This Michigan 5-piece has a song called “Spirit of ’76″ and that gives a good idea about their sound: garage-y pop-punk with jangly guitars and personal/political words. Pretty good.
Hot upbeat melodic punk from this New England outfit. Live, but the good production brings out the power. Good up-and-coming band.
The folkish side of neo-’60’s pop emerges on this lilting EP, which reminds me for all the world of later-period BANGLES. The most energetic material here is recorded live, but that isn’t enough to revive this limp slab of wax.
The funniest thrash band from New Jersey have cooked up a sheer fireball of a second LP. Some of these tunes rip so fast I thought I was listening to some foreign release — couldn’t really make out the words, y’see. My only trouble is deciding which is funnier, the “traditional” song “Surfin’ Jew” or the blazin’ cover of the Masterpiece Theatre theme.
Very basic but driving punk on five of the six tracks. Lyrics are explicitly political a la DOA (Joey Shithead produced this disk), delivered with snarled vocals. Good to see this band back again.
Wow, I’m impressed. A one-song, three mix record which is the catchiest, trashiest, most rockin’ song I’ve heard from this lot in a while. They do two electronic versions (1 dub) which are okay, but the “shit mix” rules. Hope the LP’s this good.
Nice to see these lads still at it, blasting out great pop-punk with continued enthusiasm and gusto. Catchy tunes, high speed playing, and great musicianship add up to songs that stick. Just about all new material here, but it sounds like a friend on first listening.
One-hundred-miles-an-hour thrash with 3 second leads. Okay! Very straightforward, lots of power, snotty vocals and decent lyrics. Your basic hardcore, but with lots of energy and enthusiasm. A pick-me-up.
The original line-up is here, but the sound is quite subdued these days. There are one or two thrashers (even those are not the ravers of times gone past), while the rest of the songs are strongly based on various forms of ’70’s rock, most of which don’t really excite.
Hard-driving fast punk with a good bit of melody. Lyrics alternate between personal and silly. Lots of fun.
Despite the lack of lyrics, pictures, etc. enclosed, this is one of the best speedcore releases to date. Not generic thrash-metal at all, this displays incredibly tight musicianship, innovative structures, and unexpected breaks which push this one over the top.
A country-ish style slips into this album of accessible ditties, which is at its very best when an upbeat energy conjoins with solid power-chord punk. A few of the less disciplined and slower numbers miss the mark, but the rudiments of good songwriting with a great sense of humor make this band a potential contender.
Oh boy, genuine insanity. It starts with the wrong titles (“Anal Eat”, “God From Anal” and “Born to Anal”) and continues with wacko garage music punctuated by the most bonkers vocal ravings and production heard in quite a while.
The DISORDER sound is again successfully filtered through a uniquely Japanese sensibility on this energetic, crunching 4-tracker. Every track here is fueled by the same manic power, backed by raw guitars and vocals, making CONFUSE one of the best outfits in Japan. Total ace!!
A great new demo from this Bay Area outfit. Blazing HC with a metallic tinge backed with intelligent personal lyrics make this a must. Great sound quality, a nice package, and lyrics included, for only…
You won’t see any band members or label name on this record because the whole thing is plagiarized by taking everyone else’s Top Ten hit and changing it radically (mostly lyrically). There are “covers” of “We Are the World” (“We Are the World”), “California Girls” (“California Punks”), “Break Dancing” (“Fake Dancing”) and more. Every piece of trash you ever wanted to change. Genius.
The vocals sound like Paul Weller (JAM), the songs are intricate and somewhat pop-punkish (but without very strong hooks), and the lyrics socially conscious. The overall effect doesn’t excite like the best French bands, but provides inoffensive listening.
Tons of tunes here, though the monotony does finally get to you. There’s just a singer/guitarist and a drummer who blast out ultra-simple rock’n’roll a la CRAMPS, drawing on ’50’s R’n’B and rockabilly.
I’ve always enjoyed this band, their exuberance, dedication, and insane stage performance. While live they create a wall of noise that’s virtually impenetrable, on record you can make out the tunes of a lot more, hear their early punk roots and still get off on their attitude. Punk lives here.
Twisted punk and thrash that reminds me of early DIE KREUZEN, but more tweaked out. Heavy power, original breaks. I like it.
