Featured Posts


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

Read More

Record of the Week: VLASTA POPIĆ Kvadrat CD

Bass-heavy noise/proper indie rock and punk from Croatia. There’s lots of disjointed guitars vocals in ...

Read More

You'll be free to rock again soon, man.

MRR Radio #1453 • 5/18/15

THIS WEEK: Pete’s in jail in Massachusetts for misrepresenting his age to play in the ...

Read More

Top Tens from MRR #385 • June 2015

By popular demand, we present our reviewers' Top Tens from the current issue of Maximum Rocknroll! Here are ...

Read More

Stacey Finney (photo by Karen Kirchhoff)

The Young Person’s Guide to Loud! Fast! Philly! by Stacey Finney

As punks, we've got to take documenting our histories into our own hands. In MRR ...

Read More

MRR wants you as its next Coordinator!

December 20th, 2014 by

Maximum Rocknroll magazine is seeking a Content Coordinator. This is an unpaid, full-time volunteer position. MRR’s two Content Coordinators live at MRR HQ rent-free along with the Distro Coordinator. Content Coordinators are responsible for choosing and editing all of the content that goes into the magazine every month—assigning record reviews, soliciting interviews, scene reports, and features, and more! To be a Content Coordinator you must be able to work legally in the US, and you must keep a part-time (paying) job in addition to your MRR responsibilities. 

It’s not all work and no play, though. Being a coordinator is fun, fulfilling, and one of the best learning experiences you’ll ever have. But let’s show, not tell — here is the first column our newest coordinator Grace wrote for MRR, in issue #377. As a former coordinator myself, I actually got choked up reading Grace’s account of her first weeks in the wild world of MRR…

If you are interested in applying, please download the questionnaire at the end of this post.


I arrived in San Francisco on August 1st. It has been a whirlwind month, mostly filled with bright spots. New city, new start. Adjusting not to working from home but rather to living at work. I’m developing bits and pieces of a routine: I eat a whole avocado almost every single day, rifle through the Amoeba new arrivals at least four times a week, go running in Golden Gate Park as often as I can force myself to. Before print week started, I went surfing in Bolinas. We drove a VW bus through the cliffs of Marin and drank Tecates on the beach and I swam in the Pacific Ocean for the first time, next to a cormorant. Later that night I slept through my first earthquake. California, baby. I text friends in London before I fall asleep— they are waking up, starting new days before I am ending my old one. It all takes some getting used to but slowly this place will start to feel like home.

I knew some people in the Bay before I moved here: from the tour where I booked the Philly show for their band, or that time we crossed paths at a fest, or the internet (ugh). A friend I have known since the first grade moved out here to go to medical school, arriving just a few days before I did. He came by the house to do shitwork my second or so weekend here. He’d never listened to a punk record in his life but he knows the alphabet, so we put him to work re-filing 7”s. Every so often he’d pull out a record and ask, “Is this good?” Our response was always, “Put it on!” He was working on the Gs that day—Generacion Suicida has won a new fan. Later that night he ordered a subscription to the magazine.

It was amazing to see someone interacting with our collection in that way, a potent reminder of the fact that there is no better place in the world to learn about punk and hardcore than inside this house, even for those of us who know a thing or two about it. I try to listen to something I’ve never heard before every single day—with 47,000 records and counting, there’s no excuse not to. I am filling up tapes and adding to my want lists and exploring the corners of punk that I always meant to get to and those that I didn’t even know existed. The archive is daunting—more than once since I’ve been here, a band has walked in to tour the compound and been absolutely baffled when faced with so much choice, unable to remember what kind of music they even like. Too many records, not enough time.

Hours alone can be hard to come by in a house with keys held by so many, and it took a few weeks before I was able to have a night to myself. For all the music I am excited to discover, there is still something to be said for the old reliables, the records that you know inside out, yet still sometimes feel as if you are hearing for the first time. I ate some tacos and drank lukewarm leftover coffee and cranked Rocket to Russia and did a kitchen mosh to Blitz singles and listened to the Sex Pistols and Los Punk Rockers back to back and tried to figure out what to call this column.

