A plethora of ’60s styles can be found on this new FOURGIVEN release. Although there’s an occasional fast punker (“Call Me Animal”), most of the material is in the atmospheric mid-tempo vein. Nothing is really wrong with the songs, but in general they lack sufficient wild abandon, guitar power, or hooks to really hold my attention. Note: the MIRACLE WORKERS represent the definitive ’60s punk standard nowadays.
A self-released 45 from NJ’s BURNT. “Social Disease” is a great garage punker with raunchy guitar, gruff but plaintive lead vocals, catchy melodies and entertaining serio-comic lyrics. The flipside is a faster anti-gurl rant with much less overall appeal. Good primitive sound.
I don’t know if it’s due to premature senility, living in Berkeley, or just plain spitefulness, but the older I get the more I find myself agreeing with Mykel Board’s views. Maybe it’s because the world sucks, and nothing the namby pamby peace punks do is going to change it. Anyway, here we have 6 raunchy but structurally diverse punkers and thrashers dealing with some of Mykel’s favorite themes, including self-righteous vegetarians and radfemme thought police. I almost died laughing when I first heard “Sisterhood is Powerful,” so I’d have to say this is a great mean-spirited record.
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.
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.
The killer title track is an uptempo 60s punk cut with loud fuzz guitar, maracas, and snot-nosed vocals. The flip is a bit slower, but has the same tough qualities. A real ass-kickin’ gem.
Another cool neo-60’s recording put together by YARD TRAUMA’s Lee Joseph, this one international in scope. Overall, it’s kind of uneven, but there’s some top notch stuff here, including AL PERRY’s funny garage cut, the LAST DRIVE’s raw, folk-psych offering, the BROOD’s haunting number, and so on.
Despite the uninspiring cover art and the LED ZEPPELIN-like intro to the title song, this new release has all the UPRIGHT CITIZENS trademarks — tight, imaginative instrumental arrangements, plaintive lead vocals, memorable hooks, and generally on-target lyrics.
Well, here it is 1986 and I finally discovered why people used to rave about DMZ. After hearing their other releases and being sorely disappointed, I thought the hype was underserved. But now that a tasteful purveyor of primitive raunch has managed to unearth a live DMZ recording that frankly blows away everything else they’ve put out, I’m convinced.
This time around, the label responsible for the great Back from the Grave compilations has decided to release a whole album by one band, the SQUIRES, who aren’t so much a ’60s punk band as a ’60s garage pop band. While most of the material isn’t as inspired as that classic “Going All the Way,” most of it combines an appealing mixture of raw instrumentals and strong melodies.
A fine release from a new BRISTLES lineup. On this EP, there are two catchy ’77-style punkers and one good thrasher. All the songs have power and definite sing-along potential Another winner from Rosa Honung.
An interesting new Swedish band. KRAPOTKIN have a heavy guitar attack, and the song structures are quite diverse. “Vallum” is too slow, “Temor i Teheran” is too arty, but the EP is saved by the title track, which as a rougher sound, a driving beat, and a great hook.
A hot new Norwegian thrash release. It’s no secret that I am totally bored with generic thrash these days, but this release rises far above the 1986 standard by virtue of its exceptionally tight instrumentation, outstanding bass playing, and hooks. It is also raw in that cool HEADCLEANERS way.
This LP brings together a good deal of APOSTLES material that is no longer available elsewhere. The songs are diverse stylistically, side A being more experimental, but they all share a primitiveness that is irrepressible. The lyrics remain provocative, if not always logical and free of contradiction. Recommended.
An uneven new LP. There are some irresistible melodic punk numbers here, and from the moment the trebly out-of-tune guitar chimes in, one gets that great rush that only comes from independent records. The production is not as slick as it is on most French releases, which can be good, but the album is somewhat marred by slower, rockier numbers and a typical skankin’ cut.
Funnypunk, ’60s garage style. This original Bay Area group, which encompasses the acoustically oriented Koel Brothers and Metal Mike (ex-ANGRY SAMOANS, etc.) offers 20 songs satirizing American mores from “Floridah” to “Davenport, Iowa.” The lyrics are hilarious and some of the songs really kick ass.
Decent successor to their earlier recordings. Over half of the songs have that enjoyable, melodic ’77-punk sound with heavy guitars, though there are others, including post-punky and pseudo-rockabillyish material, that make one worry about their future direction. But the LP has some killer cuts, like “Marie-Janee” and the title track.
The first of two volumes of a new ’60s punk reissue series is promising, though not quite up to the standard of the Back from the Grave series. It pretty much steers clear of the wimpy, flowing psychedelic snoozers and sticks to the rockers. Of these, the standout tracks are by the DIRTY SHAMES, CHANGIN’ TIMES, BELLES, NIGHTCRAWLERS, and GOOD FEELINGS. Volume One is better overall.
More two-chord rants about unresponsive gurls. I keep waiting for the quality in this series to decline so that I won’t have to bore everyone by reiterating how great these reissues are. But I guess I’ll have to wait longer, for this volume has mind-numbing ’60s punk gems by the SHAMES, SAVOYS, BARRACUDAS, etc. One of the few series which can honestly be described as “all killer, no friller.”
This is a 12″ reissue of PERDITION’s earlier release. Obviously, the catchy Britpunk musical style hasn’t changed, but the sound quality is a whole lot better.
Great psych cover, but the music is more of that quasi-folky LA-style ’60s pop than the trashy punk or the mindbending sound. “Camp 9-0-9″ is faster, rawer, and by far the best song on this EP. Personally, I’ll take the STOMACH MOUTHS or MORLOCKS any day.
A schizophrenic album with a melodic “then” punk side that includes material from their previous 7″ releases, and a semi-commercial “now” side with recent post-punky material. I much prefer the former, though there’s not a total separation. This is a decent record with some good lyrics, but only “No Leaders” is really irresistible.
This Connecticut band sometimes sounds like one of those tedious UK post-punk outfits, then they turn around and produce rockin’ 60s-tinged guitar-heavy numbers. The best of the latter is probably “Prey for Me,” but the lack of slickness on the production makes this debut pretty enjoyable in an early MISSION OF BURMA-type way.
This hot Brazilian HC comp features ten bands and a variety of styles from supercharged thrash (RATOS DE PORÁO, LOBOTOMIA) to Oi (VÁRUS 27, GAROTOS PODRES—dig that harp!—and AUSCHWITZ) to folkish punk, classical punk, and even skate punk. The trebly Brazilian production adds to the appeal, and most of the lyrics are concerned with political issues like oppression, nuclear war, and corruption. Cool gatefold cover.
More French skunk from SNIX. The guitars could profitably be rawer, but the tunes are generally good (especially “Madou”) and the overall effect is quite appealing. The big question here is one of values: SNIX may not be supporters of M. LePen, but some of the song titles and dedications don’t reflect much that is positive. Who knows?
This Saskatchewan group produces a boisterous pop sound and are at their best when the guitars and tempos are really cranked up. There is a definite ’60s influence on some songs, but most of their material has a more contemporary feel. Although good overall, “Why Should I Care” and “Gloria” are disposable.
A really intense album, both musically and thematically. The SLA have growling vocals Á la FARTZ, and a very raw instrumental attack; the songs range from careening thrashers to more complex but less hard-hitting cuts. The lyrics are unabashedly radical, whether dealing with wage slavery, national chauvinism, or media sensationalism, but the choice of the band name leaves something to be desired since there is some evidence suggesting that the real Symbionese Liberation Army were police provocateurs rather than genuine and very stupid militants.
Fun-loving hardcore from SoCal. The lyrics are all satirical, the sound is pretty trashy, and the general feel is rambunctious and adolescent. Some of the instrumental work collapses in upon itself, but the smooth vocals and throbbing bass push them into the credit column.
Yet another outstanding release from this Swedish band. With their tight musicianship, super instrumental hooks, rough lead vocals, and up-tempo sing-along choruses, they remind me of classic punk outfits from the late ’70s like STIFF LITTLE FINGERS. ASTA KASK wouldn’t know how to write a bad song, so don’t ignore this 12″.
A hot neo-’60s flexi that accompanies issue #7 of 99th Floor fanzine. Side A is a total ’60s punk killer with songs by the BROOD and the BOYS FROM NOWHERE (who cover the Jeff Conolly tune of the same name). The flip is definitely not up to that standard, but the TELL-TALE HEARTS’ number is vastly better than their previous vinyl offerings; the PODZ’ live cut is raunchy but poorly recorded.
From the opening jangle of “Tomorrow’s…” guitars, it’s clear that this trio has been influenced by the BYRDS. Both songs here have sad, melodic vocals and real cool double-tracked psychedelic guitar, and I like them a lot. These guys might get wimpy in a 24-track studio, but the garage production on this 45 provides an appealingly rough edge.
A nifty garage pop record that reveals more than a little imagination and excellent lyrics. Most of it is subdued and perhaps even subtle—check out the irresistible riff/bass run in “Just a Game”—but a song like “What Was the Point” shows that they can rock out more if the urge strikes them. “An End” is pretty disposable, yet this band has something.
This LIVERS release is a varied affair. It’s got a ’60s-influenced garage pop number with a fuzz guitar break (“Spy Hunt”), two garage thrashers, and a garage punker (“Punk Jet”) that sound like they are recorded live, and a “progressive” number with synth (“Face Kicked In”). I could do without the latter, but the rest is pretty cool.
Ripping thrash from one of the Bay Area’s best contemporary HC outfits. Neither the musical structures nor the themes are particularly unique, but the execution is way above the current US norm. The guitar sound is really piercing, the tempo is supercharged, some cuts have killer choruses (like “Drop Out” and “No Truth”) or guitar breaks (like “Landlord”), and the overall effect is ultra intense. Features European-style Pus production.
The second tasty release from Holland’s FUNERAL ORATION. This one features guitarist extraordinaire Tos N., who adds some distinctive frills and textures to the band’s already shredding sound. Most of the material here combines HÜSKER DÜ-style instrumental density and vocals with the traditionally powerful Dutch thrash approach, and the results are stunning. Add to that a couple of plaintive ’60s-tinged cuts (like “Dayfall”), and you’ve got an LP that will be on your turntable a lot.
Hot garage punk record from the Bay Area. Rumor had it that these guys were glam-rock revivalists, but glam rock never sounded this raunchy. The SPEED QUEENS offer a slower lament to the platform geeks of yore (“All the Young Dudes Are Dead”), a fast punker (“I Wish I Had a Big Cock Like Iggy Pop”), and a blasting two-guitar mld-tempo number Á la HEARTBREAKERS (“Underground Music Queen”). With ridiculous and humorous themes like these, they should open for GG ALLIN or, for that matter, serve as his back-up band.
A superb second LP from the DESCENDENTS. The first thing that hits you is its schizophrenic character—side one presents more of their catchy garage punk with satirical and scatological themes (some of which are overtly sexist), whereas side two highlights a newer sound that combines irresistible pop or countrified melodies, heavy punk guitars, and sensitive, reflective lyrics. I actually prefer the latter (especially “Silly Girl” and “Good Good Things”), which seem to result from Bill Stevenson’s (ex-BLACK FLAG) influence.
This is a superior hardcore release from Norway. It includes both relatively well-known bands (SISTE DAGERS HELVETE and AKUTT INNLEGGELSE) and more obscure outfits (KAFKA PROSESS, ANGOR WAT, LANDSSVIK and PSYKISK TERROR), but the musical standard is almost uniformly high. PSYKISK TERROR’s cut is particularly outstanding; it sounds a lot like TERVEET KÄDET’s better material.
The second release from this Swedish group really clears the sinuses. On the “Blapopsida,” they produce more of the killer thrash that characterized their debut, although their head-numbing instrumental attack, gravelly vocals, and short, piercing guitar solos are occasionally undermined by too much chaos or too little tunefulness. The “Bopsida” combines this approach with lengthier and more innovative musical sections; a crunching wall of noise and hilarious lyrics make “Free Fuck” sound like BELFAGORE meets the MEATMEN.
Again, Mr. BRAGG returns with more of his biting social commentaries set to punky folkish music. Whether the themes are overtly political (like the cover of “What Side Are You On”) or more personal (like “Richard”), the lyrics will delight, and unless you demand the full sound of a traditional band, you’ll probably find the music stimulating, too.
Another great Florida garage punk band. I don’t know if this breed of trashiness and psychosis is a by-product of the heat and humidity down there, but for some reason that state produces a lot of entertaining outfits with semi-retarded lyrics. These guys sound more than a little like the ANGRY SAMOANS, which is the highest sort of compliment.
One of the East Coast’s new wave of neo-mod groups. I personally like raucous mod blasting with a flailing guitar, but these are precisely the qualities that NEW BREED lacks. They spend too much time on melodies and harmonic vocals, and ignore the all-important crunching sound. Aspiring mods should spend less time listening to the late JAM and more time listening to the early WHO and the debut singles by the JOLT, PURPLE HEARTS, and CHORDS.
More intense thrash from CAPITOL PUNISHMENT. They’ve been a unit for a long time, and it shows in the ultra-tight instrumental attack displayed here. The vocals are exceptionally gruff, lyrics are well-taken, and there are even glimpses of quasi-psychedelic elements (in “Elephant Man’) and Euro-thrash (the guitar riff in “Broken Home”). Check it out.
The A-side original is a great organ/fuzz ’60s punk cut with snarling vocals and back-ups. The flip is a superior cover of an old RICHARD & THE YOUNG LIONS’ classic. Hot.
Lately, more bands have been adopting the nasty ’60s punk style (as opposed to the wimpy psych pop or folk approaches), and BAD TRIP are among them. Here the quality is a bit uneven, ranging as it does from a way hot original (“Never Had It Better”) to a fairly lame version of the REMAINS’ “Don’t Look Back,” but they definitely have potential.
Despite a well-drawn but obnoxious macho cover with blatant evocations of violence, the third Chaos Production compilation proves to be another very strong release. This one has bands from all over Europe on if, thereby extending its range and variety. Herein one can find the standard French-style skunk (KOMINTERN SECT, REICH ORGASM, L’ENFANTS SAUVAGES, and Spain’s DECIBELIOS), catchy pop punk (AL KAPOTT, DREI ORLOK, Spain’s TNT, Holland’s NV LE ANDEREN, and a killer cut from Sweden’s ASTA KASK) pure Oi (BRUTAL COMBAT and Italy’s NABAT), and all sorts of punk (the KAMBRONES, Germany’s F.F.F. and NEUROTIC ARSEHOLES, and Sweden’s SLAM). Highly recommended.
Yeeouwh! This is an absolutely amazing British thrash band. SPEAK AGAINST SOCIETY manages to generate an incredible wall of guitar power and attains a level of intensity rarely heard these days from that “sceptered isle.” No doubt they’ll be panned in the British music weeklies, the surest sign of greatness. “We Don’t Need It” makes your hair stand up!
Two defunct Chicago-area bands share the honors on this split EP. DEAD FINK produces raw but hook-filled punkers of which “Home in a Grave” is particularly outstanding; HAPPY TOONS alternate between a careening thrash assault and some weird metal-tinged structures, but they’re crude enough to get away with it. A surprisingly strong release from two relatively unknown outfits.
This live album from Kansas’ ROACH EGGS is just what one might expect from a garage band out of the Midwest with a goofy name like that. It’s absurdly basic and sort of inept in the “punk rock” sense of the term, and the lyrics are either stupid or funny depending on one’s taste. The big problem here is the absence of guitar distortion and a powerful recording, but then Woody’s Back Door Tavern probably doesn’t have a world-class sound system.
Hot German thrash with instrumental punch and gravelly vocals Á la INFERNO. Also, the songs have good hooks and incorporate elements off other styles, e.g. a reggaefied break in the title track and a rockabilly-tinged lead in “Bruno.” The results are excellent.
A chunky punk instrumental attack characterizes the latest LOST GENERATION LP. Despite some overly rockish parts, Victim’s solid mid-tempo sound, multi-dimensional songs, strong hooks, sung (rather than screamed) vocals, and sometimes thoughtful lyrics make it the best release by this band since their awesome debut EP.
I really like this Scottish outfit’s first vinyl offering. The title cut is sort of a folky, undistorted garage pop song with moody anti-war lyrics; “Do They Care” is a strong early CLASH-style punker; and “System of War” is a beautiful and melancholy mid-tempo chant. Varied and evocative.
The singer from the STALIN’s new solo release is a diverse effort. While it certainly won’t appeal to the “hardcore or die” crowd, it may—or may not—be of interest to those with more catholic tastes. Featured are a “new wavey” remix of an earlier ENDO song (“School’s End”), an atmospheric post-punker (“Water Sister”), and two punkish cuts, the best of which is “The Stalin.”
For some reason, listening to this record makes me feel like shit (though it has little or nothing to do with the music itself). It’s just that it reminds me of the not-so-old days when one could feel genuinely enthusiastic and positive about the hardcore scene. Ironically, Ian seems to be dealing with this very issue in the great title cut, which is as bittersweet as it is reflective. The flip songs seem pretty lackluster by comparison, but then screaming at a wall apparently isn’t going to bring the motherfucker down after all.
An anomalous debut, in that it mixes ’70s garage punk rhythms, quasi-psychedelic ’60s-style leads, and ROTTEN-esque vocals. At first, the effect is unsettling, but their originality and punch become more impressive with each listening.
It’s ironic that BRUNFUSS caricatured blacks on their album cover, because they themselves are a stereotypical ’80s New Jersey bar band. Aside from an occasional punk (“B.A.D.”) or “humor” song (“Brunfuss”), this record is filled with basic garage rock and metal leads, not to mention seemingly inane lyrics. I think it’s meant to be funny, but I wouldn’t bet on it.
One of the least mono-dimensional Finnish releases of late. KANSANTURVAMUSIIKKIKOMISSIO plays everything from gravelly punk Á la MAHO NEITSYT (“Pääni” and “Työlaisen Aurinko”) to post-punk (“Valaistu Risti”) to full-tilt thrash (“Kalinka” and “666”) to a host of annoying discordant numbers that don’t have any hooks (like “Meksiko”). The latter material unfortunately predominates, and the album is uneven, but there’s some fine stuff herein.
A new Seattle outfit with Brad, an original member of the LEWD. Both songs here are fast punkers with a distorted guitar and some of the meanest vocals I’ve heard since those of Blaine from the FARTZ. An added bonus is this classic line from the A-side: “Shoot the Pope, shoot the Pope, just another Polish joke.” Pick it up today.
Personally, I think these two songs (culled from their upcoming album) have much more impact than the bulk of those on their debut 12″. The production is still murky, but here it accentuates a wall-of-sound style of thrash that almost sounds European. Both cuts also have memorable choruses and good lyrics, so I’m anxiously awaiting the long-player.
Another diverse effort from this odd group. All of the tracks—whether garage punk, Oi, or experimental—are extremely primitive and, even better, full of scathing lyrical barbs directed against the likes of John Lydon and macho idiots. Check out this sadly appropriate couplet from “Skinhead Glory”: “Give me a reason to pick a fight / Let me prove that I ain’t bright.” Original through and through.
After releasing one of 1984’s top ten hardcore releases, it’d be difficult for any band to match the same exalted standard on an entire album’s worth of material, and VORKRIEGSJUGEND don’t quite manage it. But they do reappear with the same killer combination of blistering thrashers (like Schöne neue Welt” and “Die Bombe”) and slower bone-crunchers (like “Die letzte Schlacht”), many of which showcase their distinctive sing-along choruses. Not all of the songs are as great as those mentioned above, and the muddy recording amputates their twin-guitar attack, but this LP is still excellent.
The punkest record I’ve heard in a while, and it’s not even “punk rock.” Englishman BILLY BRAGG is heir apparent of the great PATRICK FITZGERALD (of “Safety Pin Stuck in My Heart” fame) in that he too mixes biting social and political commentaries with a heartfelt solo guitar-vocal performance. The edge and spontaneous communication characteristic of his live show are inevitably diminished on vinyl, but the integrity shines through. Folk punk at its best.
Thrash that makes up in intensity and super-psychotic vocals what it lacks in melodies or hooks. The lyrics are strong if a bit obtuse, “Fondly, War” has a sharp ’60s-ish structure, and the CHEERLEADERS’ overall mania is enough to carry them through some peculiarly discordant parts.
The long-awaited REAGAN YOUTH record is finally out, and it’s well worth the wait. They’ve produced an ultra-primitive, trashy attack with an amazingly raw guitar sound that reminds me of Florida’s F. Add to that a social consciousness willing to confront both reaction and apathy, and it’s impossible to fail. Their anthemic theme song “Reagan Youth” brilliantly captures the mindless idolatry of today’s young Republicans, and the other tracks are almost equally appealing. A must.
Pus and I often have minor musical differences, so I was hoping for the opportunity to take a friendly swipe at the old headbanger’s international thrash-oriented compilation. But I’m having a hard time because it’s a fucking good record. Some of the groups here are among my favorites (like 7 SECONDS and MOB 47) and the selections are usually up the best of each band’s standard, so I’ll just have to bite my tongue and get into these vicious slabs of cranium-crunching mayhem, etc. Kudos to GENOCIDE EXPRESS, SIEGE, and even HOLY DOLLS.
A new EP’s worth of chunky thrash from one of Brazil’s premier hardcore outfits. There’s one studio side featuring both their excellent “theme” song, with its distinctive guitar riff, and another piledriver; the flip contains three less-appealing, roughly recorded live cuts. But since the studio material is killer stuff that satisfies all expectations, you should look for this one.
I haven’t been real thrilled by most of the recent Finnish hardcore releases, since they’ve tended to be sloppy and/or overly generic. And even though MELLAKKA don’t offer too much that’s new in the thrash sweepstakes, they do it well. Tight and well-recorded for a D.I.Y. project.
The fact that I viciously slagged the ASEXUALS for their lyrics to “Contra Rebels” in a recent review helps to disguise that I’ve always really liked their music, both on the EP and in the offending song. And now that I’ve learned that I’ve unjustifiably criticized them for said lyrics, which were apparently meant satirically, I have no qualms about admitting that this is an impressive album combining ’77 punk structures, fast tempos, and strong choruses. I apologize for the mistaken interpretation, but the lesson to be learned from it is that poorly composed satire can easily be misconstrued as dead seriousness.
What more can be said about these guys—even traditional rock critics like them. That shouldn’t be held against them, though, because they have more brilliant ideas up their sleeves than 50 normal bands, and they can play rings around the competition. Here, they come up with yet another platter full of classics that combine innovative structures, every exciting species of guitar noise, loads of intensity, and diversity of mood. Ace all the way, and “The Girl Who Lives on Heaven Hill” is amazing.
A compilation of Finnish hardcore on Germany’s Rock-O-Rama label. The music is generally strong (though some is overly generic), but there is a problem raised by this album—the appearance of so many tracks that have already been released on earlier Finnish (or even German) records. Although it’s great to witness the “internationalization” of the punk scene on vinyl, I wish that the organizers of these projects would try harder to get only unreleased cuts or songs on records that are out-of-print or otherwise impossible to get ahold of. Here, the ratio of easily-available material is close to 50%, and that’s too much.
This is a great melodic punk record that’s almost up to the awesome standard established by fellow Swedes ASTA KASK. Loud guitars, huge hooks, and catchy background vocals combine to make these songs stick in your craw, particularly the pair on side A. Highly recommended.
This may appear to be a typical troglodyte Oi! album, but it’s both more and less. On the plus side are the now-traditional gravelly vocals, an uncharacteristically rich guitar sound, and some surprisingly accomplished songwriting; on the debit side are overly long, metallic guitar solos (as in the title song), some bad reggae-influenced numbers, and a penchant for writing somewhat retarded lyrics (e.g., “Dr. Marten’s Beat” and “Fussball & Gewalt”). Entertaining.
Another hot new neo-’60s release. This now-defunct outfit was from San Diego, and they knew how to mix original and cover songs to achieve the right mid-’60s feel. The high points here are an amazingly snot-nosed vocalist with sneering ’60s inflections, some strong original songwriting, an appropriately tinny “mono” production, and an above-average choice of tunes to cover. Although the fuzz guitar could be louder, these guys have obviously been inspired by primo stuff.
One thing that bugs me about a lot of today’s neo-’60s bands is that they’re so concerned about projecting the “correct” image and musical format that they actually do a disservice to the creative spirit of the mid-’60s, and the FUZZTONES sort of epitomize that tendency. I know it’s unfair to single them out, because they do produce appealingly raunchy blasts with belligerent singing, fuzz guitars, and cheesy organ swells, but they are among the most calculated of the bunch. Still, this batch of cover songs rocks out, so who cares?
Whoaa! A mighty impressive debut EP by this Edmonton punk outfit. The mid- to fast-tempo material here far surpasses their earlier cuts on the Innerspace compilation. With its skads of guitar power, strong tunes, tasteful lead parts, and intelligent lyrics, I can’t think of any reason not to scarf this fucker up.
This is a marvelous and thoroughly uncharacteristic British garage punk record. It’s not really good in any technical or musical sense, and that’s precisely why I like it. DEVASTATION create a fearsome ruckus with ultra-distorted, medium-speed drones punctuated at various points by primitive, out-of-tune leads. Not for musicians….which is fine by me.
More primitive ’60s punk from pimply faced pubescents who couldn’t attract a “gurl” if their lives depended on it. And it’s a damn good thing, too, or they wouldn’t have been mad enough to produce these raunchy misogynistic rants. Almost everything here is primo stuff, maaaan, but I especially dig the CYCLONES, RED BEARD & THE PIRATES, the HALLMARKS, and the AZTEX. Can’t wait for future volumes.
Whatever one might think of WHITE FLAG’s attitudes—and I think they’re about as infantile as they come—it can’t be denied that they’ve managed to put out another fine album. Like the first, this one combines lots of power, imagination, and humor (some of which is purely unintentional). Musically, there’s some fast stuff, some slower stuff, some metal, and some weird shit. The kind of record you can close your mind and happily march off a cliff to.
The TWISTED have a raw ’60s sound with psychotic vocals, a trebly, organ-based orientation, and twangy psychedelicized guitar work. “Sheez Wycked” is more demented; the flip is a spooky instrumental with human screams. Midnight does it again.
Yet another new band on the Mutha label. STISISM have a chunky, mid-tempo punk attack with a PISTOL-ian feel. The vocals have pronounced ’77 inflections, the sound is raw and garagy, and there’s more than enough belligerence to go around. Highly recommended.
A new Chicago-area post-punk group. “Face to Face” has evocative, quasi-acoustic guitars and a magnificent break at the end; the flip is somewhat harder, and features a good, stirring chorus. Not bad at all.
This X is from Australia, and may have actually preceded the well-known L.A. group. On this new release, “Mother” is an overlong, unnecessary version of John Lennon’s old song, but the flip is a driving number with some super-penetrating bass runs, a loud guitar, and lots of overall power. It’s a killer track that alone makes this 45 worth picking up.
An excellent cross-section of Montreal-area bands, most of which haven’t released any vinyl before. From the thrash of DIRECT ACTION and NO POLICY to the chunky pop-punk of the NILS to AMERICAN DEVICES’ weird, rockin’ stuff to fast punk by GENETIC CONTROL, the ABSURDS, and FAIR WARNING to the garage punk of PORCELAIN FOREHEAD to MORBID FIRE’s experimental garage thrash, this album provides listening enjoyment. The only musical letdowns are art- damaged numbers by ≠and IAGO NEON. The ASEXUALS, on the other hand, provide the lyrical low-point with their imbecilic pro-contra chant; their line “political morons without a fucking clue” must be autobiographical, since they apparently know nothing about Nicaragua, American foreign policy, or the circle-A which they employ in their moniker.
Here we have a new Italian compilation distinguished by its diversity and general quality. The “green side” features a few experimental punk bands (GREY SHADOW, NOISENOISENOISE, and MIND) that illuminate some paths that can be taken out of the generic morass “hardcore” often finds itself in; they adopt unusual structures without losing bite and guitar power (except maybe MIND). The “orange side” features somewhat more conventional punk and thrash groups (CANI, JUGGERNAUT, and PUTRID FEVER), and one rhythmic synth duo (FUNNY FASHION).
The debut EP from this Belgian band proves to be a fairly innovative thrash-oriented release. Rather than conforming to expectations, DE WULPSE VARKENS occasionally confound with an odd fusion of modern hardcore elements. It’s hard to describe exactly how they’re different, but it has something to do with their combination of intensity and sudden musical shifts. Worthwhile.
More political thrash from Holland (except for the slower “Shoplifting”). NO PIGS don’t really break down any stylistic barriers, but their trebly buzzsaw guitars and flailing, high-pitched drumming provide plenty of brain battering. Some of the lyrics here are particularly incisive, so grab this if thrash still moves you.
An Australian psychobilly group that shouldn’t be confused with the old DOLLS offshoots whose album was recently—and posthumously—released. These guys have a piercing instrumental attack and wild vocals, but the song structures are a little too derivative to really get today’s kids stompin’ on each others’ blue suede shoes. It’s still rockin’, though, so go for it if you like to howl.
On their debut release, Canada’s GENETIC CONTROL displays a pretty rippin’ thrash attack. It’s not exactly original, but the trebly production and frenetic tempo evoke mucho head-shaking and foot-tapping; a couple of good choruses (especially in “Love Rat”) and a crunching metallic break in “Urban Cowboy” serve to provide some diversity. Decent lyrics, too.
Australian post-punk. CLUB OF ROME has that heavy, rhythmic approach with a deep bass, a loud, biting guitar, and fairly aggressive vocals. “Germany” is the more engaging of the two cuts.
Listening to this, one gets the impression that Australia’s ACID DROPS are trying to fuse psychedelic and CRAMPSish influences, but the results are not generally satisfying. “Rattle My Zulu” lacks the raunchiness to make for effective psychobilly, and their cover of ’60s classic “Outta Sight, Outta Mind” isn’t up to the trashy standard set by the OUTTA PLACE’s recent rendition; only the punky title track, with its snarling female vocals, really connects.
If only this wasn’t November 6th (the day before this issue goes to press and, coincidentally, election day in the US), maybe I’d find this British “peace punk” outfit inspiring. But it is, and as I watch Reagan taking 49 states on TV, I can’t help but wonder why the SEARS or anyone else even bothers to try to increase awareness. Unfortunately for all of us, the world doesn’t operate on the basis of morality or, indeed, rationality. Oh yeah, their music is alternately haunting and powerful, so try and ignore my pessimism.
More rockin’ rollin’ from the METEORS. Both cuts here are uptempo numbers with raunchy vocals but overly clean guitars; the sound effects in “Electro” are particularly cool.
This clever Michigan outfit is obviously obsessed with grade-B horror and sci-fi films. While I share their enthusiasm for such things, I think their music is a bit too campy and cute to transmit that genre’s combination of awe, humor, and fear into the aural dimension. The basic garage pop/punk/rock songs here could benefit greatly from a more distorted guitar sound. Comes with DIY 3-D glasses.
This is an unusual release in that it mixes short garage thrashers like “I Hate Pigeons” and “Older People” with lengthy, droning tracks containing feedbacking guitars, noise effects, agonized vocals, etc. (the title cut and “This Is Hell”). CYANAMID may be too primitive and tuneless for some people, including me, but they are different. Give em a listen.
This may be the CUNTS’ best effort yet. Like YARD TRAUMA, they manage to produce an organ-based ’60s punk sound that’s simultaneously evocative and tough. Both sides here are strong, but “Apocalyptic Breakfast” is particularly impressive.
A snappy new punk pop EP with a whiff of the ’60s (especially in “I’ve Seen Her Somewhere Before”). The ACCELERATORS have RAMONES-y vocals, blasting guitars, bouncy singalong melodies, and that relatively rare ability to write terrific tunes. My favorite release of the month.
Awright, baby, this is part one of the Texas entry into the Highs series, and I think it’s the standout so far. It’s even better than the much rarer and highly-touted Flashbacks volumes. LARRY & THE BLUE NOTES do an incredible blast, as do the BUCCANEERS, KIT & THE OUTLAWS, the BY-FIVES, and NOBODY’S CHILDREN. (Note; CHAZ & THE CLASSICS’ amazing psychedelic punker is the third song on side two). Total gold.
