliwości, miała pewien plus, wymuszała mianowicie na punkowych zespołach oryginalność. Z racji izolacji od Zachodu było mało wzorów do kopiowania. Czy wy mieliście jakieś punkty odniesienia? Czy zaczynając grać myśleliście „chcemy grać jak UK Subs, jak Blitz, albo jak Crass?

Krzyśkiem: Absolutnie nie. Właśnie z tej przyczyny, że nie było dostępu do zbyt wielu materiałów i nie było komunikacji między zespołami, więc każdy zespół w Polsce rozwijał się zupełnie sam – indywidualnie. I to akurat było super.

Robertem: Oczywiście pewne płyty do nas docierały. Znaliśmy Crass, Blitz, Sex Pistols, Clash, ale zupełnie nie było nastawienia żeby któryś z tych zespołów kopiować. Zresztą płyt z Zachodu było w naszych rękach tak mało że traktowaliśmy je jako ogólną inspirację. One nam pokazywały, że może być zupełnie inna muzyka niż ta znana z polskiego radia. Read the rest of this entry »