A re-issue with a few extras thrown in. Ooh, it’s scary.
David Lester (guitar) and Jean Smith (vocals) team up for some neo-early PATTI SMITH rock’n’roll poetry. One track, “Strong White Male”, really stands out—very haunting.
A one-sided, two-song pop punk release. One is punkier, one is busier, neither necessary.
A very well-rounded, powerful, humorous yet political release, much improved over the last one. Dave is really out there, and his character really comes across here, Experimentation usually works on this release, the lyrics are sharp, the cover art is a treat. Side Two lags at times, but I think the guts and sentiments come across really well. MDC is one of the few HC bands to really cut across time and cultures.
The first East German punk band to release vinyl, and decent it is. Much of the material is typically German older-style punk, while there are a few thrashers as well. Lyrics are translated into four languages and give a good insight into life in East Berlin, showing differences and similarities. A brave band.
He’s Dee Dee Ramone and he’s soundin’ funky, havin’ some fun but he’s still bein’ punky, rappin’ down his philosophy, out right now on this maxi EP, don’t know if you dig it cuz it ain’t fast, but that DD man he had a blast.
Decent but relatively unvaried hardcore here. The songs do indeed have melody to them, but the overriding impact is from the metal-heavy rhythms, the similarity of tempos, the gruff vocals. This LP is much like their previous EP, though not quite as clear in production.
Pretty inspired and raging hardcore here. Lots of different tempos, all delivered with an edge that makes you take notice, tunes that are distinct, and lyrics that usually hit home. Very good effort.
Very speedy yet noisy California thrash, recorded in a way that leaves the rough edges but the charm as well. Nothing original, but lotsa fun.
Hard to say exactly what this band is, but there’s a picture of a bedraggled IGGY-like character on the back cover, and in many ways the six songs here relate back to early ’70s rock as well as ’76-’77 type garage. Basic.
These HICKS belch out their country roots, and though only on one track (a cover of “Take it Easy”) do they hit it punk style musically, they manage to mangle the genre lyrically on all four cuts. For cowpunks.
HALF JAPANESE meets BUTTHOLES? Quirky post-something-or-other? The FALL on DMT? It’s hell being a cow.
The A-side is a cool James Bond-ish-type instrumental, while the flip is a foot-stompin’, CRAMPS-like rocker. A good second effort.
A generally energetic pop band, though not all the songs here are really revved up. At times it’s like the REPLACEMENTS meet DOA, meaning lots of bounce and guitar/rhythm crunch. Lyrically romantic, and with an unusual cover of the BEATLES’ “Norwegian Wood”. Recorded in 1985!
They exaggerated straight edge to an absurd extreme, and it’s amazing how many people took them seriously, both pro and con. With songs against littering, in favor of rewinding video cassettes, and a “positive dental outlook”, all done in imitation of Ian, Kevin, Pat and Ray, you’ve gotta lighten up. Lots of fun.
Fun rock n roll, evolving out of paisley rockers THE MARSUPIALS. Not really too rocking, but jaunty garage stuff.
Hmm, “Ghost Riders in the Sky”-type “western” instrumental, pulsing fuzz-guitar industrial punk, ‘77-type dumbo punk, and yet another instrumental—all on one slab. The styles clash, but the music hangs.
Great cover on this 45, with a CHEAP TRICK rip off tune/sleeve on one side and KRAFTWERK on the other. Musically, it’s crunching pop, whatever that is.
Like all spoken word records, it may be hard to listen more than once, but a good listen it will be. Jello’s in great form here, doing his satirical Lenny Bruce approach to politics, punk, culture, etc. A very scathing attack causes thought and quite a bit of laughter, and gives a really good insight into how the DK’s former guiding light views the world. A wealth of information on most of today’s attacks on freedom.
As with their previous release, this one has some really excellent lyrics, but again fails to rise above the early ‘80’s UK plodpunk sound. Not that it doesn’t have power or guts, but if current bands are gonna play older styles, they should really present them with an approach that makes them sound fresh and exciting. Decent.
Simple pop punk with female vocals and sung in English and Italian. Amateurish and charming, like KLEENEX or something. Fun.
The package this band’s record comes in is actually a 36-page booklet, written in German, full of information on nukes, racism, censorship, etc. The songs are all mid-tempo punkers, most holding my interest. Obviously a committed band, definitely into it.
From Wales, this band handles both melodic thrash and various punk styles, the latter which predominates. Lyrics are all in Welsh, a very strange looking language, but the music speaks well for itself.
A varied punk thrash and post-punk collection contains tracks from many of the bands you’ve read about in these pages. Included are ARMIA, DEZERTER, REJESTRACJA, ZENNA, SIEKIERA, ABADDON, and PROCESS. This is out on the state label, Tonpress, but might be available through…
A benefit LP for the Anthrax, the club which gave these early Connecticut hardcore bands their starts. All the songs were originally released as EP’s (long out-of-print), and included are C.I.A., VATICAN COMMANDOS, REFLEX FROM PAIN, LOST GENERATION, and VIOLENT CHILDREN. A limited edition release, this is the first for this non-profit label. Great stuff!!
A pretty neat neo-’60s release. 4 songs in all, full production that makes the sound clear but not wimpified. Cool guitar, slightly echoey psych feel, and a good cover of the EYES’ (the 60’s UK band much like the early WHO) “When The Night Falls.”
Circa ’82 SUBS, some released before, some not — all studio. Classic punk sounds from a band that dates back to ’77 and who sport a singer older than me. While they’ve never grabbed me, the SUBS have been a perennial fave on the East Coast. Eight songs.
Recorded a month after their final show, these 8 highly produced tracks are their last word. Many of their varied styles appear here: reggae punk, eclectic extended tunes, medium tempo punk, medium-fast tunes. While by no means throwaways, there are no immediate standout classics. And then came CULTURE SHOCK.
This band had a blazing HC EP out many years back, then did some recordings in ’83 and broke up before it was released. They’ve regrouped, I believe, and put out these sessions finally. While the new songs maintain their power, gone is the straight ahead approach, and instead they come on with a highly produced, sometimes post-punk approach, sometimes a bit MISFITS like. Very big departure.
I ordinarily wouldn’t review this kind of music, but because it’s on a “punk” label and looks like a “punk” package, I just thought I’d mention… it ain’t punk at all, it’s metal.
A really good hardcore EP, with a really energetic sound. Not generic, but not really new either, they do thrash right with zaniness and good lyrics. “Drugz” is a standout.
Henry’s kinda joke, I guess, as the “concept” here is a bogus title, “Henrietta Collins and the Wifebeating Childhaters.” Ok. Musically, a new wave tune and a mandatory (he was from DC) WIRE cover on the A-side, and four tunes on the flip, which are more like what I thought would be on the LP, sorta rap/spoken word set to music, including a thrashing of “We Will Rock You” only it’s “I Have Come to Kill You.” Liked the LP better.
Posh Boy’s been re-releasing their early catalog in various shapes and forms, and this is one classic you should really pick up. Great garage punk from L.A.’s McDonald Bros. plus Ron Reyes (later to go on to BLACK FLAG) and Greg Hetson (of later CIRCLE JERKS fame). A real treat.
More early ’60s garage meets mid ’80s noise. Can’t say it’s the best of both worlds, but when they aren’t being too arty (a third of the time), they do rock out some grungy crud like CRAMPS meets BUTTHOLES on bad DMT.
Sixties punk done à la ’76, meaning not enough mania and too much production and rock guitar. It’s not really bad, just not crazy enough to warrant the retreads, and there are plenty of them.
Older punk meets ’70s rock’n’roll with a lot of influence on the guitar power. Lyrics are above average for this genre but the music bogs down too often for me. When they rock though, it’s pretty strong stuff.
Their hottest release yet, at least for me. Many of the six tunes are slowed down, which results in more power and greater clarity of lyrics. Really basic punk and thrash, very well done.
A few of the ANGRY SAMOANS team up for this folk-rock seven-song release. This is really wimpy, self-indulgent material, a definite joke. Fortunately, the SAMOANS still kick ass live.
Their second release, this LP’s chock full of CRAMPS type garage rock and roll —pounding beat, raw guitar, and silly lyrics. From New Jersey, it rocks.
In case you’ve wondered what Matt and Chris of CRUCIFIX are up to these days, here’s what. They’re in a band that plays pounding, rhythmic dance music with political/ominous overtones along with members of FLUX, I believe. Soon we’ll be hearing from Sothira’s new band, an entirely different thing.
A rippin’ six-song job that comes bundled with the reissue of their What Happens Next LP. I don’t know if these guys are at it again, but I hope so. Ripping.
Manic vocals set to sporadic musical mayhem — sort of in the BUTTHOLES spirit. I thought you had to be from Texas to do this kinda stuff, but these lads are from Virginia. Will interest the fringe freaks and art trendies.
Three pounding metallish punk songs and one very snappy thrash tune with no metal influence whatsoever.
Edging ever-closer to rock music, GI employs a big sound, usually powerful beat, and big production to get it across. But the lack of a cohesive, unique sound and catchy tunes make the package relatively unmemorable, making them sound like just another slick band on a bigger label.
Pretty rockin’ garage type ’60s punk with a good beat, fuzzed guitar, SEEDS and ELEVATORS influences and nothing lyrics.
These Quincy punks shared the Last Rites For… LP with MIA way back when, died, and are now back to make you gawk in disbelief at their passé stud/skull look. Equally dumbo lyrics and metallish approach make this a joke, unintentionally I’m sure.
An anti-violence band with a twist. Seems like the singer is a refugee from Iran, because just about all the songs deal with life in the current regime’s grip, with one song even sung in Farsi. Musically, hardcore with metal/power influences. Interesting.
One of “Live at CBGB” cassettes comes to vinyl life, and life it reverberates. Very powerful hardcore that doesn’t stop, and that might be the only complaint here — the on-going similarity of the emotion you’re being clobbered with. But if you want a dose of sledgehammer HC, you know where to find it.
More of the COLORS’ mod (JAM/JOLT) sound. Lots of power pop, power chords, etc.
Pretty decent pop ’60s punk, but this selection doesn’t have the nasty edge that their recent Stop! album had. A few tracks do manage to snarl, delivering that fuzz attack, while the rest are well done by clean.
More than competent metallish HC, another example of Europeans following up on a trend within the U.S. scene. Lots of riffing, non-melodic guitar, power rhythm, etc. Otherwise, unmemorable.
A six-song release, mainly of pounding guitar heavy rock with late-’60s Detroit power and punk influences. Lyrics are nothing, but on one song, “Shake It Loose,” the band does produce something memorable in sound.
This UK band contains Ed of the STUPIDS, and, as expected, there’s a decided American sound here, but not in the same way. The music and lyrics have a DC-type “emo” approach, a powerful but ultimately laid back sound.
Another in a spate of reissues, this one containing some classic retardo garage punk from 1980. Remixed a bit (not to its detriment) and powerful, it contains “Right Side of My Mind”, “You Stupid Asshole,” “Get Off the Air,” and two more gems. Get it.
This record is on a label called Heavy Metal Records, comes without a lyric sheet, sounds laden, but somehow has a glint of individuality. I had a hard time with the length of the cuts and their ponderance, but hopefully beneath all this weight and silliness lies some good lyrics and intentions. Hopefully.
Three bands out of N. Ireland share this amazingly great record. ASYLUM, STALAG 17, and TOXIC WASTE absolutely kick ass, both musically and lyrically, delivery track after rack of powerful hardcore. Very convincing and necessary!