Volume 10 of the Highs series covers Wisconsin. There’s too many bluesy rhythms, pumping saxes, and DYLAN rip-offs for my tastes, but heavy fuzz guitars from the likes of the SHAG and the WANDERER’S REST, and unbelievable rave-up at the end of the MOSSMEN’s cut, and some sharp British Invasion-style singing by JACK & THE BEANSTALKS are definitely worth hearing.
Yet another Mystic compilation album! And again, it’s a hotly produced disc featuring material that ranges from the inspiring (RKL) to the uninspired, though most is good. This one features relative oldsters like ILL REPUTE, AGGRESSION, DR. KNOW, and STALAG 13, as well as newcomers such as SCARED STRAIGHT, RAT PACK, HABEAS CORPUS, FALSE CONFESSIONS, and AFU. There’s somewhat more punk (vis-Á -vis thrash and speed metal) on Nardcore, but the most noteworthy developments are the apparent strength of the “straight edge” philosophy in the Oxnard area and the reappearance of the sublimely inane ROTTERS. Good show, Doug!
A bonus in issue #4 of England’s Black/White fanzine. Both songs (“Sink with California” and “Colourblind”) are already released, so the flexi itself should only interest collectors, but it’s good that someone took enough initiative to expose these two great US bands to a rather insulated British audience.
Here’s a potentially hot release almost ruined by lackluster production. The vocals are psycho, the songs have interesting, off-kilter structures and some catchy sing-along parts, and the clean FEEDERZ-style fretwork is unusually imaginative, but the wimpoid guitar sound here severely detracts from RING OF FIRE’s overall impact. It’s too bad, because these guys also have a lot to say (as in “Read a Book,” the title cut, and “Sex Song”). Their future looks bright, though.
The title track is a shuffling, bouncy pop ditty with a strong hook that could be a commercial hit if it was marketed properly. The flip contains a guitar-heavy version of T. REX’s “20th Century Boy” and a live, countrified adaptation of “Hey, Good Lookin’,” neither of which really add to the originals.
This new 100 FLOWERS release combines their usual rhythmic post-punk stylistic devices with a somewhat rawer production. They’ve always used guitars in an awkward, interesting way, but here there’s more overall rumble and punch that I would have anticipated. Pretty good.
Abrasive, droning noise with a heavy bass and some disorienting guitar frills. The A-side highlights the less-than-joyous vocals, whereas the flip, true to its name, focuses attention on the dissonant, repetitive instrumentals. MISSION FOR CHRIST sure knows how to make people feel alienated, but I don’t know if that’s a good thing.
LAST RIGHTS, who are already defunct, showcase a chunky, mid-tempo punk attack on this 45. The guitar sound is dense and heavy, the tunes are eminently suitable for singing along, and their controversial singer Choke (ex-NEGATIVE FX) has a mean voice. It’s hard to determine what the songs are about, but they nonetheless improve with each listen.
Garage thrash from the Pacific Northwest. The production quality is very primitive, which adds oomph to E-13’s raunchy attack. There’s nothing radically new here, but their adolescent snottiness, goofy guitar parts (in “Eddie” and “Humor Demons”), and trashy sense of humor remind me of early JFA, and that’s good. Unappetizing cover, too.
Although people I know found this album disappointing, I really like it. The CHEEPSKATES may have that poppier, organ-based sound that some of us ’60s punk fanatics don’t approve of, but they’ve retained a loud guitar assault and the ability to build up to a wall of sound when necessary. They also happen to write great tunes that stick in your head, so I don’t see any problem at all here. Recommended.
Chunky ’77-style punk from Northern Illinois. The speed is medium and the song structures are appealingly basic, but BLATANT DISSENT’s disarming live humor doesn’t really survive the transition to tape and their sporadically exciting guitar parts are unfortunately muffled by the bass-heavy recording here. More excitement needs to be generated next time.
A foot-tapping pop-punk release from Australia that reminds me of the halcyon days of British hard pop (1979-’80). I’m a sucker for good melodies backed by loud guitars, and “Danger in My Mind” fits that bill well. The production could be rawer, and the B-side is almost post-punky, but this still deserves a listen.
On their second EP, Sweden’s S.S.G. reveal a startling schizophrenia. The A-side contains two irresistible tuneful numbers with sing-along choruses and a variety of crude yet fetching guitar segments, whereas the flipside contains a pair of hookless, dull songs. I guess it’s just one of nature’s many mysteries.
The MEMBRANES hold a stylistic position somewhere near the likes of the METEORS and the INCA BABIES, but they rely less upon a recognizable rockabilly format and more on a raucous post-punk sensibility. Otherwise, one can compare their trashy, guitar-heavy approach with psychotic vocals. “Spike Milligan…” is up-tempo; the flip is a longer, droning number.
The IDIOTS are a primitive, alcohol-swigging bunch from Germany. They stumble between Oi-influenced sing-alongs (like the title cut) and sloppy, enjoyable thrashers (like “Edeka”), all the while preserving a sense of humor and fuzzy guitar backing. For fans of DTJ and DER DURSTIGE MANN.
This regional compilation put out by WNUR radio’s Fast ’n’ Loud crew showcases most of the more active, hardworking Chicago-area bands, including NAKED RAYGUN, SAVAGE BELIEFS, NADSAT REBEL, OUT OF ORDER, A.O.F., R.O.T.A., BIG BLACK, and the EFFIGIES. All varieties of punk are represented, and the recording is generally powerful, making this a welcome addition to anyone’s record collection. NAKED RAYGUN particularly excels, but I like almost every band here.
Now, this is my kind of record. It’s a rockin’ garage punk release with seriocomic lyrics. Nasty vocals, raunchy fuzz guitars, and basic 4/4 beats power MUSICAL SUICIDE’s goofy punk and thrash blasts. Intelligent, satirical songs like “Guns and Ammo” and “Power Trip” are classic Midwest funnypunk numbers. A+!
This second N.O.T.A. EP follows hard on the heels of Moscow. Four of these five songs display the band’s trademarks—tight thrash power, choice choruses, and politicized themes. The title track is a slower, melodic number in the S.L.F. mold that shows an expansion of their musical horizons, without stylistic regression. A fine release that would have had more impact if it were released earlier.
Musically, this is a great garage punk release. It’s got extremely raw singing, a biting guitar assault, and that appealingly boisterous, devil-may-care quality. It’s also funnier than hell, though I prefer not to contemplate the significance of the bizarre graffiti on the sleeve, inserts, and disc labels.
A generally unlistenable pop-rock album. The lyrical sentiments are admirable, but only fans of cleanly produced, commercially oriented “modern” music will be able to sit through it all. The exceptions are a trio of nifty psych blasts (“World of Hate,” “Microwave,” and “High Noon 75″). A booklet and free single are included.
An eclectic garagy effort by a lesser-known band. KOR-PHU has a style that’s hard to pin down and classify—it blends elements of punk, psychedelia, hard rock, pop, and experimentation into one stew, and the results are mixed. The main problem is that there are a plethora of structural and tempo shifts within each song, which make it somewhat difficult for addicts of the straight-ahead (like me) to assimilate. Different but vaguely unsatisfying.
More humorous sense and nonsense from Joe Pop-O-Pie. This time he does another version of the DEAD’s “Truckin’,” explains the real story of the POP-O-PIES, and embarks upon a series of rap, punk, thrash, and noise satires, all of which are well-produced. A definite cult item that should be in the Rhino label.
NOT FOR SALE is sort of a garage pop outfit with punky sentiments. They have political lyrics and a certain aggressiveness, but the clean guitar sound and bouncy songs lessen their overall impact. Still, I found myself humming along and tapping my feet, especially to “Too Late to Worry.”
This is one of those super-cool punkadelic records that’ll probably never get the acclaim it deserves. Like YO, THEE KATATONIX manage to combine some of the best elements from the ’60s to the ’80s—punky guitars, snarling FLESHTONES-like singing, some semi-psychedelic melodies, and haunting background vocals—in a highly original, unselfconscious way. That’s what differentiates them from the legions of more derivative outfits. Refreshingly good.
A new German release with a different band on each side. The MANIACS have a thrash attack that mixes British and American elements; TIN CAN ARMY has a somewhat raunchier and more intense thrash sound with diverting lead parts inserted at just the proper moments. Both groups utilize political perspectives, and have a couple of slower sing-along numbers. Good.
I was anticipating basic Britpunk, but instead this is a reasonably hard-edged release combining pop and post-punk song structures. PARANOIA’s crisp instrumentation is of a high order, and their haunting compositions grow on you with repeated listenings. One can discern some obvious SIOUXSIE influences herein, though a number of the songs are more driving (like “1984,” “Graveyards of Hell,” and “My World”). Good, if somewhat spotty.
Some people can’t stand this record, but I think it’s quite good. Jonithin’s voice is still pretty snotty, Mike’s guitar playing is better than ever, and the rest of the band doesn’t miss a beat. Even more importantly, the songwriting is more accomplished, and there are all kinds of textures that one normally doesn’t find on a “punk” album. Although a couple of turkeys here make me wonder about their next release, this one’s expansive.
After My War, I was expecting the worst, but this new BLACK FLAG album is much better. Many of these songs have more streamlined drive and less self-indulgent pathos. Greg’s metallic guitar playing is generally too discordant and frenetic to fall into the heavy metal junkyard, and Henry seems to have brought his most annoying pretensions under control (except on “Rat’s Eyes”). Although nothing here approaches classics like “Nervous Breakdown” and “Jealous Again,” songs like “Wound Up,” the title cut, and “The Bars” are new reminders of BLACK FLAG’s power.
From Chicago comes this promising young band. On their debut 45, they do two raw, atmospheric post-punk numbers with a basic guitar-bass-drum backing. The lyrics are alternately existential (“Echoes”) and political (“Nuclear Fear”), and the singer is female. Atypical.
Phew! All three songs here are fast, blistering punkers with piercing, one might even say shimmering, guitar playing. ELECTRONAZE is frankly incredible, though it’s not easy to indicate their quality verbally. A fantastic wall of sound.
Normally, I find GBH’s brand of metal-punk tedious, but this time around they sound pretty damn good, mainly due to the incredible production here. The title song and “Children of Dust” are both real stormers, and the dub mix of the former is particularly stimulating.
Winsome, lightweight pop in the tradition of the AU PAIRS, the MO-DETTES, the RAINCOATS, DIE MÖGEL, the WANDAS, etc. The occasionally reggae-fied bass is their heaviest instrument, and it nicely counterpoints the lilting female vocals, but nothing here is really meaty enough to sink your teeth into.
The first Norwegian band to appear on Rock-O-Rama’s “International” album series. They produce a brace of clean thrashers and an occasional slower, almost post-punky number (like “I Don’t Feel Anything”). There’s nothing radically different here, just a good amalgam of the tried and true. We’d have definitely wanted “1984” on our compilation if we’d known about SISTE DAGERS HELVETE earlier.
A new US album featuring material from several of RATTUS’ Finnish releases. The hot sound quality here emphasizes the band’s power and instrumental virtuosity, so anyone who found it difficult to obtain the original records should scarf this up immediately! (I’d swear that some of these versions are different than the originals, but I could be wrong.)
This is a ska band from Fresno with some ex-MANIAX and THINK TANK members. Although I love heavy dub-style reggae, I’ve always felt that ska is to reggae what pop is to punk, so I’m not too wild about the lightweight sound and bouncy rhythms contained herein. The one exception is “Generation Gap,” a decent JAM-inspired mod number with fine lyrics.
An unusual release. Sorry are able to merge thrash power, distinctive song structures, and high-quality musicianship to produce some material comparable to that of certain other bands who are pushing back the frontiers of punk. Many of their songs are too jazzy or disjointed for my taste, but others hit home with ringing guitars and poppier sensibilities (like the MEKONS’ “Where Were You”). Listen before buying unless you have broad musical interests.
The singer for the STALIN appears here on his first solo vinyl effort. The A-side is a fine driving mid-tempo punker, whereas the flip is a slower, more unusual number with spoken vocals. Both cuts have crisp production.
A tight German thrash-oriented outfit with imagination. These guys burn at high speeds, but also add complex, tuneful elements without even batting an eye. Someone should help H.O.A. put out vinyl immediately.
Whoa! This is a terrific medium-speed punk release from New Zealand. The guitars are really dense, there are good sing-along parts, and the lyrics are very radical (particularly in “Govt. Don’t Care”). One of the better old-style punk records I’ve heard.
KLAXON breaks with the Italian thrash and Oi traditions by adopting a poppy punk sound. Songs like “Prisoners” have a ’78-’79 punk approach with their medium speed and hummable backing vocals. Decidedly different in this day and age, but really refreshing.
On this two-track flexi, MASTURBATION does one slow, steady punk number and one basic thrasher. Once again, the Japanese display some considerable power, but these guys aren’t as original as some of their compatriots.
MOTTEK are one of the new generation of high-quality German hardcore outfits. They combine full guitar power, an extremely tight instrumental backing, and good songwriting. Whether thrashing or punking out, MOTTEK manage to come up with memorable hooks, and the crisp production on this album only accentuates these qualities. Very good indeed.
Despite their thrasher on the Chaos en France 2 compilation, NO CLASS concentrates on fast skunk on their solo debut (except for the slower “Jah”). However, their sound isn’t quite as chunky as it could profitably be at this point. Pretty good.
I’m sure that OBERKAMPF feels that this new album represents “progress” in relation to their earlier sleazy punk style, but the addition of overly slick production, echoey BAUHAUS-type vocals, sound effects, and unoriginal post-punk rhythms only leaves me cold. Aside from an occasional glimpse of their former straightforward power (in songs like “Au present,” “Johnny sois mauvais,” and the classic “Tout ce fric”), this record is a step backwards into pretention. Sigh.
Not a thrash album, but a good old-fashioned punk LP. Holland’s OUTRAGEOUS displays a fast, heavy, two-guitar punk attack with strong hooks on most of this record, but they also play occasional poppish ditties (like “Beziers”), rockabilly thangs (“British Bikes”), or thrashers (“Say Cheese”) to mix up the stew and keep things interesting. I found myself happily singing along with many of these tunes, which is as good a recommendation as most.
Aaargh! RAW POWER’s debut album clearly demonstrates that they’re among the world’s best hardcore bands. It also shows that they are more versatile than one might have been led to expect—along with ripping thashers with paint-stripping vocals in the tradition of “Fuck Authority” (like “Repression”), there are some slower, more controlled cuts (such as “Hate”). Although the production here is too muddy to bring out their full power—you’ll have to see them live to witness that—their merciless lyrical and aural assault should not be missed.
Austria’s SCHUND launches into a mid-tempo garage attack on their debut EP, combining a totally raw guitar sound, a female singer, and a tuneless, amateurish approach. The crude production also adds something, and “Aufstand” has special appeal.
Lightweight pop-punk from Spain. SINIESTRO TOTAL appears to be trying to mine a funnypunk vein, but “No Somos de Montforte” lacks sufficient power and panache. “Luna Sobre Marin” is a straightforward cover of the DK’s “Moon Over Marin,” sung in Spanish and lacking accreditation on the label.
SOVJET WAR is a Belgian band with political lyrics and a sound incorporating punky vocals, fuzz guitar, synth, and post-punk rhythms. They remind me somewhat of the early EX or ABWÄRTS, and I’d recommend them unreservedly to fans of those groups.
A live recording of a trashy ’77-style Japanese punk band. The tempo is generally fast to medium, the guitarist sprouts some tasty licks in the HEARTBREAKERS vein, and the themes are mainly satirical and silly. Some of these songs (like “Middle Class Freaks”) are superior examples of an increasingly rare punk style, and are thus bound to have a certain nostalgic appeal, but Tokyo won’t be reduced to rubble by STAR CLUB.
This debut album from Spain’s TNT is a mixed success. It contains a brace of melodic mid-tempo punkers with bouncy appeal, but there are also a couple of catchy pop ditties (like “Deberías Tener Cuidado”), silly commercial numbers (“Radio crimen Charleston”), post-punk things (“La Noche…”), and even synth muzak (“El Jardin Extranjero”). “Habitacíon 101,” “Sin Futuro,” and “Nadsat” are the most appealing of the previously unreleased cuts.
The VERMINES are a French group that performs more than one contemporary style. “Sometimes” is an English-sounding guitar-oriented post-punk song with a steady beat and a bittersweet chorus; the two cuts on the B-side are fast punkers with sing-along parts and an exuberant, satirical feel.
The second Raptus compilation is superior to the first edition. The production is better, and it contains material by REIG, the WRONG BOYS, STIGMATHE, the CRAPPING DOGS, RAW POWER, the ACID COCKS, and CANI. Once again, RAW POWER dominates the record—check out their awesome “Army”—but REIG and CANI can also burn, and the CRAPPING DOGS have a couple of sing-along Oi-type chants. Blue vinyl.
A new German compilation out independently by the former singer in SICK PLEASURE (now in PORNO PATROL), and it’s one of the BRD’s best so far. It shifts from high-powered thrash (the REST and PORNO PATROL) to good standard punk (TOXOPLASMA and T.B.C.) and back again. The big surprises here are the increased speed of BETON COMBO (though they still write catchy numbers), and the REST’s blistering roars. Look for this.
The second installment of this French skunk-oriented series is infinitely better than the first. For one thing, the production is generally more powerful; for another, there is more musical diversity. Along with the many “skunk” (a fusion of skin and punk styles) outfits, one can find thrash (MOPO MOGO, NO CLASS, and NANA BONNARD), CLASH-inspired ’77 punk (the BRIGADES), rock ’n’ roll-punk fusions (LES COLLABOS), pop-punk (the RATS), and Oi (SK NIX). Recommended.
The GAS is another brutal Japanese metal-thrash ensemble, and they blast right along without hesitation. There’s a lot of instrumental power here, not to mention irrepressible choruses, but the production is too heavy on the mid-range to highlight the guitars and vocals.
Like GISM, G-ZET straddles the line between metal punk and speed metal, but definitely tend more toward the metal side. Moreover, their guitars aren’t as piercing and their vocals aren’t as demented, making this a less impressive effort all around. Headbangers should go for it; others won’t be as enthused.
ESKORBUTO and R.I.P. share this slab of vinyl. The former has a chunky, mid-tempo punk assault with sing-along vocals and some nifty, unpredictable guitar portions. R.I.P. has a heavy semi-thrash style and equally catchy join-in choruses; they’ve included a better mix of the song that appeared on our 1984 compilation (“Anti-Militar”) along with their other three cuts. Recommended.
A Japanese band that seems to be heavily influenced by MDC in terms of both moniker and lyrical concerns, though they’re far more superficial if not fatuous. Their sound, however, is a dense metallic buzz underlying raspy, zombie-like vocals (especially on the title song). I think the singer is American.
In contradistinction to most new Japanese bands, COBRA is sticking to their punk origins rather than speeding up. This record showcases a basic mid-tempo guitar-heavy assault with melodies and backing choruses. “Oi Tonight” is particularly engaging.
CHAOTIK TH are a garagy punk band with crude instrumentation, inept drumming, and satirical themes. TIP-EX are an experimental punk-pop outfit with a sax whose only saving grace is a lack of polish. Nothing special.
A raw, mid-tempo three-track EP from Norway. On their first vinyl release, AKUTT INNLEGGELSE displays a primitive, amateurish punk attack. It kind of slouches along without noteworthy choruses, but the lyrics are good and the guitar lead in “Superstjerne” is awkward enough to be really cool.
This could be the 45 of the month. “Do the Ghost” is an amazingly great punky-pop song with a driving tempo, loud guitar riffing, animated singing, and classy join-in backing vocals; “Talk” is a bit less frantic and basic, but still rockin’ and fun. More, please.
This new RIOT SQUAD release may display more of their standard Britpunk attack, but the amazingly powerful production lifts it head and shoulders above the norm. The guitars roar, the drums beat on your head, and their ringing choruses pick you up and drag you right along. Surprisingly strong.
This live 4-SKINS album has far more excitement than any of their studio releases, perhaps because the band is feeding off audience participation. The production is remarkably good for a live recording, bringing out the dense guitars and vocal growls fully. Although some of the banter and lyrics are predictably imbecilic, you might want to give it a listen.
This spirited sampler of Nevada bands features both the scene veterans (7 SECONDS, Urban Assault) and the relative newcomers (the REMAINS, SUBTERFUGE, the EXPELLED, JACK SHIT, NO DEAL, and the YOBS, who have an incredible singer). There’s some fine punk by SUBTERFUGE and the REMAINS, and some churning thrash from JACK SHIT, but most of the rest of the groups suffer from that perennial Skeeno problem—lousy production.
Yet another cleanly produced compilation from Mystic/Ghetto Way and, like Copulation, it contains a well-balanced mixture of thrash, punk, metal, and their permutations. I especially like DR. KNOW’s “Boys Life,” CRANK SHAFT’s cuts, and RIGOR MORTIS’s metallish “In the Trenches,” but overall it provides a good introduction to current developments in the Southland. Marc Rude’s grotesque cover art provides an additional bonus.
Now what the hell’s goin’ on here? Well, it’s an electric sampler containing a bunch of psychotic Texans doing all sorts of weird shit. The FEARLESS IRANIANS FROM HELL, NAPALM, FEAST OF FOOLS, and TOEJAM perform demented experimental thrash, then you’ve got some incredibly inane hard rock (HEATHER LEATHER), schizoid psychedelia (SCRATCH ACID and the TECHNICOLOR YAWNS), “country thrash” (the HICKOIDS), metallic sleaze (the JEFFERSONS), doodling (MEAT JOY), and powerhouse thrash (the OFFENDERS). This must be what the BUTTHOLE SURFERS listen to all day.
A sampler with four SoCal bands, all of who have that crisp, melodic semi-thrash style. M.I.A. and DECRY are particularly excellent musically, and M.I.A. definitely make the most acute lyrical observations, but there’s nothing to be ashamed of on here.
Lately, there have been a whole string of neo-’60s releases that have successfully captured the genuine punky spirit of the times, and this new YARD TRAUMA EP is among them. Although they’ve adopted that acetate organ-based approach rather than a fuzzed-out guitar assault, they have enough raw power and snottiness to compensate. “I Got a Girl” and “Over and Over” are modern teen classics, so get down with these swingin’ cats.
An organ-dominated neo-’60s band. “Yeah!” is a dippy instrumental with awful sax accompaniment, but the flip is a sharp ’60s punker with belligerent vocals and traces of psychedelic sound effects. The latter saves this debut.
Lightweight semi-psychedelic pop. SALEM 66, who appeared on the Conflict sampler, manage to produce some delicate, tasty tracks with folky guitar strumming. It can be downright pretty at times, but they’d need a lot more guitar firepower and punch to really move me.
The title cut here exemplifies the earlier MISFITS style, with its distinctive combination of melodies, roaring metallic guitars, and clear singing, whereas “We Bite” and the live version of “Mommy, Can I Go Out and Kill Tonight?” reflect their newer, thrashier attack. Together, they constitute an undeniably impressive slab of vinyl for ghoulies and ghosties and beasties that go bump in the night to party with.
A weird debut that ranges from abrasive, punkoid blasts (like “Terminal Art” and “Action Speaks”) to the worst excesses of atmospheric pretension in the later ZAPPA vein (“Now What Have I Done?”). Most of their material falls into a less than satisfying middle ground that combines elements of UK post-punk, horror rock, and soft San Francisco psychedelia. They need more focus.
Another New York noise outfit in the same ballpark with SONIC YOUTH, LIVE SKULL, and HOSE. The guitars put out a fearsome wall of metallic buzzing, while intense vocals spout off above the din. Personally, I like this band more than both their peers and their mentors (FLIPPER). Headache city.
Garage punk from Colorado. The drummer seems to be incredibly young (judging from the cover pic) and the guitar lead in the title number is so lame it’s cool, but the songs have entertaining lyrics and plenty of primitive drive and spunk. For fans of unprofessionalism (like me).
Cutesy-pie pop version of the old JAYNETTS’ classic. The GIRLS are an all-female band who do pretty straightforward vocal and semi-instrumental adaptations. It’s not really bad, just unnecessary.
A classic US garage band with seriocomic themes dealing with adolescent life. The GAY COWBOYS have that irresistible mixture of precocious wit, raunched-out guitars, and demented vocals that I find irresistible. The primitive production and wacked-out guitar leads provide additional bonuses, and how can you ignore songs like “Big Fat Baloney Sandwich”?
This is an excellent debut album that mixes and matches the best of the SoCal punk tradition. DECRY has that powerful, cleanly produced two-guitar attack and a knack for writing catchy melodies. Careful listeners will soon discern the musical influences of great bands like the ADOLESCENTS, THE CIRCLE JERKS, and M.I.A., and certain songs remind one of BLACK FLAG (“My Bloody Dream”) or the TOXIC REASONS (“Asylum”), but these guys are not mere borrowers.
What we have here is a bunch of medium-speed punk tunes with a melodic orientation. Songs like “Gun Control” and “Capital Punishment” (which has simplistic “law and order” lyrics) are straightforward numbers with good, strong hooks, but certain other songs are less memorable and lacking in energy. An uneven debut, but CIVIL DEFENSE has potential.
I half-expected this to be another uneventful American thrash record, but this EP contains some weirder material with unusual vocal inflections and some spastic structural shifts. “Service with a Smile” is particularly distinctive musically—dig the screaming guitar—whereas “Take from the Poor, Give to the Rich” provides some food for thought.
A self-produced EP with material by four young Finnish garage punk outfits (PURKAUS, SOTAKULTTUURI, TERRORI, and PAINAJAINEN). The raw production further highlights the DIY raunchiness of the bands, all of which play more-or-less tuneless mid-tempo punk rather than thrash. PURKAUS is the best of a fairly inept bunch.
Not one of the New Underground series, but a new international compilation on Germany’s Weird System label. It contains two cuts each by RAZZIA, FANG, TERVEET KÄDET, RIOT SQUAD (South Africa), SAVAGE CIRCLE (Italy), SHIT SA (Spain), the INOCENTES, HYSTERIA (UK), and CIVIL DISSIDENT (Australia). The latter offers the most pleasant surprise—they’re a brutal thrash outfit—but the whole record smokes.
A generally excellent sampler of Northern Virigina hardcore, metal, experimental, and ’60-inspired groups. It’s a well-recorded, non-profit project that contains band handouts by #1 PRIORITY, PUDWAK, MALEFICE, the STEEL KNICKERS, DEATH PIGGY, CONCENTRIC, MICHAEL, CAMP DAVID, YOM, and 007. Most of the material on side one is powerful and catchy, and PUDWAK’s “Boxhead” is a total classic with schizoid vocals.
A decent regional compilation from the California coast between SF and LA, very near the geologically unstable area where PG&E stupidly built its Diablo Canyon nuclear plant. The album includes various categories of contemporary music, from catchy teenage thrash (LOS CREMATORS, DEATH OF GLORY, and the CORRUPTORS) to garage punk (GROUP SEX, X-TORTION) to neo-psychedelia (PYRAMOD, MOOD ROOM) to ’77 punk (the USERS) to Finnish-style thrash (ASSAULT) to garagy mixtures of thrash and punk (the WIMPY DICKS and PEDESTRIAN ABUSE). The overall feeling is appealingly unprofessional, and the idea of giving new groups exposure is worthy of support.
Among the many ’60s reissue series, Back from the Grave has been the best because of its focus on the snarling teenage punk emanating from suburban garages all across America between 1965 and 1967. And fortunately, Volume 3 maintains this tradition of basement quality by presenting more of the most heartfelt adolescent rants about problems with gurls, gurls, and more gurls, accompanied by two-chord fuzz guitars, squealing organs, and ham-fisted drum beats. The obscure pearls by KEN & THE 4TH DIMENSION, SIR WINSTON & COMMONS, and MURPHY & THE MOB are just as cool as they can be.
AGAINST THE GRAIN is an intense band with an amazingly raw singer. Their material is in the non-melodic vein, whether fast and punky or slow and pet-rockish, and the guitar tone is nicely distorted.
The press kit that came with this 45 touted the band as the “heartbeat of young America today” and the most exciting record to pass through my hands… blah, blah, which almost made me throw it in the trash compactor. But then I decided to listen to it, and found two ’60s-oriented folkish pop songs with occasional BEATLE-ish vocal inflections and a trebly BYRDS-ian guitar. A decent record, but nothing extraordinary.
The SIC KIDZ are a Philadelphia-area band who’ve been around for awhile and, despite deaths and other obstacles, have finally managed to attract the attention of an English specialty label, perhaps with the help of the CRAMPS. Their sound is indeed heavily influenced by the latter, though it expands from a narrow psychobilly base into the ’60s for inspiration. So if you like nasty, ringing guitars and echoey singing, give this a listen.
Strong, crisply produced modern hardcore is showcased on STRANGLEHOLD’s debut release. Their overall approach—including sung, ’60s-inflected vocals, irrepressible tunes, tight instrumentation, and boisterous but controlled delivery—reminds me a bit of the great ZERO BOYS, which can’t be a bad thing. “’Cause I’m Gonna” is an epic blast with an anthemic chorus.
Fine garage punk from the SF Bay Area. The guitars are raunchy, the singer is a smart-aleck, and the themes are often satirical. Songs like “Fellatio Sucks, It’s for Dicks” are real knee-slappers, whereas others (like “Senior Citizen”) are more sensitive and relevant.
The ENEMY have never managed to generate much excitement, and this new 45 doesn’t break with tradition. “Last But Not Least” is a fairly boring rock-oriented number with a dull lead and mannered vocals; the live flip isn’t much better, though it has a more piercing guitar tone.
A ’60s-style guitar band from Britain. Both songs here have rocking beats, heavy guitars, and irresistible riffs. “Public Enemy Number One” is an instrumental, whereas the flip has tough-sounding vocals. SID & Co. have some musical guts.
An excellent album that mixes that irresistible French skunk—melodic mid-tempo numbers with soccer choruses—with a few contemporary thrashers that also have sing-along vocals (like “LVF”). The production is very powerful, and the lyrics reflect both a healthy cynicism about promises made by established political parties (including those on the left) and an obvious hostility to neo-nazi groups. Recommended.
This is an album shared by two Italian bands. CONTRAZIONE are a raw outfit with a punky instrumental attack, straightforward rocking beats (including a couple of thrashers), an occasional post-punk frill (like the inclusion of a sax in “Nausea”), and incredible male/female vocal interaction. FRANTI cover a variety of musical bases, from punk (“1984″) to SIOUXSIE-like post-punk (“Questa e l’ora”) to sparse, arty numbers (“Io nella notte”).
RÄKÄ is a young band from eastern Finland. They have an exceptionally primitive approach, with almost every song consisting of a single simple and repetitive riff overlaid by nasty vocals. Rude and pile-driving.
More basic metallic thrash from Finland’s BASTARDS. They’ve slowed down a bit and added more metal-tinged guitar parts on this flatly produced album (which is only available on a German pressing at this time), but some melodies and stronger hooks would really help a lot.
A three-song demo by yet another new Finnish group. These guys play raw-sounding punk and thrash with raspy Oi-ish vocals, but certain songs (especially “Liukuhihnan Orjat”) reveal a budding imagination more advanced than their current musical abilities.
NURSE is a unique Japanese ensemble with a female singer and an eclectic, guitar-heavy approach to punk music. On this EP, they produce poppy punk with a rockin’ beat (B-2); post-punk (A-2); slow, hook-laden punk (B-1); and two thrashers, one (A-1) with screeching “nyah nyah” vocals, the other (B-3) with a pummeling beat and shit-hot guitar breaks. Marvelous.