These guys call themselves a HC ska band and that’s pretty accurate: upbeat jangly ska tunes with Oi choruses. Mostly energetic stuff here, lotsa fun.
Their second 7″, this one contains 4 tracks that all rage. Blazing hardcore, no let-up stuff, with tight turns and lots of fire. Nothing new, but excitingly done.
I think most people who read these pages know what Orange Co. straight edge bands sound like, and also know that despite their imitative streak, these bands usually have something to say and deliver that message with lots of great music. DON’T NO are not an exception to this.
Not as close to speedmetal as some might guess, this record has a good, steady rhythmic beat, interesting vocals, dark lyrics, and loud guitar that at times falls down towards wanking leads. When these pieces are put together, a rocking sound comes forth — but in many ways is too consistent and tiresome.
A studio band with Jeff Nelson and Ian MacKaye who document two incredible songs. Simple, strong, straightforward structure with interesting, powerful music and very inspiring lyrics. A great amount of creativity mixed with sincere effort make this record highly recommended. Beautiful packaging.
Every time these guys put out a record, which is quite regularly now, I really want to hate them. If I describe the mix of Euro-pop with electronic dance beats, it makes them sound awful and for the most part they are. But they also managed enough dementia, recording strangeness, and catchy pop numbers to be likeable.
46 minutes of fast, energetic punk from this Czech band. Good production brings out the power of their 15 originals and 4 covers (DAMNED, RESIDENTS, etc.). Neat.
Melodic thrash with a dedicated Dischord influence (not only musically and lyrically, but with their cover art as well.) What makes this a bit different is their choruses, sometimes adding a UK feel (like, say, the THREATS — thanks for the hint, Achim!).
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 potpourri of live recordings from between ’80-’85. The recording quality definitely varies, but it is truly a fan’s edition. There are a few songs that have never been available elsewhere and some rare early recordings. Most notable is the foldout and cut touring game/sleeve which is good for at least three plays. Not bad.
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.
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.
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.
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.
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.
Slow to mid-tempo punk is mutated by post-punk tendencies on this EP, which manages a gritty (and sometimes wanky) guitar sound abetted by sung vocals. Completely unnotable, stylistically or musically.
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.
Wild and woolly don’t even come close to a description to this gent. Here’s a scruffy singer/songwriter whose music is so wild and spastic he can’t teach a band his changes — so he goes it alone on the acoustic and cuts loose with his stylish rockabilly weirdness.
This three-piece hails from the Pacific Northwest and features nine original songs on Side One in the pop-garage rock vein with personal lyrics. Side 2 features cover songs ranging from CCR to the DEAD BOYS. A very strong release with fantastic production!
The touch is lighter here than on past KOHU-63 releases. “Salattua Historiaa” has good speed, but none of the three songs here have memorable songwriting or a HC punch. Sounds like they’re going through the motions.
Garden variety Japanese thrash is presented here — good tempos, passionate screamed vocals, riffy thrash guitar — respectable in all categories, but lacking in that extra emotional punch. And then, perhaps it’s a little too garden variety…
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.
Lots of influences pop up here — neo-’60’s, power-pop, power chord punk — and all mixed so much together that no one style predominates. There are a few good songs (“South Africa” is my fave), but LOST PATROL doesn’t strike me as exceptional, either.
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.
Up-tempo punk appears on this 4-track EP, which sustains a curious ’78-79 sensibility — but with the typically Japanese gruff vocals. “Mother Fucker” is the only memorable song here, with its Farfisa/guitar backdrop and spunky songwriting.
MOD FUN opts for more of that poppish ’60’s neo-psych, with the only drawback being that a certain telltale wimpiness accompanies the accessibility. Cute background choruses, jangly guitars, not much passion… Okay, I guess.
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).
Rather like fellow Aussies LIME SPIDERS, this outfit opts for that rockin’ power on the A-side, while the ballad on the flip is slower and more “soulful.” Fragile hooks and a lack of real crunch put this one in the second rank.
Post-nuclear holocaust speedmetal, part of a new series of demo releases on this label. Eeek!