Well, they’ve heard early PRETTY THINGS-type primitive R’n’B, especially the Jagger-like vocals, raw plunky guitar sound (though nowhere as grungy as the THINGS), etc. Out of Sweden.
Great thrash cover of the KINKS’ “Dandy”, a couple of slower tunes with a good snotty-sounding vocalist, and a recitation of the Gettysburg Address set to ominous sounds. Enjoyable.
Old fashioned punk both in musical style and lyrical content, mainly dealing with getting fucked (take that any way you want).
One track each from thirteen primal Aussie punk bands, most being off ‘77 era singles and most being hot! VICTIMS, RADIO BIRDMAN, ROCKS, NEWS, PSYCHO SURGEONS, RAZAR, LEFTOVERS, X, THOUGHT CRIMINALS, SCIENTISTS, and more. As many U.S. bootlegs claim Australian addresses, this release claims a U.S., but don’t be surprised if no one’s home.
This selection of neo-’60s bands covers Germany. Bands like LEGENDARY GOLDEN VAMPIRES, the CHUD, BEATITUDES, SHINY GNOMES, and more drop all over the turntable for your delight. Nothing too raving here, just fifty mike doses.
NEW DRUGS, the 126.96.36.199’s, SHUFFLE, and another band whose name is in Japanese present cowpunk, SHIRELLES/DOLLS-style early ‘60s stuff, and ‘77 punk. Weird mix to say the least, though the SHUFFLES’s “Working Class” has SHAM catchiness.
Seven highly moshable tunes here, all showing some kind of searching attitudes. While there are still traces of the NY “hard” attitude, there’s much more of a human quality that’s replacing the naive “unity for unity’s sake” approach. Bands include YOUTH OF TODAY, SICK OF IT ALL, SIDE BY SIDE, BOLD, WARZONE, SUPERTOUCH, and GORILLA BISCUITS. Pick it up, and hope that as these bands mature they will prove less mercenary and display more emotional depth than the previous wave of NYHC.
An all-Japanese release for those who can’t locate the stuff. Contains a track or two from DEADLESS MUSS, SO WHAT, DETROIT, and FUCK GEEZ. Decent thrash material, nothing lame but little awesome from the current crop.
Three songs, all good garage/’77 punk with good production. Pretty decent lyrics, too, highly caustic towards retardo-punk attitudes. Cool.
Metal damage, leads, and metal structures overwhelm whatever non-cliche aspects remain. Pretty driving, but hard to take or sift through to get any fun out of.
More of their BUZZCOCKS imitations, though it’s not any more rockin’ on this live recording than their studio material. They do indulge in a cover of “Purple Haze,” which is HENDRIX on white bread.
A four-song release, doing very bouncy and catchy ‘77 punk. Distinguishing features are a really fuzzed guitar and good snarly vocals. Cool.
This band’s sound here is rockin’, but their punk sound is pretty muted by smooth production, which limits the power and accents the pop. A bit too polished.
Their sound lurks somewhere near the STOOGES with a dash of early SAINTS to spice it up. Songs do go on and on, but I guess on the right drugs you can hang with it.
For the most part, this is mid-tempo English type punk, though every now and then a bit of thrash creeps in to remind you it’s not 1979. Decent, but not powerful or catchy enough to be really memorable.
Like their last EP, this one is not manic at all. One punk tune, one pop tune, and a disco tune. Maybe this is wacky in Sweden, but I don’t get it.
Very calm peace punk sounds, to the point of sounding like the CAPTAIN AND TENNILLE or 7 SECONDS (slight exaggeration, Kevin). A couple of tunes have some verve, but overall this is snooze material. From Scotland.
Hey, if you absolutely hate tunes in your music and vocals you can’t understand at all, this album’s for you. Very fast, very metal-influenced, very gruff and very political. Sorta like old DISCHARGE meets every modern speedmetal band.
An anti-Christian rage here, sort of like the first CRASS 7” but set to a more post-punk mood. Nevertheless, it’s as biting and pointed. Both male and female vocals, nice harmonies on the flipside, though the dance beat on one cut and the “prettiness” on another make them difficult to handle until the guitar and drums kick in.
Pop-punk with good drums and guitars, sappy vocals that detract quite a bit. Add a different vocal track and you’d have the strength of a good JESUS AND MARY CHAIN release.
‘50s and ‘60s influences here ranging from rockabilly and R’n’B, but with a ‘70s rock’n’roll delivery like LITTLE BOB STORY or something. Dated, but it raves.
A two song, one-sided flexi that mysteriously appeared in a NEW ROTEEKA EP. Pretty much rock punk, not too exciting folks.
A varied EP with four songs on the pop-punk side. Three are pretty decent ‘77-pop style, and one is a bit like a folk tune set to a beat. Not exhilarating, but okay.
Sounding like COCKNEY REJECTS to some extent, this band’s second EP delivers ‘79 UK punk with spirited beat, choruses, and lots of spunk. Above par.
HEIMATLOS delivers in many punk styles, all of which are done with a special “cut above” feel — whether thrash, classic, short or long, they attack. KROMOZOM 4 are also a tight, aggressive unit whose combination of wicked thrash and goofy stuff between tracks gives them a TOY DOLLS feel. Hot record!
One live side, on studio that is mainly outtakes from their first LP of years ago, as well as a cut with Paula Pandora. These are the San Diegans who went on to be the MORLOCKS, and they do your basic ‘60s punk stuff, all snarly and ultra-cool. OK music, very sharp cover.
Lots more variety than usual on this release. There are some songs reminiscent of the GBH of yore, but they’ve slowed down their thrash on others, added a lot more melody, and even have a couple of non-thrash tunes. Can’t say if it makes for a better overall record, but they’re at least opening up.
Produced by Giorgio Gomelsky (of YARDBIRDS fame), and “produced” it is. Horns, lots of very laid back instrumentation that serves as a backdrop for Stephan’s ravings, as well as lots of musical styles running into each other, lurching into punk and back out. I think too much of the power is sacrificed in the name of variety, but other’s less influenced by stylistic purity might buy it.
‘77 style punk that only on two or three songs rises into a musically inspiring pitch. Lyrically caustic appraisals of both world politics and poser-punk problems. With a bit more cutting loose, this would make a real dent.
You gotta hand it to Wattie and co., they do keep the faith. Same old hooks, still pissed-off political lyrics, and still driving punk tunes. Lotsa thrash, some pretty repetitive, but they continue to add some variety as they have over the last several releases. On the other hand, he’s gotta keep doing this — I mean, can you imagine Wattie with a skate punk look?
Rockabilly meets the RAMONES, meaning ultra-fast rockabilly with powerful as hell drive and retardo lyrics. Fast as thrash, raging stuff that only a corpse like Elvis himself couldn’t get caught up in. Hot platter!
This live at CBGB’s album will appeal to MISFITS fans, fans of melodic punk, and malevolent folks everywhere. Non-stop power, lots of tunes, and sarcasm galore. VERBAL ABUSE, move over.
Highly produced power pop that’s got a good beat, interesting lyrics, and a homogenized sound that removes any real guts.
For years, after they evolved into RANK AND FILE, the DILS disavowed their punk roots as vehemently as they had previously espoused punk ideals. Either they’ve mellowed a lot, or times are hard for R&F, but in either case Chip and Tony Kinman have allowed these recordings to see the light of day. Most of this LP is circa 1980, and shows their country sound creeping into the raw punk. The remaining tracks are from ‘77, but the sound quality here is really bad. This is a collector’s package more than a listenable selection, harkening back to 330 Grove, Barrington Hall, and the Mab. Try to find the singles.
A really powerful mid-tempo cruncher on the A-side, heavy guitar and bass, a no-letup job. The flip is a slow droner that failed to hold my attention despite its occasional outbursts.
Their name is meant to reflect their music (not their political) views, meaning a basic guitar rock band. The tempo is mid, a bit of pop and country meets an early punk sound. More often than not, they sound too clean for me. If they were really contra, they’d be today’s RAMONES, not the REPLACEMENTS.
C.M. are from New Zealand, play fast punk a la ‘78 on three tunes, all of which are socio-political attacks. You probably are aware that POWERAGE comes from South Africa (4 EPs out), and play highly political punk. The new drummer here wasn’t broken in when the recording took place, and it shows painfully.
DRI-ish approach, though sloppier and with trashier production. Little in the way of melody, long on raging noise and bitter political lyrics. French speakers by birth, the lyrics are in English. From Montreal, Canada.
A seven song slab, very powerful sound, metalcore, etc. Can’t tell what they’re singing about and no lyric sheet. Professional hardcore, leaving little room for fun or humanity.
Their second LP, this one moving away from more generic hardcore into experimentation with funk, rock, pop, but all with an edge, as well as more standard punk fare. Lyrics are again above average, a good effort.
A one sided single, this track is sort of a mid-tempo garage-y rock tune, sounding like how a 1976 midwest pre-punk might do it, but it’s new and a rarity.
A pretty bleak picture painted here. On one hand, BL’AST demands we not be led, that we awaken and fight, yet on the other hand they inform us they’re withdrawing into solely self-oriented gratification. Hmmm. The music is in the FLAG-rhythm hardcore we’ve come to know, tight and powerful lurching stuff.
A bit disappointing. The singer has Jagger down to a tee, and the band has a mellow STONES bluesy sound like outtakes from the Rolling Stones Now LP. Live, they really rave, but here it’s pretty laid back. Roll over CHUCK BERRY.
Fairly decent thrash, though a bit herky jerky at times. It’s tight, but the construction and lack of tunefulness make it seem fairly generic. One tune, though, “Self Destruct,” does stand out in its forcefulness.
One of the best EPs I’ve heard in awhile. Raging and enraged UK political thrash on one side, like CRASS meets old DISORDER and DRI. Side one consists of about a half-dozen rippers and rants, while the flip is one long song that goes through many changes/styles. Comes with insert and record want list!
Mixed with the gore tunes, there’s a surprising amount of thoughtful tunes, though the onslaught of music doesn’t seem incongruous with sensitivity. Subjects include anti-pope, nuclear power, child abuse, religion. Musically, it’s standard Combat fare, tuneless speedmetal.
A calypso/noise song and a rock send-up are latest releases from MYKEL BOARD, that little daredevil himself. Otto Control and Zeppo Ramone team up for some fun at your expense.
Yet another band that mines the ‘60s punk meets ’77 punk vein. Slow-to-mid tempo STOOGES-like rock, the only cover being The GROOVIES’ “Slow Death”
Between bands like the MELVINS, U-MEN, GREEN RIVER, and now these guys, Washington is developing a “sound.” So if you’re into LED ZEP retreaded for the ‘80s, check into this.
Hey, there’s one song on this LP I like, a cover of CRIME’s “Hot Wire My Heart”. The rest is just too oozingly cool for me, though there are VELVET-y moments that appeal.
These Detroit guys have been around forever, and now finally get their grunge down on vinyl. This is a decidedly garage release, with three medium-beat crunches and one fast one. Lots of distortion, popping vocals, and a FLIPPER-ish trash feel adds up to…punk rock.
For a band that hasn’t been active in years, they do get an amazing amount of vinyl out. This is a Japanese release of great sounding material. Which includes a MINOR THREAT/SSD medley cover.
Pretty accessible stuff for this label, as the music is punkish eclectic pop with a dash of straightforward R’n’B based rock. Lyrics are L.A. bleak but more political than most emanating from the sun-fried zone. Pretty cool.