After all the trouble we had getting a decent-sounding remix version of “Incubator Slide” for our 1984 album, I half-expected the production on RED TIDE’s EP to be terrible. But they’ve ended up with a chunky drive and a lot of edge on the guitars so, despite the occasionally weird vocal sound, this record turned out pretty damn well. The guitar parts are really cool, and “Santa Mari Marushi” is hotter than hell.
Another chaotic thrash-oriented release with good lyrics from the RAZOR BLADES. They’ve improved quite a bit over the last few years. Some of their songs now have strong hooks (especially “68”), and they’ve branched out into more diverse structures without sacrificing their crude guitar power or nasty vocals. “Precipice” totally shreds.
RATTUS has evolved a lot since the release of their early self-produced EPs, and have improved very dramatically since the appearance of their WC Räjähtää LP. Their new vocalist Annikki is much hotter, their instrumental attack is tighter and even more intense, and, best of all, most of their newer songs have terrific hooks in the choruses. This baby is awesome!
Raw Italian punk. The tempos are medium, the vocals are raggedy, the sound is rough, and a couple of the songs have good sing-along potential. A pop sensibility also lurks beneath the distorted production here.
A fine release that’s shared by two Swedish bands. By now, everyone should know how great HUVUDTVÄTT (the HEADCLEANERS) are—the only question is whether the rough production here complements their gruff, careening thrash, and I can assure you that it does. KURT I KUVÖS are new to me, and they do punk and thrash with some peculiar vocal melodies that may represent an attempt to bring Swedish folk music into the ’80s.
The Swedish equivalent of GANG GREEN! MOB 47 plays rip-roaring ultra-fast thrash with incredible tightness, thereby differentiating themselves from the legions of hardcore bands that disintegrate at 1000 mph speeds. Every song is like a flesh-gouging bullet (except the slow “Animal Liberation”) making this EP one of the year’s best.
Although DIE NORMAHL sometimes plays considerably faster these days (as in “Morganstunde”), they’ve retained their sense of irony, their bouncy punk sound, and their ability to write the occasional slower, catchy tune (like “Liebeskonsum”). Nothing here is extraordinary, but this 12″ makes for enjoyable listening.
Midnight had this French release listed as “thrash” in their catalog, but in fact PANIK falls into the mid-tempo skunk category. Although they have blasting guitars, an excellent singer, and some driving songs, they have a more experimental bent and concentrate less on the “cast of thousand” background vocals than other skunk outfits. There’s even a reverse mystery track at the end of side A for psychedelia’s sake.
Mix ’60s-laced pop-rock melodies with contemporary punk production values, and you’ll get an idea of how cool “Situation Kid” is. The B-side is an even better straightforward garage punk number with some blasting guitar parts. An appealing debut.
A ripping new English thrash release (except for one slower sing-along called “Savages”) with hot production, flailing guitars, and accelerated tempos. The vocals are in the more traditional Britpunk vein and the stuttering drumming occasionally doesn’t mesh, but it’s a bloody good record anyway. The “No!” choruses make “Eroded Freedom” a mini-classic.
I was anticipating a jazzier sound from these Utahans, but this strangely produced EP contains fast thrash with periodic, unexpected stops and starts and fluid instrumentation. The lyrics are political but not simplistic, and some of these songs have a distinctive, hard-to-define quality.
More high-powered thrash from the OFFENDERS. This time, they’ve managed to capture an incredible guitar sound, one that reminds me of HÜSKER DÜ’s. “I Hate Myself” just careens right along, whereas “Bad Times” has a slow, lengthy, half-spoken intro. Ace.
If this 45 is representative, the PRIMEVALS are Scotland’s answer to the early FLESHTONES. Both of these tracks have that upbeat ’60s sound, with fake tough vocals, rockin’ beats, semi-fuzz guitar parts (in “This Kind of Love”), or catchy “hey” background vocals (in “Where Are You”). A great little debut.
While PLAN 9 are much better than the bulk of today’s lightweight ’60s revival groups, they don’t touch certain other outfits in terms of snotty vocals (the OUTTA PLACE, the CHESTERFIELD KINGS) or raw guitar power (the NOMADS). I find the latter inexplicable, since they have five guitars! In any case, they write some strong songs and have an atmospheric organ, but everything is just too professional sounding to evoke real teenage angst.
Right, here we go. The APOSTLES have released two new self-produced EPs, one with highly intelligent rants (The Curse of the Creature), the other with both sensible and very misguided rants (The Giving of Love Costs Nothing). But since we’ve given them space elsewhere in this issue to air their sometimes inconsistent views, I’ll concentrate on the music here. They have a droning, mid-tempo punkish attack with primitive two-chord guitar and half-spoken, half-sung vocals. sort of like SIX MINUTE WAR’s old garagy, semi-experimental style. Some of the more basic numbers click (such as “Our Mother the Earth…”); others meander about too much and don’t do much for me.
A haunting, evocative ’60s-influenced band with loud, quasi-psychedelic guitars and vocals occasionally reminiscent of the ONLY ONES’ Peter Perrett. Most of their songs are hard-edged and atmospheric—like the distinctive version of “Steppin’ Stone”—but MISSION sometimes “rock out” too much (as in “What Goes Around” and “The Girl Next Door”). Worth listening to.
A rock-oriented punk record by ex-EXPLOITED guitarist Big John’s new band. The title song is a slow but catchy little ditty with some tasteful guitar playing and anti-war lyrics; the flip contains one good semi-pop number (“Bad Connection”) and one awful pub rock song (“No Explanation”).
Churning metal-punk, or perhaps even speed-metal, depending on where you draw the distinction. GISM are undoubtedly a heavy metal band who’ve been heavily influenced by hardcore, but the music is so intense and the vocals so ominous that even I’m in a state of shock. These guys make VENOM sound like the KNACK, especially on side one.
There are a couple of pop clunkers on here, but most of the GURUS’ songs are fairly powerful in a style combining T. REX and SAINTS influences. Like many Oz bands, they’ve adopted that earlier ’70s punkoid guitar sound, but lay it over somewhat poppier song structures. At least one person we know thinks that the GURUS are God!
A new Danish outfit that specializes in tasty mid-tempo punk with an interesting post-punky flavor. The overall sound is heavy, the lyrics are political, and there are some cool rhythmic shifts and guitar frills. “Laederhalse” has especially catchy vocal arrangements, whereas “Schlüter’s Kabinet” is a thrashed-out blast.
With a name like KARNAGE, I expected this band to play full-tilt thrash, but such did not prove to be the case. In fact, they produce aggressive post-punk with loud, punky guitars, steady, slow rhythms, politicized lyrics, and some interesting keyboard effects. Improves with increased familiarity.
“Make Homebrew, Not War” serves as the motto of the second pummeling DISORDER 12″. And they must live by it, judging from the production here, which is too weird and primitive to have been created while sober. That’s not a criticism, but a statement of fact, as fuzzy guitars scream out from toilet bowls, drums are hollow and loud as shit, and trebly bass licks rumble around, all complementing DISORDER’s absurd brand of thrashing noise perfectly. Drunk and disorderly.
Yecch! “The More I See” of DISCHARGE, the more nauseous I become. That song is unbelievably pathetic—both the music and the vocals have a full-out metal sound. The B-side, taken from one of their earlier 12″s, demonstrates just how much they’ve declined over the years. A complete waste of vinyl.
Fairly mundane mid-tempo punk characterizes this new DISRUPTERS release, except for one spoken piece (“Make a Baby”). The bass tends to carry the melodies, and there’s a particularly gruesome, thought-provoking back cover, but there’s little else to comment on here.
This looks like a typical punk record, but it’s not. What it is is a fusion of political punk sentiments and black musical influences. “The Last Offensive” is a clever ditty with a reggae-ish beat, a steady build-up, and some interesting guitar work; the flip is a rather lame rap number. RAT PATROL is now known as WESTWAY, perhaps for commercial acceptability.
BRUTAL VERSCHIMMELT’s debut album reveals them to be a garagy band that specializes in playing fast punk (as in “6 Millionen”), but they’re also capable of playing thrash (“Hey Mann…”) and slower, driving numbers (“Kenein”). Most of the songs are catchy, the lyrics are both political and satirical, and the ultra-raw, trebly production accentuates all of their strong points and, in the process, makes them stand out. Look for this one.
I’ve changed my mind about the value of this band about ten times, so I’ve decided to give up trying to figure them out and just let myself enjoy their powerful and funny music. This 12″ may well be their best release yet. Side 1 has some terrific ’77 punk parodies and some famous guest punks (KNOX, CAPTAIN SEN*I*LE), whereas the flip has more of their roaring, satirical thrashers. Great fun.
Despite my obsessive fondness for horror films, I’ve never been overly impressed with the pretentious, image-conscious crap called “horror rock” or “death rock.” But this recent ALIEN SEX FIEND release is terrific, with its pounding drum rhythms, abrasive metallic sound, and raw vocals. Both of these songs have enough drive and punky power to disinter some moldy bodies.
This is the first solo effort by one of the outstanding bands on The Rebel Kind and Battle of the Garages Vol. 2 samplers. Again, they come up with some fuzzed-out jams with belligerent vocals and psychedelic effects. I only wish they’d do more originals and less covers (here, songs by the SONICS and the 13TH FLOOR ELEVATORS).
The best band on Bona Fide’s Train to Disaster album returns with their own 12″ release. “You’re So” was a distorted ’60s punk blast, but here they merge elements from ’70s and ’80s punk in an extremely effective way. The production is crude enough to highlight their garage tendencies, and the songs are both powerful and original. A sure winner.
The NOT produce six more examples of their JAM-oriented material on their debut vinyl. In some cases, that approach doesn’t work too well (as in the overly rockish “In Trouble” and the slow “World War”), but elsewhere their clean guitars, bouncy rhythms, and Wellerish vocals combine in an engaging way. If they’d only absorb some influences from the JOLT—a ’78 “mod” group with more explosive energy and guitar power than the JAM—they’d really turn some heads.
A very clever Phoenix band that mixes a couple of garagy thrash tunes (“Little Tuff Kid” and “Mr. Ackers”) with a slower boppin’ thang (“Paperboy Blue”) and an absolutely hilarious country-punk satire (“Hardcore”). The latter is one of the year’s outstanding funnypunk creations, and the whole EP will tickle your funnybone. Order it today.
The MONEY DOGS play good modern semi-thrashers. The distinguishing features here are some gnarly guitar fills, better-than-average lyrics, and rather annoying vocals.
Snotty teenage thrash with a creative spark. Some of the guitar intros are real unusual (as in “Parental Suppression” and “It’s Mine”), the vocalist has a great youthful sneer, and the overall feeling is exuberant and innocent. “After” is a particularly unique and atmospheric post-holocaust number that captures NEON CHRIST’s hard-to-define flare.
This 12″ from Mississippi’s WINDBREAKERS is vastly better than their debut 7″ EP, mainly due to the presence of somewhat zippier material and louder guitars. They’re still attempting to mine the folky ’60s pop vein, and have managed to jettison the more tedious rock influences that marred their earlier effort. Pretty good, especially “Ya Gotta Go Away.”
TOEJAM lets loose a metal-punk blast with lots of noise and echoey, gruff, sometimes distorted vocals. A lot of the tracks here are too metalish for me (including guitar solos, etc.), but there is power to spare.
Raw, brilliant pop in the early EMBARRASSMENT’s ballpark. TOOTHPASTE’s music shifts between fuzzy, guitar-oriented blasts (like “Amerikan Beauties” and “Skinheads Are O.K.”) and unpredictable but generally engaging amalgams of funk, punk, pop, and post-punk. The lyrics are often both exceptionally clever and politically motivated (note “Palestine” and the live unlisted track, “R.M.N. Is Better Than Sex”).
A basic thrash album by a newer Berkeley band. It features a very tight instrumental attack, some catchy multi-voice choruses, anti-establishment lyrics, and standard gruff singing. The main problem here is a general lack of musical variation, something which will no doubt be overcome with time. Fun with beer.
A super hot ’60s-style punk release by a hitherto unknown female band. The fuzzy, distorted guitars and crude organ are emphasized in shrieking rave-ups like “I’m Here, I’m Gone,” and even their “mellow” folk-rock cut (“It’s About Time”) has that raunchy teenage snot-nosed quality that separates the punks from the calculated poseurs. Plus, they do a damn good cover of the DIRTY WURDS’ “Why”—no mean feat.
A goofy garage punk effort from some ex-members of SIN 34. The tempos are medium-speed, the guitars are crude, the themes are seriocomic, and the vocals are rough and semi-psychotic. Entertaining, but not outstanding.
Yeah! New York’s “cave teens” return with another raw ’60s punk attack. What makes them stand out isn’t the material per se—most of it consists of cover versions of old chestnuts—but their growling, screaming, trebly sound. And, they’ve got enough snottiness to carry this primitive stuff off in the ’80s, unlike so many of today’s “revival” bands. “Things Are Different Now” and their “theme song” are killers.
An incredibly intense thrash blast from F.O.D. The guitar buzz is piercing, the overall instrumental attack is ultra-tight, and the Biafraesque vocals are exceptionally demented. Along with DRI, GANG GREEN, WHITE CROSS, and a few others, these guys leave the rest of America’s current thrash bands spinning their wheels in deep ruts.
On this album, the EFFIGIES continue to develop musically, though not everyone will view this development positively. The material here is pretty diverse. Most of it has a post-punky feel and emphasizes Earl’s metallic guitar playing; only a few songs are in the traditional EFFIGIES vein (“Patternless,” “Rather See None,” etc.). I personally prefer these latter, but the other cuts have grown on me with repeated listens.
The first solo effort from DEAD KENNEDYS guitarist EAST BAY RAY, and it’s a good ’un. “Trouble in Town” would make a good theme song for a spaghetti Western, with its plucky Spanish-flavored guitar, siren-like backing vocals, and plaintive singing; “Poison Heart” is a bittersweet, atmospheric number with some semi-psych guitar. Tuneful and original.
This new DROOGS 45 features a classic ’60s-inspired original with belligerent singing, loud guitars, and boss background vocals in the choruses. The B-side has a suitably raunched-out live version of the old VELVET UNDERGROUND chestnut. “Change Is Gonna Come” is truly wonderful.
An unusual release, both musically and lyrically, DEATH PIGGY’s sound is discordant and diverse, and ranges from relatively straightforward funnypunk with weird vocals (like “Fat Man” and “No Prob Dude”) to off-the-wall raps (“Eat the People”) to brief acapella chants (“G.O.D. Spells God”) to permutations of the above (“Mangoes and Goats” and “Splatter Flicks”). Not at all typical.
I can see Greg Shaw having multiple orgasms over this one! The CORSAIRS play soft, ’60s-inspired pop with some decent melodies and harmonies, but the wimpoid overall sound and obtrusive piano severely detract from their potential appeal. Someone should crank up their guitar amp and trash the keyboards.
Ach, mein Gott! This is a surprisingly good-sounding collection of 47 (!) German punk bands, compiled by Flocky from Sputnick fanzine. His purpose is both to provide a more thorough picture of the punk underground in the BRD and to undermine the credibility and commercial success of larger labels like Rock-O-Rama and ARP. I’m not sure if he can manage the latter, since this is a limited distribution tape sold at cost, but efforts to put pressure on the more established indies from below are surely worthwhile. Plus, you get to hear some great, little-known groups here. Go for it.
A good quality collection of Finnish bands with an adequate sound quality. Some groups are very well known (RATTUS, the BASTARDS, and TAMPERE SS), others are not as familiar (MARIONETTI, HIC SYSTEEMI, PROTESTI, FUCKING FINLAND), and one is completely new to us (the quasi-pschedelic KAHLITTU VAPAUS). Most produce high-powered thrash (especially the BASTARDS), but my favorites are HIC SYSTEEMI, who have ultra-gruff vocals and a flair for writing join-in choruses.
A nifty international compilation put out by Germany’s Anti-System fanzine. The sound quality is uneven, but it contains 40 songs by 20 punk bands from all over the world, including Germany (CERESIT 81, M.A.F., the SCAPEGOATS, ZÜNDELLÄNDER, DISASTER, KOMA), Finland (FUCKING FINLAND, TAMPERE SS, KUOLEMA), Sweden (the BRISTLES, ANTI-CIMEX), Italy (P.S.A., EU’S ARSE, the WRETCHED), Yugoslavia (U.B.R., STRES-D.A., and ODPADKI CIVILIZACIJE), South Africa (POWER AGE), Denmark (the RAZOR BLADES), and Poland (REJESTRACJA). Anti-Systems purpose is to facilitate communication, not to make profits, so send away today.
A rewarding French sampler with eight underground bands. The styles represented here are diverse—straight punk (LES ELECTRODES, DIVISION LECLERC, FUCK WAVE), ’60s punk (LES CORONADOS), garage punk (STAKANOV SS), thrash (MEMORIAL VOICE), garage thrash (LES STILLERS), and abrasive synth-punk Á la the great METAL URBAIN (DISKOLOKAUST). The latter is my fave.
An audio version of the Situationist philosophy, whose message is “subversion can be fun.” And indeed it can, as this album demonstrates. Musically, it’s very diverse, combining fast semi-thrashers with undistorted guitars (like “Imitation of Life” and “Subscription”) with a variety of theatrical pieces (like the schizoid “Gut Rage” and the creepy “1984”), all marked by Frank Discussion’s sneering vocals and sarcastic humor. Undeniably entertaining and provocative, arguably brilliant and revelatory. A classic.
It was hard to get past the overlong heavy metal intro, but the rest of this tape contains teenage garage thrash with exaggerated, high-pitched vocals and funny lyrics. The EPILEPTICS are obviously having a lot of fun here, even if they are a little on the retardo side, so people with wacko senses of humor will probably like them—except maybe Frank Discussion, who gets slagged off.
“Ruined by Technology” is more like it. This record provides the best argument since the 100 FLOWERS album that garage punk outfits should dissolve rather than trying to “progress.” Here, the AUTISTICS seem to be aiming for the trendy rock ’n’ rolly dance audience with that addition of slicker production and a hokey sax. It’s a shame that they decided to discard the rawness instead of the idiocy (manifested here by “Asian Drivers”), although I do like “Mirror.”
Like it or not, GG represents the authentic spirit of “rock ’n’ roll.” After half a dozen 7″ers and an album, you’d expect him to mellow out, but he’s more primitive and disgusting than ever. I mean, the production on this garage release is almost as distorted as GG’s values! With a homemade drawing of an ejaculating member on the cover and reflective song titles like “Fuckin’ the Dog,” “Clit Licker,” “Drink, Fight, and Fuck,” and “Cock on the Loose,” this would make a perfect gift for Sunday School teachers all across America.
A defunct band from the small town of Korpilahti in central Finland. The EXPLODED have a raunchy mid-tempo instrumental attack and gravelly Oi-style vocals (like those of Maho Neitsyt). This primitive but unremarkable tape is already sold out.
Unbelievable. How often have you heard shades of CRASS, DRI, RITCHIE BLACKMORE, traditional Chinese music, Hungarian folk dancing, violin solos, and abrasive electronic noises all on one record, let alone one song? A challenging breath of fresh air. I wonder what else is going on in Hungary? Is a new cult brewing?
The slow- to medium-speed Oi anthems on the OPPRESSED debut album lack any sort of lyric originality, but stand-out tracks like “Gun-Law,” “Don’t Look Back,” and the hilarious “Skinhead Girl” add a certain dimension of personality to this release. Nonetheless, it could use a dose of energy and inspiration.
Amateurish thrash and punk straight from a garage somewhere in the “garden” state. These teens have spunk and a good, albeit dumb, sense of humor, but don’t expect any musical miracles. “Hay Ho Ha” is the most intense cut; “Disgusting” is the most ludicrous.
Despite the controversy over SACRED ORDER’s supposed homophobic, sexist attitudes, the music on their new demo tape is an invigorating mixture of garage raunch, brain-damaged metal guitar parts, psychotic vocals, and funnypunk themes (as exhibited in songs like “Funky Mr. Penis” and “3 Testes”). I think SACRED ORDER sound like a gas, and it’s hard to imagine how anyone could take them too seriously.
NRG is an immensely powerful mid-tempo punk band from Denmark. “Kulturel Forwaltning” is a chunky blast with an ultra-dense sound and memorable vocal parts that I love; the flip is slower but equally bass-heavy, and it has some nifty melodic guitar breaks scattered here and there. Terrific.
Here’s one for diehard fans of the SAINTS and RADIO BIRDMAN. This new Canadian group has the same heavy yet tasty double-guitar sound, half-sneering/half-sung ’60s punk vocals, and high-quality songwriting as their Australian mentors. Aside from a couple of slow numbers (“Walls Are Falling In” and “Action”), these gutsy blasts are pretty damn irresistible.
Huh? Anyone expecting an album full of incredible thrashers like “Fat Boys” and “Little Boys” will be in for a shock after hearing this. Aside from the ripping “Arabenrein,” this LP reflects a synthesis of their earlier post-punk style and their recent hardcore influence, in that it weds loud, punky guitars to melodic mid-tempo post-punk compositions with sporadic and (mercifully) restrained sax accompaniment. Even so, I like it.
Another crudely produced Italian indie release with intelligent political themes. UPSET NOISE has a raw thrash attack that’s tighter and catchier than that country’s norm, and hence remind me of a bit of the great INDIGESTI. WARFARE? has a slightly slower English-influenced sound, except for one experimental number (“Anarchia I”). A good blend.
Another extraordinary German hardcore band. VORKRIEGSJUGEND (who shouldn’t be mistaken for noise merchants VORKRIEGSPHASE) offer a potent mixture of tight, powerful thrashers with ultra-catchy choruses (like “Ratten” and “Haute Spass, Morgen Tod”) and slower, anguished sing-alongs (“Vaterland” and “Bombe”). If groups like this keep arising, Germany will become the new center of high-quality European punk in no time.
A not-too-exciting German EP in the mid-tempo punk tradition. The title song is boisterous and catchy, despite its well-worn sentiments, but the two cuts on the B-side lack distinguishing thematic or musical features (except for the cool bridges in “No Rights”). OK.
This vinyl offering from a new German band contains one fast punk song with a nervous, screechy guitar ending (“Fleisch Rollt”), and one hot little thrasher with a sudden chorus and more sharp guitar parts. Good.
In France, even the skin bands seem to have a skunk sound rather than the pure “Oi” approach, with its sandpaper vocals, and the WARRIOR KIDS are no exception. On this 45, there are two catchy mid-tempo numbers—”Adolescent” has a much better chorus, but the flip has a more innovative guitar intro that reminds me of CRISIS.
An intense album chock full of Brazilian hardcore. Most of RATOS DE PORÃO’s songs are adrenalin thrashers in the Finnish style, though some are ultra-fast (like “Caos” and “Que Vergonha”), and some have blistering leads (like “Sistema de Protesto” and the title cut), and others are slower ditties with more melodies or sing-along qualities (like “Não me Importo” and “Asas da Vingansa”). The bass-heavy production tends to muffle the piercing guitar tone, but raging blitzes like “Poluição Atômica” and “Periferia” will shake your cranium.
The title song is a hilarious trashing of the EVERLY BROTHERS’ classic “All I Have To Do Is Dream,” with altered X-rated lyrics. The flip contains one slow, tuneless Oi cut (“In the Name of Science”) and a much better speedier number (“Suicide”). The production is absurdly muddy, and the B-side label has the wrong song order.
I was under the impression that INTERTERROR were a thrash band, but their well-recorded vinyl debut features two chunky classical punk cuts. “Lili Marlene” is a bouncy, sarcastic punked-out version of the old song sung by homesick German soldiers; the flip is a faster, more driving number with bitter anti-repression lyrics and a terrific join-in chorus. Highly enjoyable music with serious themes.
A newer Dutch hardcore band. Their thrashers are distinguished by strong instrumentals, hook-filled choruses with alternating female/male vocals, gutsy female lead singing (like Julie from SIN 34), and progressive political themes; they also do slower punkers (“Hart…” and “Candlelight”) of which only the former has teeth. Though not as frenetic as I expected after Tim’s remarks about the INDIREKT material on the Bijna 2000 Jaar Geleden compilation (in MRR #12), this EP has a couple of mini-classics (like “Shell Helpt”).
Solid Danish post-punk. Good bass and drum interaction and quality guitar work are in full display on DIE KAPELLE’s debut EP, and the songs are also pretty good (especially “The Kingdom of Despair”). MARCH VIOLETS fans should appreciate this, but punks might be put off by the overlong tracks and underemphasized guitar sound.
Despite SELF ABUSE’s good intentions, this is a boring example of current Britpunk. The songs have an awkward feel, the laid-back production disguises the existence of two guitars, and the overall effect is not very exciting. Maybe next time.
VERTICAL HOLD is essentially a moody post-punk band with undistorted guitars, as the two songs on this EP’s B-side demonstrate. But “Angel Dust” is the really worthwhile cut here, with its loping tempo, punkier structure, boss background vocals, and clever bass/drum-oriented bridge.
For some reason, ANIMAL FARM sounds like a punkish band from the ’79 era (e.g. the SHAPES). They have a certain quirky melodic quality, a clever wit, and a cleaner guitar sound than one normally finds today. “Model Soldier” is a sarcastic look at enlistees; the flip seems to be a continuation of the Jilted John/Julie story. Neat-o.
If you’re familiar with the FLAMIN’ GROOVIES’ Shake Some Action album, you’ll have a general idea what this third Barracudas long-player sounds like. They even look like the GROOVIES! Personally, I think a lot of the material here is pedestrian—it certainly doesn’t even begin to approach their best—but if you like that melodic, jangly-guitar folk-rockish genre, some of it might click.
Every song on BROKEN BONES’ second 7″ is a pile-driving metallic thrash cut with good vocal and instrumental hooks. In retrospect, it’s clear that Bones played a major role in DISCHARGE’s early greatness, and if he can control his tendency to do too much guitar wanking, his new band should overwhelm the current incarnation of DISCHARGE.
This 45 is a vast improvement over their rather lame debut. The main difference is that there’s much more musical muscle behind their psychobilly this time around. “The Cave” is a hot guitar-picking number with screams; the other is a more traditional, less interesting track.
More RAMONES-y punk-pop from ERAZERHEAD. “Summertime Now” is a fast, danceable paean to summer with tasty guitar backing; the flip is a much weaker pop ballad with a dull sax. A 50/50 proposition.
This 45 from Australia’s SCIENTISTS is a fine new example of their distinctive fusion of influences from the ’60s, ’70s, and ’80s. “We Had Love” is a mini-classic with sneering CRAMPS-ish vocals, a pulsating rhythm, and a wall of feedbacking guitars in the true ’60s tradition; the less-impressive B-side has a garagy post-punk structure and some nifty slide guitar.
A remarkably enjoyable X-mas 7″ from DIE TOTEN HOSEN. The title cut has a silly spoken intro before breaking into their well-known brand of melodic funnypunk; “Willi’s Weisse Weihnacht” is slower and not particularly impressive. But “Knecht Rubrect’s Fahrt” is the really outstanding track here, with its clean, heavy instrumentation, indefatigable sing-along choruses, and hilarious theme.
An exceptionally fine example of contemporary German hardcore, combining full-tilt thrash power with TOTENHOSEN-size vocal hooks, catchy instrumental arrangements, and some “on target” political themes (especially in “Geld regiert die Welt”). “Massenhysterie” is a choice cut that’ll have you singing along and waving your arms all over the place. The TARGETS contain former members of SLIME.
A strong Britpunk release. Most of the songs are in the standard fast- to medium-tempo range, the lyrics are good, and the vocals are rather high-pitched, but it’s the quality guitar arrangements, some well-placed sound effects, and a clever bridge or two that make this EP stand out from the pack. “All Creatures…” is an exceptional track.
A good new 45 from INSTANT AGONY. “Nicely Does It” has a bouncy medium-paced beat, a boss guitar riff, and ironic lyrics; the flip lacks the latter, but adds a better chorus. Both cuts definitely grow on you.
The non-hardcore equivalent of Get Off My Back. Not surprisingly, it ranges from the excellent (MOTHER MAY I’s moody psychedelic pop, PRETTY POISON’s haunting dance-oriented pop) to the decent (light ’60s-style pop by the IMPOSSIBLE YEARS, BOOK OF LOVE, and the RED BUCKETS, as well as BUNNYDRUM’s eerie post-punk) to the awful (SENSORY FIX’s annoying meanderings and the STICKMEN’s jazz-damage). The mixing and editing is courtesy of former LOS MICROWAVE David Javelosa.
A tremendous compilation of songs about the police, mainly consisting of Southern California bands that ought to know (except for the ostriches in WHITE FLAG). There are tracks from lesser-recorded groups like DR. KNOW, S.V.D.B., AMERICA’S HARDCORE, the GRIM, and NEW REGIME, as well as veterans like BLACK FLAG, G.I., and SADO-NATION.
Paradoxically, most alternative compilations are either too monodimensional or too multidimensional to hold the listener’s interest, but this Massachusetts collection put out by Conflict fanzine’s Gerard Cosloy avoids that common pitfall by presenting diverse yet forceful bands. What we have here is basically an engaging mixture of thrash bands with special intensity and/or quirkiness (MOVING TARGETS, the OUTPATIENTS, DEEP WOUND, SORRY) and highly structured neo-psych groups (BUSTED STATUES, the FLIES, SALEM 66, BEANBAG), although they really shouldn’t be classified rigidly. CHRISTMAS is too weird for me, but some of these bands are indeed Godlike. A worthwhile investment.
Another well-recorded SKEPTIX release. They’ve contributed two more killer thrash numbers, one with some interesting drum parts (“War Drum”), the other with a metallic guitar solo (the title track). The EP is rounded out by a slower cut called “Another Day.”
The FIVE have some interesting ideas in the post-punk vein. On this new EP, they produce one lengthy, rhythmic track with rather annoying repetitive vocals (“How Many Times”), an offbeat cover version of MELANIE’s “Angel of the Morning,” and a cool psychedelic punkoid number with a faster tempo that holds the most promise (“Death Chord”). Worth a listen.
When I first heard this, I was a bit disappointed, but after only a couple more listens, those distinctive MIA characteristics clearly emerged—a tight, powerful instrumental attack, hooks galore, flashes of hot guitar work (especially on “Used to Know Me”), plaintive, evocative lead singing, intelligent themes, and some haunting background vocals (in “Modern Way” and “Boredom Is the Reason”). So you’d be a jerk not to go out and buy it, you know?
The WHITE PIGS are a young Connecticut band. Although their themes are somewhat predictable and their music is in the straight-ahead thrash category, the production on this EP is appealingly rough and many of the songs have both highly memorable vocal parts and WHITE CROSS-like intensity (especially “Dropout,” “Screamer,” “Early Grave,” and “Kill Kop”). That’s a recommendation.
This debut EP from Kalamazoo’s VIOLENT APATHY is much slower and more metal-influenced than their cut on the Process of Elimination EP, but it has the same piercing guitar sound. Several of the songs here are too close to heavy metal for my taste, but “Bought and Sold” and “Scathed” have more screechy punk appeal. For BLACK FLAG rather than MINOR THREAT devotees.
The finest example of late-’70s-style punk rock I’ve heard since LAS VULPESS’s 45. All of the songs here are unusually fast and rousing (except the slower fist-shaker, “Break Down the Walls”), with anthemic choruses and some shredding guitar leads. An epic Swiss EP.
As a long-standing LURKERS fan, I can only wonder why Clay decided to release mediocre material that only serves to tarnish the memory of a once-great ’77 punk band. Side one contains two unexciting post-punkish numbers (one being a lame cover of WILSON PICKETT’s “Midnight Hour”); side two features a commercial synth-pop thang (“By the Heart”), a hot already released punky blast (“Frankenstein Again”), and a decent slower punk-pop cut. Sad.
Yet another example of one of this year’s new trends—cowpunk. In the tradition of GUN CLUB, BLOOD ON THE SADDLE, and the new MEAT PUPPETS, TEX & THE HORSEHEADS are taking countrified structures and attempting to infuse them with punk energy, and again the results are mixed. Songs like “Oh Mother” and “Short Train” are engaging amalgams with a driving beat, a bittersweet mood, loud but tasty folk guitars, and Texacala’s husky vocals, but their attempts at more traditional blues (JIMMY REED’s “Big Boss man”) and country (“Guitar Obsession”) fall flat.
