Active Ingredients Fly Again cassette
An interesting variety of sounds here: pile-driving punk and thrash, rap and MENTORS-ish metal rock lyrics and personal and political. Some pretty hot stuff on this one.
MAXIMUM ROCKNROLL
An interesting variety of sounds here: pile-driving punk and thrash, rap and MENTORS-ish metal rock lyrics and personal and political. Some pretty hot stuff on this one.
No lyrics sheet or song titles make it difficult to understand what this album is about. There could be some kind of underlying theme but the music resorts to loud repetitious thrash, speedcore, 70s rock, instrumentals, Italian movie soundtracks. Overall, this is good, but not very clear as to its message. What the fuck?
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.
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.
Personal/political lyrics, repetitive thrash song structures, exceptional speed, and tight delivery are all a part of the package with this debut EP. Of course, it’s been done often and better but that doesn’t stop at least three of the four or five songs here being strong, muscular thrash.
Finally out, this second and final LP by this defunct Chicago outfit. Recorded over two years ago, this is what HÜSKER DÜ and especially SOUL ASYLUM sounded like at their best. Personal lyrics delivered with plenty of emotion. Thumbs up, dude.
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.
Formerly CONDEMNED ATTITUDE, this band hits very hard with a powerful sound similar to a more metallish ATTITUDE ADJUSTMENT with “reality” lyrics. Lotsa tempo changes, innovative structures. Good stuff from Andy Airplane and buds!
Mostly JESUS AND MARY CHAIN-trend stuff here. Pop, feedback, distant, a beat.
Four ultra-catchy pop-punk tunes with a definite RAMONES influence without being copycats. Very basic, very rockin’, very good.
This split LP contains the ABNORMAL and BARBED WIRE. The former has fairly decent lyrics but pretty unexciting music. The latter cooks musically (straight on fast punk) but they’ve little to communicate cept they’re bored.
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?
A very NYHC sounding tape minus the metal damage. Lots of power, this knocks down the walls! Way rad.
Hot thrash from this new Canadian outfit. Not too generic, personal lyrics, seems to be FLAG-influenced guitarwork, eight damn good tunes.
Was expecting a bit weirder than the ’77 pop I got. Like wimpy CLASH? Wrong generation.
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.
Mostly fast thrash tunes here with a couple disjointed yet powerful numbers thrown in. Good stuff, but why no lyric sheet?
It’s a bird…It’s a plane…no, it’s the rest of SHOCKABILLY back for an encore. Hooray! Kramer and Licht team up with Ann Magnuson taking vocal responsibility and with celebs like FRED FRITH making appearances. The result is god-like. Great psycho freakouts, covers, catchy new ditties and moving moments.
Don’t let the predominance of guitars fool you, this is pop—and not quite as engaging as I would have hoped. The compositions have no real stylistic niche and remain fairly generic: the vocals are just amateurish enough to become cloying after a while. Not good.
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%.
This is German thrash in a pared down American style — thirteen no-nonsense, short and to-the-point songs….terrific energy….riveting bass riffing….great guitar attack. This one has it all, so you’d be a sucker not to snap this baby up. (Great cover art, too!)
The second LP from CHUMBA is as lyrically on target as ever. They blend many musical styles, tempos and deliveries and top it off by putting it out on their own label. A superb effort with excellent results. Gatefold cover, too.
Slightly metallic hardcore similar to POISON IDEA, but with a real sense of drama and passion. Lyrics are heartfelt and truly progressive. Hot stuff.
Bringing Fowl Records out of the closet is San Francisco’s longest lived and, as far as I know, only punk piano player. A fine novelty record if only for his covers of “Racism Sucks,” “Holidays in Cambodia,” and “Judy is a Punk.” He also plays lots of originals with vocals that are quite the goof.