Their “unreleased” second LP, this, like the debut, is more of a mini-LP with seven tracks. And like the original there’s a definite STANDELLS influence – guitar, organ, clean – production, proto-punk. Several covers from this defunct band, whose singer is now in the RAUNCH HANDS.
Now, this is a “punk rock”, no doubt about it. While the band is not quite as tight here as they are live, this still rips. Mike’s retardo lyrics are at full tilt here, and this self-produced/distributed product is proof that some people are still into the whole punk idea.
A really surprisingly varied pop punk LP. At times they sound like STIFF LITTLE FINGERS, delivering really gutsy raunch. At other moments, it’s excellent Boston rockin’ pop. And then suddenly, they’re more to the pop a la HUSKERS, but still maintaining their edge. Good job.
At their best, they remind me of the PAGANS in their simple and hard-hitting guitar punk. Other songs also carry a ’77 punch, and a few draw on ‘50s R’n’B for inspiration. Cool.
Horror themes/death are the subject matter. Mostly medium/fast are the paces. Surprisingly non-metallic is the HC here. I guess this is radical in Utah.
Mainly mid-to-slow tempo tunes, often lilting, more often with a metalish riff structure but without the wanking, while lyrics are dark and introspective. There’s something here in both vocals and music that reminds me a teeny bit of BEEFEATER, but not in an imitative way.
Five tunes, most of which are steeped in mid-period LED ZEP crap. Blues based self-important rock with lyrics about “babes” predominate.
Probably the first punk band to sing about strip mining, these guys cover a whole range of ecological/political subjects, and obviously know a lot about what they’re singing about. The music, however, tends toward consistently basic riffs, which gets a bit repetitive. A bit more variety there, and the diatribes would probably have more impact. Decent.
Kinda like newer RAMONES sound with a bit of glam and rock thrown in. Vocals are like a fast MOTLEY CRUE style mets ZERO BOYS. Rockin’, but on the verge of poserama with little inspiration.
Probably the DK’s final release, this is a greatest hits package containing all their singles, cuts from various compilations, as well as a bonus flexi and some live tracks. A really nice way to go out, and comes with a cool magazine, a page for each track.
A very high quality live boot from New Zealand. The CRAMPS gotta be the most bootlegged post-’77 band, which is a compliment to them, but quite a ripoff.
Really interesting, distinct and rockin’. Sort of a combo of early DAMNED energy and a mod sensibility meets the REAL KIDS. Three songs, all cooks and all have neat, memorable hooks. Go for it.
An all-instrumental combo out of St. Louis, Missouri. Lots of darkness in their big sound, but the ever-present pounding drums save it getting too heavy or dreary most of the time. As with most Instrumental efforts, there’s lots of repetition and little to bring you back for additional listenings, unless you’re a stoner.
I didn’t think this’d ever come out as it was recorded quite a while back, but ran into all-too-typical indie problems. This LP encompasses a whole range of HC styles, none handled generically. Very good L.A. modern punk, so I hope we get to see them live now, too.
It’s hard to follow up on a debut LP, never mind one that’s generally considered one of the punk rock “classics,” even if six years have gone by. But the revived (and revised) ADS do a pretty decent job – at least they still sound like the ADOLESCENTS, with tuneful songs, classic guitar and vocals. They even throw in a few oldies (“Welcome to Reality” and “Losing Battle”), a few covers (“House of the Rising Sun,” “I Got a Right”). Very recognizable, but only time will tell whether it measures up.
BIG BLACK meets JESUS AND MARY CHAIN. Tough but post-punk rhythms and noise guitar galore work together with machine gun vocals. Precious little info on this colorful fold-out sleeve that becomes a poster.
The “funny” side of the SPERMBIRDS, it’s amazing this is the same band. While the ‘BIRDS thrash like crazy, this is more poppy, coming off like a French punk band or TOTEN HOSEN.
An international comp featuring FUCK GEEZ, GLORY, B.P. THE PRISONER, UK JUNX, FREEZE and ASBESTOS ROCKPYLE from the U.S., SCRAPS from France, S.O.D. from Sweden and the DEFORMED from England. Varying quality and sound, and hopefully more international punk will get exposure there.
A unique and good looking package here, with a 7” comp EP and flexi. Bands from the U.S., Canada and Japan include SEPTIC DEATH, FRATRICIDE, C.O.P., FINAL CONFLICT, NEGATIVE GAIN, GHOUL, OUTO, S.O.B., and GHOUL SQUAD. No info on the bands, but the needle jumps, and that’s the bottom line.
Cheese whiz pop. It’s got a beat but no balls.
SEARCH AND DESTROY sounds good, though the tracks with the female vocals (half) stand out the most. Sort of a chaotic thrash, and when it gets it’s hot.
The A–side is semi-rockin’ Pop, but the flip shows a lot more character. It’s a medium-paced pounder about shooting up, sort of a noisy, relentless tune that gets the point across.
Pretty ordinary melodic punk and thrash here, and though the lyrics are very strong. I don’t think the music really comes across with the same emotional impact. This isn’t a bad album, just a not a pissed kick-in-the face.
Political punk from Greece. This is ’77 style punk with a bit of a CLASH influence. Reconfirms my opinion that Greek, along with French, is the worst sounding language to work with in punk songs.
A real powerhouse band and album. Non-stop quality thrash, great sounds, and even hooks and choruses. Guitar gets out front a few times, but it’s restrained and the overall band sound is maintained. With titles like “Lost of Words” and “Not Worth Dawn” (they do mean “damn”) you can’t go wrong. Killer.
Pop punk and thrash. The music’s good, song titles like “Fuck’n Girl” and “Nagality” leave me scratching my head, and it came packaged with a flexi from another band the JOKERS. Same planet, different worlds.
Hardcore, sort of like a fast PERSONALITY CRISIS. Rock structures, pounding beat, crunch guitar, semi-theatrical vocals. Heavy handed.
This band frequently has flow, metalish intros, then launches into non-metallic straight ahead thrash. Five tunes, some catchy.
A three-song, lightweight pop-punk release. Comes packaged like the first PIL 7”. “Punk the World” it says on the back. I guess their approach is to lull ‘em into it.
Missed this when it came out, but it’s well worth listing now. Very much in the English “peace punk” tradition, there are CRASS–like rants set to driving simple punk, poetic conversations and folky interludes a la CHUMBA. Well done.
Most of this month’s Japanese batch have been really poppy, as is this one. I guess it’s a trend. First metal punk, now this. But it’s not ace pop-punk. Just wimpy ass stuff. Aaagh!
A five-song release of pretty high quality thrash. Lots of melody, though, no metal, tight playing, and lots of energy.
Sort of MC5 meets BIG BOYS and BUTTHOLES. Hope ya like wah wah.
Sounds like a rawer-edge Homestead band with a political consciousness (a contradiction in terms?). Very HUSKER-ish guitar, aggressive but controlled post-thrash: I think they’d be very at home in DC today. The final COR release, distributed by…
While there’s no overt fascist ideology in most of the lyrics, the mentality is there, both on a more subtle level (the admiration of blind violence, the skin “look” and the inferences to racism in “White Cap.”) on the sleeve itself, graphics are by “KKK”, as well as plenty of iron crosses. Musically, pretty decent Oi sounds.
Three of the four songs are really decent medium-fast punk with a drum sound that seems like a machine til it does stuff a machine can’t. Catchy tunes, pounding beats, and good guitar. 75%.
Really great garage here, really pounding punk. Cool cover of the RATIONALS’ hit, plus two other ravers. No info on sleeve as to their origin, but they don’t seem to be the band from Wales. Ragin’ stuff.
Was expecting a bit weirder than the ’77 pop I got. Like wimpy CLASH? Wrong generation.
A “live in the studio” recording, this band is of the ’77 ilk, featuring a female singer, organ, and cover “Pretty Vacant”. Where am I?
Four ultra-catchy pop-punk tunes with a definite RAMONES influence without being copycats. Very basic, very rockin’, very good.
Mostly JESUS AND MARY CHAIN-trend stuff here. Pop, feedback, distant, a beat.
Andy Martin has always been a bundle of contradictions, and on this, their fifth LP, he comes off with his reactionary side, a perspective that would make SKREWDRIVER proud. There’s as much hatred, racist bullshit, and “white tribalism” here as on any LP by the aforementioned sickies, and this time the APOSTLES even sound like SKREWDRIVER. Very fucking sad.
Three fairly similar speedcore songs, short on melody and long on guitar squawking. Good lyrics, good intentions, but nondescript speedcore is even worse than nondescript thrash.
Compiled by the BUTTHOLE SURFERS, there’s two tracks each by said band. Steve Fitch, Daniel Johnston, and STICKMEN WITH RAYGUNS. It’s all Texas weirdness/bad acid stuff. Highlight is the latter band, whose sound is like the SCREAMERS meets FLIPPER.
Three separate EPs, three different sounds, three different color vinyls. PILLSBURY HARDCORE, PEACE CORPSE, and WHITE’N’HAIRY get their individual say here. Made for collectors, comes in a box.
Sort of a BUTTHOLES/BIG BLACK on the A-side, while the flip’s got a bit of BEEFEATER sound to it, though a bit more rock. Hard bite.
Every one of these German bands (CHALLENGER CREW, UNWANTED YOUTH, SPERMBIRDS, JUMP FOR JOY, SKEEZICKS, PMA, and ANTITOXIN) deliver one song each, and great ones they are. It’s rare to find a comp that’s really consistently sold, but this one is. Put out by Trust fanzine.
About seven years after the trend, along comes a sampler of NY area ska bands. Varying calibre, mostly rocking.
A five-band comp that features one song each from groups that span the length of this island nation. ACID REIGN, HOLOCAUST, DEFIANCE, and MINDFUCKERS all have a ’77 UK sound, and all the recordings are amateurish, though the latter has a most interesting track. NAZGUL is in the thrash vein, and attacks! Good cut!
YO LA TENGO, BIG BLACK, and KILSLUG present one track each for pretentious and depressed pseudo-intellectuals, and MOVING TARGETS kill ass as usual in their allotted space. Comes with issue #5 of…
The Captain musta been drunk when he chose these, because it’s one weird combo of eccentric pop and a dollop of HC to top it off. On the punk side, there’s GOD, WILLARD, CONTINENTAL KIDS, LOODS, and LIP CREAM.
This EP contains one good punk track each from FREEBORN, CRIMINAL SEX, BLOOD AND THUNDER, and NICK TOCZEK (the ranting poet backed by a rocking band). Nice to hear decent stuff from relative unknowns, and…bring back more 7”ers!
DRILL, EXIT, 16 TONS, and T.D.F. present eccentric pop, punk, and industrial. Odd record, odd format.
The ZETTLERS, TRAPPERS and RINGO & MAINERS all deliver two songs each of instantly disposable R’n’B and Mersey stuff dating from the mid-’60s.
Professional punk that just barely maintains its roots after all the production and arrangements. Kind of like the Japanese equivalent of the DAMNED. Slightly better tunes appear on the 12” of “Catholic Day.”
This band has gone totally metal, both musically and in mentality. Lame isn’t good enough to describe this.
Much of this material’s been out in the States before, but this is a good overall sampler for Europeans (or anyone who doesn’t already have their prior releases). Energetic ‘60s oriented punk.
A very enjoyable punk/thrash debut. 5 songs in all, most are catchy and rip as well, featuring inane but creative lyrics. Check it out! A rarity: no pic sleeve!