A pleasant mixture of fast- to medium-speed punk and one thrasher (“Pega a tu Mama”) can be found on CODIGO NEUROTICO’s first release. Nothing here is mind-blowing, but some songs have catchy choruses (like the title cut and “Quema Tanques”) and the guitars really growl at loud volume.
Medium-speed Britpunk is not my favorite musical subgenre, but this particular album really hits a responsive chord. The UNDEAD manage to hypnotize and enchant here with measured drum-heavy build-ups, double guitar power, and superior songwriting. Although almost all of these songs have a similar tempo, certain compositions (like the haunting “Listen to the Wallbeat” and the energized “Terrorist TV”) stand out as mini-masterpieces. Unexpectedly good.
An unexpectedly good 45 by an upstate New York group. “She Wasn’t Home” is a tasty pop number with reasonably loud guitars and a strong ’60s-style chorus; the B-side is a moody, quasi-psychedelic cut with “heavy” lyrics, maaan. I like both, but the LUMPEN PROLES certainly won’t appeal to those who only like hardcore.
Although the superb re-recorded versions of “Don’t Give It Up Now” and “Help You Ann” alone almost make this album worth buying, a series of horrible cover versions (including “I Confess” and two KINKS kompositions—”Live Me Till the Sun Shines” and “Tired of Walking”) and uninspired originals conspire to undermine its overall value. Boston’s LYRES are potentially a great ’60s-style punk band, but except for a triad of gems (“I’m Tellin’ You, Girl,” “The Way I Feel About You,” and “Not Like the Other One”), they don’t live up to that potential here.
A great example of the true spirit of DIY punk, the likes of which haven’t been heard in many a year. The music here is primitive, stripped-down punk rock Á la ’77-’78, recorded at the singer/guitarist’s house in two days with vocals sounding like they’re coming out of the closet and no remixes. On the plain cover, the same fellow describes the course of his socio-political self-realization, which ultimately led to the making of Catch the Plague, and the results are ten times more honest and relevant than 90% of the stuff produced by various modern “hardcore” cliques. “This Is the Punk” says it all.
A New York band that doesn’t do thrash? Yes—this three-song release features metalish punk with poppy vocals and lots of guitar work. The best track is “Out Group,” which provides commentary on the local scene, and there’s also a good instrumental. Give them points for trying to be different.
MY 3 SONS is a young experimental band from New Jersey. “Starving Artist” is a droning metallic cut Á la FLIPPER, and it’s quite good if you like that sort of thing; the flip is an overlong mood piece with chimes and stream-of-consciousness lyrics that I find unlistenable. Not really my cup of tea.
A loud, abrasive post-punk group with pretentious lyrics and a unique, metal-edged guitar sound similar to—but not as extreme as—that of BIG BLACK. Most of LIVE SKULL’s songs are measured, droning thangs (except for the faster “Boil”), but it’s the distortion and controlled feedback emanating from the two guitars that really lift them above the pack.
Aaargh! ILL REPUTE may not extend the thematic or musical limits of modern thrash very far, but this album is so fucking ferocious that it doesn’t matter. The band wails, the guitar screams, the vocals are really snotty and impassioned, and the production has an edge that further accentuates all of these advantages. A wicked release that’ll motivate you to try stage diving off of your kitchen table.
A new thrash outfit distinguished by a clean, undistorted guitar tone, unusually youthful vocals, and some clever bridges. The overall sound is too thin to generate a spastic head-banging response, but some of the tracks have exuberant choruses (like “New Hope” and “I’m a Nerd”). Give it a listen.
If you don’t like this amazing slab of vinyl, don’t even pretend that you ever liked thrash punk. GANG GREEN’s assault is unbelievably tight and intense, and Mr. Doherty’s guitar work flails away mercilessly. “Terrorize” is particularly awesome, so nerds should steer clear.
A very impressive potpourri of “redneck” rock, garage metal Á la STOOGES, punk, and parody makes this FIENDS debut a must-have. Instead of parroting the form of various genres of rock ’n’ roll, these guys manage to transmit its cocky, devil-may-care spirit. The guitars are loud and punky, and the decadent humor that shines forth on jams like “Riot in the Men’s Room,” “Battle Axe,” and “Rock All Night” simultaneously promotes and pokes fun at adolescent “drink-fight-fuck” fantasies. If you don’t think they’re a laugh a minute, you must be one of the zombies on the cover.
There are two kinds of bands in this world—those that appreciate any help which others offer, and those that whine and complain when others don’t give them the attention they think they deserve. Unfortunately, FANG falls within the latter category, and it’s a mighty test of my fairness to say anything good about the spoiled, self-centered babies. Even so, their album contains the same humorous mixture of fast semi-thrashers (like “Road Kills”) and slower, droning numbers (like “Suck and Fuck”), so if you liked Landshark, you’ll go for this as well.
Mystic describes these guys as a “hardcore speed-metal death band,” and I can’t improve upon that summation much. DR. KNOW plays fast thrash and semi-thrash with heavy metal guitar leads and depressing, horror-inspired lyrics. They’re tight as a drum and undeniably powerful, though some of the aforementioned metal parts are excruciating. In the L.A. STAINS tradition, but quite a bit better.
Raw thrash emanates from Colorado’s BUM KON. They have a frenetic instrumental attack and intense vocals, but the generally poor production doesn’t always highlight their potential—note, e.g., the variation between the muddy title song and “The Draft,” which has a much hotter sound.
Ultra-primitive garage punk form the wilds of South Florida. Although the production is excessively raw and trebly, I find BROKEN TALENT’s combination of raunchy guitars and screechy singing rather appealing. “My God Can Beat Up Your God” is a classic satire about religious chauvinism, but what the hell is the title track about?
Our second compilation showcases 23 bands from 17 countries, spanning the east, west, north, and south of this pathetic globe we inhabit. We can’t be too objective, but we think that most of the selections here are great, though three or four are only so-so. In any case, it provides a good introduction to worldwide punk and hardcore for those who are unable to purchase overseas releases. For those that are, there’s also plenty of unreleased stuff.
The second lavishly illustrated volume of Underground Hits again features a mixture of German and American bands, but this time around, the production isn’t as good and the two punk groups representing Germany (CANALTERROR and SPUX) aren’t quite as impressive. Still, it contains material from some excellent US outfits (the ANGRY SAMOANS, YOUTH BRIGADE, the MEATMEN, HÜSKER DÜ, the FU’s, GOVERNMENT ISSUE, and ADRENALIN OD), and represents another positive effort to unify the international scene. AOD’s unreleased tracks are hot.
A Swedish compilation album featuring a variety of punk styles performed by new and not-so-new groups. The bulk of the record consists of basic ’77-style punk bands (SABOTAGE 81, the LIVIN’ SACRIFICE, ADRENALIN, ROLANDS GOSSKÖR, HJÄRNDÖD, ASTA KASK, and DNA), the best of which are SABOTAGE 81, who produces some catchier-than-average tunes, and ASTA KASK, who have a driving, upbeat sound. ANTI-CIMEX, SUNE STUDS OCH GRÖNLANDSROCKARNA, and NYX NEGATIV present a more contemporary thrash attack, but the generally muddy production detracts from this collection’s overall power (as it did on the Really Fast sampler).
An underground Norwegian compilation with four groups. ALLAHRM are a boring rock-oriented band with some traditional rock ’n’ roll elements (in “Vegspringar”); TEROR boasts a basic Britpunkish attack with a bit of edge and a loud bass; NORRRSKE BUDEIER have a female singer and a mid-tempo punk sound (except on the thrashed-out “Á… VÁ¦re”); and FADER WAR are full-tilt thrashers with an ultra-fuzzy guitar buzz and somewhat off-kilter drumming. Uneven as a whole, but it has some notable high points.
After hearing the fairly traditional ’77ish title track from this EP by a Polish punk band, I thought it might be more of a curio than a record I listened to a lot. But the other three songs turned out to be tight contemporary-sounding thrashers with memorable vocal parts, instrumental hooks, and one picky lead (in “Wojna glupcÁ³w”). DEZERTER easily holds their own against the better Western bands, so I strongly recommend looking for their releases.
A bunch of cool Fresno cats associated with the MANIAX, Blitz, and Stop Skate Harassment have put out this innovative little tape. THINK TANK combines unique post-punk arrangements, very thoughtful lyrics, and all-out thrash blasts in an effective, distinctive way. They even do a raunchy cover of the CLASH’s “1977.” Highly recommended.
This cool platter is kind of hard to describe. “Spiders” is a warpo trashed-out number with psychobilly vocals and a sporadic slide guitar; the flip is more of a traditional rock ballad that doesn’t quite click. Different.
The TROTSKIDS play quite a bit faster than most of the new French skunk bands. They have the same heavy sound and irresistible soccer chants, but the accelerated tempo adds a lot more punch and appeal, at least for me. Great stuff that I strongly recommend.
A new Vancouver outfit with former members of the SUBHUMANS. “Bawl and Change” and “The Closet” are terrific guitar-heavy pop blasts that’ll motivate you to bop; the other songs are clever rockish numbers that can be compared to English band SPHERICAL OBJECTS. Not bad at all.
Still more skunk from France. The thing that differentiates REICH ORGASM from the pack is some extremely tasteful guitar frills inserted at just the right moments, but they don’t sacrifice any hummability in the process. I find this EP very enjoyable, but I’m beginning to wonder if this particular style is peculiar to French punk bands as a whole, or only to those on the Chaos Production label.
RAPPIO’s 45 showcases the kind of punk that used to be common in Finland around 1978-’79, with its medium pace, poppy melodies, sung vocals, and hummable choruses. The twin-guitar attack and CLASH-style background singing make the B-side the superior song. An atypical ’84 release.
This Swedish band is confusing. Their earlier Oi-influenced tape contained what might have been blatant stupidity. With song titles like “Anti-Fag” and KKK” and chants of “skinhead… sieg heil,” it was impossible to tell where they stood. But on this new EP, there’s a change, both musically and lyrically. Now, they combine sloppy thrash in the ABSURD vein and ponderous drones with anti-war themes, but the results remain mixed.
More great stuff from Sweden. The magnificent title song has a roaring wall of guitars and a staggered join-in chorus; the other three cuts are almost up to that exceptional standard. A mandatory purchase for fans of thrash.
Another French band with that English “skunk” sound. By that, I refer to the draping of soccer-style sing-alongs over a loud mid-tempo punk instrumental base. The title track and “Barcelone 1936″ are the best of the songs in that style; “Les Vauriens” is the sole fast cut, but it too has a chanting chorus. Good.
LES KAMBRONES, named after the first French public figure known to have uttered the term “merde” (“shit”), have a chunky mid-tempo sound and the type of tuneful hooks that seem to be a characteristic of many French punk groups. But they’re more consistently fetching than the bulk of their peers, and all three of these songs will be running through your head after only a couple of listens.
Like VORKRIEGSPHASE, INFERNO rips out intense blasts of thrash enveloped in a wall of guitars, but they lack their compatriots’ tightness. In particular, the out-of-sync drumming often seems to hold back the rest of the band’s momentum. Still, the guitarist wails, and this nasty-sounding record has more than enough ass-kickers to warrant your attention.
This is a magnificent album, one of the best thus far in 1984. First of all, the extraordinarily powerful sound whacks you across the face, then you realize how superb the band is and how well-crafted the songs are. Most are in the hook-filled fast- to medium-paced vein (like “Als je Haar…” and “1000 Aspirines”), but there are also a couple of adrenalin American-style thrashers (the satirical “U.S.A.” and “Bedankt”) and some slower, older-style numbers (like “Een Droevig Verhaal”). The potential hinted at on FRITES MODERN’s earlier 6 Met tape has been fully realized here.
More well produced mid-tempo punk from LES CADAVRES. Most of the songs here have that chunky skunk feel, but the standout track is “Mort Á l’avance”, with its accelerated tempo and singalong choruses. Powerful, but not quite as catchy as KIDNAP.
Another great release from BLUTTAT. It’s got a roaring wall of guitars, intense male/female double vocals, full-throttle thrash momentum, and perceptive political lyrics dealing with topics like South African apartheid policies. Don’t listen to this if you’re the overly sensitive type, because it rips at loud volume.
A good debut effort by a new Vancouver band. Not surprisingly (coming from D.O.A. land), they have a chunky, older-style punk attack and an extremely basic approach. “Decide” is an especially fine number with a chorus that sticks; the other cuts are less memorable.
A new collection of UK bands performing a variety of styles, including basic Britpunk (RIOT SQUAD, CHRISTIANITY BC, the X-CRETAS, DEAD MAN’S SHADOW, the CLOCKWORK SOLDIERS, and EXTERNAL MENACE), Oi (BREAKOUT), “classical” punk (RESISTANCE 77), and tense experimental punk (PARANOIA). RIOT SQUAD, the CLOCKWORK SOLDIERS, and the X-CRETAS each do one thrashed-out number, and RESISTANCE 77 have the most retarded lyrics. Although Wet Dreams represents a positive effort to give new bands more exposure, it doesn’t always satisfy from a musical standpoint.
The fifth in the series of “Oi” compilations. Like the others, it contains a mixture of punk bands (COCK SPARRER, the ANGELIC UPSTARTS, PROLE, PARANOID PICTURES, and the NEWTOWN NEUROTICS), Oi groups (the BUSINESS, CLOCKWORK DESTRUCTION, the 4-SKINS, MANIAC YOUTH, and the VICIOUS RUMOURS), ranting political poets (PHIL SEXTON, TERRY MCCANN, MICK TURPIN, and the great GARRY JOHNSON, not to mention a cameo by ATTILA), funnypunk outfits (the GONADS, the ALASKA COWBOYS, the “L.O.L.S. Choir”), and assorted oddities. A lot of the music is appealing, so give this a listen.
Two choice new jams from the VIBES. “Flying Home” is a haunting cut with sharp drum rolls, bittersweet vocals, and quasi-psychedelic guitars; the B-side is one of their irresistible rocking blasts with brilliant guitar riffing. Too cool to contemplate.
The new ONE WAY SYSTEM has excursions into three different but related musical sub-genres—”Children of the Night” is an undistinguished slow- to mid-tempo punker rooted in a heavy metal chord progression; “Down” is a faster, catchier ditty in the old ONE WAY SYSTEM tradition; and “Shine Again” is a grinding post-punk cut with a heavy guitar. Diverse but unexceptional.
A very likable new release from Scotland’s LAST RITES. The guitars are primitive, the production is raw, the lyrics are spot-on, and there are some irresistible sing-along segments on the A-side. “No Right to Take” is particularly seductive.
VERBAL ABUSE specializes in creating tight, powerful thrash and metal-punk. The band is originally from Texas, and has the same intense, ultra-frenetic approach as M.D.C. and D.R.I. What distinguished them from those groups is the presence of ex-SICK PLEASURE vocalist Nicki Sicki, who expresses hostility and nihilism rather than political concerns in his lyrics. A hot-sounding release with a hilarious “mystery” track on side 1.
This CULT MANIAX 45 is hard to get ahold of, and it reflects the musical transition they underwent between their fantastic “Blitz” 7″ and their album. “American Dream” is a mid-tempo punker with their usual high-pitched singing and some post-punky frills; the overly long flip is more measured and psychedelicized.
Only one thing differentiates the Accursed from their many Britpunk contemporaries—they lack the well-produced sound that characterizes so many releases from England. Instead, they have a dense, raunchy guitar roar that adds oomph to fairly predictable material. “Going Down” is decent.
This particular valley is the Silicon, home of GRIM REALITY, RIBZY, the FACTION, and MISTAKEN IDENTITY. All four bands contribute a pair of songs each, none of which are losers, and some of which are great (especially RIBZY’s). The FACTION deserves a lot of credit for putting out this EP, and the cover is great.
The best punkadelic albums I’ve heard in years. YO, a Bay Area band with some ex-members of B-TEAM, mix an abrasive punked-out guitar attack, meaningful TIM BUCKLEY-style vocals, innovative musical structures, obtuse lyrics, strong melodies, and occasional flashes of brilliant psychedelic guitar work to produce a cult masterpiece. Play this record next to those of the over-hyped neo-psych groups from LA, and watch them fade away along with the pink elephants you saw before the acid wore off.
The second EP from New Jersey’s WORST follows in the footsteps of their nifty debut. They still combine catchy, heartfelt vocal parts with a loud and fast instrumental backing that’s alternately straightforward and interrupted by unpredictable structural changes. Some of the compositions work better than others, but this release is well worth the price.
The newest entry into the nutmeg state’s hardcore sweepstakes presents a basic thrash attack with several metal-influenced solos and that by-now-traditional stop/start structure. Nothing here will surprise the listener, and both the drums and vocals occasionally sound out-of-sync, but a lot of these cuts are hotter than hell, especially those on the B-side.
This album is a little on the frustrating side. The VELVET MONKEYS seem to shift effortlessly from the sublime to the awful—classy ’60s-influenced psychedelic pop tunes (like “Everything Is Right,” the VELVET MONKEYS “theme” song, and “Any Day Now”) stand side by side with self-indulgent trifles (like “You’re Not There” and “Bad/Dirty Blood”). Their sound revolves primarily around a cool quasi-psych guitar and an ethereal organ, but it may not appeal to everyone.
A harsh debut from Wisconsin’s TAR BABIES. They offer mutated thrash (like “Be Humble” and “New Poor”), slower metallic growls (“Punch”), and disjointed experimental punk (“Triplets”), all with DIE KREUZENish singing and a super-distorted guitar. Intense and occasionally annoying.
Like MARGINAL MAN, SECOND WIND start with the basic D.C. thrash-oriented attack and play a lot of tricks with it. In this case, that means slowing down the tempo, and adding clever bridges, an occasional tasty guitar part, and particularly fine drumming. Although the singer has definite Ian MacKaye inflections, this is a distinctive release.
RUIN present a strange, unclassifiable amalgam of psychedelia, acoustic doodling, heavy metal, punk, and thrash, usually all within the same song! The lyrics are alternately oblique, humanistic, or cosmic. These guys are clearly experimenting and searching for a unique approach, which is admirable, but I don’t always find it enjoyable, mainly because of the frequent predominance of ponderous metal elements. I really like “Dionysian” and “Where Fortune,” though, as well as the chorus in “Rule Worshipper.”
P. DISTURBANCE’s second release has a primitive sound and a weird trebly mix that emphasizes the vocals. At first, the songs seem sort of cluttered and disjointed, but after a couple of listens, they begin to coagulate in your cranium (except for the spastic “Do the Guilty”). The title track is the hottest from a musical standpoint.
The new PLASTICLAND 45 contains more of their vintage psychedelic noises. Fortunately, they have the heavier fuzzed-out ’67-’68 sound rather than the syrupy unstructured approach that took hold in late ’69 and early ’70s. Both songs are textured and loud.
The A-side of this well-produced album features a brace of tight, fairly basic thrashers, only a couple of which really stand out. But the flip has a way cool reggaefied jam (“No Guns”) which reminds me vaguely of older attempts to produce crossover material by groups like the RUTS, the MEMBERS, and the (LEYTON) BUZZARDS, as well as a far less successful dub track (“Forget Those Years”). The lyrics are more serious than I expected from a band with such a clever funnypunk moniker.
A marvelous new release from Dischord. MARGINAL MAN combines a potpourri of influences to produce a heady musical stew. There’s a fine D.C.-type thrasher with distinctive guitar parts (“Pandora’s Box”), a haunting pop number (“Friend”), two grinding “pain” songs that I find tedious (“Torn Apart” and “Fallen Pieces”), and a bunch of superb fast and tuneful punkers that have a ZERO BOYS feel, especially in the ’60s vocal inflections. Yeah!
This new SoCal group offers an EP full of garden-variety thrash (except for the death-rockish “In the Dark”). The main problems here are a serious lack of musical imagination and tinny production; the main advantages are a shrill guitar and sound lyrics. Overly typical.
A much poppier effort from HEART ATTACK. This EP is filled with all sorts of hooks and singalong choruses, but it retains their hard-edged punky guitar assault and serious lyrical approach. Here, they take on topics like sexism (“Man’s World”) and the genocidal wars against the American Indians (“Wheels Over Indian Trails”) with a great deal of intelligence. Recommended.
The EDGE is a Midwestern garage punk band with some poppy vocal hooks. The production is primitive, the rhythm guitars are suitably grungy, and the overall effect is amateurish (in the positive sense). Humorous and spirited.
CIRCLE SEVEN has sort of a measured mid-tempo post-punk approach. They have a basic guitar-bass-drum lineup, some seductive drum-heavy rhythms, distanced singing, and good lyrics, but the music is a bit too much under control for my taste (except maybe on “Look What You’ve Got”). If they got wilder, more heads would turn.
The BOAT PEOPLE are an amateurish garage punk band from the wilds of Nebraska. Given that rednecky environment, they deserve a lot of respect for having the guts to be punks, especially with radicalized lyrics. Unfortunately, the music here needs a lot more guitar power and vocal intensity, although the drumming, which approximates Indian tom-toms, adds a unique touch.
Even though one member of this band erroneously believes that his personal taste represents some sort of universal standard of quality, it can’t be denied that the new BIG BLACK EP is vastly better than their debut, which was itself very good. Here (except for “Jump the Climb”), they drape the same rhythmic, quasi-metallic tone over a much heavier musical skeleton with real drums and a loud guitar, and the effects are quite stunning.
These energetic San Diegans have always had a very powerful instrumental sound. And even if their metal-punk attack isn’t exactly my can of Coke, the title song here is so intense that it blows me away. That alone makes it recommendable.
Now, this is weird. The punked-out guitarist on the cover doesn’t exactly prepare one for the music—a unique amalgam with drum machine, synth, psychedelic guitar, and alternately sung and treated vocals. “Bombs” is almost folky, but the uptempo flip has mucho abrasive power and plenty of appeal.
This Pennsylvania band has a nice raunchy sound and excellent lyrics, but I find their extended heavy metal guitar leads all but intolerable. Heavy metal damage permeates the entire EP to such a degree that only metal maniacs could fully appreciate it. It’s too bad, though, because I think there are some good ideas lurking beneath the guitar wanking.
This is a great band in the abrasive experimental punk vein. Loud guitars, heavy drumming, and interesting rhythms bring groups like NO TREND to mind, but these guys are definitely original. Aware lyrics and a couple of fast blasts add further fireworks, so send away for this today.
This should have been reviewed two issues ago, but we bungled somehow. Sorry. In any case, the new BREAKOUTS line-up, with its incredible double-guitar power, is far superior to all their earlier incarnations. The material here includes hook-filled mini-classics (like the title track and “Trouble”), chunky thrashers (like “Join Me Don’t Join Me”), and even a loud quasi-experimental number (“B.D.A.”). Many of the arrangements are terrific, the production is unusually strong, the lyrics are timely, and the overall effect is uplifting and engaging.
FATAL VISION performs decent basic thrash, but writing lyrics is their real strong point—the themes of alienation and manipulation are handled with far more sensitivity and sophistication than one normally finds. The music could benefit from further development, though “The Grass and Sheep Saga” is an outstanding track.
A bogus honky disco band whose sole claim to fame is that they are hated. That explains Mykel Board’s interest, although after listening I can understand why no one liked them. For novelty collectors.
This release marks a big change of direction for Finland’s NUKKETEATERI. They’ve moved from fast, hook-filled punk to irritating post-punk with a scratchy guitar, a fluid bass, a spry tempo, and an exceptionally annoying trumpet! I can’t figure out which song is which, but I like this band a lot better before.
An old-style punk release from Holland with a chunky guitar and a garagey feel. “Zwart geld” has the slowest tempo of the bunch, “Hollandse signaal” sounds almost exactly like Texas band AK-47’s “The Badge Means You Suck,” and “Wie speelt…” is a relatively fast, driving number with some powerful double-guitar work. Good, but not exactly “glorious.”
Strong mid-tempo punk can be found on this single by Spain’s KGB. “Treblinka” is a straightforward blast with a distinctive bass line and a great guitar break punctuated by screams; “Luftwaffe” alternates between slow portions and accelerated parts with a catchy pop-punk chorus. Good stuff.
A 7″ shared by two Danish bands with the same personnel. ZERO POINT performs one melodic hardcore tune and one guitar-oriented stop/start number with a synth accompaniment and bright lyrics. HA! have a somewhat slower punk attack and raspy vocals like Jake from STIFF LITTLE FINGERS, though “Working Class Zero” is a speedier blast with an epic chorus. There’s some quality material here.
Another hot EP from Denmark’s ELECTRIC DEADS. Their earlier speedballs have given way to even faster blasts, but without sacrificing their most unique characteristics—a screaming fuzzed-out guitar, and highly-distinctive female vocal styling. I’m so impressed that the redone version of “Fish in a Pool” will appear on MRR’s forthcoming “1984” compilation.
This new Long Beach hardcore group seems to have been influenced quite a bit by DRI The comparison shouldn’t be exaggerated, however, because TARGET OF DEMAND adds characteristic SoCal hooks to their intense thrash attack, and the results are startlingly good. Of the songs, “The Poor Rich” takes a potshot at wealthy Malibu residents endangered by mudslides, and “Judgement” and “Plastic Bullets” are particularly savage and to the point thematically. Quintessential American ’80s thrash.
This new Canadian compilation is very much like the English samplers that proliferated wildly in the ’78 epoch, in that it features a bunch of pop bands and one or two token punk groups. Of the latter, SNFU produces two powerful mid-tempo gems with crunching guitars and sing-along choruses (including the classic “Real Men Don’t Watch Quincy”), while DOWN SYNDROME offers a couple of raunchy garage punkers. Of the pop bands, the STANDARDS and the THIEVES stand out above the wimpy pack by virtue of a heavier guitar sound and an unobtrusive ’60s tinge. The overall effect is rather refreshing in our current era of musical segregation.
SECTOR FOUR exhibits a garagey mid-tempo approach on their debut EP. They’ve got a chunky guitar sound and the kind of goofy humor that seems to be common in Florida. “Jump on You” and “Time” are irresistably catchy numbers with cool choruses; “Heartbreak Hotel” is an absurd punked-out trashing of an old ELVIS song; the rest are nondescript.
Well, the newest TESCO VEE affair is predictably centered around “offensive” themes, including satires dealing with lesbians (“Lesbian Death Dirge”), television, evangelists (“God’s Bullies”), heavy metal goons (“Wine, Wenches, and Wheels”), new wave dance trendies (SLY’s “Dance to the Music”), and the rap phenomenon (“Crapper’s Delight”). The latter three cuts feature music related to their respective themes, whereas the first two have more of a garagey Meatmen approach. Entertaining as all get out!
Somewhat tame psychobilly, sort of a poor man’s METEORS. Actually, it’s on the same label, which caters to offbeat ’50s- and ’60s-sounding psych bands. The GUANA BATZ do play some twangy surf guitar, though.
A year-old tape by Chicago’s coolest young thrashers, which was originally supposed to be released as a 7″ on Version Sound. Except for the funky title song, the cuts are fast, frenetic, and a bit rough around the edges, but that’s no problem unless you’re overly concerned about professionalism. I’m not, so I wish someone would press this humorous trash. Yeah!
Musical absurdity from some wild Northern Californians. Record some characters who are trying for that NEOS sound in their living room, and you’ll have the basic idea. Completely incoherent garage thrash, more experimental than listenable, though some of the lyrics are worth hearing.
Another diverse effort by CITY-X. Their new EP contains a pair of awkward post-punk numbers (the title song and “Gnister”) and a couple of punkier jams. Even the latter are much more unusual than the standard punk offering, so those with broad taste may find favor with this Danish outfit.
This band is obviously well-meaning, and I share their fundamental values, but their music doesn’t always grab me. To be honest, the entire CRASS-inspired quasi-experimental approach to punk is starting to seem more and more pretentious and self-indulgent, especially in the hands of their many imitators. Both parts of “Sexism’s Sick” have enough drive to hold my interest, though.
A compendium of old and new Monterey-area bands. Different styles of punk are represented here, but raw thrash and garagey metal punk predominate. The recording quality is generally poor, making this more of a historical document than a listening pleasure, which is perhaps to be expected. The groups include FALSE ALARM, (another) C.I.A., PUBLIC PROBLEM, DON’T NO, E.O.T.W., (another) KENT STATE, (another) DEPRESSION, and the ever-lovable BIOHAZARD.
A good double-billed 7″. The INSANE offer a mid-tempo number with a wall of guitars and a great singalong chorus; the SKEPTIX’ cut alternates between slow-building parts and thrash. Worthy material and hot production make this a winner.
More garage grunge from Mr. HYSTERIC. A couple of noisy, almost poppy songs appear here, the best of which is “Wanna Be a Kid” with its cool background vocals, fuzzy guitar, up-tempo approach, and lyrics that I can totally identify with. For SHAGGS and old TV PERSONALITIES fans.
’77-style punk from Switzerland. The A-side has a satirical anti-macho approach and a nice chorus, but the flip, with its loping bass line, primitive guitar lead, tightness, and irresistible sing-along character, is by far the better song. Good fun.
Finnish thrash in the RIISTETYT tradition. More specifically, KANSAN UUTISET produce the sort of incoherent thrash with poorly synchronized vocals that characterized the first RIISTETYT EP, which I found too tuneless and similar-sounding. There are some noteworthy blasts here (like “Army Cannot Make the Man” and “Economic Appraisal”), and the less compressed B-side has a better sound quality, but on the whole this album is overly derivative.
The first solo release from this great French band is somewhat uneven in quality. The title song is almost as tremendous as “No S.S.” from the Apocalypse compilation, and “Sympa les gros bras” approximates that extraordinary high standard for medium-tempo “skunk,” but the other two cuts are less memorable. Still, it’s another fine release from Chaos Productions.
A raw garage punk record, and the first funnypunk release I’ve heard from Spain. Larsen boast a distorted, trebly guitar sound, a heavy rhythm section, a distinctive vocalist with a sarcastic “nyah, nyah” style, and real basic song structures. The abrasive “Vomitas Sangre” and the up-tempo “Nacido de la Pota de un Punk” strike the most responsive chords.
KANGRENA have a raw, primitive approach that goes over reasonably well on faster cuts like “Agonia” and “Fum, Fum, Fum,” but only annoys on the slower, tuneless numbers. The spirit is wiling, but the flesh needs to age a bit.
A lot of German thrash bands have a tuneless quality that makes it hard to distinguish individual songs, but the MALINHEADS have more of a catchy, well-produced attack, like many new Swedish groups. Highly recommended for that, and the noteworthy bass playing.
The second EP from MAHO NEITSYT comes on strong with gruff sandpaper vocals and an ultra-dense instrumental attack. It’s loud, noisy, and much more Oi-influenced than their debut, and I love every minute of it.
The new OTTO’S 7″ substitutes a much harder, almost punky attack for their earlier art-damaged approach. Here, the guitars are psychedelicized and a lot louder, and the song structures are basic and consistent enough to allow the listener to adjust to them. In sum, an interesting experimental punk release with some psych and funk qualities, not to mention a charged HENDRIX cover.
YDI continues to display a real intense thrash attack on their first solo release. Stylistically, they don’t break any new ground, but they’ve got a shitload of raw power and supercharged energy. Some of the songs are straightforward and manic (like the great “Friends”), some have an alternating slow/fast structure (like “Out for Blood”), and a couple are slower (like “Another Day”). Pretty impressive.
More careening thrash from Holland’s PANDEMONIUM. All three songs on this EP are manic as hell, although “No Reaction” has a slow/fast structure. The only problem here lies in the production—it’s a lot more trebly and echoey than their cuts on the Als Je Haar Maar Goed Zit 2 compilation, which makes them sound a little tinny. Recommended anyway.