If you’re are reading this, you already know that we famously have Tim Yo to thank for the green tape that edges all of our records. You probably also know that he made handmade sleeves for records that he really liked or whose art he thought was subpar. Encountering those on the shelves somehow still continues to feel like stumbling across a secret. The collages have a surprising tactility to them, a layer of crisp, yellowing shellac overtop the images. I was sitting alone in the house, thinking of my former homes in Philadelphia and London and Washington, DC, and I kept going to pull more comforting records off of the shelves, and over and over the ones I took down happened to have Tim’s covers: the Raincoats’ Fairytale in the Supermarket, Siouxsie and the Banshees’ Hong Kong Garden, the Neo Boys EP, the Teddy and the Frat Girls 7”. Every single one of our records has green tape around its edges, but only a tiny fraction have these handmade sleeves and I was somehow being magnetically drawn to them. They say Tim haunts this house—I believe it now. I took it as a sign of sorts. This column takes its name from the last song on that Teddy and the Frat Girls 7”, one of the most demented records ever made, the product of maniac teen girl punks who then disappeared off the face of the planet. I’ve loved this record for a long time. I scanned the insert, collaged some letters on top, drank a beer, and listened to these mutant sounds at top volume alone in our big kitchen. It was one of the best nights I’ve had in a long while.

I’m not some Teddy and the Frat Girls superfan (is it even possible to be a superfan of a band that only ever recorded five nearly unlistenable songs?). What I am a superfan of is the idea of that band: people who make psychotic, deranged, angry music because they have to, not because it’s cool, who make sounds that aren’t like anything we’ve ever heard before, the noises that come out of genius girl brains across time and space.

I spent the month of July squatting a spare room in Peckham in London, in the flat of this magazine’s Bryony Beynon, my soul sister extraordinaire. A much needed holiday and a mentally and emotionally rejuvenating trip. We each tore through the Viv Albertine autobiography in a little less than twenty-four hours, rabidly reading in silence in the middle of a horrible heat wave. We raced to the finish, because there was so much to talk about once we were done. In her column this month, Bryony writes about the way Viv captures female friendships so accurately, how the sounds of the Slits could only have emerged from the electric connections between those four badly behaved women. It really is an extraordinary text and should be out in the States this fall. Get it. Viv also talks about living through London in ’77, about the idea that many who were there then felt as if they had been a part of something so great and so exciting that they would never be able to capture that kind of dynamism and momentum ever again, about how that feeling probably factored into her decision to put down her guitar for decades after the end of the Slits. This magazine also casts a long shadow. It’s hard not to constantly think about history here in the compound. There are reminders of it everywhere: Tim’s handmade record sleeves, the magazine covers plastered to the walls, the photobooth strips of coordinators past and present stuck to the fridge, the still overflowing green-taped mailbox labeled Bruce Roehrs. Through accidents of timing I crossed paths with almost all of the women who have coordinated this publication in the past during my first month here—I can only hope that one day I am as effortlessly cool and brilliant as all of them. There are big personalities here, but this place is bigger than any of us. How do you make room for history in your life while also making history make room for you? I’m figuring it out.

We at Maximum owe a lot to our past, but the only reason we’re still around is because of a persistent insistence on the here and now. The thing that makes this magazine so great is that it is a publication written by the people it is written for. It has always been that way. MRR is what you make it, which means that history is ours to write. Punk’s not dead unless we kill it. Remember that we wanna hear from you about what is going on in your town: send us a report on punk fashions (The Dangly Earring: Who Wore It Best?), email us a drawing that we can put on a pin or a sticker, interview your favorite band and ask them questions that aren’t “what do you play?” and “how did you meet?” and “tell us a little bit about your songwriting process,” burrow deep into their brains and show the rest of us what makes them tick and why that makes you tick in turn. Keep sending your records in for review, so that we can ruin them with green tape and they can enter the vast and magnificent archive we have here, and make your friends do the same. Shitwork for us from afar! Did you already spot all of the misplaced commas and typos that we missed on these inky pages? Save us from ourselves as a proofreader! Can you type a mile a minute? Transcribe the soon-to-be classic interviews languishing in iPhone Voice Memo apps. Offer to do some sick layouts. Take out an ad for your beret emporium, send us some money so that we can put those damn records in poly bags and keep them from sticking to themselves, renew your subscription so that your bathroom can always be full of the best reading material for visiting punks taking a shit. This is your magazine and I am psyched to be here. Survived the first month. Ready for many more. Write to me and tell me what record I should pull off the shelf and listen to, post me a tape of the most deranged lady punks from your town, send love notes, hate mail, questions and concerns to grace {at} maximumrocknroll(.)com.

If coordinating MRR sounds like the life for you, please download this Coordinator Questionnaire, answer all of the questions, and email it (either as a .doc file or in the body of an email, including all of the questions with your answers) to mrr {at} maximumrocknroll(.)com. Please answer honestly and thoroughly. People who only give one-sentence answers will almost certainly be rejected. We want to know that you understand what MRR is about, are on board with it, and are serious about taking on a job with a lot of responsibility.