Mid-tempo punk with female vocals. While the lyrics are on the mark (anti-racism and anti-state abuse), the music is a bit repetitive. This is not to say it’s limp, but just that the tempo and structures are very similar on all 3 tracks, and given their length, a bit more change might’ve livened it up. Decent.
A novelty here, as Tesco of the MEATMEN indulges in a little punk rock nostalgia. While his covers of the AVENGERS and FLESHEATERS are nothing special, this is the kind of one-off thing I wish there was more of. Credit for persistence goes to Jimmy Johnson for getting this out, a freebie for subscribers of…
A 4-song debut that shows promise. Outside of the occasional wanking guitar leads, I like the mixture of fast and slow hardcore and the straight-ahead attack. Watch for more Orange County releases on this label.
Straightforward HC that’s tight and everything, though there’s little in the way of distinction except on a couple of tracks (like “Gutgekotz”).
Three-quarters of the old WILLFUL NEGLECT play metal-riff rock on side one, almost too much to take. On the flip, the metallish aspect is still there, but the basic tune is good, as well as the singing. Lyrics aren’t very important here, and the guitar is a pain.
A “drinking” band, they must have gone over the edge cuz all the songs are radically different: thrash, Euro-pop, punk, country, and sometimes all of the above together. “Straight Edge Band” is a classic. Hilarious!
Total commercial rock, and the worst thing I’ve heard in a long time.
Jazzy HC with metallish guitar on the A-side, and catchy straight-on HC on the flip. It’s like two different bands, but both sides are done with verve and class.
Well, the little skate geeks are back with another dose of U.S. hardcore a la U.K. Fueled on pure root beer, Tommy and company indulge in a few longer tunes this time, including a hilarious scratch song. Why go to L.A. when you can have the VANDALS meets D.I. in the UK?
I think this is a reissue of the STALIN’s first two 7” records, as well as the track they put on MRR’s international comp LP. This is nice to have as a collector, although this relatively primitive punk doesn’t hold a candle to their subsequent material, which raged.
Speedy hardcore with jazzy/metalish guitar riffs but otherwise straight-ahead thrash. Fans of non-melodic aggression will get into this – no let up, no distinction.
Pop-punk meets surfing sounds in Buffalo? The three tracks are not hokey, musically, but are pretty passe. Lyrically “nothin’”.
What the SOUP DRAGONS are to the BUZZCOCKS, these guys may be to early SAINTS, with a dash of ‘60s punk and perhaps Belgium’s KIDS thrown in. Really rockin’ pop punk with great guitar and good snarly voice. We’ll know better after their next release.
Atmospheric but driving post-punk with female vocals. Reminds at times of early SIOUXSIE, with the haunting/tortured vocals and the psycho-punk music.
Fairly rockin’ pop-punk with a RAMONES feel to it. Nothing really amazing, but somehow catchy and pretty tight.
Metal tinged thrash in the COC/NEGAZIONE mold. Very political lyrics dealing with power, exploitation, racism, and even the “scene.” Strong beliefs and intense music.
Like the REDSKINS, these are leftwing skins, musically following in the footsteps of early punk a la CHELSEA, ANGELIC UPSTARTS, CLASH, etc. The music is fairly light though, more like current 7 SECONDS than the ’77 crew.
This is a Steve Spinali kinda record, boppin’ pop-punk, back-up choruses, etc. Half the tunes rock, half are a teeny bit too light (especially in the vocal department), but not bad overall.
Very high-powered thrash, not without a decent dose of BAD BRAINS-like attack. Metal licks kept to a tolerable level, while the overall fury carries the day.
With music like this, they’ll be back in the pubs: highly produced, including synth and keyboards (usually unobtrusive), slow-paced tunes (only a couple rock much at all). Definitely going for the college radio market.
Aptly named, this is largely lightweight pop punk, a much-cleaner REVILLOS. The beat is there, but the insipid lyrics and too-sterile production keep this from really grabbing me. Main feature: Wolfie of the STUPIDS is the bass player.
For most of this LP, we’re floating along in a very pleasant ’78-79 type of political punk with both male and female vocals. But then, just to show us they’re not completely stuck in the past, they lash out with a terrific thrasher. Very good release, and much more gripping than on their EP. From Ireland.
A reworking of the A-side by this reformed early punk outfit, and it’s got the guts and great bass riffs of the early version. The flip, a cover of the JOHNNY RIVERS classic, is as garage-y and raw as I’d hoped. Basic punk rock.
Surprisingly rockin’ pop-punk/thrash. Based on their last 7”, I thought the OFFBEATS were wimping out, but on this LP, they deliver a lot of wallop as well as catchy songs. No lyric sheet is always a bad sign: either the band puts little stock in their message, or the label could care less.
Again, cleaned and prettied up. The tunes are still cool, but the bite and raunch just isn’t there, that extra spark of rock’n’roll that heads a band over the line into madness. Too reserved.
Very well done melodic HC with roots in ’77 punk and the DC sound, and they even do a T. REX cover. Tight, tuneful, and songs that can be remembered.
Garage, punk, garage ska, and just general garage, done with a flair—the lyrics are sharp, but not dogmatic. At a few points, there’s a dash of FEEDERZ here, but that’s not really what they’re about. Good debut.
It’s rare when a HC band can sound tighter and better on their faster material than on the slower tunes, but that’s the case here. While 50% of this LP is average, the other half is definitely a cut above, showing real snappiness. Lots of promise.
With titles like “Stagedive to Hell,” guess what kind of music this is? Yep, fuckingspeedcoreandsmetalmentalityandIbitit’llsell.
Tight but relatively indistinct hardcore. All the ingredients are there, but nothing really sticks in my mind afterwards. More tuneage!
The American release of the hot TVOR album. Different (but equally as bad) cover, but it’s what’s inside that counts, right?
This album is a bit lighter than the previous, though it contains the same early punk mix of pop-punk and ska punk, Reminds a lot of middle-period CLASH. Pretty slick.
Their debut U.S. album, which includes all the tracks on the Aussie 12” as well as the “Girl in the Sweater” 45. Fans of pop-punk should snap this baby up!
Cowpunkish Irish music? They cover KENNY LOGGINS, sound like the VANDALS at times, and do yet another song called “Gimme Gimme Gimme.” Blarmey, podner.
I don’t know who Terry Gibson is but I think he thinks he’s Dave Edmonds.
Dumber than the STUPIDS? No surprise, since some of the same suspects appear here, delivering like DOGGY STYLE. Melodic, frantic thrash to go. Do they have drive-ins in England?
A lot more “rock’n’roll” than their ancient debut, this one has your metal/rock feel to it, and despite the usual dumbo lyrics, the music don’t cut it (the West Coast MEATMEN?). Amazingly, they do one “punk” tune, a cover of…BAD POSTURE’s “GDMFSOB.” Not worth the wait.
Side One is “LSD,” a news story about the stuff set to a slow, psychedelic pulsing accompaniment. The flip, “Maggie,” is a slow, buzzsaw of a tune about Margaret Trudeau. Graphics insinuate Nazi b.s., but given the twisted nature of the music, I’d guess it’s just bad drugs at work.
All the songs on this EP start out quiet and pretty and quickly move into speedy but highly melodic thrash. Don’t be fooled by the “Wavish” sleeve, this one’s got punch while maintaining its tune.
Strap yourself into the old time machine and set the controls for 1977/NYC/Lower East Side. Zap! Now you’re at a CONTORTIONS and TEENAGE JESUS gig. Lots of saxes, jazz punk, screeching vocals and funky bass. If this is ’87, it must be Scotland.
Akin to TALKIN’ TO THE TOILET (see review this ish), but more on the industrial side and not as goofy. Joe Raimond and friends turn out rhythm machine slow punk with layers of noise and guitar.
Lightweight punk with surf and pop influences, sounding like the frat party-band they are. Could appeal to fans of Midwestern pop and garage bands, but they lack any real punch or zaniness.
Ultra-gruff vocals and engaging (?) mid-tempo post-punk thrash. No wait, this makes no sense, but there’s both a negative feel and yet something uplifting too in the tuneage. Interesting.
A posthumous release dating back to five years ago, featuring early ‘60s Brit-type R’n’B. Nothing particularly awesome here to warrant such a belated release, except for pure collecting purposes.
I guess these guys are here to give Wattie a run for his money in the dumb lyrics department, with “Up Yours,” “Boots Go Marching,” “Kick Down the Doors,” etc. I think you get the picture.
Argentine Oi music, with a decided anti-capitalist bent. But there is the all-too-typical skinhead cry for “fighting” here, and too often that emotional response is poorly aimed. Musically, very credible and catchy.
A bit livelier than their debut 12”, but the accent is still on drastic lyrics, throbbing and abrasive music, and a post-punk overall feel. Very good punk indeed, a sound that harkens back but remains modern.
Their second 7” and a good one at that. Both songs are real punch punk, with sharp drumming, crisp bass playing and good tunes to boot. Catchy, and on the nose.
The KINGSMEN cover is good compared to the recent DEAD BOYS release, but pales when compared to the NOMADS version. The flip too is a tame soft rock tune. Not happening.
Musically, pretty good sounding mid-fast tempo punk and HC, but when the vocals kick in, it’s a whole new thing. Unless you’re into the latter day TSOL “singing,” these voices may really bother you. Different? Yes. Annoying? Yes.
Pretty driving post-punk that gets lost in the blur. While well done, there’s no special spark of energy, hooks, or imagination to make it memorable.
A benefit LP for the armed ANC resistance in South Africa, released by De Konkurrent in Holland and Mordam in the U.S. Besides coming with a really excellent (visually and content-wise) magazine, this LP contains some great stuff from SCREAM, SOCIAL UNREST, VICTIMS FAMILY, RHYTHM PIGS, and 76% UNCERTAIN in the U.S., and CHALLENGER CREW, THE EX, DEPRAVED, BGK, EVERYTHING FALLS APART, SCA, KAFKA PROCESS, and MORZELPRONK from Europe. Get this, for sure!
A new San Jose comp, featuring the FACTION, FRONTLINE, STIKKY, ORANGE CURTAIN, LOVING END (yech!), NO WARNING, JET CRASH MIRACLE, STEVE CABALLERO (yech again!). Wish there was more choice material from STIKKY and FRONTLINE, and NO WARNING show promise, too.
Quite a collection of many of the hottest UK hardcore bands. Includes one of each by DISORDER, CHAOS UK, CONCRETE SOX, RIPCORD, ELECTRO HIPPIES, GENERIC, STUPIDS, DEPRAVED, POTENTIAL THREAT, OI POLLOI, and many more, as well as non-UK stuff by CCM and VICIOUS CIRCLE. Rips.
An international sampler featuring DEPRESSION and GASH from Australia, SONS OF ISHMAEL, HALF LIFE, FAIR WARNING, and DEHUMANIZERS from N. America, FUCK GEEZ from Japan, and MOTTEK, K&T, SO MUCH HATE, and RAPED TEENAGERS from Europe. There’s little in terms of melody, lots in terms of pounding speed and intense lyrics.
A mostly-French comp with BRAINWASH, BUTCHER, RAFF, and several more (including TOLBIAC’S TOADS, who we’ve heard nasties about), and then GOVERNMENT ISSUE. Mostly ‘77 punk styles here, but Germany’s MANIACS’ thrash tune is the hottest track.