This time, DAG NASTY has less punch and more melody present, bringing the DESCENDENTS’ pop sound to mind. Could be because it’s almost a whole new band, but aside from a few catchy hummable tunes like “Safe,” most of this LP struck me as ineffective and rather weak. Get back to the grind guys!
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.
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.
Quick catchy punk similar to a SoCal sound, even the vocals. Reminds me of the first BAD RELIGION LP. Thumbs up for these dudes, who were great live.
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 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.
Straightforward basic driving thrash unaffected by other musical styles. I’d understand the words if I hadn’t failed my Spanish class. Good youthful energy.
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…
Brutal ravenous thrash with a metallic influence (mostly in the structures and leads) and lyrics concerning personal, political and horrific topics. The only setback is the noisy production which squelches the power a bit, but this still blazes.
ABRATZK provide garden variety thrash on their cuts, with one pop-punky change-of-pace number that took me off guard and is quite good. On the other hand (and side), G.E. delivers amazingly intense HC thrash with spirited gruff vocals — a totally winning band. Two outfits to watch out for—and recommendable for the ELEPHANTS’ songs.
Put out by Funhouse Records in Germany, this features the Another Wasted Night EP, the PMRC Sucks 12″, plus “Another Bomb,” ”Sold Out Alabama,” and a live version of “Let’s Drink Some Beer.” Drunk rock for the masses.
Cool straightforward punk’n’thrash with memorable melodies. Tight, hard, yet tuneful, especially on “TV Babies” and “Self Defense”. Get this tape!
Sort of MC5 meets BIG BOYS and BUTTHOLES. Hope ya like wah wah.
A five-song release of pretty high quality thrash. Lots of melody, though, no metal, tight playing, and lots of energy.
Five tunes, most of which are steeped in mid-period LED ZEP crap. Blues based self-important rock with lyrics about “babes” predominate.
This Aussie outfit employs an approach to HC which emphasizes simple, riffy structures (frankly with not enough variety to keep my musical interest) abetted by the upfront guitar sound. The real highlights here are the exceptionally passionate words, and of course, the great cover art.
Two songs each from FEED YOUR HEAD and HEX. Both offer basic mid-tempo UK punk, pro-protest and anti-system. This label continues to support relative unknowns. Keep it up!
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.
With former members of FAITH, GREY MATTER, EMBRACE, and LUNCHMEAT, this new DC band comes out with three passable songs. While the energy and creativity are there, the songs just don’t have a lasting impression. The music has a good fast pace, but it’s built on a very undefinable structure with lyrics which have a dark, depressive taste. Hopefully this band will become stronger with time.
Pretty intense garage-y punk’n’thrash with a fair amount of innovation. The coolest part is the ferocious female screamer. Keep up the good work.
IOWA BEEF EXPERIENCE utilize mid-tempo HC and a gritty guitar approach to anchor a fairly generic set of songs on this EP. Energy is high, but originality in songwriting seems to be largely absent. Powerful sound, though.
A serious political band whose music has a lot of comparisons with CHUMBAWAMBA due to their hard-driving punk and light, mid-tempo poetic numbers. But this band tends toward a slow, melodic gothic sound which at times drags on. However, their message is strong and communicated loud and clear with female/male vocals and an inspiring booklet.
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.
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.
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!
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.
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.
This is righteous shit: rad rockin’ garage punk with lyrics about Ronnie, dumpster diving, and personal topics. There dudes blow doors, so get this!
This platter of HC/thrash has that tinny, garage-laden sound that I’ve always loved, and the good news is that MSI has a good command of their style. Not remarkably original, but the three all-out thrashers make for an entertaining ride.
This band frequently has flow, metalish intros, then launches into non-metallic straight ahead thrash. Five tunes, some catchy.
The really outstanding thing about this album is the remarkably flexible, yet plaintive female vocals which grace the songs. The instrumentals veer into a kind of bassy mid-tempo HC drone as the tunes progress, but with more distinctive material, this band could really excel.