Create to Destroy! Blindead Productions

December 10th, 2014 by


Blindead Productions in Sweden has been a serious supporter of punk, and continues to distro the best releases throughout Europe. You may know Krogh from SEX DWARF tours, Distortion Faith zine, his label, or maybe you had a beer with him at the last Varning from Montreal fest. Here is Krogh of Blindead Productions…

What is Blindead Productions? Is it just you who does it?
Yeah, it’s just me. There was a period somewhere around 2002 when we tried to be two people, but it didn’t really work out. Not because we had any problems, it just didn’t last too long. So, with the exception of one year, it’s been me running the show since 1997.

Blindead_infekzioa 7

Blindead Productions is a label dedicated to the music I love — hardcore punk. Vinyl mostly, and some messing around with tapes lately, but the main focus is vinyl. Would be fun to do some sort of book sometime though.

What does “Blindead” mean?
Well, the initial meaning or idea behind it was that we’re already dead, we just don’t know it as the system won’t let us see it. You know, keep us in line, feed the machine, etc., etc. Then it hit me that MISERY has their song “Blindead,” which is an excellent song, and so I rather lie and say it’s an homage to that song. The idea I guess is the same, as the theme of that song isn’t too far off from the idea I had behind the name.

Tell us about Distortion Faith.
This is the zine I do together with Jocke from D-takt & Råpunk. Björn from SMRT Records was also involved in the first five issues but had to leave because of other commitments and lack of time. So far we’ve done six issues and the plan was to have a seventh out in January. That won’t happen because none of us have had the time, but the zine will return sometime this spring, I will make sure of that.

I love doing this zine as I’ve allowed myself not to care too much. Of course I want it to be good, but while in earlier zines I have set up “rules,” I now don’t care if an interview is three questions long or 30, as long as it has at least some content. I promised myself not to do any reviews, but I’ve ended up doing a few anyway and have a few more lined up, but it will not be a recurring thing — done that to death earlier and I pretty much hate it at this point.

Blindead_warcollapse 12

What was ALP tapes? How many different names have you had? Were you a distro or a label first?
ALP Tapes was the very first thing, back in 1997. It started out as something that was supposed to be the label for my band’s demo. The band never recorded anything and I soon realized I’d rather be a label than a musician, so the name stuck for a while and I released ten tapes (nine home copies and one pro printed). Towards the end of ALP Tapes I also had the record label Resist the System, where I released the first CROSSING CHAOS 7” in 2000.

It was when I merged the two that Blindead Productions was born, in 2002. It started out as a label, but very soon became a distro as well — trading tapes and then later on vinyls and some CDs.

Where do you get your records pressed and tapes made? Who do you recommend in Europe?
The Distortion Faith tape was done in England somewhere, Jocke had the contact and I can’t remember. I took care of printing the covers. As for vinyl, I’ve mostly used GZ, but for the WARCOLLAPSE 12” I went with Flight 13 and I will go with them again for the upcoming KRONOFOGDEN LP. I also tried out Mobineko for the HUMAN POWER 7” but I wasn’t very happy with them. Cheap, but not too good. That’s the only place I wouldn’t recommend, other than that I’ve been happy with both GZ and Flight 13.

Where are you in Sweden and what is the scene like? Any bands we should keep an eye on?
I live in Arvika, a small town where absolutely nothing happens. It’s very close to the Norwegian border and I guess Oslo is the closest big town, but I’d rather go to Stockholm to hang out and watch bands.

What was your most popular release?
Hmm, I don’t know. The Distortion Faith comp tape sold out extremely fast, but we only did 250 copies of that one. I guess the KRONOFOGDEN 7” went over really well, at least here in Sweden, but also abroad. I guess some others have been pressed in more copies, but also with more labels, so…

Blindead_kronofogden 7

What are your current projects?
I’ve been putting together the cover for the KRONOFOGDEN LP and making sure Lenny’s drawings fit the sleeve template, and the next step is to finish the insert. Got the mastered tracks just the other day and it’s gonna be a fucking great record! Other than that, I’m still trading and selling the latest release, the INFEKZIOA 7″, to as many places as possible.

Why are zines, tapes, labels, and distros important to punk?
Because they’re easy to do? I mean, you can spend a lot of money printing a zine, but you can also find a cheap printer or copy it yourself. If you have the will to do a zine you can. The same goes for tapes — you can pretty much do everything in your own living room, or go more “professional.” It’s up to you. Labels are less important, I guess, as bands can take care of this themselves, but I’m glad people still want me to put out their records. Distros are important to help keep prices at a decent level and a place where lesser-known bands can get their stuff distributed as well. Keeping prices low is getting harder and harder though.

How did you get into punk and what makes you stay?
I guess I got into the softer style of punk through more mainstream channels and early bands for me were DIA PSALMA, ASTA KASK and EBBA GRÖN. With MOB 47, NO SECURITY and SKITSYSTEM I knew I was hooked for life. EBBA GRÖN, MOB 47 and NO SECURITY are still today, 17–18 years later, three of the best bands I know. What really made me stay is that all of a sudden I was involved in the music I loved, not just a fan — that was really powerful for me.