This NEGATIVE APPROACH album has a slicker and much more powerful sound than their debut EP, but their music still has that blend of rousing thrash and Oi choruses which makes you want to sing along. The gruff vocals are distinctive, the lyrics are unexpectedly decent, and many of the songs are strong (including thrashers like “Live Your Life” and the title cut, and tension-builders such as the re-recorded version of “Nothing”). Although there are also a couple of losers (like the heavy metallish “Evacuate”), this is a very good record overall.
A nifty new thrash band from the Midwest. Their most noticeable characteristic is a vocal style that sounds alternately like the CIRCLE JERKS (“Figure It Out”), 7 SECONDS (“Erase the Thought”), or MINOR THREAT (“Too Bad”). The music is sloppy but exuberant, the production is suitably primitive, and the themes sometimes make you stop and reflect (especially in the title cut and “Up and Over”). Recommended.
These guys have an angular, experimental sound with hardcore feeling. The vocals are nasty and they’ve got a few faster straightforward tunes (like “Dear Departed”), but in general they rely on too many time changes and awkward structural shifts for my gut-level taste. I listened to it at 3:00 AM, so don’t take my word for it. Find out for yourself.
Live, the TOXICS seem intent on following DOA into a rock-oriented rut, but this album is filled with sharp songs that lock in firmly on your memory. Most of them are mid- to fast-tempo punkers rather than thrashed-out blurs, and the production fully accentuates the power and subtlety of the band’s instrumentation. Unreservedly recommended for its relevant lyrical concerns and some outstanding cuts (like the 7 SECONDS-style “Powercrazed” and the melodic “Stuck in a Rut”).
Like APPENDIX, the DESTRUCKTIONS combine diverse influences and come up with a varied and distinctive hardcore sound. From full-tilt thrash with hooks (like “A Tale of the End of the World”) to fast melodic punk (like “Suicide”) to tense metallic build-ups (like “What Does It Matter?”) to memorable amalgams of all of the above (like “Do Something”), this album kicks ass. Highly recommended for imaginative arrangements and great drumming.
DEPRESSION’s virgin vinyl reveals a shift from the metallic thrash of their demo cassette to a slower, more grinding metal attack. The tempos are mostly slow and steady, the guitar leads are prominent, the lyrics are excellent, and the overall sound is very English. “World Leaders” is the fastest, most appealing cut.
Flailing guitars, a tight rhythm section, and choruses that stick in your head combine to make this new VARUKERS EP a stellar release. Every song hits you over the head, so snap this sucker up.
Yechh! I’ve already been put off by the many recent releases of recycled DESTRUCTORS material. But I can’t abide this new line-up (minus old singer Neil), which has regressed to the point of playing thoroughly boring rock. If this is their bid for commercial success, they deserve to fall flat on their shortsighted faces. Garbage.
CROWBAR is an amazingly dumb new Oi band. “Hippie Punks” is a reactionary diatribe against punks who are sensible enough to oppose militarism and jingoism, and the CLASH over undoubtedly takes on a right-wing coloration in this imbecilic context. So pathetic that it’s downright laughable.
By now, everyone should know that DRI is one of the fastest, tightest, and most powerful thrash bands in history, and their new EP is a total killer. The title cut is a bit slow for them in parts, but the rest are faster than the speed of sound. If these guys aren’t intense enough for you, try pulling your teeth out with a pair of pliers. Awesome.
Despite the all-too-obvious SIOUXSIE influences, SKELETAL FAMILY has managed to produce something of value here, mainly because of their tasty, haunting guitar work and snappy drum attack. The B-side is more intriguing, with its occasional shrieks, and if this band can hold onto their musical muscle, they could develop into an exceptional combo.
This new RIOT SQUAD record is in the predictable Britpunk tradition, but the damn thing sounds real good anyway. “No Solution” hits the mark due to its simple but classy chorus, while the flip relies more on speed. Both are improved drastically by a loud-as-fuck drum mix.
A slightly disappointing follow-up to their great recent 12″. The A-side is a passable but unnecessary cover of the old STONES classic; the choice flip has fantastic back-up vocals that remind me of the early SKIDS. The band’s guitar work is also as brilliant as ever, so axe aficionados should seek out this 45.
A superior post-punk—or is it “positive punk”—record from England’s MARCH VIOLETS. They’ve got an innovative guitar style, and a knack for writing rhythmic, up-tempo songs with interesting structures. “Snake Dance” is an exceptional tune not equaled by the flip.
Although nobody could respect CRASS’ political efforts more, I no longer have any desire to listen to their annoying music. It’s not that I object to bands experimenting in principle, but in practice I like to hear fast, raw stuff with a primal beat, and CRASS rarely provide it these days. Despite some intense moments and an out-of-character guitar solo (!), this EP doesn’t quite click.
After hearing the first three cuts on Side A, with their punchy mid-tempo attack, melodic high-powered guitars, and uplifting choruses, I was on the verge of raving about the survival of COCK SPARRER in top form. But despite the greatness of those songs (one of which—”Where Are They Now”—is a blistering critique of the punks of ’77), and one interesting track with a pronounced KINKS-ish feel (“Out on an Island”), the rest of the album slides into more pedestrian rock ’n’ rolly material.
Primitive mid-to-fast-paced punk with a garage aesthetic and some fetching guitar parts can be found on this debut. The production is uneven at best, and the music is occasionally sloppy, but the BURNT display enough enthusiasm to make up for these shortcomings. “Industrial Accident” is a minor classic, due in part to an amazingly cool chorus.
An excellent well-produced sampler of new French hardcore bands. Although REICH ORGASM and KOMITERN SECT contribute some irresistible chunky mid-tempo punk, and the weaker NO PUB offers a splendid little ditty called “Viol-ence,” KIDNAP steals the spotlight with some amazing bone-crunching stuff. Their “No SS” is one of the most brilliant, dynamic songs of 1983, with its dense fuzz guitars, tense build-up, and haunting background vocals; their other tracks are also killers, and the politicized lyrics go straight to the heart of the matter. Much better than Chaos Productions’ earlier Chaos en France compilation, so order it and support a valuable independent label.
Three amazing albums that chronicle the exciting musical history of the L.A. youth underground. Volume 1 (1965) presents the raw ’60s punk sound that once blew my young mind, and includes such items as the blasting Colony classic, “All I Want,” and the neanderthal sneer of the AVENGERS’ “Be a Cave Man”; Volume 2 (1966) features some overt anti-police teen protests by TERRY RANDALL and the “PEOPLE OF SUNSET STRIP” that’ll strike a familiar chord among contemporary punks; Volume 3 (1967) offers a mixture of trippy “flower power” cuts and nasty psychedelic punkers like the HUMAN EXPRESSION’s “Every Night.” And dig KIM FOWLEY’s philosophizing on “The Canyon People.” This stuff transcends nostalgia and serves as a timely reminder that cultural rebellion didn’t originate in 1977. Highly recommended.
A fairly average Oi release from Germany. Most of the songs are in the medium-tempo vein and the guitar could be a lot grungier, but the speedy “Skins” and “Freiheit” are catchy little blasts with ambiguous lyrics that make it worth a listen.
Extremely powerful French in the medium-tempo ’77 tradition. The guitars are really cranked up, the female singer adds a lot of spunk and color, and the tunes grow on you more with each listen. “Oublions l’Amerique” is terrific.
Canada’s YYY play real fast punk rather than thrash. The tempos are driving, the guitars are plenty loud, the singing exhibits a lot of emotion, and the lyrics are very thoughtful. I like every song individually, but then played back-to-back, they tend to run together a bit due to the unusually consistent tempos and vocal inflections. It’s a high-powered debut, though.
A potpourri of modern punk styles can be found on this fine new compilation, from thrash (the UPRIGHT CITIZENS) to older-style punk (the BUTTOCKS, SS ULTRABRUTAL) to rousing funnypunk (DEUTSCHE TRINKERJUGEND) to Oi (DAILY TERROR). Many of the best bands—BOSKOPS, RAZZIA, ZSD—play more than one type of punk, but it’s their thrashers that really stand out. An illuminating introduction to some old and new German hardcore outfits.
As the title indicates, this compilation contains a mixture of Paris bands. Stylistically, it ranges from loud, tasty post-punk (GUERNICA, ZONA, and PEGGY LUXBEURK) to funny Oi with mutated rockabilly beats (the SWINGO PORKIES) to strong fuzzed-out mid-tempo punk (PROP SACK) to pretentious new wave (ICE). All in all, a “mixed” blessing.
With a name like SS ULTRABRUTAL, I at least expected an ultra-hardcore sound, but it was not to be found anywhere here. They should change their name to SS ULTRAWIMPY, because most of this is boring ’77ish stuff with flat guitar tone and few hooks. There are a couple of strong songs (like “1236Y-Atom”), but not enough to make this album worthwhile.
The most thrashed-out French group I’ve heard. Songs like “Chemical War” and “Why Not” have a drum-heavy rhythmic emphasis, while others (especially “Disorder”) really rip. The music is pretty hot; too bad about the stupid shock value band name.
Oi from France. Although derivative from a stylistic standpoint, this EP has an appealing garage quality. The songs are almost evenly divided between mid-tempo numbers and real fast singalongs. I prefer the latter, especially “Chasse Á l’homme.”
RAZZIA were one of the better German hardcore bands on the Underground Hits vol. 1 collection, and their first solo album continues in the same basic direction. They produce medium-speed punk, fast punk, a bit of thrash, and one weird rhythmic tune (“Barriere/Karriere”). Overall it’s a solid release, and some songs really stick in your head (like “Kriegzustand” and “Nacht im Ghetto”).
The second EP from Italy’s PEGGIO PUNX features frenetic, disjointed thrash. It has an exceptionally loud snare drum track (à la DESTRUCTORS), intense paint-stripping singing like that of TERVEET KÄDET’s Läjä , a relatively clean guitar tone, and a stuttering rhythm reminiscent of the MEAT PUPPETS. A weird record that could use a louder guitar track.
OBERKAMPF have an archaic punk sound with traces of the NEW YORK DOLLS (the title song), the DEAD BOYS (“Maximum”), and PLASTIC BERTRAND (“Poupee de cire” and “Tout ce fric”). The latter song is an especially appealing pop-punk number, but nothing here is likely to cause much of a stir.
Boy, what a turnabout! The NIKOTEENS used to have a slow Oi/punk approach, and now they’re out there thrashing with the best of them. The guitar tone here is extremely trebly and piercing, and the general sound quality is hot, so their stronger material (like “Frieden”, “Cowboy Song”, and “Geisterfahrer”) really blasts off the turntable into your gut. This album proves that musical changes can lead to major improvements.
An unusual release. The music on it ranges from rhythmic bass-heavy post-punk overlaid by a scratchy guitar (“Dance” and “TTA c’est finis”) to short bursts of raw semi-thrash (“Tes Bombes” and “New Rose”) to airy classical pieces (“Memorial Stakanov”). Adventuresome but rather awkward.
A mediocre band that mixes mod, punk, pop, reggae, and traditional rock ’n’ roll elements. The overall effect isn’t very exciting, though there are a couple of driving, melodic songs that click (like “Coeur de Bouddha” and “Salue les copains”). This record might have made a splash in ’78 or ’79, but nowadays it just doesn’t hold up.
LA HORDE have gained a lot of notoriety in France by peddling ’77-style punk shock value; one of the songs here (“Adolph mon amour”) was reputedly banned on French radio for its exaggerated Nazi imagery. Nevertheless, this superficially offensive record seems pretty harmless by today’s standards. The music includes catchy “classical” punk (“Ce n’est pas un probleme,” “Adolph mon amour,” and “Mesdames…”), tongue-in-cheek post-punk (“Les punks africains”), goofy political raps (“Campaigne Presidentielle”), and a satirical disco tune. Entertaining.
A guitar-oriented R’n’B band with a real basic approach, in the tradition of LITTLE BOB STORY and the SEAN TYLA BAND. This old-fashioned type of music requires a raunchy, almost “live” sound to really hit the mark in this day and age, and FIXED-UP don’t always achieve it here. “I Can’t Sleep” and “Miss T” are cool, though.
On occasion, we’ve carelessly labelled contemporary varieties of mid-tempo punk as ’77 punk styles, but France’s LES ELECTRODES exemplify the real ’77 sound, with their melodic guitars and well harmonized background vocals. The driving “Black Flag (No Flag)” is the best of this bunch, although the slower “Reflexion in a Cold Eye” has a nice acoustic guitar and tends to grow on you.
This is probably the last DOA release I’m going to like, so I decided to review it as a gesture of friendship and respect for a band that’s made some great music and raised a lot of people’s consciousnesses throughout the years. Bloodied But Unbowed is a retrospective greatest hits album featuring re-mixed versions of material culled from most of their earlier (now out of print) 7″ records and LPs, so it serves a very valuable purpose. And a lot of classic stuff is on here—from “The Prisoner” to “World War III”—so it would be positively stupid not to pick it up if you never got the originals. If you can find Hardcore 81—their finest hour—grab it; otherwise, this is essential.
A new Italian band that reminds me a lot musically of a rawer EXPLOITED. I mean that in the positive sense, because CANI have a growling singer, double-tracked guitar power, and the kind of singalong tunes you can have fun joining in with. The lyrics concern important issues, as is common with Italian groups.
The BRIGADES seem to be one of the few politically concerned bands in France, and songs like “(There Are) No Communists in the Kremlin” and “State-Controlled Paranoia” show considerable awareness. But the music, which is mired in the mid-period CLASH tradition, doesn’t do the lyrics justice. Aside from some shimmering guitar work and an occasional strong song (like the aforementioned “…Paranoia” and “Saturday Night Murder”), this EP is pretty uninspiring.
Another hot new Swedish release. I must confess that I think Sweden has a higher proportion of killer thrash bands than any other country these days, and ARROGANTA AGITATORER are among them. Along with the standard adrenaline instrumental attack, they produce some damn good hummable tunes and choruses. Send away today.
Some of the well-known Finnish thrash bands are running out of ideas and getting more and more generic, but APPENDIX are not one of them. This tremendous EP maintains the diversity and panache of their fine album. “Huora” is a tense medium-speed track, and both songs on the B-side are terrific thrashers with hooks and/or sing-along choruses. Don’t overlook this.
Beki Bondage may adopt any pose in her efforts to become a rock star, but there’s no denying that the new VICE SQUAD single is an excellent one. In fact, it’s their best release since their first two EPs. “Black Sheep” is a melodic mid-tempo number that’s right up Jack Rabid’s alley; the flip is a more rhythmic cut with haunting Gregorian-style background chants.
The newest release by these English Oi-sters stands head and shoulders above their debut EP. The lyrics have made a 360° turn from a focus on violence to calls for interracial unity, and the music is much improved as well. “Victims” is a strong fast Oi number, but the slower flipside, with its staggered anthemic chorus, is tops here.
Despite the confusion caused by their apparent change of attitude, and the hostility justifiably aroused by their rip-off of Pushead’s artwork for the cover, the EXPLOITED crank out some gruff, blistering thrash on side 1 of their new album. The other side is a lot weaker, but EXPLOITED fans will surely find this a worthwhile release.
This neo-psych compilation is more out in left field than the Rebel Kind collection, but what it gains in weirdness it loses in raw power. There are some ’60s punkish sides (the LEFT—who are great—YARD TRAUMA, and BILLY SYNTH); some bluesy sides (SPLIT, the DOOTZ); a poppy side (the SLICKEE BOYS); and the predominant way-out psychedelic sides (the MAD VIOLETS, BEN WAH, BEATNIK FLY, the VELVET MONKEYS, and the LAST POETS). Despite its lighter overall punch, this album has its moments.
Another poorly-recorded VATICAN COMMANDOS EP, but that’s where the similarities with their debut release end. Whereas the first consisted entirely of good basic thrash, this new record showcases a much slower, garage-oriented punk style (excepting “Let Down Again”). I like it, but the muddy sound again detracts from this group’s overall impact.
A truly amazing record. UNITED MUTATION have combined the speed and intensity of basic thrash with some highly distinctive structural changes, a couple of nasty guitar leads, and the scariest vocals I’ve heard in a long time. Today’s trendy horror rockers will crap their pants and go into convulsions when they hear the singer’s raspy growl, which bears a striking resemblance to that of the demon in The Exorcist.
Goofy old-style punk with a pronounced garage flavor. “Punishment” has a heavy guitar attack, silly male/female backing vocals, and some metal-damaged leads; “In Crisis” is a short, fast cut with screams and a fuzzier guitar tone. A fun debut from a new SoCal band.
Speedy garage grunge from Chicago on ARTICLES OF FAITH’s new label. Although SAVAGE BELIEFS’ material is real primitive, both production-wise and structurally, I have a certain weakness of that type of thing. The lyrics make some clever social observations, and both “Pink Shirt” and “Big Big Sky” have special appeal. Listen before you buy.
I’m not sure why, but I didn’t think I’d like this. So imagine my surprise when it turned out to be a unique amalgam with semi-thrash tempos, sung vocals in the NY style (like the MISFITS and the UNDEAD), horror imagery, synthesized sound effects, and a real fuzzed-out guitar backing. A sharp EP that breaks the mold by effectively mixing and matching styles.
A loud garage punk band from Maryland. The title song here is a chestnut, with its sneering vocals, dense guitars, and ultra-basic rock ’n’ roll structure; “Basket Case” is similarly down and dirty. For fans of crudeness.
Fast ’77 punk with some pronounced ’60s influences in the chord changes and vocals. “Azaria” is a song about a mom whose kid was supposedly eaten by a dingo, and has some raw leads and high-pitched screams; “Y Bother” is a song in a similar vein with anti-political lyrics that may or may not be satirical.
This Aussie EP is sort of a mixed bag. The SKUNKS do a sleazy modified version of “Silent Night” entitled “Violent Night,” a fast punk blast with sarcastic lyrics (“Dance with the Führer), a dynamic mid-tempo punker (“Mad Song”), and a totally mundane ’77-type number (“Persian Radio”). It’s hard to make an overall judgement when faced with such unevenness.
Four songs which are definitely inspired by ’60s punk, specifically by Montreal’s HAUNTED, whose “1-2-5″ gets covered here. The LIME SPIDERS play loud chord-oriented punk with tough vocals and fuzzy guitars. “25th Hour” is a killer song with the same guitar riff as the LIPSTICK KILLERS’ classic “Hindu Gods of Love.”
A real primitive-sounding EP from one of Australia’s few politically oriented bands. Musically, PROGRESSION CULT has that plodding, medium-tempo Britpunk approach, with occasional sing-alongs and a certain degree of sloppiness. The songs on the B-side have more punch, and the lyrics are quite good, but they need to cohere more to sound contemporary.
Two fantastic warpo psychobilly-tinged ’60s-ish thangs. The A-side has an irresistible rhythm punctuated by a tambourine, along with twangy guitars, dynamisim, tension, and some amazing screams; “I Wanna Be Your Minuteman” is reminiscent of some of the more hoppin’ cuts on the first GUN CLUB album. This 45 really grows on you—I already love it.
The CELIBATE RIFLES present plenty of innovative garage rock on their debut album. Like many other Australian bands, they’ve been heavily influenced by the likes of RADIO BIRDMAN and, to a lesser extent, the SAINTS. Most of these songs fall into that raunchy guitar-oriented pattern and feature snotty ’60s vocals. But there are also a couple of lame oddball tracks like the semi-jazzy “Where Do I Go” and the rockish “Back on the Corner.” One other positive aspect of Sideroxylon is the politically aware lyrics; one negative aspect is the under-produced guitars.
This new German compilation album features six punk bands. Although the live recording is far better than the norm in audio-verite efforts, this isn’t a particularly satisfying release. Most of the groups perform ’77 punk with little imagination or originality. BLITZKRIEG and LE CRASH stand out as being the most powerful, but all the bands except KALTWETTERFRONT have their moments (KLISCHEE’s “Dalli, Dalli,” the ARISTOCRATS’ “Bullen…”, WUTSTOCK’s “Hardcore”). OK.
Yeooww!!! VORKREIGSPHASE launch a buzzsaw attack that’ll make you bleed! They’re totally manic, and I’m ducking for cover now. See you later…
The most brutal German thrash yet. VORKRIEGSPHASE rip through some ultra-fast numbers with a pile-driving rhythm section and screaming distorted guitars; the title song also has super sing-along choruses. A killer release.
The A-side on VARAUS’ second EP represents a shift from all-out thrash to raw, fast punk, whereas the B-side continues their earlier thrash approach. Although the recording here is more garagey than most newer Finnish releases, and the songs aren’t as manic as we’ve come to expect from that extraordinary country, this record has an endearing primitive quality.
A Spanish band that shouldn’t be mistaken for an identically named Swiss group. “1984” is a mid-tempo punkish cut distinguished by sound effects and a strong post-punk bass and drum attack; the flip is a more basic ’77-style number with a good melodic chorus which I quite like.
Chunky Swedish thrash. SÖTLIMPA have an attack that’s distinguished by a solid punchiness rather than shrill freneticism. “Öl” and “Miljöproblem” have nice anthemic choruses that stick with you; “3:e Världskrig” is good straight punk.
Belgian records aren’t very numerous or easy to get ahold of, but here’s one for you. The SEXY BOLLOCKS mainly perform medium tempo punkers with a certain rawness, but “(Oi) Stay in Hurt” is a chaotic, adrenaline thrasher. You’ve heard it all before, so why does it still sound good?
A new thrash band from Italy. The song structures are appealing (though somewhat basic), and the anti-war lyrics are well-taken, but thin guitar production really takes away from REIG’s power. That problem can be easily remedied next time.
RABIES are an exceedingly primitive Dutch punk band with a ’77-ish style, a tinny snare drum sound, and older-type vocal inflections. I like the music a lot, but the themes are pretty silly. For “classical” punk fans.
O.X. POW are a very powerful “classical” punk band. The guitars are really loud, the songs are dynamic and filled with creative frills, and the vocals are simultaneously anguished and belligerent. A great record in the mid-tempo punk style. Definitely go for this one.
The second EP from NOT MOVING has a less experimental and more pronounced ’60s quality. It’s mainly the twangy guitar that gives it that effect, but the melodies, chord progressions, and some of the vocal emphases add to it. “Behind Your Pale Face” is the most rockin’ cut, “Double Mind” the most psychedelic. Evocative.
Boy, these Spanish bands are really sticking to the ’77 sound, but the ESPASMÓDICOS add some new twists. The title cut has an annoying sax break, and “Ni Eficiencia, Ni Progreso” has an awkward, disjointed feel. The best cut is definitely the speedy “Estan Deseando Que Te Pongas A Temblar.” OK, but not destined to become the talk of the town.
DECLINO present an EP’s worth of powerful thrash with sound political lyrics. The guitar could have been recorded louder, but the songs have flair and the band is exceptionally tight. In sum, the best Italian hardcore outfit since INDIGESTI.
This is the kind of chaotic, sloppy thrash that’s appealing in short bursts, but hard to take for extended periods. Although this EP has raw guitars and emotional vocals, the rhythm section sometimes falters and leaves only a grinding mishmash. The ABSURD need to tighten up a bit.
The TOY DOLLS are in top funnypunk form on their new single. Not only are the themes and sing-along choruses typically hilarious, but the up-tempo rhythm and crisp guitar assault add more oomph than usual. If this record doesn’t make you crack a smile, you’re already dead.
A real potpourri of styles can be found on this latest TOTAL CHAOS release. There’s a cool guitar instrumental (“Blood on the Roof”), a pair of slow, rather unusual punk songs (“Bank of England” and “Where is the Fellowship?”), and three great post-punk numbers that I really like. Given the name of the band and their earlier style, this 12″ is really a surprise, but a pleasant one.
Well, these lunkheads have finally come out of the closet and revealed themselves to be blatant neo-fascists on vinyl. Unlike many others, I don’t use the term “fascist” lightly, but SKREWDRIVER are fascists, pure and simple. With titles like “White Power,” “Smash the IRA,” and “Shove the Dove,” it’s easy to surmise that they have ultra right-wing views on every important issue. The fact that they’ve written three catchy Oi chants is unfortunate, because some misguided souls will pick this up just for the music and inadvertently support these regressive attitudes.
Two clever funnypunk songs from a brand new outfit. The themes can be clearly discerned from the song titles, and the music is in the raucous mid-tempo vein. Good offensive fun.
A new scam by some members of CHAOTIC DISCHORD. Musically, the “SEX AIDS” play sing-along funnypunk with a rather PISTOL-ian guitar sound and COCKNEY REJECTS-type vocals on the title cut, and they do actually succeed in generating a few guffaws if you’ve had a couple drinks.
This one really breaks the TEST TUBE mold. “Jinx” is a brilliant post-punk number with speed, power, and a smashing guitar riff; “Trapper Ain’t Got a Bird” is a humorous reggae jam. No standard funnypunk here.
The PASTELS are a peculiar little psychedelic pop band in the late-period TV PERSONALITIES tradition. This release has a somewhat more solid sound than their earlier efforts, though it certainly won’t blow anyone’s speakers. “I Wonder Why” has a nice bouncy quality; the flip is wimp city.
More exciting mayhem from MAYHEM. “Gentle Murder” and “Lie and Die” are tense mid-tempo numbers with loads of power and dynamism; “Clean Cut” is a roaring thrasher like those on their debut EP. Stunning.
More catchy pop-punk from MAJOR ACCIDENT. Despite their occasional faster-than-usual tempo, all these songs have hooks galore. “Dayo” is particularly distinctive, with its repetitive sing-alongs and stampeding drum assault. Their best so far.
A new English group with a folk-rock sound closer to that of LA’s contemporary ’60s revival bands than the genuine ’60s article. Still, both sides are rather tasteful. “Cold Steel Gang” is an engaging little ditty with a nice folk-rock guitar; the B-side isn’t as good, but has a decent hook. Worth a listen.
A real abrasive, guitar-heavy mid-tempo punk record. The title song, which they’ve borrowed from a newspaper headline, concerns a punk “riot” and has an amazingly cool Oriental-flavored guitar bridge. Real hot! The other cuts are more typical.
On their debut album, the CULT MANIAX seem to be veering toward a slicker post-punkish sound, though the guitars are still loud and punky. Most of the material here is slow- to mid-tempo, but there are enough good hooks to keep you listening, and there are re-recordings of some of their old chestnuts. The singer’s voice is quite a bit like that of T.O.H.’s Kirk Branden. An uneven release.
This is good English post-punk with hints of early GANG OF FOUR. Both sides feature a rhythmic bass/drum attack, a powerful, tasteful guitar, and semi-anguished singing. It may not be earth-shattering, but it’s surely uncommon enough to deserve a listen in this day and age.
The APOSTLES are enigmatic. They are one of the most articulate and politically oriented bands I’ve ever heard, but despite their obvious intelligence, they’re a bit ominous. Their political philosophy is a strange amalgam of progressive (anti-establishment, anti-government, seemingly anti-racist) notions, and they advocate violence to overthrow the system. Musically, this record is raw, abrasive, punky, folky, experimental, and atypical, but the APOSTLES’ significance lies in their provocative ideas.
The ANGELIC UPSTARTS are one of those bands that write about one great song per thirty throwaways. Amazingly, both of these cuts are great punky pop jams with real catchy hooks, fine guitar leads, and fairly thoughtful lyrics. Does this mean we’ll have to put up with sixty mediocrities before the next winner?
Engaging mid-tempo Britpunk. The female vocalist has a voice rather like Exene of X, and the musical backing is more melodic and imaginative than the norm. The title track is a bitter critique of glue-sniffing. A good debut.
As the title indicates, this album consists of bands from greater LA with a prominent female component. Musically, it’s a mixed bag of styles ranging from punk (SIN 34, DE DE TROIT) to garage (I.U.D.) to various forms of pop (the L.A. GIRLS, TOXIC FUMES, the SKIRTS, HOT FOOD TO GO) to warpo country (the SCREAMIN’ SIRENS) to awful hard rock and heavy metal (BUTCH, HELLION, BITCH, SOLOMAN KANE). No one will like it all; the question is whether you’ll like enough of it to make it worth buying.
A very good collection of neo-’60s bands appears on this new compilation released by Sounds Interesting. The material ranges from the fantabulous—the SLICKEE BOYS’ guitar-heavy garage rock, the fuzzed-out ’60s punk of Sweden’s NOMADS and the MIRACLE WORKERS, the organ-dominated BLUES MAGOOS-ish psychedelia of the UNITED STATES OF EXISTENCE, and the ripping psych guitar jam by PLASTICLAND—to the VICEROYS’ abysmal attempt to recapture the dynamic power of the YARDBIRDS. Most of the rest, which includes the LAST, the SIC KIDZ, the UNCLAIMED, the FUZZTONES, TRUE WEST, the LONG RYDERS, the SHOUT, and the POINT, is also worthwhile. Turn on and tune this in.
Fuck! What can you say about this 40-band compilation organized by the editor of LA fanzine We Got Power? It has a bit of everything—intelligent bands, stupid bands, great bands, mediocre bands, unknown bands, well-known bands, bands from all over the US and Canada—but it’s great because all the songs are so short that even the few lame ones don’t have time to get boring. And most of them thrash to the max. It’s hard to pick faves, but I think WHITE CROSS, MECHT MENSCH, the ATHEISTS, JACK SHIT, the DAYGLOW ABORTIONS, and—dare I admit it?—WHITE FLAG have the standout tracks. All future comps should maintain a similar 1:00 limit in songs to keep things zipping along, but this platter unfortunately lacks both info on the bands and visible grooves between cuts—a DJ’s nightmare.
Like most compilations, this one from Ohio has its ups and downs. My favorite groups here are the GUNS, who sound a lot like BLACK FLAG when Ron was their singer; NO PAROLE, who favor garagey semi-thrash and have a killer vocalist with a high pitched adolescent sneer; ZERO DEFEX, who have strong lyrics and an intense, awkward thrash style; and the OFFBEATS, who play super-fast garage HC. The rest consists of annoying experimental punk (SPIKE IN VAIN, P.P.G.), some medium-speed punk (the DARK, OUTERWEAR), and highly predictable thrash (POSITIVE VIOLENCE, the AGITATED, STARVATION ARMY).
“Walk on Glass” is an outstanding song which builds on a basic rock ’n’ roll riff (like the one in the “Peter Gunn Theme”) and half-spoken female singing that explodes into a raw guitar frenzy when the chorus rolls in. Really cool! The flip, with its guitar rave-up, may be even better. This new SoCal band could be great if they don’t move in a more commercial new wave direction.
Good modern hardcore punk. The WORST have a sound that’s powerful and melodic on the one hand, and snotty and herky-jerky on the other. A loud, belligerent, and enjoyable release.
This is a pretty cool garage punk album. The TURN-UPS often serve as BILLY SYNTH’s back-up band, but here they’re (mostly) on their own, and the results are just fine and dandy. Essentially, they specialize in the sort of raunchy guitar-heavy jams that always make “nice” neighbors wince and cover their ears as they pass the basement practice room. And they’ve got great taste in ’60s cover tunes, too—the CHOCOLATE WATCHBAND’s “Meditation.” Alright!
This band really is strange. Distinctive, too. The A-side consists of a long, arty dirge punctuated by a scratchy slide guitar; the flip has one slow moody piece, and one fast, rhythmic number with a punky aesthetic that saves this release for me. Definitely not for everyone, but that’s probably good.
It’s hard to believe that this nifty little record comes from Ann Arbor, a laid-back town that has never been a fertile environment for hardcore punk. The STATE present thrashed-out stuff characterized by a primitive metallic guitar, commonsense political lyrics, and a certain degree of instrumental sloppiness. “Attention” is especially hot, with its roaring stop/start structure and singalong “Yes sir/No sir” chorus. A fine debut effort.
This is a real spiffy debut. “You Don’t Fit” is a supercharged punk rock song with an irresistible chorus, “Suburbia” is a slow, sarcastic attack on middle-class superficiality, and “Sex With Sheep” is one of the year’s best funnypunk efforts. Impressive all around.