Not as speedmetal as I thought their second LP might be, though there’s plenty of guitar wanking woven into the HC. At least they don’t try to come up with a gimmicky imitation of “Institutionalized” here, but the lyrical content is pretty thin, with lots of egotism. Okay, but not special, especially considering the time between albums.
Hard to believe this band is German. The music sounds like ANGRY SAMOANS, the vocals are U.S. style snotty punk (the singer is actually an American ex-G.I.), the lyrics are sarcastic SoCal-type, but instead of sun-baked retard we get some genuine insight. Hot as hell!!
Combining elements of punk, country, blues, rockabilly into something other than “spaghetti western” music is no easy feat for an Italian band, but they do it well. Fun, and not pretentious.
I haven’t liked too many amelodic trash bands lately, but these guys attack their music with such enthusiasm it works. Raging vocals, pounding snappy drums, insane guitar noise, reminds me of early Brazilian HC. Definite.
This colorful outfit put out a couple of recent releases that we missed, this being the latest. As with their other material, this is well-crafted pop punk, accented by female vocals with somewhat feminist/radical lyrics. Underneath the colors and pretty music lies some disturbing realities worth checking out, especially for fans of X-RAY SPEX, SLITS, CRASS…
Last time we saw RHINO on their own vinyl, Dangerhouse Records still existed and it was still the ‘70s. I guess they’ve reappeared just to prove that not every revival has to be lame. While not quite as exciting as that old single, this still cooks, though at times slumps back into rock tedium. Could have been a lot worse.
RESISTANCE can do many punk styles, and included herein one finds DOA-ish punk, ‘77 punk, post-punk, a punk ballad and hardcore. While none are overwhelmingly powerful or tight, with that variety they should mature into something to consider.
Well, Felix and company are back but there’ve been some changes. Side one if the more “punk” side, though only two of the tunes are really hardcore tunes, while the others are slower and go into metalish or post-punkish territory. Side two is decidedly lighter, sounding like a poor man’s LOVE. Lyrically there’s a lot of “regret” themes (mainly having to do with drugs), a few generally “outside view” tunes, and even two love songs. Glad Felix is turning it around, but I hope the next release shows more verve.
While not as melodic as most of their Swedish counterparts, this outfit plays excellent hardcore. And compared to most other bands of this ilk, they are way more melodic. Like their previous 7” (we fucked up and didn’t review it last year – also available at this address) this disc has power, hooks, and depth. Check them out.
Sort of a FLIPPER meets BIRTHDAY PARTY with the accent on the less pretentious noise side. Lots of grunge and painful guitar attack, some set to poetry. Pretty gripping.
NABAT, Italy’s longest running skinhead band, returns with their original and hard-hitting Oi, this time delving into reggae a bit as well. Consistent, diverse, and powerful stuff. This LP is dedicated to Nelson Mandela (among others), which sets NABAT prominently apart from the racist stupidity of most other bands. Good.
With a name like this, I expected an early THEM raunchy R’n’B sound (band name is a great THEM song), but it’s pretty lightweight ‘60s pop with only a lilt of “G-L-O-R-I-A” in it.
Both sides of his German band’s latest are excellent pop punk. Well produced, catchy tunes and lots of guitar and vocal choruses. Classic punk.
Is there such a thing as getting “BYOed”? While their latest release is pretty decent pop punk (at best they sounds like an American NEUROTICS), it’s a bit weak compared to the previous 7”. All the tunes are mid-to-slow paced, have very good lyrics, and I bet they really rock live. But at this point, they seem to be going the way of the RED ROCKERS.
Done in the early ‘70’s before he gained fame with Ohio’s PERE UBU, the A-side is a DYLAN-like acoustic ballad and the B-side is a very garage-y cover of the VELVET UNDERGROUND classic, done as if Lou and company took downers instead of speed one night.
Title track is one of their haunting and beautiful ballads, while the flip features a nasty cover of BO DIDDLEY’s “Who Do You Love” and an awesome song, “Kill Surf City,” that sounds like a SUICIDE gone apeshit. Hot.
The A-side has a definite STOOGES feel to it, a medium paced song with mysterious undertones. The flip conveys the same mood, taking the DYLAN classic and taking it as far from the TURTLES’ version as possible within a pop reference, sorta like BRYAN FERRY might have done.
Well done pop-punk, but the vocals are mixed way up front (and are a bit annoying), and the music itself is so produced that it loses a lot of bite.
A speedcore group whose three tunes all thrash hard and have “horror” lyrics. Oooh, I’m scared.
The singing sounds like TELEVISION and so does the music, but at almost schizophrenic “extremes.” The A side is way clean sounding and the flip contains some noise guitar and could be right off Tom Verlaine and Co’s first LP.
Noise with an edge, and occasionally some recognizable melodies, too. No wave meets beatnik jazz meets the modern “Chicago sound,” from whence they hail. Arty, but not too pretentious.
Surf, ‘60s pop, psyche, all rear their ugly heads here. It’s OK, inoffensive stuff but nothing to do a double-take over. If you’re gonna go back to the past for inspiration at least re-emerge with some idea of what decade we so live in. These guys coulda done for BRENDA LEE’s “Sweet Nothings” what THE SAINTS did for CONNIE FRANCIS’ “Lipstick on Your Collar.”
Sometimes surprising in its variety and energy, sometimes overdone and too long–a mixed effort. While their 7” was funnier, this LP goes for production and power, sometimes obtaining a good cross of both, but not frequently enough for me. Lots of metal for the bangers though.
Some things are better left alone, like certain memories…or bands reforming. All the original members here, Stiv, Cheetah, etc…but this sounds like the LORDS OF THE NEW BOYS, not the snarling, twisted, classic shit on their first LP back in ‘77.
This is a 9-song demo, featuring some great sounding punk. CRIMPSHRINE have a ‘77 sound, somewhat along the lines of SLF. Besides their material, this tape features 2 songs each of some recent Berkeley bands like SOUP, BASIC RADIO, SWEET BABY JESUS, KWIK WAY, and DISTORTED TRUTH. Well worth picking up.
A whole new band (except for vocals) since their 7”, this one will delight speedcore and metal-influenced punk fans. Lots of production, big guitar sound, and even colored vinyl copies. Classic TVOR inner sleeve layout, but the outer cover? Stiv?
JESUS AND MARY CHAIN meets DREAM SYNDICATE. Can they be sued for this?
One raunchy LINK WRAY-ish tune, one world beat-ish tune a la the BEATLES “She Said,” one ballad and one college FM-sounding instrumental. For a band that can rock, they sure seem shy to do it on vinyl, opting instead for a commercial sound.
Pretty enjoyable ‘77 punk with good energy and tunes. Not as tight as I’d hoped, but at least on one song, “Jo Dassin,” they sound almost like SOCIAL DISTORTION.
A decent retrospective of one of early punk’s finest bands. Pop punk that lasts, mostly dealing with the insanity of love. Their catchy tunes, great harmonies, and hard drive are virtually unmatched (the punk BEATLES?). Still, you should try to pick up all the original releases as this retro just scratched the surface.
Two “embarrassing” tunes, as MYKEL BOARD terms his latest release. Embarrassingly good, actually. One is a rager, one a slow diatribe, both well done and up to his usual quality (?), and both appeared on the German comp LP, The Power of Love.
Not sure where the “Memphis” part comes in, though at times there’s a slight CRAMPS influence. Otherwise, this is raunchy rock’n’roll meets early punk with screeching female vocals. Real rhythm, basic stuff with ultra-trebly production.
Fans of Japanese metalthrash will suck this baby up, though the lyrics here are highly intelligent. Growling, slashing, metallish noise – well, you know.
Neo-Mersey R’n’B, but nothing too wild. Would have been cool in ’65, though…
This LP doesn’t really have the zip, or even the overwhelming angst of many of Greg Sage’s previous efforts. Maybe it’ll grow on me, but I wanted to be taken to a stranger different place…and got half way there.
“Next summer” is a pretty pop tune with really quirky lyrics, but the flip is a cool pop punk tune with femme vocals, a more rocking B-52s. A giveaway single.
A more punky PIL meets early MEKONS with a GANG OF FOUR lyrical bent. Excellent five-song debut that exudes intelligence, drive, and what’s so good about punk. Get it.
Relative unknowns like SCHLIESSMUSKEL, CRETIN HOPPERS, TARNFARBE, A.N.A.L., and others play punk, thrash, and post-punk. All bands are from Germany, and this is a fun, non-commercial effort.
A four-band, one track each regional comp from Hagen. Hottest tracks are by CZERNY SMIERTELNY (sounds Polish to me) and SJORBUT, but WICKIE and HEMMUNGSCLOSE EROTIK are both enjoyable. Good indie punk effort.
BCT bounces back with a hot EP featuring Italy’s WRETCHED and RAW POWER, Sweden’s MOB 47, QUOD MASSACRE from Yugoslavia, SATANIC MALFUNCTIONS from the UK, FUNERAL ORATION from Holland, and PSYCHO from the US. Get this one!
An all-Welsh comp featuring one song each by CLASSIFIED PROTEST, I MOBSTER, BUGS, YR ANHREFN, ELFYN PRESLI, and HERETICS. Faves: BUGS (sounds like DESPERATE BICYCLES), ELFYN PRESLI (great pop punk), and HERETICS (charge old punk).
Hey, yet another indie UK release, this one featuring the DISTURBED, LIVING DEAD, LEFT FOR DEAD, and SILENT COMMUNITY. One track each isn’t enough to drive any real conclusions, but these bands all convey a basic, unglamorized punk appeal. Honest.
An international comp with HOMO PICNIC (U.S.), KAZJUROL (Sweden), QUOD MASSACRE (Yugoslavia), and INSTIGATORS (England). Four bands, four styles (pop-thrash, speedmetal, pop-punk and thrash). Good selection, good production, a worthy effort.
Good Swedish pop-punk/thrash on most cuts, with one folk fool-around track and one rock number.
This domestic release is a bit different than the recent UK job. It contains three songs not on the UK version (two of which disappeared on their last 7”) but one song that’s on the UK version doesn’t appear here. Rockin’ improvement.
What is this? It’s hard enough to figure out the name of the band from all the stuff on the record and sleeve, and things go downhill from there once on the turntable. Actually, three of the five tracks are pretty decent older style pop punk, while two are goofy as shit. The jokes lost on us non-Swedes.
These guys seem to be able to handle any speed of melodic punk and hardcore, delivering all with power and zest. Very well produced record to boot, making this a definite cut above. Rocks.
Their second LP should dispel any doubts about SPECIAL FORCES and generic thrash. This Berkeley band hits hard and with variety, though Bill Collins’ excellent guitar work is now history for this band. Orlando was always a more interesting performer than good singer, but on this LP even that aspect seems very improved. Very hot!
SHOUTLESS combines ‘50s, ‘60s, ‘70s, and ‘80s into one, adds big production, and the end product sometimes cuts it, sometimes not. The grunge is maxed out and I think that hurts their impact. Needs a bit more madness.
Dated 1986, this one slipped by us but I’m glad I found a copy. BAD BRAINS type vocals and pop-thrash music combined with stuff like “Too Fat To Flirt” make this bizarre. Album coming soon.
A collection from ’82 – ’85, this is a fine example of their garage, grunge, sixties, noise approach. A good sampler for those without.
All originals this time, and way toned down from all previous releases. I guess the kids are growing up, and production and fancy arrangements take over. Too bad.
Mania this ain’t. Decent pop rock ‘n’ roll it is, with early pop-punk influences. The A-side is pretty light, but the flip reminds me of ‘79 UK anthemic mod/punk stuff. Wish it were crazy.