Hardcore, sort of like a fast PERSONALITY CRISIS. Rock structures, pounding beat, crunch guitar, semi-theatrical vocals. Heavy handed.
Not exactly a group, but the second LP by Mark Edwards of Pollution Control mag, and this release has the uncanny ability to sound like a real band—in fact, sounds a lot like some real cool outtakes of 100 FLOWERS with its finely directed and passionate post-punk sounds.
NEIGHBORHOOD WATCH (not the old L.A. band), on their second release, comes off with some unique punk which boasts some real uniqueness. The cool use of keyboards helps: an utterly scratchy guitar sound, played with restraint, makes for some good moments; and the rampant sarcasm pushes this into the black. An interesting record well worth checking out.
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.
On their second LP, this German band upholds a uniformly good quality of energy, instrumental tightness, and anthemic lyrics. Overall, a very pleasant package, but on listening to the individual songs, nothing really stands out as unique or especially gripping. Just another buncha mid-to-fast tempo HC/punk songs with the slightest of core tinges.
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 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.
The instrumental sound is not unlike REBEL TRUTH (remember them?) with its inventive guitar riffing, and this band excels when the tempos are fast indeed. While the songs could be a bit faster, there’s a good “fuck you” attitude here, despite the rock trappings of some songs.
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.
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.
This South Africa band makes another political stand that shows real courage, but the music here is the best POWERAGE has yet committed to vinyl. Simple, urgent HC with a rich guitar sound is the style — and it’s that combination of power and credibility that makes this a winner. Very strong!
Short energetic bursts of ’77 punk and thrash energy with an adolescent humorous “fuck you” attitude. Song title of the month: “Mommy’s Not a Heterosexual Anymore.”
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.
Straight forward thrash with simple three chord riffs, rapid fire drum beats, loud bass, and harsh vocals, all which is put together at 100 MPH with a stop and go structure. This makes for 15 aggressively enjoyable songs, with the nice added touch of diverse lyrics which deal with subjects from farting and skateboarding to war and vivisection. Good stuff.
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.
A solid third LP by this overlooked and recently reformed Jersey outfit. This is a very consistent effort: loads of driving punk with HÜSKER DÜ-ish tinges. Plenty of power, personal lyrics, well worth looking into.
What we have here is lots of wailing guitar, really catchy rhythm section, zany and creative vocals, humorous yet pointed lyrics, and effects galore. It’s all been done before, but not quite like this. Highly recommended.
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 solid punk and thrash here with Al Quint (of Suburban Voice zine) being the mouth at the mike spitting out the personal and social commentary. Not bad at all.
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.
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.
From the ashes of LUNCHMEAT, this band kicks out a strong melodic hardcore sound much like that of early SCREAM. Catchy riffs, clear vocals, pounding bass and personally political lyrics create memorable music backed up with true feelings. Good stuff!
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.
Okay, these dorks have been around for a bit and it’s time you heard their innovative raging thrash with silly but thoughtful words. With tunes like “Senator Hart Humped a Dumpling,” “Pollution Rules,” and “Buttman,” how can you go wrong? You can’t, get this.
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.
Though both bands sound pretty similar, these are two entirely different bands. Both play engaging mid-tempo British political punk, with the latter band using both male and female vocals. Good indie effort, nice package.
Cheese whiz pop. It’s got a beat but no balls.
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.
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.
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.
Ninety minutes of enjoyable punk noise from one of Germany’s first punk bands. Lots of catchy originals, plus covers of “Paranoia,” the Bonanza theme, and more. Weeee!
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.
It’s a trade secret that these guys’ debut album was one of the unsung pop-punk surprises of a few years back. With this, their second LP, the CONDITIONZ seem to veer deeply into some R’n’B punk regions, as well as toward basic pop-punk with rich hooks. The change is interesting: the result is an enjoyable record with a good guitar energy.
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.