This NEIGHBORHOOD WATCH hails from San Diego, not the Venice band. The lyrics are highly ironic and socially conscious, the instrumentals feature a crisp guitar attack, and the riffy punk ditty, “Man on My Street,” rates as the best cut here. Recommended.
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.
I like this group a whole lot and I think they’ve got some great sounds with them, and that’s why I’m just a little disappointed with this debut LP. They really thrash out here with some cool ideas, but there just aren’t enough great ideas and it suffers a sameness throughout. A good record, but not a great one.
Grungy rockin’ punk backed with vocals much like the late Darby Crash. Catchy tunes with personal lyrics dealing with religion, morality, and politics make this worth a try.
A four-song thrasher with metal-ish solos. Lots of power but pretty generic — you know, flying-V guitars and all.
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.
21 songs of melodic yet powerful punk, alternating between driving and lighter cuts, enhanced by anti-war lyrics. Contains studio and live material.
I could’ve guessed this trio was from NY by their thrash/metal/mosh sound, which reminds me a little of the CRUMBSUCKERS. Lyrics are in the abstract vein. Good job.
A very intense and rowdy thrash release. Seven songs in all, blazing and tight with manic vocals. A cut above, and an excellent debut.
This band has a basic thrash sound with a good bit of melody, but the heartfelt lyrics and good production sets this tape apart. Comes with booklet (with translated lyrics).
Side A features 11 live songs from Mexico’s SOLUCION MORTAL, a great set! Side B features Germany’s R.Z. AMOK doing 9 studio songs, also sounding good. Lyric and band into booklet included.
R.I.F. specializes in power chord punk with sung melodies, in the accessible Swedish style. The five tracks here don’t connect in the same way as the ASTA KASK or TREDJE KONET, but the record is well-crafted and definitely hummable. Very good.
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 post-punk feeling comes from this LP, but the power and message is in no way compromised. The structure of each song is straightforward, bold, and creative. Loud, raw sound mixed with strong vocals that deal with personal philosophies and enjoyments. A lot of variety makes this surprising and striking.
The humorous themes and high-velocity HC energy here reminds me of BEDLAM’s debut record, albeit with slightly less punch. Includes a fun version of a STALIN track, “Powerplug”, as well as eight other short ditties. Not great, but good.
Two thrash tunes (just very fast punk, really) and two punkers, all enjoyable. Good change of pace from metal/HC.
A chorused guitar sound and sung vocals provide the musical interest on this set of poppish punk songs, with the melody following the guitarwork in most cases. SCOUNDRELS succeed best when their songwriting wins over, but there is an inconsistency in that regard here. Good lyrics.
This is Tim’s (ex-C2D) new project, playin rockin’ mid-tempo punk comparable to the later C2D material. Lyrics are in the horror/gore vein, of course. Fun.
This Aussie ensemble concentrates on catchy songs, all done in a variant of the Mersey style with a slight rockabilly edge. There’s a lot of bouncy poppish fun on this album, though a harder guitar edge would have made it perfect. Pretty good.
SHONEN KNIFE, an all-female band from Japan provides enjoyable, and very simple pop and pop-punk on this LP. The endearing cuteness of the songs reminds me of a more poppish KLEENEX, with light lyric themes to boot (“I Wanna Eat Chocolate Bars”, “Ice Cream City”). Just adorable… Pretty good, too.
After hearing the LP with RED KROSS and this EP, I have to say anything connected with SKY SAXON is pretty much doggy doo. Only two songs of four actually have SKY on them, the rest are strictly SS-20 (not the Ohio punk band) and if you’ve heard their LP on Voxx, you know how wimpy that can get. Sounds like outtakes from some DOOBIE BROTHERS record.
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.
The hard-edged rockers on this album usually have some hook or twist to make them quite listenable, whether it’s the hard and varied guitarwork or a melodic twist to the vocals. The compositions don’t, however, really stick to the ribs, a fact attested to by the fact that the best song here is “Ex-Lion Tamer,” the WIRE song.
For a Denver band, they sure do sound English. They’re of the doom and gloom JOY DIVISION school but more like BAUHAUS in their better moments. They also do some neo-’60’s ballads which rise above the gloom.
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″.
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.
A really excellent punk record. Some tunes are melodic, some thrash, some slow, some raging, some metallic, etc., but all are hot. Very enjoyable.