The SECRET SYDE is a high quality neo-’60s band. Unlike the wimpy approach taken by so many California ’60s revival bands, they borrow many of their better elements of that era. Specifically, they write well-crafted songs containing melodic hooks, without sacrificing the drive and power. Most of the tracks here have a solid rhythm and loud guitars, there are a couple of extended psychedelic jams, and “Hurt and Pain” is a minor ’60s pop-punk classic. Go for this one.
The third album from Portland’s RATS is slicker and better-produced than the first two, but it also suffers from inconsistent material. Their earlier semi-punk sound has almost been completely eradicated by a more rockish approach. Some of the songs are real good—”Deterioration” has lots of unsubtle drive, “Leave Me Alone” reminds me a bit of LOVE, “Broken Wire Telephone” is a catchy post-punkish track with a super guitar riff, “My Tragedy Behind” has a heavier ’60s punkadelic feel, etc.—but others are unbelievably atrocious. I like about 40% of it, but everyone should listen before buying.
Another new Mutha record. PUBLIC DISTURBANCE has a somewhat incoherent stop/go semi-thrash style. The faster songs often sound thin and occasionally degenerate into mediocrity, but the band’s slower material (“Caged”, “Intro”, and “Russel’s Ramp”) sticks in your head. Overall, though, this release seems a bit premature; these guys need to develop more.
A. FRONT’s music is ultra-frenetic, intense, and to the point—they sure don’t waste time with any unessentials. What distinguishes them from other New York groups like the MOB and URBAN WASTE is their apparent Oi influence, which manifests itself particularly in their growling guitar, their appearance, and—possibly (but hopefully not) in their ideas. I can’t really tell what the hell they’re talking about, but this EP is downright nasty.
An uncommonly intelligent garage-flavored EP by a new Michigan band. “Apathy” and “Going Nowhere Slow” are loud, mid-tempo garage punk cuts; “You’re One Too” is a chunky semi-thrasher with outstanding lyrics; and “Mummy From Hollywood” is a fast blast with an unbelievably catchy chorus that gives anti-Reagan sentiments a new “wrinkle.” Highly recommended.
A suitable mixture of retardation, one natural (G.G.), one contrived (ARTLESS). G.G.’s SCUMFUCS belt out a couple of sleazily recorded garage guitar classics like “Drink, Fight, and Fuc.” Mykel Board’s ART and ARTLESS perform some fast, tightly wound punk with a sarcastic Republican/Reaganoid stance. If anyone takes either of these “shocking” characters too seriously, they must be “dense-packed.”
Assorted forms of experimentation can be found on this indie tape by the BUCKETS. There’s repetitious guitar figures, quasi-industrial noise, flowing classical fugues, primitive blasts Á la SENSELESS HATE—you name it, it’s on here, except for rocking beats. Op and Another Room should be able to make more sense of it.
Live, the C.J.’s are fast, powerful, and immensely entertaining, but they’ve had difficulties capturing those qualities on their recent vinyl offerings. This new album ranks somewhere between their great debut and its so-so follow-up, Wild in the Streets. Here, the songs range from vintage JERKS—short, tuneful blasts like “In Your Eyes” and “Coup d’Etat”—to boring mid-tempo rockish numbers (like “When the Shit Hits the Fan” and “Rats of Reality”) that seem to be aimed at a crossover hard rock/heavy metal audience. But despite their confused lyrics and lame business practices, these guys always manage to produce some amazingly catchy material.
The first vinyl from western Massachusetts’ DEEP WOUND. Stylistically, their songs follow one of two basic patterns—a stuttering 1000-mph thrash assault with a vague NEOS feel, or a slower, metallish approach (as in “Video Prick”). “Sick of Fun” and “Deep Wound” have strong recognizable choruses, but some of the thrashers kind of get lost in the shuffle during initial listenings.
The FACTION are a bunch of typical California teenagers who are currently going through their “punk rock” phase. Musically, they have that entertaining skatecore-cum-beach punk sound, which is mainly divided here between crisp mid-tempo numbers with melodic teen vocals (like “Why Save the Whales?” and “Being Watched”), fast thrashed-out songs with a spunky quality (like “Running Amok” and “Fast Food Diet”), and a couple of slow rockers (like “Not Mine”). From a lyrical standpoint, the LP should be entitled No Important Messages.
Surprising. The tuneful ’77 punk on the FRANTIX’ “Face Reality” debut has given way to a grungy garage style here. The title song builds up slowly to a distorted guitar crescendo in the choruses. The other songs are equally raw, but fail to reach the same standards (except maybe “My Dad’s Dead”).
An eminently likable new album. The music here fluctuates between primitive mid-tempo punk (“Jump and Die”, “Fatal Mistake”), faster punk (“Struggle”, “Yelling”), and semi-thrashers (“V.O.A.”, “Copy Bands”). FATAL RAGE has a chunky guitar assault and a knack for writing tunes with a hook you can grab onto. Although the lyrics are a little cryptic and hard to decipher, they seem to be generally OK; one exception is the aforementioned “Copy Bands,” which is just plain dumb. Still, I definitely recommend this record.
The LONG RYDERS are a highly touted neo-’60s band from Southern California. Their debut EP contains a potpourri of ’60s styles, including folk-rock (“Join My Gang”), a rousing guitar-oriented rocker (“10-5-60″), and MASON PROFFIT-type country rock (the rest). They waste too much time on the latter for my taste, but the epic quality of the title song demonstrates that they’re capable of occasional greatness.
By some inexplicable oversight, the (MORTAL) MICRONOTZ’ neat debut album never got reviewed in MRR. That was a big mistake, because it was filled with raw garage spume that deserved to get more attention. In any case, their new 12″ is even better—tighter, more solid, more developed, and just generally bitchin’. All the songs are coherent, the guitars growl, and the vocals have a snotty ’60s aesthetic.
This is one of the worst things I’ve ever heard, and the sheer awfulness of it accounts for whatever value it might have. These two guys take a punch of punk and heavy metal covers and totally trash them. I mean, they are so noisy and unmusical, they make SUBURBAN MUTILATION sound like studio musicians. You decide if that’s a compliment.
Experimental punk from out of the grave. The NUCLEAR CRAYONS’ sound is dense and abrasive; their tempo is slow; their aesthetic is similar to FLIPPER’s; their musical structure is somewhat arty; and their lyrics are rather cryptic (especially in “Political Punk”). All in all, I prefer their more focused cuts on the Mixed Nuts Don’t Crack compilation.
If you thought the SEX PISTOLS’ sound was dead in 1983, you’ve got “a lot to learn,” because this Southern California group is the mirror image of the PISTOLS stylistically. They’ve got the same crunching rhythm attack and wall-of-sound guitar (courtesy of Steve Jones’ production?); on the Rotten one’s vocals are missing. Highly recommended for nostalgia buffs.
Norway’s BETONG HYSTERIA takes a base of gruff ’77 punk drive and overlays it with pulsating quasi-psychedelic guitar playing. The effect is both very appealing and somewhat unique, so look for this one.
A bunch of 13- and 14-year-olds, bored with the beauty of the Monterey peninsula, crank out some primitive, amateurish thrash. The production on this homemade tape is so bad that it’s hard to decipher the songs, but there’s plenty of compensatory youthful spunk. For fans of recording in a breadbox.
CAPITOL PUNISHMENT finally raised enough money to put out an EP, and it’s well worth the wait. Musically, there’s three strong thrashers and one slow, measured mood piece (“Jody Is My Bloody Love”), all distinguished by Ralph’s amazingly raspy singing; the lyrics alternate between personal introspection (“Wrong Direction”) and the kind of straightforward political critiques that invariably drive the apolitical wimps into a frenzy. Hooray!
Blistering thrash with positive, idealistic lyrics. This is one of the best new bands I’ve heard since DRI. CAUSE FOR ALARM have the type of intense, committed attack that leaps out of the speakers and slaps you in the face to get your attention; then they get you thinking. You can’t expect any more from a punk band, so don’t ignore this EP.
Spunky teenage hardcore from Connecticut. CHRONIC DISORDER blast out fast semi-thrash punk which is infused with a garage aesthetic, youthful Rotten-esque vocals, and common sense. A real appealing limited edition debut.
This is a raw ’77-style punk EP characterized by teenage vocals and an overall naive quality. At first, it seems laughably amateur, but after awhile, it really begins to grow on you, especially the cool title song. I like it, but listen for yourself.
Damn, those HÜSKERS sure can play! Their new EP elevates the musical brilliance of their last album to dizzying new heights. Not only are these songs loud, powerful, and creative, but Bob manages to produce the most extraordinary guitar sound—it actually shimmers. Buy this and keep yourself entertained for months.
This new IRON CROSS EP represents a step forward for the band. For one thing, the lyrics are vastly better, especially in “Wolf Pack,” where a stand is taken against mindless violence. For another, the songwriting is more developed. Finally, the production is much improved from a technical standpoint, though I personally prefer the gravelly guitar sound on their debut. “You’re a Rebel” is an amazingly catchy Oi chant.
This geek probably wishes he could be David Lee Roth, but he ends up sounding more like GG ALLIN due to sheer ineptitude. “Beer” is dumb old American garage punk , which is somewhat marred by a tacky synth solo; the rock ’n’ roll flip is too horrible to contemplate for more than two seconds.
This is weird but ultimately unsatisfying. The A-side consists of a medley of old soul songs done in a neo-psychedelic style, but these LOVE CIRCUS versions pale before the great originals (“My Girl,” “Car Wash,” and “Sex Machine”). The flip, which starts out slow and druggy, then snaps into a jangly overdrive, is considerably better.
A fuzzed-out bass and guitar are the musical hallmarks here, along with real echoey drumming. These guys unfortunately seem to have it in for hippies, who are the targets of three of the five songs on this EP, including a retarded racist diatribe against Yoko Ono (“Oh No”). Pathetic in the thematic department.
As most of our readers already know, the MINUTEMEN have a very innovative sound that combines funk, jazziness, and disjointed semi-thrash. On this new EP, they add some atmospheric psychedelic guitar and other forms of weirdness. I like some of it a lot, especially “Cut,” but most of it is too experimental for my tastes.
The MORAL MAJORITY DANCE BAND present raunchy slow-to-mid-tempo garage punk on their debut EP. The vocalist sounds demented, the production is nice and raw, and the lyrics to the title song are very provocative: “There’s a little bit of a Nazi / In all of us.” Unfortunately, that’s all too true, in the sense that everyone has occasional attacks of righteous intolerance. A pretty damn good record.
The long-awaited NAKED RAYGUN EP has finally been released, and musically it’s a beauty. The songwriting is extremely imaginative, the vocals are unbelievably catchy, and the unique fuzzed-out guitar work sounds wonderful. The only problems here are one klunky track (“Swingo”) and some suspect lyrics in “Tojo.”
Even though I don’t always agree with their opinions, the NIHILISTICS provide more food for thought than 90% of today’s hardcore bands. And their music is as brutal, uncompromising, and cacophonous as their lyrical assault. This great album is jam-packed with raw, intense blasts of a furor borne of futility. It certainly doesn’t make for easy listening, but it rivets your attention and makes for provocative listening, which is ultimately a hell of a lot more important. A mandatory purchase.
A lot of Boston bands sound great, but few—if any—have the political sophistication displayed by the PROLETARIAT on their debut album. I would liken them to the early GANG OF FOUR, both musically and ideologically, though the comparison shouldn’t be overdrawn. They create equally complex structures, but they replace GANG OF FOUR’s sparseness with a full-bodied sound and punky guitar power. In fact, they’ve mixed several straightforward punk blasts (like “Torn Curtain”) in with the other stuff. A fabulous record that renews my faith in Bosstown.
This self-produced debut album is a 50/50 proposition. Half of it consists of adolescent punky pop with a bit (like “Do to Me” and “Lady on the Radio”); the rest is made up of wimpier stuff, including ballads (“Something for a Friend”) and awful commercial rock (“Every Love Song Ever Written”). I sort of appreciate the SCORE’s blatant amateurishness and naïveté, but I’m not sure if you will.
This is an example of creative guitar-oriented post-punk with real drive. It’s forceful and engaging in its own right, and it marks a welcome change from today’s standard punk formats. ECHO & THE BUNNYMEN should sound so good. Recommended.
Two bands with pervious tapes of their own team up to share this one. VIOLATION offers standard thrash, rather thinly produced; ZERO MENTALITY stands out more, thanks to better production, more imaginative arrangements, and a great bass player. Definitely worth the investment.
Superior guitar-oriented post-punk with psychedelic overtones, sort of like the SCREAMING DEAD’s newer material (but not quite as good). This is really powerful stuff, and the eerie guitar effects add an additional touch of class. The vocals are a bit too restrained and calculating, but ACTIFED are also quite capable of cutting loose when they want to (as in “Exit”). Produced by ex-GEN Xer Tony James.
By now, everyone should be aware that the DESTRUCTORS generally combine thrash speed with some metallic twin guitar action. Their new album features live versions of many of their earlier hits and, unlike most live efforts, is actually more hard-hitting than some of their studio releases. It’s too bad they disbanded, but at least they’ve gone out with something of a bang instead of a whimper.
More 24-track mundanity from DISCHARGE. They’re getting slower and more metallish these days; “Anger Burning” is hardly more than a standard rock song. It’s OK for a band to change styles, but why follow the same boring route that so many others select? Give me DISORDER any day.
Another FITS release with a mixture of fast and slow songs. I like the thrashed-out “Breaking Point” the best, but the slow, measured title cut manages to create quite a build-up of tension.
Despite the ponderous tempos and predictably narrow Oi themes, this release rises above the vast majority of its Oi-boy contemporaries by virtue of an exceptionally primitive guitar sound. “Run from You” is especially raw and appealing, except for the dumb lyrics.
At first, I couldn’t believe that this beautiful dance-oriented post-punk music was even produced by the OUTCASTS. However, once I got over the initial shock, I began to enjoy it tremendously. All three versions of the title song feature a hypnotic rhythm, extraordinarily evocative guitar frills, and a haunting overall effect heightened by chimes. The punked-out version of KENNY ROGERS’ “Ruby” is more pedestrian.
The PARTISANS are getting slower and slower with each new release. On this EP, there are two plodding numbers and one better mid-tempo ditty (“Change”). Aside from an occasional quirk, none of the songs are particularly memorable.
A brilliant mixture of modern punk and psychedelia. Despite SCREAMING DEAD’s trendy horror rock trappings, they manage to deliver highly distinctive songs with clever arrangements, strong hooks, and plenty of overall power. The frequent inclusion of mind-expanding organ runs adds personality, and the guitar playing is extraordinarily fine. One of this issue’s best.
Although this here album resides spiritually in the glorious British funnypunk tradition (which includes such diverse luminaries as the ALBERTOS, JILTED JOHN, the TV PERSONALITIES, JOHN COOPER CLARKE, the NOTSENSIBLES, the GONADS, JOHNNY MOPED, etc.), it’s more in the goofy ska vein from a musical standpoint. There’s too little raucous punkish stuff to appeal to the bash brigade, but anyone with a bemused sense of the ironic should enjoy SERIOUS DRINKING’s understated English wit.
It shouldn’t be necessary to describe the UK SUBHUMANS’ basic approach. Once again, their combination of semi-thrash tempos, peculiar guitar embellishments, and radical lyrics hits home, and in a 12″ format, the production accentuates their power. There’s a couple of turkeys on this record, but the roaring “Get Out of My Way” and the psychedelic “People Are Scared” really stand out; “I Don’t Wanna Die” is an OK Yank-style thrasher.
Well, the SKEPTIX seem to have found a label in their own country, and this new release again displays their tasty thrash attack. “Born to Lose” is slow and metallic, but the others zip forward and feature some nice lead fills. Their level of sincerity remains impossible to discern, but I have my doubts.
Anyone who promotes this hokey, moronic heavy metal shit has no fucking business criticizing any punk bands for their supposed “6th-grade naïveté.” Know what I mean? The sad part is that these assholes have more energy than a lot of current British punk groups.
A “Britskunk” record from Sweden. The BRISTLES combine Oi and thrash musical backings with English-style vocal phrasing, and the recording has a lot of abrasive power. The “Bristles Song” would make a classic Oi satire, but I think it’s meant to be serious! Loud and proud.
The proceeds from the sale of this 45 are going into the Vancouver Five’s defense fund, so that’s enough reason to buy it. Still, it’s a mixed bag musically. “Burn It Down” is a slow, boring rock song that I prefer to ignore, but their version of the SUBHUMANS’ “Fuck You” (written by Hannah, one of the Five) has spunk and power, which makes this a worthwhile audio investment.
This is basic meat-and-potatoes ’77 punk from Spain. Although ESKORBUTO sound slike dozens of older bands, the vocalist is exceptionally belligerent and the songs contain more highly memorable choruses.
Piledriving Swedish thrash in the SHITLICKERS tradition. This is the kind of record that makes you want to bash your head repeatedly into a wall. Brutal and uncompromising—one of the year’s best.
Well, Yrsa’s going to be irritated again, but I think this EP is exceptionally cool. It’s a fine example of fast ’60s garage psychedelia with that distinctive squeaky organ and a modern punk guitar attack. Like their countrymen the GATECRASHERS, FRESHLY RIOTS successfully evokes the rawest and most chaotic elements of the mid-’60s. Fuckin’ A!
Although the production here isn’t as guitar-heavy as it was on their Disinfection EP, this is another stellar HEADCLEANERS (HUVUDTVÄTT) release. They play thrash that’s manic and brash, but also very catchy and full of weird, searing guitar parts. “No Sense” is awesome.
The INOCENTES present brutal ’77 punk on the A-side of their first solo effort, while the flip contains three very powerful thrashers. All the cuts feature a roaring instrumental attack, and “Apenas…” also contains some quick bursts of searing lead guitar. Excellent.
This German release dates from ’81 and mainly features ’77-style medium-to-fast-tempo punk. However, it also has elements of post-punk (“Heil Satan”), reggae (“Verboten”), garage rock (“Ersatz”), and funny commercial intros (“In der Nacht”). It’s well produced, engaging, and—in all seriousness—lots of fun. We’d like to hear more.
’60s-influenced garage punkedelia from Canada. “Getting in the Groove” has that ’68 sound, with its raw, distorted guitars and arching vocals; “Oh No” is slower, “heavier,” and more rock ’n’ rolly, but features a terrific psychedelic lead break. A hip debut with a handmade cover.
NONCENS offer a relatively full spectrum of punk styles, ranging from a ’77ish approach (the title song) to blistering thrash (“Istid,” “Don’t Give Up,” etc.) to slower contemporary Britskunk (“Afghanistan”). It’s pretty uneven in terms of quality, but it does have its shining moments (“Nattsvart,” for example).
Genuine garage punk from north of the US border. Most of it is basic, raunchy, and medium in terms of tempo, though there are also spurts of thrash (in “How High?” and “Gleaning Ground”) and some rather disjointed pieces (“Q”). The lyrics are critical, and you can even hear a famous religious retard’s voice at the beginning of “That Number Again, Folks.”
Another release from South Africa! Like their fellow citizens RIOT SQUAD, POWER AGE plays mid-tempo older-style punk rock. They have a real chunky, bass-heavy attack and snarling vocals, but the most unusual thing about them is their appearance in the land controlled by the super-secret neo-fascist Broederbond.
I don’t understand why reputed anti-Nazis would adopt a name with SS in it, but TAMPERE SS’s EP lives up to the high expectations generated by their choice cuts on the Propaganda ’83 compilation album. The band members have DISORDER and CHAOS UK logos on their jackets, so you can easily surmise that they produce raging thrash in the respected Finnish tradition, except for an occasional slow number like “Taisteluhymai.”
This is the most contemporary sounding release that we received from Spain. ULTIMO RESORTE blast out raw thrash with a garage-y sensibility and rough female vocals, along with an occasional post-punky number (“Johnny Mofeta”). “Cementerio Caliente,” with its irresistible “Hey, Ho” chorus, is especially hot. Recommended.
Standard ’77 punk. Spain’s LA UVI offer unexciting yet listenable material. Some of the lead breaks are cool, but overall this band needs a lot more energy to make in impression in 1983.
A fine example of raw ’77 stuff with dense, growling guitars and female vocals. The A-side is a take-off on the STOOGES’ “I Wanna Be Your Dog,” and it’s modified title—”I Wanna Be a Prostitute”—and iconoclastic lyrics apparently cause quite a stir among conservative Catholics in Spain. Musically speaking, I find the original composition on the flipside even more appealing.
A Spanish compilation album that mainly features the better-known, commercially oriented punk bands, according to our sources. Old-fashioned ’77 punk rules supreme here; the best examples of this genre are songs by KGB (“Maroto”—dig that ROTTEN-esque sneer!), URGENTE (the first half of “Dispuestos a Matar”), NO (“Chalado”), and the ESPASMODICOS (“1943″), whose singer sounds rather like Biafra. N.634’s thrashers provide the only evidence of a transition to musical modernity. Still, it’s a good sampler from another corner of the world.
The A-side has feedback and a bit more spunk than their last offering, but its catchy riff could benefit from even more oomph. “Rock” vocals and banal themes mar the measured flip. This band never quite lived up to their potential.
An absolutely stunning EP by the BARRACUDAS, wherein they finally live up to the enormous potential hinted at in “Somebody,” a classic track from their first album. This is brilliant mid-’60s garage rock with elements of ’60s punk (the vocals and fuzz guitar) and folk-rock (the chords and jangly guitar). A must for aficionados of that era’s music.
These guys may be youths, but I certainly wouldn’t describe them as chaotic. The music here is predictable mid-tempo Britpunk with no real edge; its only saving graces are the presence of some catchy choruses and good lead vocals.
Enough is enough! Entertaining scams soon run out of mileage when people see through them and the perpetrators make no effort to compensate by producing something of real value. Such is the case with CHAOTIC DISCHORD, who’d dearly love to get rich off satirizing thrash. The music is hot but unoriginal, and the themes are in the idiotic ANTI-NOWHERE LEAGUE vein. I say stuff these jokers along with Beki.
Melodic mid-tempo Britpunk. Some of it’s all too typical, but the INSTIGATORS have a nice dense guitar attack and a few notable tunes. “Monkey Man” is a sharp critique of the macho goons who go out looking for trouble at someone else’s expense.
Now this is more like it! After a great debut 45 and a disappointing 12″, the LYRES have returned to top form with “Help You, Ann.” It’s a great ’60s punk-type number with an ultra-cool tremelo guitar; the flip is another nasty cut with one of those endlessly recycled ’60s guitar riffs.
This band is based in Florida, but they sound exactly like a British “skunk” group. Normally, that wouldn’t be a cause for celebration, but these guys manage to pull it off by virtue of a fast tempo and an extremely raw, unprofessional sound. Although marred by phony English accents, this is actually better than the standard UK release.
This new political punk band from Southern California is sort of like a cross between MDC and the HATED. Perceptive lyrics and primitive production add strength to these gruff thrash and punk ditties, but they could use a bit more originality. Still, these are the kind of patriots we need more of.
The “No” side contains two maniacally intense blasts in the KILLING JOKE vein; they have a whiny, abrasive guitars, a heavy bass/drum sound, and layers of crazed vocals. The “Trend” side has a musically uninteresting ballad with exceptionally clever and perceptive lyrics. You’ll either love them or hate them; we love them.
REAL ENEMY combines fairly unusual thrash structures with a distinctive treatment of subject matter, and the result is a very worthwhile debut. Although the music is engaging, the really unique thing about this tape is the thoughtful explanation of some of the songs, an approach other bands could benefit from.
More psychedelic exotica from SAVAGE REPUBLIC. “O Adonis” is a Mediterranean-influenced instrumental which lies somewhere between Greek bazouki music and the KALEIDOSCOPE. “Film Noir” is slower and more atmospheric, and combines haunting vocals with similar “oriental” guitar sounds. Unique.
More garage punk from Florida’s U-BOATS, though this time around the production is better. The lyrics are a little goofy, but the music is very appealing in a real basic sense and the grungy guitar adds a nice touch. I like it.
Clever modern rock with some post-punk elements. Tasteful and distinctive twin guitars combine with a fluid bass and tight percussion to form engaging, tuneful material. CIRCLE SEVEN certainly won’t appeal to the hardest core, but anyone who appreciates groups like the EMBARRASSMENT should enjoy this.
Extremely raw and intense thrash from a new New York-area outfit. Unfortunately, the lyrics are on the Quincy-punk level, as in “Slam Dance”: “You fake fuckin’ punker… Get on the floor and take a chance. Just slam, slam, slam, slam dance.” Yeah, right. If the ideas expressed here were even half as appealing as the raging music, these guys might be serious contenders.
Another tenth-generation punk band from America’s suburban wasteland. The DEAD VIRGINS produce good “classical” punk with a garagey sensibility on the A-side; “Rape Capitol Hill” is particularly appealing. Side AA has slower, rockier cuts, but “Emotional Strain” has a nifty mid-’60s melody line.
The debut release by DETOX showcases older-style mid-tempo punk. “Beer Gods” has some unusual embellishments and interesting lyrics, but overall this 45 needs a bit more spark, and doesn’t quite convey their live humor. Geza X helped with the recording.
An excellent guitar-driven post-punk attack. “Dressed” borrows a riff from the STOOGES’ “I Wanna Be Your Dog” and places it in a distinctive new context; “Hardcore” is alternately quirky and forceful. The lyrics in the former are also extremely good. This debut deserves your attention.
The FLESHTONES have enormous potential, but they’ve rarely lived up to it since the release of their debut single over five years ago. They either put their great ’60s punk-influenced material aside in favor of R&B and more poppy stuff, or take the raw sneer out of it by settling for a wimpy production. Hexbreaker suffers especially from the latter problem; great tunes like “New Scene” and “Screamin’ Skull” are emasculated by a slick, squeaky-clean sound. C’mon, guys! Kick the IRS lackeys out of the recording studio and do it right next time, or you’ll never break the hex.
Heavy bass- and drum-oriented post-punk with rich guitar frills. “Quiet” inexorably advances like a slow-moving freight train, whereas the flip is more up-tempo and guitar-heavy. Though not as abrasive or reminiscent of KILLING JOKE as their live show, this record is quite good.
I like this new GI EP a lot better than their recent 12″. “Teenager in a Box” is a particularly brilliant track combining power, hooks galore, and good lyrics; “Sheer Terror” has some psychedelic effects; the others are supercharged thrashers in the DC tradition. Highly recommended.
I hate to admit it, but the SLADE cover song on the A-side is a surprisingly effective merger of punk and metal-glitter styles, with its wall-of-noise guitar and catchy background vocals. The B-side is an excellent fast Britpunk number which already appeared on the ONE WAY SYSTEM album. Much better than anticipated.
A very hard-to-find English debut. POTENTIAL THREAT are one of a new generation of British thrash bands that get ridiculed or overlooked by the “established” critics over there. Too bad! Though they’re not as intense as DISORDER or CHAOS UK, this EP contains some solid material and features a female vocalist.
Like their first 7″, this new SERIOUS DRINKING release contains a mixture of cool sing-along funnypunk (the title song) and silly quasi-ska ditties. The former is what makes this a worthwhile investment. Eye-catching cover, too.
“Let’s Be Free” leads in with a modified guitar riff from CRISIS’s classic “UK ’79,” and stands out for that very reason. The other tracks are tasteful, mid-tempo punk songs with political lyrics and good melodies. I particularly like their critique of the Special Air Service (S.A.S.), Britain’s rough equivalent of our Green Berets.
Melodic Britpunk at its contemporary best. The UNDERDOGS combine a rich, powerful guitar sound with strong tunes and come up with a winner on their debut EP. “Dachau” is a timely reminder that medium-tempo punk songs can grab you when they’re infused with imagination and a slight poppish sensibility; “Dead Soldier” is fast and eminently hummable.
Reasonably fast Britskunk that sounds a bit too much like GBH for my taste. Still, the title song is particularly hot, with its great sing-along choruses and classy guitar frills; “No War No More” is almost as good. Likable, but not groundbreaking.
Mono-dimensional but well-produced German punk. BLITZKRIEG favors a basic mid-tempo attack with some join-in background vocals and a female lead singer, but the amateurish drumming puts a bit of a damper on the proceedings. “Auschwitz” has well-taken lyrics criticizing popular inertia in the face of genocidal horrors.
CANALTERROR produce diverse hardcore material on their debut album, including full-tilt thrash (“Multis,” the title cut, etc.), Oi-influenced stuff (“Bonn-Duell”), ’77 punk with melodic guitars (“100 Mann”), reggae-punk mixtures (“Mallorca”), some cool rock n’ roll (“Hey”), and even a funnypunk version of “My Bonnie.” The guitars should have been emphasized more in the mix, but this record is still entertaining as hell.
HALSABSCHNEIDER remind me of a sloppier German version of the NEOS. They play 78-rpm garage thrash which stutters along incoherently and with considerable humor (except on the slow “Unser Lied”). NACHDRUCK, on the other hand, have a more controlled ’77-style punk attack with engaging choruses, more serious lyrics, and a occasional post-punk flourish. A good contrast.
Having lambasted Nazis and neo-fascists on their first two albums, OHL now turn their venom against the Soviet Union. I have no objection whatsoever to anyone attacking documented Soviet repression, but they’ve adopted an extreme right-wing approach worthy of Bavarian minister Strauss by including a sleeve cartoon suggesting that independent peace demonstrators are under Russian control. The remixed punk and thrash songs here sound great, but such ignorance doesn’t deserve support.
Copycat Oi from New Zealand. That wouldn’t necessarily be bad, except that NO TAG end up with a glossy, overproduced sound like the 4-SKINS rather than the down-and-dirty growl favored by the likes of IRON CROSS and NABAT. The two cuts on side two far overshadow the band’s theme song.
A really unique German record. SOILET GRÜN employ a disconcerting combination of chaotic drive, shrieking vocals, raw production, and an undistorted guitar tone. The songs vary a lot, and the overall effect is vaguely reminiscent of the MEAT PUPPETS.
The A-side here consists of crude straight-on thrash-and-bash, whereas the flip contains two raw Oi-influenced numbers. STOSSTRUPP have really improved since their appearance on the Die Deutschen Kommen compilation LP, and the screaming guitar mix on this record should be the envy of every hardcore band.
This is a good basic album. Most of the songs are fast punkers with catchy choruses and a buzzing guitar wall, though there are also thrashers (“Teenage Frust”), songs with slow breaks (“Traumer”), and slower numbers (“Führer”). “Vakuum” sets the musical tone for the remainder of the record, and the lyrics range from broader subject like police states to more immediate, personal topics like teenage frustration. Recommended.
A very strong new release from Ohio’s NECROS. This album contains a few slow-fast metallic numbers; the rest consists of power-charged thrashers, including a remix of “Police Brutality” from their long-out-of-print debut EP. I don’t understand why Barry devoted so much lyrical attention to petty in-scene squabbles when he’s obviously capable of writing highly intelligent critiques with broader themes (like the title track), but this record should nevertheless appeal to all fans of forceful hardcore. Way cool!
Real fine thrash from New England. It’s high-powered, creative, and fairly intense, but the melodies and semi-sung vocals still manage to escape obliteration. Add a strong production and some memorable hooks, and you end up with a release rivaling those of the LOST GENERATION and CIA in overall quality.
Five Florida bands share this record. HATED YOUTH are full of clichés, but have a really intense thrash sound; SECTOR 4 do both thrash and fast punk; MORBID OPERA are simultaneously weird, melodic, and garagy, and have female vocals; RAT CAFETERIA offer thrashy punk with gruff singing and some cool guitar leads; and ROACH MOTEL (who put out this entertaining EP) return with more garage thrash, including “My Dog’s into Anarchy,” the best funnypunk song to have appeared so far this year.
“Bad Boy” is an incredibly boring CLASH-type “rock” song which is best ignored; the flip is a much faster pop-punk number with some sparkle to it. I still think the ADICTS are rapidly in decline, but it’s a bit too early to be certain.