It’s great to see this white South African anti-apartheid band still expressing themselves in the face of extreme repression. Both songs here are mid to slow-tempo jobs, one with a one-sided anti-Russian attack, the other dealing with the nuclear fear. Sad to see Rubin Rose out of the band.
If you’ve been trying to locate their previous and impossible to find vinyl — relax. Finally, this incredibly hot combo comes up with something to almost equal their live shows. Well, not quite, but people who love the BUTTHOLES, NEOS and No Wave clamor will all find something here.
I guess it had to happen, but the NOMADS have toned it down. Both sides lack the raucous, free-swingin’, guitar crazed rock ‘n’ roll that I loved ‘em for. Instead, we get two medium paced, thick sound production tunes that are decent but pale in comparison to their early rave-ups. Alas.
One of those modern rarities, a truly self-produced UK release. This three-song job is very straightforward, mid-tempo, non-dogmatic political material. Though nothing new or special, there’s a basic honesty here that is refreshing, sort of like early NEWTOWN NEUROTICS.
One thrash tune, the rest being rock/metal at varying tempos. Lots of squeaky guitar bits, which we ruin otherwise almost palatable songs. Promo sheet contains a quote “…we didn’t want anything to do with punkers”. Do you want anything to do with them?
I think this is the first modern punk record Bomp’s put out since the ZEROS and WEIRDOS days, and this one is excellent. Really good, driving tunes, crunching guitars, and fun/tough vocals. Pick this up.
Two pop punk tunes, both with a big production sound, ‘60s sensibilities and modern punk drive. Like this stuff, but the lyrics are stone age, especially on the flip.
Sixties-type pop rock ‘n’ roll, sort of in the “Hippy Hippy Shake” vein, the only one of three rocks that much.
A song for each of these personalities. One song is a driving, punky tune by this duo, while the other is a catchy but quiet ethereal ditty. Weird.
A four-song lightweight pop rock’n’roll. Could be a lot more garage-y, considering the neo-’60s R’n’B trash material.
Back again, and funny as ever, these original Canadian punks deliver their melodic PISTOLS-type rock’n’roll. Only real complaint – production does away with any real grunge, which this type of punk needs.
Modern power and late ‘60s/early ‘70s influenced music and lyrics. Sort of a modern NAZARETH or something.
The cover sticker bills them now as “metal,” and there is a lot of thrash in that, but overall it’s still D.R.I. – lyrically and musically (though weighted down at times). While C.O.C. has soured on this “crossover” business, D.R.I. seems to be making a blatant marketing approach – just catch the cover art.
A cover of BTO’s “Takin’ Care of Business” might tell you something about the rock approach of this new DOA platter, as many of the songs have that same heavy rock sound. A couple rage, though, “To Hell and Back” being one, as does the revised classic “Nazi Training Camp.” Mostly strong, political lyrics, however ironic that is for this label.
The original D.I. 12” is re-released here, along with 3 current tracks. Despite the fact that I dearly love their music, I’ve never seen a band with so many re-appearing tracks on their “new” vinyl. Should be a whole new LP’s worth soon. Dudecore – totally.
Features Marlene Dietrich singing semi-industrial pop music. No?
Very political, very basic, and very speedy thrash with both male and female vocals. Actually some songs slow down and break into pretty eclectic stuff. Interesting and sincere.
I’m not too keen on live recordings unless they’re amazingly electric, conveying a dynamic unavailable in a studio. As far as this one goes, it’s okay, giving you a good idea of the RIFLES’ hard-driving Australian rock meets early punk. But special? No.
Decent but relatively unexciting pop punk a la ‘78 or so. Eight songs and all, with little variation from the mid-tempo beat.
Can’t read the lyrics sheet – it’s kind of black and red print, not synchronized. It does say “UKHC” in several places, does have a song called “Best of Both Worlds,” but after hearing it and seeing the cover, it should be called “UKHM” …and I understand why the lyrics don’t matter.
An Xmas record I just got a hold of, and excellent pop punk it is. Four songs, all with a characteristic French punk rhythm machine, fuzz guitars, good hooks, and even bagpipes. Cool.
Mid-tempo speed metal without the leads. Gruff-ola vocals, repetitive riffs, good production, and a song called “In My Eyes” that isn’t the song we all know. Oh, the band’s from Sweden.
I had all but given up on these lads when, “boom,” they surprised me. Besides some of the mellower stuff they’ve done recently, this LP includes folk, blues, spoken word, industrial, and a really decent portion of raw, well-done punk a la CRASS. Includes a great cover of one of punk’s all time classics, ATVs “How Much Longer?”
Highly intelligent and politicized anarcho-punk here, which delivers in packaging, lyrics, and music. Supporting this kind of indie effort is a pleasure.
Okay, okay, so dumb lyrics aren’t just limited to the USA. Actually, less than half the tunes here have gore-related subject matter, while the rest are introspective and brooding, not so lame at all. Musically, mostly speedy thrash, but more musical than speedcore, as well as some slower tunes.
Recorded 3-½ years ago, I’m surprised this LP finally saw the light of day. If it had come out back then, the YOUNG LIONS would have been seen as the forerunners of today’s “HC gone eclectic” bands. One side maintains the HC edge while indulging in rock, metal, and other slight influences — powerful sound. The other side sounds like another band entirely — pop, country, etc. Good lyrics throughout, but schizo as hell.
Punk attitude/lyrics meet post-punk almost wave music. Assets: great female vocals, sometimes haunting moods which remind me of several recent UK femme-vocal bands. Drawbacks: doesn’t quite pack the punch of their live set. Comes with free ‘70’s Top 40 schlock 7”.
A metalcore sampler, featuring ANNIHILATED, CIVILIZED SOCIETY?, LORD CRUCIFIER, and DESECRATORS. Unless you’re really into speed metal, this is pretty hard to take, with guitar wanking all over the fucking place. Only CIVILISED SOCIETY?’s cut is listenable, but a better version appears on their LP. Some good lyrics, and a collective effort.
This on-going chronicle of unknowns swings to Sweden, 1964-67. Most of the tracks are Mersey, Mod, or R’n’B, with the hottest coming from the PALMES, HEP STARS, and TAGES. This volume, unlike the others, contains many live tracks, some of which aren’t the hottest sound quality.
Another of Rev. Norb’s “finds”, and the A-side is again barely palatable pop wave, but the flip has a more punk edge. As Norb said, “OK, so they ain’t quite the PAGANS or AVENGERS, but this ain’t S.F.”
A re-release of this retarded song. Trubee sent off ultra-weird lyrics to a Nashville recording outfit, doubting they would ever record it. They did, and Mykel Board now wants us all to know and enjoy it. A short but sweet joke.
An energetic trio that has a pretty sparse (guitar is largely rhythmic) and clean sound. Goofy lyrics and boppin’ tunes are the thing here, and should appeal to a broad range of listeners.
Three songs this time, two of which are up-tempo pop-punk ringers, and another which builds up (too little too late). Again, the obvious BUZZCOCKS influence, and again, enjoyable.
This record has more drive and power than a lot of post punk releases these days, but that energy is often sapped by annoying breaks, too many funky riffs (for my taste), and sometimes irritating vocals. Could be worse, though.
Japanese skate metal thrash— what’s next? Well done, but all four songs are devoid of personality. I think Roger really likes them so they must shred.
Somehow, Norb Ugly (ex-S.U.M., now of DEPO PROVERA) dug up quantities of two early Green Bay “punk” singles and now wants to foist them off on you. This one is from ‘81 and has that new wave punk sound of ‘79-’80 — okay beat, but with deep pop-rock roots.
New York’s alright if you like saxophones.
Yet another album full of grungy, usually driving noise. Most of this is listenable, a pretty fair reflection of modern, urban bullshit.
Finally some new material, but a letdown. They’ve always been pop, but with a lot of punk punch. In this case, three of four tunes never deliver that wallop, and the other does so sparingly. Boooo!
Strong musically with almost new wave meets punk meets Three Penny Opera vocals — a more new wave DK’s? Intelligent lyrics, very tight and driving pop punk music, but the singing, though gruff at times, does detract a bit. Different.
An animal rights/human rights approach, packaged in a large fold-out sleeve. Four buzzsaw punk tunes, some medium, some fast, all enraged and powerful. Good effort.
This is the version of DOGGY STYLE that contains the majority of the original members. While this record rocks, it doesn’t quite come across with the humor on first hearing. Musically, good but polished melodic fast punk. Artwork: amazing ripoff of LED ZEP II, sure to draw attention.
Okay, this album’s worth on two 7”ers is your basic, hard-to-find-today punk fucking rock. No frills, just basic driving punk with the appropriately pissed off lyrics. A big middle finger to you, too!
Highly percussive punk/post-punk with hot guitar slashing in and out. Sounds like a cross between early punk and some current Chicago bands — meaning delivery, loud but clean and melodic punk.
A very high energy release — this is metal-heavy hardcore without the excesses and with intelligence. Though riffs do get repetitious, the overall power is intense enough to hold your attention. Should be popular.
A really cool release with garage, punk and noise cuts by BIRDHOUSE, ULTIMA THULE, and SILVER CHAPTER. All three cuts have guts and character. Comes with issue #3 of…
This split LP contains OI POLLOI from Scotland and BETRAYED. The latter play pretty unexciting but competent Oi with lyrics that range from the standard working class oppression themes to dubious calls for skinhead unity. OI POLLOI, on the other hand, rip like crazy and have lyrics that rise above the norm.
An international comp featuring BLUT+EISEN, ANGRY SAMOANS, SUBHUMANS, KTMK, COC, FANG, I SPIT ON YOUR GRAVY, and lots more. Hot tracks from the DEPRAVED, NEUROTIC ARSEHOLES, FALLOUT. Many tracks previously released, but now largely unavailable.
A regional comp featuring S.O.B., BRUTUS, OUTO, DITHER, RIOT, and DORORO. Mainly hardcore, with some pop-thrash and a bit of slower music. S.O.B., OUTO and RIOT are my faves.
A four-band project. LES GNOMES have a hard-hitting but quirky thrash/punk sound that’s distinctive without getting pretentious. DAMES are an all-femme band that have an English pop-punk sound with a slight post-punk flair. BARON ROUGE has a ‘79 English arty punk sound that still has power. ZOI are a mid-temp band that occasionally lurch into thrash, all with SIOUXSIE-like vocals. Good variety on all tracks.
Current garage sleaze from both the U.S. and Europe featuring LES THUGS, CANNIBALS, LEGENDARY GOLDEN VAMPIRES, SICK ROSE and much more. One of the best neo-‘60s series going.
Metalcore with songs like “Motor Maiden,” “I Hate the Bitch,” and “Kill ‘em All,” etc. Draw your own conclusion.
If you feel the HUSKERS have gone too far overboard into pop lately, then try this baby out. Same melodic din, but delivered with crunch. Poetic lyrics that don’t do much for me, though.
I don’t think fans of Southwest bizarro noise will be disappointed here. Six songs that loudly snake their way across your turntable, with a modern acid sickness in their trail. I guess this is art.
HENRY ROLLINS’ (ex-SOA/BLACK FLAG) first solo vinyl effort is not so solo. Backed on cuts by a hard-driving band (including ex-SOA/FAITH/EMBRACE member Mike Hampton), the musical tracks sound much better to my ear than anything the Four Towels did in recent years. Despite the cleanness of the production, there’s real structure and bite here, and Hank sounds in great form. Biggest surprise — no spoken word.