An eclectic album full of guitar pop. Most of it is quirky and the rest is countrified psychedelic. Occasionally, it even rocks out, but not nearly often enough. The guitar playing is very high quality, the musical structures are too clever for their own good. Someone should make the CREEPERS listen to the RAMONES’ Road to Ruin LP because a dose of cretinism is needed here.
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 HÜSKERs, but still maintaining their edge. Good job.
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.
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.
Ten mid-tempo pop-punk songs here, with melodic bratty vocals and a consistently pounding drum beat being a major force behind each song. Overall, there are a couple of hits here, but way more near misses, which might be due to the lack of catchy riffs and choruses. The potential is here (including good punk anthem lyrics), but it doesn’t come all together. Still, a very suitable release.
Just the thing for folks who can’t afford the steep import prices for great Swedish garage music. While the MOUTHS aren’t the best at what they do, they still manage to kick up a decent fuss full of 60s style ravers. Lots of early demos and alternative takes for the completist.
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”
I’ve been telling Tim that these guys produce some of the most tuneful and rockin’ post-punky stuff that’s come around since the early GANG OF FOUR, especially live. And now that sound has been captured on this album, which really nails the band’s chunky rhythm section, tasteful (but loud) guitar attack, and droll political wit. A cooker.
This NY-based band for the most part stays clear of the “straight edge mosh style” and goes for more of a melodic HC sound that at times creates some great rockin’ songs. The lyrics, however, are a mix of silliness, dark, and social-political. The most annoying point here is their narrow minded patriotic support for Vietnam vets.
Pretty good thrash from this SoCal outfit. Lyrics mostly fall in the personal category: values, friends, etc. Fans of ILL REPUTE should check this out.
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.
This blows doors! Innovative powerful thrash with lots of spark and bite, great production, the works. My suggestion; get this tape.
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.
A pretty solid world compilation featuring the INSTIGATORS, YOUTH QUAKE, UPRIGHT CITIZENS and more. Contains studio and live material. Good job.
Sort of interesting comp of mostly East Coast pop bands. I’ve never heard of (except homeboys TEN TALL MEN). From pretty catchy to extremely droll. A little electronics and a little psychedelia. SIGNS OF LIFE, TEN TALL MEN, BIG DIPPER, and EXPANDO BRAIN are the highlights. So-so.
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.
A fine collection of known and unknown, previously released and unreleased psychedelic and psychotic bands of 1987. Nothing “neo” about this. Just hit after love hit. Features among many: HALF JAPANESE, SHOCKABILLY, ARTLESS, BONGWATER, FRED FRITH, KRACK HOUSE, STEVE TAYLOR, and ALLEN GINSBURG. Absolutely wonderful.
The greatest hits of Homestead. Can’t afford all those records? Get all the hits here. Included are: VOLCANO SUNS, BIG BLACK, NAKED RAYGUN, LIVE SKULL, DEATH OF SAMANTHA, DINOSAUR, SQUIRREL BAIT, SALEM 66, and many more.
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.
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.
This album represents a variety of Norwegian HC styles, the most interesting being that by BRENT JORD, TMB, OVERLAGT DRAP, and KAFKA PROSESS. Production is good but basic, and the best material here demonstrates a richness of talent from this country that makes me hankering for more.
“Common sense, enjoyment, respect for life and responsibility” appear on the insert for this, the sixth vinyl release from this durable Aussie band. Four well-produced rockin’ punk tunes accompany and enforce this message. “Turned to Stone” is the standout.
Good wholesome lyrics like the FEEDERZ and CRUCIFUCKS backed with thrashy punk rock. Songs are structured with enough great hooks to keep you on your toes. My faves are “Godarchy,” “Russians on TV.” And “Anal Roberts.” Good shit!
A split EP featuring ex-TERVEET KÄDET guitarist Tiimo on one side (playing all the instruments) in a speedcore frenzy, while the flip contains tracks by WOLFGANG RUTH doing a synth pop ditty.
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.