CONFLICT return with more CRASS-like pile-driving punk on “Berkshire Cunt,” along with a very heavy anti-vivisection theme throughout this EP. Both are immensely powerful in their own distinct way, and the gruesome pictures should stimulate some animal lovers into action. Not for the faint of heart or weak of ear.
A fine garage debut from a band out of (relative) nowhere. The LATIN DOGS specialize in chunky ’77-style punk propelled by an abrasive sheet-metal guitar sound, though some cuts have a more accelerated tempo. Their themes are predictably anti-establishment, but the lyrics reflect more awareness and sensitivity than the norm. A-OK.
Excellent guitar-oriented rock and roll. This EP contains three well-crafted pop-rock songs with good quasi-’60s hooks (all of side one and “Micro-Wave Mother”) and one faster punkish number which rips heavy cocaine users (“Kola Sketch”). Clever and not easily classifiable, the TAZERS deserve your attention.
Entertaining garage punk from Florida. If “Nixon” is a satire, it’s a good commentary on gross ignorance; if not, these guys must have gotten A’s in the right-wing “Americanism” course that all Florida high school students have to take in order to graduate. “Dead Air” is faster and considerably better.
An excellent DC compilation which deserves a much wider distribution than it has so far received. It contains diverse material from a number of relatively obscure bands, including garage thrash by MEDIA DISEASE, raw experimental punk by CHALK CIRCLE and the NUCLEAR CRAYONS, powerhouse thrash in a Dischord vein by SOCIAL SUICIDE, NEOS-type 78 rpm thrash by UNITED MUTATION, and garage rock by HATE FROM IGNORANCE. The gritty production accentuates the good music, so look for this.
A cool collection of skateboard bands compiled by Thrasher magazine. The pure “skatecore” sound—thrashed-out music with melodic teenage vocals—is represented here by the FACTION, JFA, and the SKOUNDRELZ; LOS OLVIDADOS and Canada’s RIOT .303 offer powerful older-style punk, the former fueled by a truly bone-crunching guitar, the latter by engaging choruses; MINUS ONE have a great ’60s pop approach (especially on “I Remember John”); the BIG BOYS present an awful throwaway “rock” cut; and the DRUNK INJUNS favor slow metallic songs with built-in tension.
If this release is representative, the ABRASIVE WHEELS are already in decline. The A-side is a pathetic punky cover version of ELVIS’s old hit; the flip is a pedestrian Britpunk song with a decent chorus. Whatever happened to kickers like “Burn It Down”?
The A-side here includes slightly modified versions of two songs that appeared on their recent Forces of Law 7″ (reviewed in MRR #6); the flip has three fine new thrashed-out cuts that have that distinctive DESTRUCTORS mix, with its highly exaggerated snare drum and hi-hat. Add a Pus cover and better sound quality, and you end up with a damn good show.
Really powerful thrash with pronounced metallic lead breaks. CIA may not break any new ground, but with this debut they prove themselves to be one of the East Coast’s best new entries. Lyric-wise, “Commie Control” is pretty inane, but the other titles make a lot of sense, which they backed up by playing at the DC “Rock Against Reagan” show.
The music on the CLITBOYS’ debut is solid straightforward stop-and-go-thrash, but it’s the lyrics that stand out here. In this era of widespread punk jock attitudes, it takes a lot of guts to belt out songs like “Gay’s OK” and “Slogan Boy,” but this Milwaukee band isn’t afraid to tell it like it is (or should be) and face the consequences. More power to ’em.
A fine sounding debut. It’s got the classic SoCal punky thrash sound a lot TSOL and BAD RELIGION, mixing hard attack with pop sensibilities and clean production. They come off better on record than the time I saw live, when they indulged in some retarded sexist banter.
I really like this debut release by Atlanta’s DDT. They do two charged thrashers, two deranged post-punk numbers (side two), and an absolutely fabulous ’60s-style psycho-pop song (“Mr. Roger’s Neighborhood”) That reminds me of the early LAST and is vastly better than most of today’s self-conscious neo-psychedelic music.
An eclectic mixture of material can be found on this EP—CLASH-type rock with horns and spiffy backing vocals (the title track); snappy punk with clever lyrics about future “punk” politicians (“Vice Presidente”); and a harsh critique of military recruitment set to slower CHELSEA-style material (“Professional Killer”). Multidimensional and thoughtful.
“Inside My Head” is an excellent example of ’78-era power-pop, with enough guitar punch to justify the “power” half of the term. It succeeds in generating a bit of misty-eyed nostalgia, but the lame flip features disposable white reggae-rock.
This new JONESES EP is a 50/50 proposition. Half of it is really lame rockabilly-type swill that seems to be aimed at the STRAY CATS’ trendy audience; the other half consists of raunchy guitar-oriented blasts in the HEARTBREAKERS mold, and it makes it worth hearing. Still, it should have been a 7″.
Strong ’77-type punk appears to be the LITTLE GENTLEMEN’s stock-in-trade. Side one contains two engaging guitar-heavy numbers with brain-damaged leads (“General Hospital”) or sing-along choruses (“Rant Rant Rant”); the flip has a more experimental number with a scratchy psyched-out guitar laid over a rhythmic bass and drum. Atypical.
A reprise performance by one of the great ’77-era American punk bands, Cleveland’s PAGANS. At first, I was put off by the “Recorded Live Spring 1983″ sticker on the cover, because a lot of their recent material has had an unappealing arty quality. But although there are some covers like “Seventh Son” and relatively subdued numbers (“Angela,” “Wall of Shame”) here, it also contains several raw garage punk blasts with exceptionally gritty vocals. Tracks like “Give Till It Hurts,” “Cry 815,” “Cleveland Confidential” and the classic “Dead End America” make this limited edition album well worth it, but I wish someone would release some older material from the vaults.
The new MISGUIDED EP is louder and more powerful than their debut, but the off-kilter drumming tends to interrupt the momentum of these somewhat disjointed thrashers (especially “Defy Standards”). Mixing problems are involved, though a spirited amateruish quality characterizes the entire record. “Blacklist” has lyrics of considerable contemporary relevance.
Two songs in a fast, powerful thrash style (seemingly augmented by an organ), and two in a slower yet engaging style. Some of the lyrics are incomprehensible, even after reading them, and their live shows leave a lot to be desired, but this record is good.
Yahoo! The most remarkable thing about this fine album is that the production is every bit as raunchy as it was on their four-year old debut EP. When you add that extra-grungy edge to the DICKS’ absorbing mid- to fast punk songs, heavily distorted guitar work, and gruff Texas vocals, you’re bound to have a winner. The drunkenness and political commitment come across clearly in the music, but gems like “Bourgeois Fascist Pig” deserve a lyric sheet.
A reissue of the provocative FEEDERZ EP with a new picture sleeve. In case you never heard it, it’s got innovative song structures, memorable hooks, and some of the most biting, “subversive” lyrics around. The easily offended should steer clear and stick to the trite and predictable; all others should rush out and buy it.
Another superb 7 SECONDS release. This new EP highlights all of their traditional qualities—raging thrash music, great tunes, intelligent and inspirational lyrics (more personally-oriented this time around)—and adds more guitar power, some new musical twists, and improved production. There’s a very noticeable MINOR THREAT influence in the vocal phrasing, but this is still Skeeno hardcore at its finest.
This new EP showcases A.O.F.’s musical versatility. “I’ve Got Mine” is a relatively slow CLASH-influenced song with great dynamics and a quasi-psychedelic guitar that sporadically breaks into full-tilt thrash; “Wait” and “Buy This War” are intense, distinctive thrashers with innovative guitar interaction. A big step forward.
Disappointing. The new B. ARNOLD EP isn’t nearly as appealing as their old “Kill the Hostages” release. Stylistically, these humorous songs range from garage punk (“I Hate Sports”) to ’60s jams (“Hollywood”) to silly ska (“White Boy Sings Ska”), but the biting satire and an innovative cover concept aren’t quite enough to compensate for the lackluster musical attack.
Despite the silly cover, this is probably the best ENEMY release to date, mainly due to the excellent B-side. “Why Not” is a double-time blast with a distorted guitar backing that leaves the A-side spinning its wheels in the dust.
’80s Britpunk at its unimaginative worst. This band plods forward uneventfully, spitting out hackneyed lyrical clichés along the way. It sounds like they don’t care, so why should anyone else?
Though named after a group of 19th-century rebels who went around sabotaging industrial machinery in Britain, these LUDDITES have adopted a quasi-industrial post-punk approach in their music. Herein one can find measured tension, a heavy bass, interesting drum flourishes, and a somber overall attitude.
The MAU MAUS provide a strong argument in favor of the benefits of speed in modern punk music. They have fairly typical chord progressions, generic themes, and a rather annoying vocalist, but somehow the frenzied tempo compensates by keeping your arms and legs flailing about. “Facts of War” is a killer track.
Can old hippies still produce good music? MICHAEL MOORCOCK proves that they can rise to the occasion with “Dodgem Dude,” a wonderful psychedelic blast with loud guitars and haunting background vocals. A really excellent cut, not equalled by the flip. Flicknife is an innovative little label.
RED LONDON plays older-style melodic punk that sounds better by virtue of its relative rarity today. The guitars have a clean ’60s tone (courtesy of Attila?), but ultimately the material fails to impress itself on your consciousness. Decent lyrics, though.
A fine new British thrash band. The strong production enhances their tight, powerful instrumental attack, especially on “Dead Generation.” Riot City has surpassed No Future as a quality label.
Standard mid-tempo UK punk. There aren’t any real surprises here, but the title track has a catchy chorus and “Boys in Blue” has a wee bit of drive. OK, but nothing to write home about.
An exceptional ultra-thrash attack can be found on ANTI-CIMEX’s second EP. The production is much better, and the band is much more cohesive this time around. These songs rank right up there with those of the SHITLICKERS and HUVUDTVÄTT (the HEADCLEANERS) in the Swedish “shred” sweepstakes. A must.
This debut by Italian band FALLOUT consists of three fast ’77-type numbers and three thrashers. The sound is driving, the choruses and tunes stick in your craw, and there are some nifty little lead parts, so check it out. Good effort.
Noisy guitar-oriented music from Holland. Most of it falls within the droning post-punk category, but there are also a couple of faster punk-style numbers. Abrasive, but not energetic enough.
The newest (and possibly final) release from LAMA displays a reversion to their pre-thrash sound—powerful mid-tempo punk with a heavy guitar attack. I suspect that it was recorded before their album, but it’d be a super addition to anyone’s collection.
Mutated thrash from Italy. PEGGIO PUNX play fast and have good choruses, but the most distinctive features of this EP are the clean, undistorted guitars, sudden structural shifts, and an exaggerated drum mix that sounds very bizarre. Unusual but worthwhile.
Like Italy’s WRETCHED, Denmark’s RAZOR BLADES play sloppy, spirited thrash. Though their hearts are in the right place, I find this tape hard to listen to. There aren’t any distinctive hooks, and the musical backing is just too undisciplined to generate body-shaking power. They need to develop a bit.
An album’s worth of blistering political thrash from Canada. Structurally, there’s a lot of imaginative little quirks that serve to break up the tempo, so the high-powered songs don’t all run together. Very tight, very intelligent, and very worthwhile.
A droning Finnish garage punk record. RUTTO’s songs are extremely basic and not too fast, the recording seems to be taken from a portable cassette, and there aren’t any outstanding hooks. The most exceptional thing here is the presence of a female vocalist.
Believe it or not, TK has done it again. Although side two drags a bit (in relative terms), and the vocal and guitar mix isn’t quite as piercing as it was on their peerless Ääretön Joulu EP, this album is exhilarating in its intensity. The distinctive combination of paint-stripping vocals, flailing guitars, and tightly structured blasts of concentrated power lift TK into a realm occupied by a few awesome musical entities like INDIGESTI and DIE KREUZEN. As M. Bowles would say, this is “shredsational,” so buy the fucker immediately.
A reissue of the first two TK EPs (reviewed in MRR #3). If you missed them the first time around, here’s your big chance. An amazingly raw sensory assault.
Two 60-minute tapes containing all the previous and soon-to-appear Brazilian vinyl releases. These include the Grito Suburbano LP (now out of print), the Sub LP, the LIXOMANIA EP, the OLHO SECO EP, the upcoming O Começo Do Fim Do Mundo live compilation LP, and the INOCENTES EP. Anyone who can’t afford to get the individual records should send for this at once. Note: The song order listed on the insert isn’t completely accurate.
More great thrash from OLHO SECO. The high end of the mix is less piercing here than on the Grito Suburbano album; the guitar on “Muito Obrigado” suffers a bit for it, but the other two tracks blast along like a speeding bullet train. Hot!
Intense adrenaline blasts with some choppy, discordant lead breaks. URBAN WASTE creates quite a guitar wall-of-sound, and the songs start to click after only a couple of listens. They also deserve to win an award for the funniest and cleverist “sexist” song in ages (“Banana-Nut Cake”). Get it.
Experimental stuff with a vague punkish sensibility and some left field BEEFHEART-like effects. It might precipitate epileptic fits, but it probably won’t appeal to the more intolerant hardcore fans. Tough! The lack of fuzzy, distorted guitars is one of END RESULT’s more distinguishing characteristics.
This is good and sloppy. Youthful exuberance, chaotic instrumentation, and half-serious, half-silly themes are the main characteristics of NEGATIVE ELEMENT’s entertaining debut. The guitar could have been mixed a lot louder here, but I’ll bet they’re great live. Version Sound does it again.
A neo-’60s band dominated by a psychedelic organ and irritating female lead vocals. Although both songs have good melody lines and rather nostalgic instrumental parts, something just doesn’t click. Haunting, but not particularly memorable.
A split EP featuring two New York bands. STRIPSEARCH present a great garage punk sound with a blistering fuzztone guitar and female vocals. This marvelous cut is paired with EMILY XYZ’s weird quasi-poetic rhythm thang which I find rather unlistenable. At least both groups are originals.
I’m not sure why, but this reminds me of JEFF HILL’s old UK single, “I Want You to Dance with Me.” It’s basic guitar-heavy rock with a fuzzy synth and a spiffy sing-along chorus that’s damn hard to forget. The flip is a faster, buzzing version of the old Top 40 hit. Good no-frills music.
Cool, maan. “I Always Call” is a hopping psychedelic rockabilly blast that’s beyond all criticism. Imagine Sky Saxon and Tav Falco in the same band, and you’ll get the idea. Despite the quintessential ’60s punk vocals, the flip is an incredibly boring blues number, but the A-side is mandatory.
A live tape from this Chicago-area band. Their material is basic garage punk with some heavy metal guitar riffing and fairly thoughtful lyrics. They have too much or a rockish bar band quality, but their songs are occasionally excellent (especially on their earlier demo). Time will tell.
More excellent DC hardcore, but with a Southern California feel. It’s got soaring guitar work, great touches of feedback, and bent notes. The production is also up to the high Dischord standard.
The first release by this South Bay band. It reminds me a lot of CODE OF HONOR, with the instrumentals going from thrash into reverse gear, and the vocals mixed way up front to accentuate the strong lyrics.
“Dead Beatles” is one nifty satire. It’s a raunchy garage punk offering with altered snippets of BEATLES lyrics, off-key vocals, and exaggerated psychedelic effects. The other song is faster, equally powerful, and just as funny. Extraordinarily brilliant, in my opinion.
Another release by the wild Hungarian with the bizarre material and the searing production techniques. All three songs here are dissimilar—the title cut is a churning metallic anthem that builds in intensity; “Hungarian” is a ballroom satire with hilarious lyrics; and “Mean Mr. Mommy Man” is an arty but profoundly creepy song.
Old G.G. doesn’t give up, but then why should he? This unclear live recording doesn’t quite pack the punch of his studio offerings, but it does feature some imbecilic between-song raps by way of compensation. You’d probably have to see G.G. in person to get the full effect of his tastelessness.
The third and reputedly final EP form LA’s HATED. Once again, they offer fairly standard older-style punk with good lyrics. The production is a bit flat here, but I’m sorry to hear that they’re breaking up.
The punchy, evocative sound of the HECKLERS is really cool. Though eclectic—one can discern pop, thrash, rockabilly, and country influences—it’s got drive, imagination, and a well-defined rock ’n’ roll aesthetic. The occasional harmonica also adds distinction.
A weird mixture here. The geetars on the old NANCY SINATRA hit are restrained and tasteful, but on “Ego,” the MYSTERY GIRLS really cut loose with dirty rock n’ roll riffing Á la JOHNNY THUNDERS. Cool as hell.
Like their previous releases, this album evokes the ’60s, but their earlier fixation with surf music has been replaced with a folk-rock obsession. There’s some great material here, especially “Grammar of Misery,” “Shades of Today,” and “Eleventh Hour,” but there’s also quite a bit of chaff. If you like FLAMIN’ GROOVIES, you’ll go for the BARRACUDAS.
Strong production highlights these melodic mid-tempo punk songs. At first, they sound pretty generic, but for some reason they grow on you with repeated listenings, especially the title cut and “British Summertime.” Decent effort.
A one-sided neo-psychedelic record anchored by a basic rock ’n’ roll chord progression. What makes it interesting are some hot acid-damaged lead guitar parts and the harmonized background vocal chants Á la BEAU BRUMMELS. I’m not wild about the lead singing, but it’s still a pretty sharp record.
“Discipline” is a great post-punk cut with a riveting drumbeat, a buzzing, distorted guitar, an irresistible chorus, and lead vocals reminiscent of the FALL’s Mark Smith. A super song, which isn’t even approached by the lazy B-side. The best GOD’S GIFT release yet.
Good basic Britpunk. Nothing here is quite up to the high standard set by EXTERNAL MENACE on the Total Anarchy compilation, but “Don’t Conform” has exceptionally heartfelt lead singing, and there’s a great chorus in “Someday.” Worth several spins.
More mid-tempo political punk from FALLOUT. The lyrics are extremely perceptive, and the songs start to click after a couple of listens, but they don’t exactly make you jump up and take notice. The music could use a shot of adrenaline.
This band has not relation to the great ’77 punk group that released “Johnny Won’t Get to Heaven.” It’s a newer pop group that’s very similar to dozens of bands from the pop-oriented ’78-’79 period. It is a bit enjoyable, but it would need a heavier guitar attack and less mundane vocals to really be recommendable.
Better than their varied debut EP. Now, they have a denser, more rhythmic post-punk orientation. “Waiting” evokes Bauhaus in their early “Bela Lugosi’s Dead” period; the flip is equally powerful, and includes some eerie sound effects. Interesting.
If BEAST were English, they’d undoubtedly be big hits among the “positive punk” set (see UK section for more). As it is, they’re American and will probably be subject to well-deserved ridicule. If you add sax and a glossy horror image to a basic post-punk approach, you’ve got BEAST.
Excellent standard thrash from Jersey. The mischievous lyrics and ultra-dense guitar whoosh really set this EP apart. “Status Symbol” is all-around great, and “Trans Am” is a hilarious put-down of the spoiled rich brats who go cruisin’ in their shitty gas guzzlers. I’m definitely looking forward to their next barbeque.
If you’re one of those people who aren’t wildly enthusiastic about BLACK FLAG’s current metal orientation, this should be like a manna from heaven. It might even be the last BLACK FLAG record you’ll actually kill to buy. The records include all unreleased material and feature each of their first three vocalists. Keith’s (“Johnny’s”) vocals may be the most distinctive, and Greg’s guitar tone might attain the most piercing extremes in the Dez era, but I personally prefer the almost ideal balance achieved during Ron’s (“Chavo’s”) tenure as singer. Enough bullshit, this is a mandatory purchase that demonstrates why BLACK FLAG once headed the US punk pantheon, so buy it and pin your ears back.
Politicized garage punk from Vermont. The A-side has three good traditional garage punkers, while the flip contains seven much accelerated tracks that nevertheless retain an awkward garagy flavor. The lyrics are unusually thoughtful for this style of music. Recommended.
Three slices of garage psychedelia from San Berdoo, all of them instrumentals. The songs themselves are too mellow and repetitive, but WINDOW PAIN showcase some nice textured guitar in “Mind Bender,” as well as a nifty fuzztone and mind-expanding energy lead in “Underworld.” They need Wheaties for extra energy, though.
Like WHITE CROSS, YOUTH KORPS have that extra umph that thrash bands need to stand out in this day and age. Most of the tracks here are really intense thrashers, but there’s one anguished metallic cut that sounds a lot like BLACK FLAG’s “Damaged” (“Need a Fix”). This is real strong, so I hope they release it on vinyl.
Clever, medium-weight pop with occasional psychedelic effects and annoying vocals. Some of the songs are subtly appealing, some are driving and straightforward, some are innovative, and a few artsy numbers are best avoided. A little better than the BONGOS, not as strong as the SHOES.
This is an extraordinary album, a marvelous example of the politically oriented ranting poetry coming out of England today. ATTILA is sort of a cross between Lenny Bruce and John Cooper-Clarke, in that his incisive political views are wedded to biting satire and sung/spoken in a dense (though comprehensible) English accent. There is a bit of funnypunk music here, manifested in exemplary songs like “Away Day,” “Hands Off the Halibuts,” and “Russians in McDonalds.”
The first vinyl from these Northern Irish punky-popsters since One by One, their classic four-year old release on the Good Vibrations label. “Capital Letters” has a real heavy guitar sound, rawer singing than before, and very memorable melodies and choruses. Really great. The flip is slow and undistinguished, but I’m still looking forward to future RUEFREX releases.
The earliest studio recordings by the late Malcolm Owens’s RUTS, made way back in ’77. And hot damn, the title track is a totally classic chunky punk rock song that ranks right up there with “Babylon’s Burning.” It’s a marvelous cut that isn’t equalled by the two songs on the B-side. The latter suffer from vastly inferior production, but are also poorer compositions. A must for fans of original UK punk music.
Is a bit of success spoiling the TEST TUBE BABIES? They’re still sporting a wacky sense of humor, but they sound so much more restrained here. Maybe the overly clean production is to blame, but this EP could use some undisciplined spunk. Great cover, though.
The third DIY EP from SIX MINUTE WAR, who’ve now incorporated a drum machine into their primitive mid-tempo material. The song structures are a bit more experimental, but a wistful amateurishness serves to lighten the doom and gloom. “Weathermen” is haunting and exceptionally appealing.
An unexciting band that shouldn’t be mistaken for Scotland’s TWISTED NERVE. This record showcases a basic punk-pop-rock sound, but lacks drive, hooks, and, ultimately, interest. Sluggish is the most appropriate word.
More “positive punk.” Again, the heavy treated drums stand out, but this time the undistorted quasi-psychedelic guitar takes precedence over the bass. The singing is in that really awful New Romantic style that’ll appeal to new wave disco trendies. All in all, it’s OK post-punk, but certainly nothing to lose sleep over.
Oh no, the VIOLATORS have followed BLITZ down the path toward JOY DIVISION-clone material, with some imitation SIOUXIE vocals thrown in for good measure. I love the ’60s melodies on the A-side, but it’s sad to see all these recent punk bands adopting a slick, gutless sound. I vastly prefer their last 45.
Great thrashed-out noise from Holland, with just the right amount of raunch and sloppiness. The driving music picks you right up and slaps you around the room. There’s a bit of heavy metal damage at the end of “Feminist,” and the extraordinary female vocals are kind of lost in the rush, but this EP is hotter than scalding water. “Nothing” is best described as awesome.
A blur of indecipherable thrashing noise. KAAOS seem to have caught the germ that RIISTETYT just got rid of—lack of integration between the vocals and the instrumentation. The amazing “Uskonsota” really tears up the pavement, but most of the songs get lost in the jet-stream, and the guitars should have been mixed louder.
Garagey punk with thrash and experimental overtones. The songs may be sloppy, distorted, and poorly-recorded, but LAST WARNING have plenty of spirit. I dislike some of their post-punk material, but this tape is worth a listen.
This is what the IRON CROSS EP sounds like on 45 rpm. The same drill press guitar is joined to gravelly singing and primitive production, a combination that’s light years ahead of crap like the BUSINESS. NABAT almost change my mind about Oi with this nasty entry.
A pop-punk classic, especially “Reisefieber,” which sorta sounds like a male of LILLIPUT’s “Die Matrosen,” with its unbelieveably catchy melody punctuated by whistling. And dig those bagpipes! The flip is almost as enjoyable and memorable, so look for this.
Another Dutch basement tape from Er Is Hoop, this one featuring three bands. TOTAL CHAOZ are a methadrine thrash group with a female singer; the PUKES are a messy, unformed punk band; and the ASPERITYS are basic punksters that do too many covers. OK for a first effort, but all these amateurish outfits were recorded a bit prematurely.
Far fuckin’ out, maan. This is a groovy psychedelic piss-take by a bunch of Nehru-jacked Aussies. The A-side parodies bubblegum psychedelia by loosely covering “Crimson and Clover,” the old TOMMY JAMES & THE SHONDELLS hit, while the flip treats that song in strange studio ways, turning it into a real mind-blowing flashback. Wow!
A strong Canadian release by Winnepeg’s STRETCH MARKS. The material ranges from thrash to classical punk, and it has some heavy metal guitar embellishments. I think it’s real entertaining, especially the hilarious “Dog’s World.” Don’t miss out.
Jagged post-punk with some poppy vocal elements. These Danish women are sort of reminiscent of British groups like DELTA 5 or the early PASSIONS. The music is angular and the guitars have that nice raw quality which alone makes post-punk bearable these days. Good first effort.
A sharp Danish band that specializes in raw, nasty garage thrash. The recording is ultra-primitive, the lyrics are strong, and the vocal delivery is intense and committed. In other words, a must.
A good follow-up to the great Grito Suburbano compilation. CÁ”LERA return with more nifty punk sing-alongs; the other three bands—PSYKOZE, RATOS DE PORÁO, and FOGO CRUZADO—don’t seem quite as distinctive on first listen. For one thing, their basic thrashing power is so weakened by the poorly mixed guitars that it’s really hard to judge their potential power. It’s always better to err on the side of an overly loud guitar mix, but this is still an inspiring effort.
A real potpourri of styles here, ranging from weird, disjointed, punked-out numbers (“Cuban Homo Farm” and “Plastic Rows”) to rhythmic African chants (“Jumping Through the Jungle”) to awful art-damaged shit (“Rats Tied to Trees”). You’d have to be schizoid to like everything on this EP. Maybe SILVER ABUSE ought to try playing at mental hospitals.
Four bass-heavy songs that combine elements of earlier metal-punk and thrash. A couple of them are real good, and the lyrics are surprisingly decent. The production is chunky, but a bit inconsistent. Not to be confused with the defunct band from South Lake Tahoe which appeared on the Not So Quiet compilation.
Goofy California beach nerds put out an absurd amateur record. “Surf” is a mildly entertaining “rap” rip-off, but it’s the flip that makes this one worthwhile. “Boyfriend Girlfriend” is a chunky, bass-heavy rocker with stuttering speeded-up background vocals and a pronounced echo, similar to “Criminal Mind (Duddle)” by Chicago’s MEATY BUYS. I hope that’s helpful.
For some reason, this New York punk group sounds more English than American. Maybe it’s the somewhat restrained drumming, or the deeper guitar hum. In any event, the YOUNG & USELESS aren’t too tight yet, which gives them a certain charm. The lyrics are very questionable, but hopefully age will bring more wisdom—these guys are real young.
“Twist” is mid-tempo post-punk with a quasi-psychedelic feel, but it’s neither atmospheric nor punchy enough to satisfy me. The flip remedies the latter problem with a ringing ’60s guitar, and consequently comes off better. Still, I’d wait till their next release before coming to any definite conclusions.
This band has a style that works well enough in a 7″ format, but is too unimaginative to sustain an entire album’s worth of material. There’s nothing really wrong with the ABRASIVE WHEELS. They have a fast, powerful, well produced sound and some good songs—it’s just that their music doesn’t normally reach out and grab you. Here, the possible exceptions are “Danger, Danger,” “Voice of Youth,” and a couple of the cuts from previous 45s.
Good basic Britskunk with no real surprises. I mean, the chorus on “New Punks” actually has “Oi, Oi, Oi” in the background. ANTISOCIAL show off some drive and a nice dense guitar attack, but nary an original idea.
Tedious metal-punk with annoying double-tracked female vocals. To put it another way, mundane muzak for punk people. I’ll take GIRLSCHOOL any day, and that’s not saying a helluva lot.
Despite the dumb heavy metal graphics on the pic sleeve, I think this is easily peculiar enough to transcend this month’s crop of standard Britpunk. It’s a weird mixture of common elements—real gravelly Oi vocals, staccato CRASS-like choruses, slow/fast guitar-heavy music—anchored by a distinctive fuzz bass. Description won’t suffice; you’ve got to hear this one for yourself. I love it.
If you ever wondered what would happen if Pete Stride’s punky-pop compositions were recorded in a 24-track studio, this single provides the answer. The result is good snappy tunes driven by DISCHARGE-like power, a hot combination. The lyrics on the A-side are well taken. ERAZERHEAD, make a note of the change.
Northern Ireland’s OUTCASTS have been carrying the punk standard since ’78, and I’ve always been a big fan of theirs. So it really hurts to say that their second album is something of a letdown. Their earlier punky pop sound has gradually mutated into a churning, militaristic, metallic juggernaut with lots of hooks and inherent power, but little humanity. Moreover, eight of these twelve tracks have already been releases, their new versions of old classics like “Frustration” really pale in comparison, and “Sex and Glory” is the only newer song that really stands out. The OUTCASTS have lost their innocence, and the results are at best mixed.
Strong guitar pop with some superficial post-punk effects. This 12″ is somewhat overproduced, but the ringing guitars and overall catchiness make it more than worthwhile. PRESSURE’s sound reminds me of early FINGERPRINTZ, and that’s A-OK.
You’d never know that over five years had gone by from listening to these two skinhead anthem by reformed proto-Oi band SKREWDRIVER. They still sound the same, though perhaps a little less melodic in the guitar arrangements, and their seminal influence on the modern Oi groups is everywhere apparent. Singer Ian Stuart practically wrote the book on the sandpaper sneer that’s so omnipresent today; unfortunately, he also set the ideological tone for the more reactionary groups around now (the LAST RESORT, the 4-SKINS, SPECIAL DUTIES, etc.). I detest SKREWDRIVER’s values, but I can’t stop singing along with these damn songs. What a dilemma!
“Mouth” is one of SPLODGE’s typical novelties, in this case a goofy ska song with absurd lyrics. The B-side retains the goofy lyrics, but shifts into a fast funnypunk gear. Entertaining as usual.
The second URBAN DOGS 45 is a lot like the first—boring rock ’n’ roll with a punky tinge. Knox’s guitar tone on the A-side almost saves the day, but he and Chas Harper are certainly capable of better things. Why rehash old riffs and songs?
A surefire hit. On this album, all the VIBES’ old trademarks—precise staccato drum rolls, classic riffing guitars, and excellent songwriting—are embellished by elements absorbed from other rock genres, often in unusual, effective ways. For examples, note the psychedelic guitar segments in “Sleeping” and “Kick It,” the combination of thrashed-out music and Jaggerish vocals on “Watch Out Baby,” the exaggerated Oi sing-along on the rap-style “We Name the Guilty,” etc. Only “A Dot Ain’t a Lot” is truly lame, so give this a listen if you can accept that there are many fine groups around who don’t sound like DISCHARGE or GANG GREEN.
Good second pop-punk effort from BEEX. “Butch” is a snazzy uptempo song featuring female lead vocals, one heavy guitar, one folk-rock guitar, and a nice overall drive. The flip is a more conventional rocker. The guitar interaction is what catches your ear; the gross cover catches your eye.
A few people I know rave about the BANGLES, but I just don’t understand why. Some of their originals do have a ’60s feel (“Want You” and “Mary Street” on this EP), but most are examples of overproduced new wave pablum Á la GO-GO’S. Even their LA-DE-DA’S cover (“How Is the Air Up There?”) is lame.