I can’t help thinking ECHO AND THE BUNNYMEN when I hear these guys. They do have some decent pop numbers, but most of it is minor key dance songs or crooning ballads. I’m sure they’ll be a college radio hit.
TERMINAL CHOICE have that clean melodic SoCal sound with caring, thoughtful lyrics. Only four songs but definitely worth it. Good job, guys.
One for the collectors. A garage combo from Kansas City in 1966 — did a pretty good demo, a raving original and a smooth cover of the WILSON PICKETT classic, but only a few acetates. On white vinyl, and nifty, if you’re into ’60’s garage.
Contains many of the tracks off their EP’s, though it omits at least one track off each. Divided into a folk-punk side and a surfer side, this is highly enjoyable teen pop.
Snappy shit here — driving drumming (a much updated rockabilly beat), hot guitars and lots of energy. Great pop-punk, on the NOMADS’ label.
A softer but more imaginative LYRES? Maybe that’s not really fair, ’cause there’s a lot more slow L.A.-type ’60’s pop-psych here, only occasionally getting to third gear. But they do have that bar band/grade B exploitation movie feel.
A debut by this German garage band, new LP in the works, and while it’s not a blazing psych effort it does have a smooth charm to it. Similar in nature to the BACKDOOR MEN. Perhaps a little too much leaning on the Farfisa and maybe a little more guitar next time, okay?
Well, two of the songs here rock hard, though there’s a lot more guitar doodling than previously. On the flip we get one moody tune and a short reprise, both laced with malice. Don’t know.
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!
A 4-song weirdo—they are more instrumental than not, a “Walk Don’t Run” sound meets garage punk. A Ray Farrell kinda band.
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.
Necrosis adopts a slow, riff-laden YARD TRAUMA approach to its macabre theme, while the flip does much the same, with more of that restrained guitar. This record never really blasts off, either vocally or instrumentally.
Ultra-fast R’n’B based rock’n’roll — very cool and lots of fun. Better than most similar neo-’60’s bands.
The second record by Florida’s twisted answer to the MEATMEN has a mix of arrogance and humor that tries and will annoy and insult just above everyone. While I chuckled the first time I played “Pope John Paul Can Suck My Dick” and “I Wanna Fuck Your Dad”, I just don’t think I’m going to go back to this record. It’s a little like a little kid saying “booger” for the first time — the shit gets old fast.
Christian punk in a simple power chord style abounds on this, the LEAD’s second release to date. The slow songs are boring, the fast rippers have tiresome lead breaks, and the music is largely uninventive. And as to the lyrics…
The NUN rock full out. They’ve always been a rock band and offended in a humorous way, but with this posing girl front cover, posing band back cover, big production, and some trite rock songs they’ve lost their appeal. Only one song I like. What happened?
Rocking pop music very much in the REPLACEMENTS mold. Four songs.
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.
Sounds a lot like the FALL or CREEPERS, with a steady (monotonous) beat and post-punkish feel.
A three-song standard pop punk/thrash release. Nothing special, but as with most Japanese records, production and taste add. Decent.
More of that irresistible British noise pop appears here on this second 12″ by the PRIMITIVES. The title track has the same mid-tempo guitar power and good female vocals that made their debut so special, though the two songs on the flip are lighter and slower.
Medium-fast paced neo-psych. High production, moody atmosphere, strong drums, and jangly guitars. Decent but a tad slick.
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.
Finally, a MESSIAHS record which isn’t on a major label which means I’ll finally add this trio’s powerful rock’n’roll blues to my collection. Psychedelic guitar, singalong lyrics, and a raging rhythm section in four of their old hits.
A one-joke band, at least on this 45. Side one rocks for you holy rollers, while the B is a countrified goof.
Reminds me a bit of the INSTIGATORS, with a fast and powerful yet melodic sound with good lyrics. Only four songs but darn good.
Pretty much lives up to its title. The A-side is an early live show from 1966 and the performance is as dismal as the recorded quality. The reunion show from 1972 on the other side fares a little better. Except for the annoying tape drop-outs, the performance shows just why these guys are hailed as one of the best garage bands ever.