While the sound is fairly decent (a bit thin on bass), the music is a mixed bag. Some tracks rage, while others are a bit languid. Lots of medium-to-fast punk, with a few ballads. Not overwhelming.
The A-side is a decent driving post-punk tune with a YARDBIRDS’ “For Your Love” vocal harmony. The flip is an early ‘70’s type ballad — yecchh!
A-side is pretty icky pop, but the flip has a lot more zip and a slight edge and okay guitar sound. Decent power pop.
On a major now, and the music is way pop. Decent rock’n’roll a la RAMONES, but not as pounding or catchy. Kinda disappointing.
Thirty-six songs, half-live/half-studio of this hard-hitting Dutch band. Very politically aware and idealistic, their beliefs translate into raging, noisy outbursts. We in the U.S. may get a chance to see them live this summer, so buy this slab and help ‘em get over here.
From the Basque region of Spain hails this pop-punk band. This is commercial punk in an early UK style, incorporating ska and other influences as well. There are funny songs as well as an overriding political bent. Okay, but slick.
Another metal meets punk band, though not of the speedcore variety. The sound is more early punk with metal tinges, and lyrically it’s a mix of punk self-destruction meets metal themes. Pretty hurtin’.
A varied and well done EP. Some tunes are older punk (with a flair), some more typically modern Japanese hardcore — but all have something special. A treat. Not sure when this came out, though.
Decent blues based pop with okay guitar sound and pounding beat, but with lamentably lame romantic lyrics.
These guys put out as many records as BLACK FLAG used to, with about the same quality control. Boring, pretentious stuff, at least on vinyl. Guess that’s why they’re so popular.
Pop is the key word here — be it pop-punk, pop-reggae, pop-ska, pop-wave —it’s all a bit too pop and not enough of whatever else. Buy hey, if you like pop…
Poppy yet rhythmically driving, this release shows lots of power, but rarely really cuts loose. There are three guitars here, three women named Susan, and five songs that should have been shorter. Potential.
Short but sweet, one quick blast of the old A.A. Like it this way — short on metal damage solos, fast power and food lyrics. Subscription freebie for…
More country-ish than their previous grunge, they sound like a lightweight CCR now. Best song is a cover of ROY ORBISON’s “Rock House.”
This label really puts out the material these days, and most of the bands here have their own separate new release as well. Included are HARD-ONS, VULTEES, MASSAPPEAL, SPUNK BUBBLES, HEADSTONES, and a number of others. Good effort.
Yet another Xmas comp of neo-‘60s bands, and this one is pretty decent. Tracks by the SLICKEE BOYS, VIPERS, PSYCHO DAISIES, IGUANAS, CHEEPSKATES, and more.
Four bands, one song each, in a ‘60’s vein. Hottest track is from SPECTRE’S REVENGE, a tough rocker. Lighter material from BO WEEVILS, NO MAN’S LAND, and GAS BABIES. Comes with issue #2 of Foreign Object mag out of Australia, but I don’t have an address for them.
This EP is out of Germany and contains one track each by Germany’s STROMBERG POLKA (Oi), TIN CAN ARMY (punk), and the UK’s UPROAR (melodic punk) and CIVILIZED SOCIETY (thrash). Liked the latter the best by far, but overall a worthy effort.
An anti-Nazi skin band is always a pleasure to see, let alone an anti-nationalist skin band. Delivering their message in a slow/medium Oi style, most of the songs are adequate, with one that’s more catchy. From Germany, but available from…
Quite a versatile band. On this meager EP, we get high class pop thrash, metallish punk, and what sounds to be ethnic beer drinking music put into Oi-ish form. Very good.
They list DESCENDENTS, RAMONES, DEAD BOYS, MOTORHEAD, and early SAINTS as their main influences, but these two songs here lean more on speedmetal and MOTORHEAD than on the more melodic punk genre. Decent, but nowhere with lyrics.
Industrial punk set to a rhythm machine, reminding me a bit of early TG or TUXEDOMOON. Plenty of guitar-like feedback and distorted vocals set the mood for this NJ combo.
It’s taken quite a while, but they finally got their LP out. Though both the music and lyrics tend to be unexceptional hardcore, SHELL SHOCK is to be congratulated for sticking with it, especially as they hail from the heart of Klan Kountry.
An excellent pop-punk LP. This band combines great female unison singing with ultra-catchy pop tunes and driving delivery. Lots of guitar and pounding drums – sort of a VELVETS/JESUS AND MARY CHAIN approach.
This is yet another “Best of…” compilation, and a fine one it is. SHAM 69 were the original singalong Oi style band and they pounded out lots of catchy, memorable rockers, most of which are captured here. If you don’t have this stuff yet, get it now.
A quality Finnish hardcore release. Great at both thrash and slower grunge, a genuinely hot first release. More!
A three-song release in the pop genre. One song is fairly straight pop, one sounds like the late Mod band the JOLT, and one’s a real good rocker.
Definitely hardfuckingcore. Fast, slow, hard, gnarly, unrelenting, pounding…you get the idea. First rate in the genre.
Don’t know what the big deal is over this band, at least after listening to this three-song release. I found the tunes boring, lengthy, and exactly what I’ve been trying to avoid in music for a long time. Maybe live they make it.
Missed this one a while back. Apparently, this band is known as the GBH of Germany, but I hear that sound as well as a melodic SoCal sound, adding up to an excellent sounding, politically aware release. Good one.
A very lively live recording that’s perhaps better on tape than vinyl. Actually, it’s hard to tell if this is a boot or legit as there’s no identification or label or other information. But it’s genuine, and sounded like a great show.
Some serious noise with a beat here for the BIG BLACK/SONIC YOUTH fans, as well as those who like loud guitar/drum power. Thanks to Kent for making me aware of this.
After several 7”s, we get eight songs together finally. HARD-ONS combine punk, HC, metal, and ‘70’s rock and roll into a hard-driving, energetic blend with geeky lyrics.
One of the better sounding domestic HC releases in a while. Good power and production on all four tracks, and although it’s mainly generic metal-influenced hardcore, there’s a gripping urgency that carries it off. Lyrics are pretty bleak, although “Consider the Alternative” offers some hopeful thought.
Sounds like LINK WRAY meets funk meets your average rock’n’roll bar band. Sometimes it’s fun, sometimes dreadful. A little of both here.
An early ‘70’s rock’n’roll sound here. Not on the slick side at all, but much more of a rough guitar sound.
Mix GUN CLUB, BUTTHOLES, and THE WALL, and you get a pretty cool down and dirty bastard blues/punk mix that is modern as hell and timeless at the same time. Excellent.
A dressed-up KILLING JOKE? Poppish, driving rhythms with a basic pop-punk mood. Lots of hooks, but the relatively unchanging medium tempo does leave you wandering at times.
Highly political melodic punk. A three-song giveaway that comes with the equally political World War 3 comic (#7). Both are well worth checking out.
Actually, this is a re-issue, one side containing their first EP Lungs, and the other presenting their Bulldozer 12”, both of which came out in 1982. Lots of driving darkness here, though the Bulldozer side has a lot more power to it.
Six bands from around the world, one track each. AEMATRACK from New Zealand kicks it off with one of the better recordings, a slow/fast rocker. There are two GUERILLA URBANA’s here, one from the Canary Islands and one from Peru, both of whom turn in raw but exciting thrash. DOC WOR MIRRAN is from Germany, doing an experimental punk cut that works. NO LIP is from Japan with an okay tune albeit on the slick side, and BULK (Denmark) wraps it up with a post-punk CURE-ish song.
The soundtrack of a movie, I think, with six tunes, all in an older punk vein. All the bands were from Hamburg, including SPIEL 77, 100% DISKRETION and others. Liked MEINE SCHUPPEN the best.
Lots of ‘60’s influenced bands, though more can trace their roots back to the MC5 heyday than to earlier garage punk days. Some poppy stuff is here, as well as pop-psych influenced tunes.
On the two zippier tunes here, they sound like GIRLS AT OUR BEST with a shade of BUZZCOCKS. On the other two, I fell asleep and can’t remember.
A reissue of the ’77 classic by Martin Rev (rhythm) and Alan Vega (vocals). SUICIDE pioneered this experimental but raunchy early punk sound, using effects in a psychotic VELVETS meets THROBBING GRISTLE manner with a dab of rockabilly. Get it!
One of the greatest snarly teen voices in the neo-’60s vein, combined with a rockin’ R’n’B combo makes for hot listening. The addition of Farfisa doesn’t really help a lot, but the band is so astute that it certainly doesn’t hurt. Excellent.
Varied musical approaches for this (relatively) long-lasting Ohio band. Fraser Sims and company prove they can do thrash, hard-edged mood music, funk-influenced beats, etc., with equal ease and power. Hard-thumping Midwest stuff.
Live, these guys impress with their tunes, energy, and performance. Here, you get a well-crafted pop LP. I know the HUSKER DU comparison is uncool, but it’s so obvious, along with a REPLACEMENTS touch, that I gotta do it. Power-pop.
A real homemade job, just 300 pressed of this one-sided, hand-painted cover LP. A cleaned up CHEMOTHERAPY? Perhaps, but this is still grungy Midwest punk. No frills from this now-defunct Pittsburgh band, just basic garage democracy.
More typically an “Amigo” band, there’s a “big” garage-type sound here, straightforward pounding rock’n’roll and snarled vocals. Both sides rock. Heard this is the NOMADS under an alias.
I’m always suspicious of records that only have song titles of three or less words. All the “tunes” here (except the title song) have just two words, and the music is equally imaginative. For the speed metal genre, it is pretty well done, but ultimately dulls the senses.
One side is way too pop for my tastes (as are many of their releases), but the flip has much more of a rockin’ feel, with a sound reminiscent of many of the bands on this label (NOMADS, etc.)
Your standard but well done Euro-thrash release – meaning lots of guitar, gruff vocals, and light on melody. Four songs, no surprises, but tight and loud.
Like RED KROSS, this band draws from ‘70’s hard rock for influences, combining guitar power-pop with punk crunch for maximum effect. Well done.
Just a ranting poet and a guitarist – great lyrics, but the guitar has so many special effects that it doesn’t add to the rawness that would make the lyrics really come to life. Have seen them live and they had a lot more impact that way. Still, the words are worth hearing.
Political pop punk with mod traces and CLASH influences. Well done but not on the edge.
One excellent song from these troopers, just to prove they still exist. Max Volume and Buzzsaw Iron Bill have been at it for years (only previous vinyl was on MRR’s Not So Quiet comp of ’82) and though this song doesn’t contain the humor of most of their material, it still rips. A freebie to Thrasher subscribers. More Max!!!
A supposedly “fun” album by this New York band, one of many that play good music (punk—as opposed to thrash metal—in this case) but who make it difficult to enjoy because of their advertised ignorance (homophobia, among others). Accompanying press release actually lauded singer Jimmy Gestapo for his “Donohue” performance, as well as containing his self-description as a “macho goon.” Real fun.
A re-release of a great punk record for those who missed the first time around. This matches their early 1980 7” release with some noisy but spirited live tracks from their last show.
UK pop stuff in a FALL-ish mode – meaning sometimes driving music and incomprehensible lyrics. For the desperate looking for trends.
Not sure what this band is about, but they’ve got sex stuff all over their graphics. Musically, both slow and fast hardcore, live and studio, well recorded and raw.