How can we stay up to date on your releases and projects?
The best way is to check out the website at www.blindeadproductions.com, where I keep info up to date. If you want to go through social medias or newsletters or whatever, you’ll find the info on that there as well. There’s also blindeadproductions.bandcamp.com, where you can check out at least ten full releases, and soon we’ll add the full INFEKZIOA 7″ there, plus a few from the upcoming KRONOFOGDEN LP.

Maximum Rocknroll #380 • Jan 2015


MRR #380, the January 2015 issue, includes Mallorca’s raging hardcore punks ORDEN MUNDIAL, who have an amazing new LP and will be touring the US in late December, and we’ve got London’s frantic and inspiring FRAU, Memphis’ post-punk racket makers NOTS, and New Jersey’s prolific Don Giovanni Records, with releases from bands like SCREAMING FEMALES, PRIESTS and the ERGS! Also in this issue, Cyprus’ EN PSYCHRO tell us about the island’s scene and political tension, trans-national hardcore trio the INSTIGATION share their Japanese tour (and snack) diary, and Des Devlin discusses his insightful documentary film Distorted: Reflections on Early Sydney Punk. We talk to Toby Jeg of Red Scare Industries in light of the label’s 10 year anniversary, and catch up (and travel back in time) with Poland’s TZN XENNA and Italian hardcore/crossover legends RAW POWER. You’ll also find photo spreads from the London’s Static Shock Weekend and A Varning from Montreal fest, plus book, movie, zine and demo reviews, all the columnist you love to hate (plus a couple new ones), and of course, the most extensive record reviews section in punk print. Get your copy today and support thee longest running, all-volunteer-run, not-for-profit punk zine on the planet!

Buy MRR #380

You can now download this issue of MRR for only $2.99!!

Maximum Rocknroll #379 • Dec 2014


Maximum Rocknroll #379, the December 2014 issue, features an interview with Brazil’s powerful RAKTA, who just took North America by storm and are about to embark on a full European tour; and a conversation with Craig, bassist of Philly’s unsung ’80s hardcore legends AUTISTIC BEHAVIOR, whose long-lost LP Shattered Cattle was recently released by SRA Records. World-renowned pastry chef Brooks Headley — drummer of BORN AGAINST, (YOUNG) PIONEERS, WRANGLER BRUTES, C.R.A.S.H., UNIVERSAL ORDER OF ARMAGEDDON and more — talks about his new cookbook and cooking on the road in the ’90s. Newcomers PROTESTER and MISLED YOUTH take a break from their summer tour to visit the MRR compound, listen to SSD records, and reflect on the value of all-ages shows. Israel’s MARMARA STREISAND talk politics and punk; anarcho-punk legends POISON GIRLS discuss the recent reissues of their classic LPs, and the Bay Area’s DICK & JANE talk about their decades-long partnership. Rhode Island’s Mothers News waxes on the esoteric and exoteric in print media, long-running Brooklyn DIY space Death By Audio gives a swan-song interview before closing later this month, Bay Area by way of Eastern Europe crust label Doomed To Extinction clue us in on their recent releases, and powerviolence grinders NUNHEX offer a peek at life as a punk in Miami, Florida. All of this, plus cover art by Cassidy McGinley, a pullout photo spread from Mateus Mondini, and as always, columns, zine, book and demo reviews, and the most extensive punk record review section in print!


You can now download this issue of MRR for only $2.99!!

Maximum Rocknroll #378 • Nov 2014


Maximum Rocknroll #378, the November 2014 issue, features Part I of our ex-Yugoslavian history series: an extended Slovenian punk retrospectiveBULDOGI, TOŽIBABE, INDUST-BAG, QUOD MASSACRE, PANKRTI, GRUPA 92, ŠUND, and KUZLE are interviewed about their roles in the fertile early Slovenian punk scene, including stories about smuggled instruments, bootlegged records, and high-school dances, as well as the legacy of Ex-Yugo bands. Also in this issue, Northwest Indiana’s BIG ZIT and OOZE stop by the compound on their West Coast tour for a split interview, and we have the final interview with recently-split Bay Area band YI. Jason Flower, the man behind the excellent reissue label Supreme Echo, gives us a window into how he developed his eclectic taste and clues us in to a few upcoming releases. An in-depth Australian scene report of punk activities Down Under and a photo spread from Philly’s recent POC Rockers! show round out the issue. And, as always, we’ve got all the columnists you love to hate, plus demo, book, movie and zine reviews and the most extensive punk record review section in print!

MRR Back Issues

You can now download this issue of MRR for only $2.99!!