Neo-psych with the emphasis on the Farfisa organ, the song structures sound remarkably like those of YARD TRAUMA, yet without that guitar bite. I enjoyed the instrumental on the flip, with its surfish overtones. Unremarkable, but entertaining.
At first, I thought this trashy Canadian group was trying to mine the same area as REDD KROSS, but after a few listens it became pretty obvious that they play a lot better than the McDonald brothers. And as they have some pretty cool hooks, too, I’d have to recommend this to folks who dig both the DESCENDENTS and STOOGES.
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!
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.
An aggressive guitar sound that strays away from the metal leads and relies on fast-paced metal riffs. The vocals are gravelly, and the music is powerful but repetitious at the same time, yet the band’s message sticks with a hard political stance.
Folky-rocky with a decent beat, but a bit lacking in energy on the A-side. Nothing special, from New Zealand.
This Danish outfit plays rock in a darker, discordant vein which tries to maintain power through atmosphere. “Who Is the Man…” almost pulls it off, but the overall effect of this EP is nondescript — as if the band were purposely trying to distance you from the music.
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.
This East Coast band offers songs that are simple, catchy, and have a nice, aggressive edge, which is combined with equally catchy vocal patterns. Maybe it’s that this band put some thought into what they wanted rather than directly duplicating their influences. Good strong effort.
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 sampler from the Cryptovision label goes to great pains to capture that trashy, one-take sound. The most successful at this are the DISTRACTION BOYS, MOD FUN, and STEPFORD HUSBANDS. The other groups have a more forced, contrived sound.
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.
Three bands here: NECROPHILIA, playing fast buzzing thrash; HERPES DISTRESS, with a straight-forward ferocious approach; and SOLUKSKI FRONT, who show more control, but still rock. Keep up the good work.
A 60-minute compilation consisting of nine UK and French political punk bands, like ANATHEMA, FINAL BLAST, and PIN PRICK. Excellent sound quality, and includes a band information booklet. Nice job!
This solid 4-track EP contains upbeat HC with a uniformly slicing guitar attack from the likes of GAGIZE, WEEDY EGGS (more pop-punkish), SWORD, and REZIST (excellent ripping thrash). Good record.
A benefit tape for this Arizona fanzine. It’s short but very sweet, with absolutely raging tracks from FALSE LIBERTY, VIRULENCE, PSYCHO, and more. Explosive stuff.
Smartly divided between the “guitar” side and the “machines” side, this sampler has a K-Tel greatest hits feel to it. Aside from a STEVE ALBINI spoken word track and songs by NAKED RAYGUN and the WIPERS, all of this is previously released. Still, it’s nice to have a listen to SONIC YOUTH, SCRATCH ACID, BOY DIRT CAR, and others all in one sitting.
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.
Here’s yet another cool int’l comp with vicious, urgent stuff from LARM, MASS APPEAL, PESADELO, and more. Sound quality gets crunchy at times, but overall, this blasts.
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.
There are some cool experimental tracks here, mostly by English groups like YEAH YEAH NOH, FLESH PUPPETS, and the BUMBITES. Also, a couple of good German punk tracks by RANOLA and HUNGRY FOR WHAT, plus plenty more — even a cut by APPLIANCES-SFB from Wisconsin.
Seven bands, including the SCAM, PSYCHO, GG ALLIN, and CANCEROUS GROWTH contribute a song each to this thrashy EP. Two songs rip (STUPIDS, SPASTIC RATS), one is pretty good (PTL KLUB), and the rest lapse into genericness.
This EP contains very basic, simple power chord thrash, the vocals uninventively mimicking the guitar progressions for the most part. The instrument sound is biting, but the record itself is rather generic.
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.
A prime example of hard-driving, snot-nosed, heavy-on-the-melody Australian garage bands. Truly a great debut—starting from the FLAMIN’ GROOVIES sing-a-long style to the tough-edged guitar sound. This group needs an album, now.
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.
Female vocals over rocking pop punk. Like BLONDIE at their early best. The cover is a total RAMONES rip-off. Best title: “I Wanna Be Yourself.”
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.
Atmospheric post-punk with novel studio effects and original song structures. None of the music stands out in the way that top-notch SPK or EINSTURZENDE NEUBAUTEN does, but it’s okay for its genre.