Half studio and half live material, this above average band rages, has fun and executes a powerful but non-generic thrash/punk style that hits the spot. Enjoyable.
Sort of a lighter version of the Pistols sound meets mediocre Oi sound. Certainly not his most exciting material.
Six finely crafted pop-punk tunes. Sounds like ’78, but not in a nostalgic way – just powerful but tuneful material. Despite signing to a major, they remain political (title tune, plus “El Salvador”), though there is perhaps a bit of overproduction.
Quirky punk here – the vocals being the most abrasive aspect, though the music is pretty uptempo at times, too. Older punk styles predominate, often varying towards obnoxious pop, but veering away at the last second.
One serious and one fun band share this slab, and will share an LP early next year. HEIMAT-LOS have a modern thrash sound that is powerful but relatively uneventful musically. KROMOZOM 4 employs more imagination musically, making this more palatable for non-French speakers. Sounds good.
COC-like hardcore from Belgium. At times, the drumming seems to lag a bit, but overall, you’ll find some pretty inspired and aggressive power thrash. There are more weird guitar bits thrown in than you’d find on most such records, and the production is top notch.
Despite the rough sound, there are two classic tunes here. The HARD-ONS style mixes ‘60’s punk with a great pop-punk ’77 sound, and especially on the second track, really hits home (a cover of the LEGENDS). Available on Livin’ End zine #6, a mag dedicated to ‘60’s Aussie bands.
A two-song, one-sided job, both tunes featuring driving rhythm and noisy guitar, though the overall effect is not too powerful.
So-so Oi here. Okay buzzsaw guitar, but not very inspiring tunes. But hey, if you’re into off-key choruses, this is it.
Recorded (I believe) during a recent incarnation of San Francisco’s GROOVIES when they played Australia, these two songs extend their folk pop direction even farther. Both tunes hold back, threaten to burst out, and never do. For collectors only.
I guess these are early and unreleased CANNIBALS cuts – who knows, who cares – it’s just so-so but fun garage R’n’B based trash. Okay.
Noisy meets early CURE here for three grinding tunes. Lots of guitar from this three-piece on all three tracks, including a slide sound.
Citing the SAINTS and TELEVISION among their influences, one can hear it a bit. But those groups, despite sometimes extended length songs, always made them memorable, whereas DOS seldom leave traces of tunes re-emerging through the mind rubble. Undelivered promise.
A four-song old Britpunk style release, simple on the beat, fast punk and growled political lyrics.
I guess if Joe POP-O-PIE could build a career on just one song (GRATEFUL DEAD’s “Truckin”), then the COOLIES certainly can with just one artist (PAUL SIMON…well, actually it’s SIMON & GARFUNKEL). Yep, most of the tunes here are rocked versions of S&G hits (“Scarborough Fare,” “I Am A Rock”, etc., etc.). Gets old fast.
Cool guitar sound and an almost rockabilly beat are offset by slick singing and pop structures. Tight and shows promise, but they gotta cut the cutesy crap.
I would’ve reviewed this, but after hearing two songs we winged it across the room in disgust, smashing it to fifty pieces. Unadulterated dance music bites the dust!
Highly produced yet still garage-based R’n’R, both songs have a CRAMPS-like feel though the B-side is much more basic.
This one sounds more Swedish than Finnish, with an accent on well-constructed thrash with great tunes, melodies, and a variety of paces. Like it very much.
An over-the-edge group with a lot to say. This is not rock and roll, but is a pop form of experimental music, largely instrumental, but with thought-provoking printed accompaniment. Not too pretentious.
Two uneventful covers of ’50’s tunes. For a good update of the B-side, check out the KINKS’ cover of this CHUCK BERRY obscurity on their debut You Really Got Me LP.
An interesting mix of ’60’s pop, late-’70’s Boston rock’n’roll, country, MINUTEMEN, and REPLACEMENTS. All the recent Midnight releases seem to be less raw and aimed at a “broader audience.” This might be the one to attain that.
Folky-rocky with a decent beat, but a bit lacking in energy on the A-side. Nothing special, from New Zealand.
Their second release contains a slower droner, two PISTOLS type tunes, and two thrashers. All are well done, lots of guitar power as well as atmosphere. Good.
Wouldn’t normally review shit like this (you got it—HANOI ROCKS B.S.), except that this is what became of the once-awesome COMES. Incredible.
First, the music of GAUZE, OUTO, LIPCREAM, and SYSTEMATIC DEATH comprise some of Japan’s best HC, a variety of approaches, all gripping. Now the cover—one of the best all time graphic jobs, both in layout and content. Impressive.
This compilation is put out by Senzapatria, whose political magazine is included with this disc. Bands featured are MYDGARD, LINK LARM, DISPERAZIONE, and ANTISBARCO, who present different brands of hardcore. As with many of the Italian bands, their tastes run eclectic, and within any given song you’ll hear lots of changes and styles. Stiv art graces the cover.
This flexi comes with 10 Years On #7, and contains a pair of ’78-style pop-punk tunes. Nothing special, though, as they’re fairly lacking in excitement. Oh well – it’s free with the zine, though.
This latest in the series (which is not being issued in sequential order) covers the Pacific Northwest, home of many of the earliest U.S. garage bands like the SONICS, WAILERS, KINGSMEN, and PAUL REVERE AND THE RAIDERS, none of whom appear here. What does appear are a host of lesser-knowns, bands that would play bars/frats and rock out. Hottest are SIR RALEIGH, and the STATICS. The rest will appeal only to historians, with the usual fine liner notes by Lee Joseph.
This compilation contains a few tracks from already released LP’s (DR. KNOW, COC, MENTORS), some unreleased tracks (DRI, UGLY AMERICANS, BEYOND POSSESSION), and a few odds and ends (INSOLENTS, DEPRESSION, and CIVILIAN TERRORISTS). As you might guess, this is death/speed metal up the ass. Aargh!
This neo-’60’s band touches on folk rock, blues-based punk and punk/psych – some soft, some tough. Sounds like Chicago meets S.F. a la ’67. Okay if you got your head on backwards, babeee!
A really excellent punk record. Some tunes are melodic, some thrash, some slow, some raging, some metallic, etc., but all are hot. Very enjoyable.
Every time I started thinking this was generic thrash, S.O.C. Would throw some twist in to surprise me. A thoroughly home-produced LP (the sound is okay though, but the silk-screened cover is definitely tacky – literally!), there’s plenty here for HC fans – with little or no metal.
Not aggressive at all, the A-side is a weak pop punk tone with too much pop. The flip is a PISTOLS cover, well done, but out in a different version on a previous 7”.
Bands that are (and look) heavily ’60s influenced shouldn’t use song titles of ’60s songs for their own compositions. The A-side is not the STONES’ title, though it is a decent pop tune. The flip is too insipid to go into.
A one-joke band, at least on this 45. Side one rocks for you holy rollers, while the B is a countrified goof.
A compendium of this Aussie band’s material between ’82-84. Their slower tunes appeal to me the most, down and dirty a la STOOGES with lots of guitar noise. Those tunes that approach blues a la NICK CAVE leave me fairly cold, but they are a minority on this release.
Two thrash tunes (just very fast punk, really) and two punkers, all enjoyable. Good change of pace from metal/HC.
A three-song job in the throbbing, rhythmic vein. All the “fed up with generic punk” types will like this generic post-punk stuff.
A very intense and rowdy thrash release. Seven songs in all, blazing and tight with manic vocals. A cut above, and an excellent debut.
Medium-fast paced neo-psych. High production, moody atmosphere, strong drums, and jangly guitars. Decent but a tad slick.
A four-song release in the pop-punk mold – good pounding beat, lots of powerful clean guitar, and melodic songs and vocals. Sounds more like French punk.
A four-song thrasher with metal-ish solos. Lots of power but pretty generic – you know, flying-V guitars and all.
A three-song standard pop punk/thrash release. Nothing special, but as with most Japanese records, production and taste add. Decent.
This 3-song job is NO LIP after Roger Armstrong’s departure. Somewhat different, this is hardcore but there’s experimentation or complexity that both add and detract. Can’t say I like the singing, which is too damn clean.
Post-nuclear holocaust speedmetal, part of a new series of demo releases on this label. Eeek!
Sounds a lot like the FALL or CREEPERS, with a steady (monotonous) beat and post-punkish feel.
Rock and roll with definite punk sensibilities or perhaps it’s insensibilities. A fun/dumb band a la SAMOANS or DAYGLOS, intentionally (hopefully) retarded lyrics and punk delivery. Singer sounds like he teethed on the HOLLYWOOD ARGYLES (“Alley Oop”) and Handsome Dick Manitoba (DICTATORS).
New recordings here as the band has re-grouped, though a few older songs (re-recorded) appear as well. This does rage throughout, an energetic blast of excitement with a very “live” feel to it. Get it.
A cut above most metal-influenced hardcore bands. There’s an urgency to their music and a feeling of more intelligence/thought than on many such groups, which combined with the hot production makes this highly listenable. Breakneck speed but tight as hell, like early MDC.
An unusual record—not so much in the music (good pop punk), but in how the first song continues onto the flip, and then abruptly changes to the second. Interesting.
Rocking pop music very much in the REPLACEMENTS mold. Four songs.
The material here is about 1-2 years old, but that shouldn’t deter you from picking this disk up. From Japan comes EXECUTE, a mainstay of the HC scene there. Their tunes appeared on a 7” there, re-released here in all their powerful glory, with little or no metal damage. INFERNO, from Germany, have a bit more melody but at no loss of power – and again no metal overdose. Hot!
Ultra-fast R’n’B based rock’n’roll – very cool and lots of fun. Better than most similar neo-’60’s bands.
Missed reviewing this a few months ago, so I wanna make up for lost time by saying that this band plays wonderful pop-punk in the tradition of the RAMONES or LURKERS. Get everything they’ve put out.
The band says they sound like the STOOGES, AEROSMITH, and the PISTOLS – and guess what? Yup, that’s what they sound like on both tracks here, with a dash of DEAD BOYS.
This European equivalent of GONE—an all-instrumental band—claims to bridge the gap between hard rock and hard core. One such GO_E is enough (too much) for me, though this one does include a lyric sheet for their all-instrumental songs. Hmmmm.
Oh God, another Japanese packaging flipout—comes in a mylar sleeve, the record itself is a picture disc that looks like a circus clown on PCP devised it, and there’s an extra flexi included. After this, the music itself is a letdown.
One side is 33 and contains a pop-ish thrash tune, the other side is 45 and has a grunger and thrasher, both hot. Also hot is the packaging, a multi-colored, flecked white vinyl EP packaged in a fishnet, plastic cover with “sex” written on it. Wild.
Another in a series of ‘live’ 10’ers, this is one of the better ones sound-wise. Though the tracks chosen are mainly not their fastest material, they are powerful as hell—a modern STOOGES sound. Good one.
Two french bands of the HC variety. FINAL BLAST’s tunes are in a melodic vein with a somewhat English mid-tempo thrash feel, while RAPT are definitely on the noisy, raw production side of short-song thrash. As raw and “beginner” as this side is, I liked it better than all the pop shit I heard today.
A simple beat supplied by a drum machine, raunchy guitar chords, bass, and echoey vocals are the ingredients. Reminds me of some early punk bands that later went overboard on the art side of things. But the punk/art combo is something I’d like to hear more of.
A 4-song weirdo—they are more instrumental than not, a “Walk Don’t Run” sound meets garage punk. A Ray Farrell kinda band.