I’m not sure at what point brilliant evocation becomes slavish imitation, and I don’t think the CHESTERFIELD KINGS have figured it out, either. Ultimately, such semantic or philosophical questions are begged by one’s emotional responses, and this album connects with me because of its authentic ’60s punk feel, even down to the production. My one complaint is that these tracks are all covers. Even though some of them are better than the originals—”Outside Chance” leaps immediately to mind—I wish they’d apply that ultra-belligerent ’60s style to new compositions. Eminently cool.
Chunky Texas garage punk. Dorky singing and muscular guitars propel these basic rockers. The themes are typically inane, with “Toxic Shock” and “Secretary Spread” generating the heartiest guffaws. Tesco’ll be able to relate to these jokers.
A bit of a letdown after their first intriguing 7″. Here, only “Maladie d’Esprit” has as much subdued aggression. There’s a sinister undercurrent to DEMENTIA PRECOX, and they demonstrate that synths and drum machines can be used to intimidate rather than hypnotize, but they currently seem to be moving in an artier direction. Too bad.
Idiotic garage punk from New Jersey. The A-side has some of the funniest lyrics I’ve heard recently, while the flip features an absolutely atrocious bar-band guitar solo. These guys are so awful that I actually like them. Maybe they’ll tickle your funnybone, too.
Hardcore from Denver. The FRANTIX have a nice chunky guitar attack which sounds very PISTOL-ian on their mid-tempo songs especially “Sharin’ Sharon.” The semi-thrashers have an awkward feel to them, as if the band just started playing real fast, but the grungy guitar cuts through all the confusion. A nifty record in the ’77-’78 punk tradition.
A real dumb garage punk record by a geeky rock band from SF. “Racin’ for the Pink” has lots of sleazy power chords, some supercool but over-long lead solos, and background soundtracks of hot rods or cycles accelerating. Great for crusin’ with the top down! The flip combines raunch and self-explanatory grammar school sentiments. For G.G. ALLIN fans.
An unanticipated mixture of styles on this, the JONESES’ first 7″ effort. “Jonestown” is an instrumental with a slight tinge of disco bass and reggae guitar; the flip is a garagy slice of mid-tempo SoCal punk that kind of reminds me of REDD KROSS in the verse and RADIO BIRDMAN in the chorus. Not at all generic.
A potent mixture of ’77-style powerchord punk and more contemporary thrashers can be found on this excellent debut album by KRAUT. It is far more riveting than their two EPs, and should serve to silence many of their critics once and for all. Solid production, loads of tight guitar power, abundant energy, and huge hooklines are all showcased here. I don’t really accept Tim Sommer’s suggestion that KRAUT are the punk group of the ’80s, and for all I know, they might actually be the would-be rockstars that their enemies contend, but they sure as hell won’t need ex-PISTOL Steve Jones to give them credibility next time around. Highly recommended.
TSOL may have mutated into something barely recognizable, but their great original punk sound lives on in the material of many current SoCal bands, including the VANDALS, NO CRISIS, and, as this record indicates, LOST CAUSE. That’s certainly not a bad thing, except that here the material lacks the punch of LOST CAUSE’s 7″ debut. There are a few hot moments in “Living in Hell” and “Firing Line,” but somehow I was expecting more from these guys.
OK post-punk from Boston. A loud, clean guitar combines with a heavy bass/drum sound and fine singalong choruses in the engaging “Down and Backwards,” but the lead vocals are too pretentious and the saxy B-side is weak.
Two hilarious novelty tracks from the “Egg Lady” in John Waters’ cult film, Pink Flamingos. The music on this picture disc is basic hard rock with dumb guitar solos, but the arrangements and lyrics are a laugh a minute. “Punks” is addressed to all the punks who are going nowhere fast, and the 300 lb. Edie’s version of the old FOUR SEASONS hit takes on an entirely new meaning here.
Once again, the MEATMEN have managed to provoke “orgasms” of laughter. The same scrungy guitar and chaotic garage approach that stood out on their classic debut serve to propel these here garish songs about a variety of sexual hang-ups. It might be offensive if it weren’t so damn funny, and even though Tesco’s member shrivels up every time he thinks about “human rights” punks at MRR, we still like the silly savage.
An uneven garage rock band from the hinterlands of Illinois. Their faster semi-punk cuts (“Tell Me Where” and especially “Too Easy”) have a loud and primitive drive that’s rather appealing, but the others are very boring songs in the traditional hard rock/heavy metal vein.
Classical-style punk from Florida. The songs are catchy and the recording is raw enough, but the lyrics are about as retarded as you can get, even though they’re meant as jokes. “Wetback” is chauvinistic if not actually racist, and then there are your typical misogynistic, anti-gay, and anti-hippy songs. “More Beer” is a gas, but I bet Anita Bryant would be proud of these “punkers.”
More explorations into the territory they’ve been staking out over the course of their last couple albums. Even without Phil Spector, they’re still aiming for that Spectorian Wall of Sound, and they manage to get it. The material ranges from great new guitar-heavy pop tunes to lame versions of earlier classics like “Little Bit o’ Soul” and “Time Has Come Today.” I think it sounds real good, but if you’re only interested in “Blitzkrieg Bop Part 75,” this LP isn’t for you (except maybe “Psycho Therapy”).
A lame garage rock record which might have seemed funny back in ’76, but now sounds pathetic and out of date. “Rock or Die” and “Chop Up Your Mother” are pretty entertaining, but on the whole this is too calculated to be good garage punk. It comes off more like crass in-joke commercialism.
The second strong pop single from the ALARM. Their main claim to fame lies in an inventive, jangling guitar sound, though decent hooks and an unprepossessing organ also add distinction. Not up to the best ’60s standards, but much better than the TEARDROP EXPLODES and their ilk.
The AMEBIX are currently sounding very much like early KILLING JOKE. Both of these songs are characterized by ultra-heavy bass-lines, echoing drums, and the sort of agonized singing that Jaz is famous for. Now that KILLING JOKE has wimped out, there’s more than enough room for cool cats like the AMEBIX. The cover unfolds into a nice poster.
Heavy metal punk with superficial Satanic overtones, only vaguely related to the the type of thing popularized by such LA groups as 45 GRAVE, VOX POP, CHRISTIAN DEATH, etc. Not my cup of tea at the best of times, but BLACK EASTER are far more turgid than most. Useless really.
A timely reissue of CRISIS’s first two 7-inchers. This band’s trademark is superb melodic punk powered by two guitars, one fuzzed-out, one cleaner. The melodies and hooks are irresistibly catchy, and the political messages have never been more relevant. If you missed out the first time around, don’t be stupid and ignore CRISIS now. They exemplify all of the qualities that made earlier English punk so great, so demand this record at your local store.
The second 7″ from this lot. Both tracks are in the medium-paced Britpunk style, but “Blitz” is a really superb song. The combination of a great sing-along chorus, drill-press guitar, and interesting lyrics make it a mini-classic. The flip is faster, less memorable, and rather dumb.
Not as bad as one might have expected after hearing their two dismal 7″ releases. The DEFECTS’ lyrics are generic at best, and their material certainly isn’t innovative, but the production is excellent and some of the songs on side one have catchy guitar parts or choruses (especially “Dance” and the title track). This album’s neither an upper nor a narcotic.
This LP’s got some punch. The music is faster and snappier than the UK norm, and some tracks really roar (“Born Too Late,” “Hillside Strangler,” etc.). Inexplicably, there are good anti-drug and anti-violence lyrics standing side-by-side with others having an unfortunate fixation on sex and violence. The guitars could be a little louder vis-Á -vis the snare drum, but on the whole the DESTRUCTORS album moves along at a brisk pace and keeps your attention, so give it a chance.
I must confess that I like the new EJECTED EP, just as I liked their debut. It’s bouncy, catchy, loud, an all-around enjoyable. Nothing original, mind you, but boisterous and entertaining Britpunk.
This live EP renews some of my faith in ERAZERHEAD. They’ve recaptured their earlier snappiness and guitar power here, which suggests that bad production was mainly to blame for their recent vinyl failures. Check it out if you like(d) the LURKERS, and have a good laugh during “Get Pissed Again,” a punky rewrite of CHUBBY CHECKER’s big hit, “Let’s Twist Again.”
“Ignore Me” is a hopping guitar-heavy pop song with a chorus you just can’t get out of your head. It sounds a lot like a much louder JAM from the All Mod Cons period. The flip is OK, but not up to the same standard. The GAS may be one-hit wonders, but this here A-side is it.
Despite Dig’s valuable warning that the GONADS are a phony Bushell non-band, I can’t help liking this ridiculous funnypunk offering, with its soccer choruses, punky guitar, and cocktail-party piano. All Bushell is good for is a few laughs over a beer, but this is clearly the best medium for his antics. A knee-slapper from a double-dealing rip-off artist; it should be taped, not purchased.
I don’t have much good to say about this. The GENOCIDES sound like a bunch of headbanging rockers that decided to go punk in an effort to gain an audience somewhere. The A-side is every bit as stupid as it sounds, and the HEARTBREAKERS cover tries hard to make up in speed what it lacks in interest. The only saving grace is that they managed to get a searing treble sound out of the guitars.
VIRUS’s debut is hardly noticeable. “Salute” is a reggaefied pop-punk song with a passable melody, but the B-side might be the most tedious punk version of “Stepping Stone” ever recorded.
A new English compilation tape featuring a couple of bands with vinyl out (AD NAUSEUM and RIOT/CLONE) and a bunch of young hopefuls. The HIDEOUS MUSHROOMS tickle feet with some neat-o funnythrash, the GLIMPO SAUCERS provoke laughs with demented funnypunk, APF BRIGADE intrigue with drum-machine Britskunk, REBELLIOUS YOUTH annoy with overlong post-punk dubs, and HEALTH HAZZARD kick ass with some raw garage thrash. The rest produce more traditional stuff—thrash (LOST CHERREES, X-CRETAS), ’77 punk (PANIK, TOTAL CONTROL), and modern mid-tempo UK punk (WARNING). Pretty varied sampler.
Uncontrolled DISCHARGE-like thrash from Italy. This EP has loads of raw spirit, a chaotic instrumental attack, and really weird garage production—right in the middle of a song, the vocals or guitar will suddenly get louder and softer without rhyme or reason. It must be that world-famous MANIAX influence.
Not quite as manic as the RIISTETYT album, but every bit as good. Although APPENDIX has a very powerful hardcore sound, their material is more varied and distinctive than the norm. As a result, the songs stick in your head after only a couple of listens, whether they’re thrashers like “Paniikkia,” mid-tempo punkers like “Kuitenkin Kuolemme,” slow noisemakers like “Nöyrät Nuolee,” or combinations of the above like “Ai?” If you like DC’s SCREAM, you’ll get a rush out of APPENDIX. And dig that psychedelic cover!
HONKAS are a very raw punk band from Germany, and the production on this record only accentuates their primitivity. Some of the songs here almost degenerate into an undefined mass of guitar distortion, but others (like the title track) have more focus and drive. Pretty sharp.
More hot Italian thrash on a DIY EP. INDIGESTI are fast, tight, and powerful. They’ve got one slow-fast number with heavy metal guitar parts (“Mai”) amid the thrashers, and a good snotty vocalist. The WRETCHED are faster, sloppier, and right out of the garage, production-wise. The Red Brigades could have made General Dozier’s ears bleed with music by these two bands.
These jokers have been around for a while, and they’re still peddling the same unprofessional funnypunk that they began with. The main difference is that now they’ve incorporated diverse influences like “Oi-Oi-Oi” background vocals (in the title song), rockabilly beats (“Gratissex”), a quasi-funk bass (“Regardez-Moi”), and even some artiness (“Nachts scheint die Sonne”). It’s kind of fun to listen to this album, but it won’t exactly etch itself in your memory.
Remixed versions of two songs from the FORGOTTEN REBELS’ LP mentioned in MRR #3. The guitars are mixed a lot louder this time around, and it sounds really hot. “Tell Me You Love Me” is an exceptional punky-pop cut with background vocals and a chorus that’ll stick in your head for days, maybe months. More of the same, please.
The second LP from German punk veterans OHL is much hotter than their uneven debut. The production is crisper, the group has become a lot tighter, and the songs are much more memorable. Though not really a thrash band, OHL do produce some speedy slabs of guitar-heavy power that’ll strain your speakers at high volume (like “Schrei, Schrei” and “Warschauer Pakt”). I’ve heard rumors that these guys have right-wing proclivities, but they should lay the rumor-mongers to rest here with “Nie Wieder,” one of the most vitriolic anti-Nazi songs I’ve ever run across. Recommended.
Infinitely better than their weak debut EP. OUT OF ORDER now have a much more powerful guitar sound, a tighter instrumental attack, a faster tempo, and decent production. There’s a real mixture of punk styles here, ranging from the ’76 numbers with Rottenesque vocals (“Royal Wedding”) to ’78-’79-era Britpunk (“Ministry Bureaucracy,” the title cut, and a cover of CRISIS’s “Holocaust”) to more modern “skunk” anthems (“Politicians” and “Wasted Youth”), to pop-punk (“Inside Out”), and their occasional use of an organ can be refreshing. All in all, this LP represents a sizable step forward for these German punks.
The biggest problem with RIISTETYT’s earlier EP was that the vocals didn’t quite mesh with the musical backing, a discomfiting effect that made it difficult to distinguish between the various 1000-mph songs. That problem has been largely, though not completely, overcome on this intense LP. The drummer gets an incredible workout, and sometimes you can’t keep up, but Valtion Vankina is a great record if you like uncompromising thrash with good political lyrics.
In-fucking-credible! This is a totally great hardcore compilation from Brazil. Three groups appear on this album: OLHO SECO is an awesome thrash band with a raw guitar that sounds like a pesky fly buzzing around your head; the INOCENTES have a more English-style punk approach; and CÁ”LERA play very fast hardcore with irresistible sing-along choruses. There’s not one boring musical moment here, and the mix really exaggerates the piercing guitars. I don’t know how they get away with the overtly anti-fascist lyrics in a repressive right-wing dictatorship like the one in Brazil. An absolute must for enthusiasts of gut-level music.
Another uneven punk compilation, this time from Switzerland. The contents cover most recent punk styles, from the CRASS-like assault of SURPRISE ATTACK (in “Banzai Attack”) to LAST EXIT’s basic Oi to PÖBEL’s slow punk with shimmering guitars to the sloppy thrash of R.A.K. to CHAOS’s ’77 punk with faster parts to ?X’s ska-punk fusion (“New York”). My personal faves are MICKEY UND DIE MÄUSE’s funnypunk with gravelly singing and NULL KOMMA NICHT’s cuts on side one, which highlight disjointed thrash with weird vocals that sound like a cross between THEATRE OF HATE’s Kirk Branden and Jello. It’s always nice to get a sampler of bands from another part of the world.
Not quite what I’ve come to expect from Finland. On this one, several Finnish hardcore bands develop a more individual style, and the results are very good indeed. MAHO NEITSYT perform another great medium-speed gravel-throated number; APPENDIX have cleaned up their noisy act and put together a couple of good hook-filled cuts; the ETUALA rely on a solid riffing guitar attack; ANTIKEHO provide a slice of nice standard thrash; and NATO do a ’77 punk number. Diversity without wimpiness.
Well, I liked DIE KREUZEN’s earlier cassette a lot, but even it didn’t quite prepare me for this outstanding slab of vinyl. All the noteworthy aspects of the former have been preserved, most notably the freneticism, but the band is tighter now and the recording is better. There’s a hint of the MEAT PUPPETS and CODE OF HONOR herein, but these Wisconsin guys are clearly originals.
A raw garage punk album by a band out of New Orleans. The music is exceedingly primitive, with fuzzy two-chord guitar, nasty vocals, and a very fast tempo. I’d recommend it without hesitation on that basis, but the lyrics cross the fine line between scatological humor and gross ignorance on more than one occasion (especially the racist “Poor Blacks”). Still, how can you criticize a record with a song called “Mom’s Cunt” on it?
I don’t know how astute these guys are, but they sure do play some mean thrash punk. Personally, I think WHITE CROSS blow away many better-known groups. They’ve got that extra intensity which separates great thrash from the increasingly common generic variety. Definitely get this one.
The best thing about this new BLITZ 45 is that it will piss off the more narrow-minded Oi-sters. It really breaks the standard “skunk” mold with a schizoid musical approach combining NEW ORDER (squeaky clean production, a dance-oriented beat, a tinkling piano) and GARY GLITTER (superheavy drums and repetitive sing-along choruses) influences. I long for the crunching guitars of their All Out Attack EP, but I’m thankful that they’re not just recycling their more derivative recent material.
I’m getting tired of repeating myself, but this is another great Finnish thrash record. RATTUS are as fast and powerful as anybody, but not quite as chaotic or extreme in the vocals as some newer bands. There’s more musical control in evidence here, probably due to a longer period of musical apprenticeship. Still, it’s hard to find a more intense song than “Miesten Koulu,” so don’t overlook this Pus-covered baby.
If the CONTRACTIONS were from New York and sung about typical teenage themes, this is what they’d sound like. The AFFECTIVES play inoffensive pop-rock with an occasional good hook, but there’s nothing here that’ll make you sit up and really pay attention. “You Hate Me” is a catchy teen lament.
Are the AMPS one of the missing links between the ’60s and the ’80s? Perhaps. “Flowers is ’60s-style garage rock with overlong guitar leads and anti-censorship lyrics. But buzzsaw guitars, a gradually accelerating tempo, and one of those goofy axe solos that only untutored musicians can produce make the flip a stronger and more modern song. Pretty cool record.
The most intense thrash album from LA in quite a while. The music is pretty generic, but it’s also plenty loud and fast. Lyrically, ANTI range from intelligent (“Fight War, Not Wars,” the title track, and “The Cycle”) to the semi-moronic WASTED YOUTH level (“Poseur” and “I Hate You”). Go for it if you can’t get enough thrash punk, but not if you’re searching for something unusual.
Hey, this is even better than G.G.’s usual garage punk offerings, being faster, tighter, and minus sexism. Amazing! The background choruses turn “No Rules” into a classic, but this guy still serves as a constant reminder of how absurd people can be. That’s a recommendation.
This Chicago band produce an original sort of quasi-industrial sound reminiscent of early PERE UBU and DEMENTIA PRECOX. There’s all sorts of weird frills and noises that suggest hammers hitting anvils and pistons driving machines. But don’t think these guys are arty—their music has a vague punky sensibility and primal hypnotic rhythms. If depressed factory towns like Gary, IN ever need a theme song, they should turn to BIG BLACK.
A real mixed bag. The BIG BOYS are at their best when they play punk (“Fun…”), thrash (“Apolitical”), or jittery punk-funk like the MINUTEMEN (“Nervous” and “Prison”). When they branch out, they totally blow it. Here they butcher KOOL & THE GANG’s “Hollywood Swinging” and do awful PIG BAG imitations (“We Got Soul”) that must be aimed at audiences in New Wave discos or something. This gets a qualified recommendation at best.
A garage rock record with punky and psychedelic overtones. Most of it is pretty uninspiring (especially Side 2), but they do come up with occasional nuggets like the punked-out “Let’s Go to Hell” and the catchy, scathing “Minimum Wage.” The lyrics are more intelligent than usual for this genre. Worth a listen.
An unexpectedly strong release. CRUCIFIX may look like English punks, but they definitely have that American intensity. “Prejudice” and “Rise and Fall” are two songs played at thrash speed that are both powerful and distinctive. Real great stuff! “Steelcase Enclosure” is far less interesting, and Sothira’s wonderfully raspy vocals are mixed a bit too low, but this 7″ stands spikes and shoulders above their 12″ debut.
Not one of the DK’s finer moments. “Halloween” is too rock-oriented and makes me long for the MISFITS’ song of the same name. “Holocaust” starts out like an art-damaged neo-psychedelic track on the WITCH TRIALS EP, then mercifully snaps into a fine older-type DK’s punk song. Good lyrics as usual, but…
These two live songs by New York’s EVEN WORSE are a bit sloppy and incorporate some heavy metal guitar damage, but the band’s sheer exuberance and chutzpah easily manage to overcome such piddley faults. They’ve got a chaotic, amateur charm all their own, and the singer’s sarcastic onstage raps sound frighteningly like mine. Yeah, I like this record, especially “Mouse or Rat.”
Even though I think that everyone in FLIPPER is an egotistical, self-indulgent asshole (except the ever-cool Ted), I’ve got to admit that they’ve put out some truly great singles. “Get Away” is no exception, with its powerful driving beat, noise guitar, and clever, venomous lyrics. The 33 1/3 rpm flip is another humorous, annoying novelty, but “Get Away” makes this one a must. Amazing cover, too.
Cool pop-punk, maybe the closest thing to hardcore that can be found in South Florida. All the songs except “Johnny” are real zippy and guitar-heavy, so if you’re looking for basic rock and roll fun, this is for you.
Wow! The LAST have finally reverted to their earlier fast and raw form on 2/3 of this EP. “Up in the Air” is a super cut with great ’60s organ swills and a short but sweet psychedelic guitar break. “Wrong Turn” is almost as good, but “Leper Colony” has an awful, pretentious chorus. Still, it’s good to see the LAST get back a bit closer to the roots.
A good pop album that could have been a great pop album. The songs still have a thousand hummable hooks and the background vocals are as coy as ever, but what the fuck happened to the heavy dual guitars that feature so prominently in the MUTANTS’ live shows? Unfortunately, they’ve been almost obliterated in a mix which overemphasizes Fritz’s weird voice. The same “wimpifying” technique turned the GO-GO’S into stars, but I wish someone would make a bootleg out of the MUTANTS’ earlier demo tape to provide a contrast and illustrate their real potential.
A spirited young band from outside Chicago. They play a variety of styles on this tape, ranging from the FLIPPER-ish “Fucking Fashions” to the thrashed-out “I.R.S.” to the funnypunk classic, “Burn, Jane Byrne.” The lyrics to “Morton Grove” are a bit muddled, but SEISMIC WAVES have potential. I just hope they get some gigs.
Alright! The REAL KIDS have ben resurrected for the benefit of all. Their forté—’60s pop-punk; their trademarks—heavy guitars, sizable hooks, and the plaintive voice of John Felice. Here the combination works best on the seductive “No Place Fast,” the driving “Senseless,” and the rock n’ rollin’ “It’s Been Real.” The production could be dirtier, but this is still super bad Bosstown bop.
Musically, this is a neat garagey record with both punk and rock overtones. In the midst of all the new political thrash bands, the SILLY KILLERS actually sound somehwat refreshing, even though they employ older stylistic devices. But the lyrics—yecchh! I’m getting real sick of all this sexist and homophobic shit coming out now. Just because you guys are insecure about your own sexuality, you don’t have to foist it on others.
A really unpleasant surprise. Musically, it’s more of the standard SHATTERED FAITH sound—mid-tempo punk with melodic choruses and occasional heavy metal guitar frills—but the production is too restrained and their newer material is less engaging. Worse, the live side is filled with standard rock and roll bullshit (Don Kirschner-like intros, artificially heightened applause, inane raps like “God bless you”), and the lyrics are unbelieveably stupid. The cliched songs about girls are bad enough, but “USA” plumbs the depths of ultra-patriotic retardation and makes it clear that earlier cuts like “Reagan Country” should be taken at face value rather than as satires. If this is LA, give me Boston.
Help! The SUPER HEROINES fancy themselves the cutting edge of oh-so-trendy “horror rock” now emanating from LA, but despite their pretensions, this LP showcases little more than regurgitated heavy metal. In a word, awful. Bemisbrain should concentrate on releasing more MODERN WARFARE material.
A neat little garage pop record by some clever Chicago teens. Acoustic-type guitars create a bouncy background for the hilarious lyrics and catchy chorus in “Hardon,” which describes an all-too-typical situation facing males. “Dear One” has more of a ’60s pop feel. Not bad for a first effort.
The WHAT are an all-female group from the Midwest, and they’ve made one of those records that’s so band it’s good. You know, the SHAGGS syndrome. “Gloria” is an amateur but straightforward of the PATTI SMITH version (!); the B-side contains a complete hatchet job of the OUTSIDERS’ old classic, replete with out-of-tune guitars, off-key harmonies, and imprecise instrumentation. Yuk it up!
A letdown. The ADICTS’ newest funnypunk release is neither as funny nor as punky as their earlier efforts. The band is clearly capable of making entertaining music, but on this EP inferior material and overly clean production result in yawns rather than laughs. That doesn’t bode well for their new album.
This is a fine record. It’s very slow amateur punk, but it’s got haunting pop vocals and other distinctive qualities that make it stand out. For example, “Freedom Fighters” has a reggaefied structure and twin guitars, one sparse and one ultra dense, which complement each other perfectly. Way cool.
This one’s got little to offer except very nasty Oi vocals. “Fighting the System” is a reggae-influenced number that doesn’t really go anywhere, and “Soldier” is tedious Britpunk that wouldn’t even disturb your grandmother.
Long-lost proto-Oi band COCK SPARRER have unexpectedly returned. This new release showcases their peculiarly melodic, buzzing guitars, and high-pitched vocals that sound like like a cross between soccer choruses and the singing of certain glam-rock bands from the ’72-’74 era (SWEET, SLADE, etc.). Though “England Belongs to Me” is avowedly an attempt to take the Union Jack back from the extreme right and make it a symbol for all Englishmen, it still reflects a reactionary world-view where petty nationalism is glorified.
More snappy pop-punk from the DAMNED, complete with organ, synthesized marimbas, and music-hall singing. This may be a far cry from “Neat Neat Neat,” but it’s got an undeniable charm of its own. There are even—dare I say it?—some tasteful guitar licks amid the overall silliness.
Surprisingly good for these normally boring Oi-sters. “Low Life” is twice as powerful as anything on their awful LP, and damn catchy to boot. Louder guitars and soccer choruses pull this one up by its braces.
This release ranks right up there with those of the 4-SKINS and ANTI-PASTI (Caution in the Wind LP) in the contest to see which English band can put out the worst album. Mediocre material, a mundane instrumental attack, flat production, and generic Oi themes make this duller than an overused razor. “In for a Riot” and “Boot Boys” are decent new tracks, but you know something’s wrong when a hoary old MOTORS’ cover like “Emergency” sounds real strong. Zzzz…
Speed alone would make the MAU MAUS’ second EP noticeable among this month’s UK releases. Both tracks on the B-side are firmly in the DISCHARGE/GBH tradition, but the title cut is almost ruined by an atrocious heavy metal intro. Basic thrash—nothing more, nothing less.
This band’s name must refer to resistance to the ’77 spirit of creativity and original thinking. Actually, that’s not entirely fair, because this EP is better than much of this month’s English crop. “Nottingham Problem” and “Nuclear Attack” have a bit of raw, foot-tapping spunk.
One more plodding Britpunk record that makes me wonder how I got into punk in the first place. The title song has a passable poppy chorus, but the others are big zeros—no tunes, no intensity, no originality, no nothing. How much more of this shit do we have to hear?
Typical medium-to-slow Britpunk. RABID have a nice raunchy guitar tone, but it doesn’t compensate for the generally listless material. “Police Victim” sounds like the DAMNED’s “New Rose” at times, and “Glory of War” has some energy, but not enough. Note: label is incorrect.
Another great funnypunk release from the TOY DOLLS. “Nellie” is a disposable novelty song, but “Dig” finds the band in their real groove, baby—fast, guitar-heavy punk-pop with hilarious lyrics. It’s almost as neat as “Tommy Kowey’s Car,” and that’s saying a lot.
Northern Ireland’s VICTIM return with a bang on this wonderful punky-pop EP. The title song is the best track, with its heavily reverbed double guitars, BUZZCOCKS-ian vocals, and strong hooks. It’s a classic cut that’s not matched on the flip, though “Junior Criminals” has its merits. If only the UNDERTONES and RUDI still used this style!
Scene veterans the WALL were always somewhat inconsistent, even as a fledgeling punk band, but this tendency became more pronounced as they entered their post-punk phase. Now, they are consistent—consistently bad, if this 12″ is representative. Only “When I’m Dancing” has a semblance of a hook; the rest are just ponderous, boring dirges.
Standard ’80s Britpunk. Some of these songs stand out by virtue of their higher speed and/or catchy choruses (especially the title cut and “Dead End Depression”) but most lack any distinguishing features. The 12″ contains three more tracks than the 7” version.
This must be reunion season or something. The VIBES have returned to their original form after several years of wanking off. The re-recorded version of “Baby Baby,” one of their early hits, is inferior and thus totally unnecessary. On the other hand, the flip has traces of their classy old songwriting, and suggests that their upcoming album may actually be worth waiting for.
Well, I didn’t know that “total anarchy” was a marketable commodity, but here it is. And the usual show, tedious punk-by-numbers in the grooves exudes the safe, commercialized form of “anarchy” that punk is increasingly coming to represent—all stylized form and no real content, all superficial slogans and no real ideas or action. The only cuts with any punch are the two by Death Sentence (both already released), one by CHAOTIC YOUTH (“Don’t Take Their Shit”), and one by EXTERNAL MENACE (“External Menace”). Otherwise, yecchh! Anyone want some cheap coffee-table anarchy?
As the band themselves say, “Never mind the SEX PISTOLS, here’s B. TRUG,” because this is a really superb punk LP with plenty of garagey raunch. Most of their material consists of short blasts of buzzing noise that evoke an oncoming locomotive; the rest has a pronounced rockabilly rhythm and sounds like early demos of the CRAMPS must have once sounded. The abrasive recording definitely captures the raw power that B. TRUG must generate live. My fave new German release.
A mediocre, very primitive punk album. In fact, the poor recording and amateur musicianship are COTZBROCKEN’s only real strong suit. Since most of the material plods along and lacks any hooks, good production would only make these guys sound like any run-of-the-mill English band. Aside from the hoarse vocals and an occasional song with spunk (“KZ” and “Hey, Punk”), this can’t be recommended.
Another excellent punk album from Finland. As we’ve already indicated, LAMA aren’t one of the young thrash bands, but an older-style punk group that started in ’78-’79. But that doesn’t mean that they sound like today’s boring English clone groups. They have musical muscle, songs with great dynamics, tightness, and they play pretty damn fast for a bunch of old-timers. Their new thrashed-out version of “Tavastia” is a classic, the high point of this LP. Rumors has that they’re breaking up. What a shame!
Mid-tempo German punk in the increasingly tedious Britpunk tradition. Still, PUNKENSTEIN are a lot more powerful than most of their cross-channel peers, especially on “No School.” Nothing exceptional, but loud and not without humor.
Radical protest music from the belly of the beast. RIOT SQUAD are South African punks who play slow, catchy ’77 stuff, but their real significance lies in their very existence in such a repressive country. Vicious anti-apartheid and anti-government lyrics are featured on this EP, so let’s hope that these brave lads don’t end up in jail or dead. Incredibly inspiring.
Again, flat production and mundane material make for an unsatisfying German punk album. This record is positively laid back, the worst possible attribute for a hardcore release. Much of the problem here is no doubt due to the wimpy recording, but the songs themselves don’t show much promise, either. There are rare glimpses of potential, but they never develop into anything substantial.
Not quite up to the standard set by their debut EP, but still excellent. Some of the thrashers run together indistinguishably, and slower metal songs like “Hero’s” and Black SABBATH’s “Children of the Grave” don’t cut it, but in general, the same qualities that made their 7″ so great—sneering vocals that could strip the paint off walls, raging instrumental power, and perceptive lyrics—are well in evidence on this 12”. If you play it loud enough, you can a) make the Silent Majority wilt with “Battle Hymn of Ronnie Reagan,” b) do agit-prop work on the R.C.P. with “Don’t Want No Gun,” c) put fascists on the run with my fave “Take a Stand (Against the Klan),” d) drive your nosey neighbors crazy with any of these 16 tracks, or e) manage all of the above. This record’s an all-purpose ass-kicker, so use it.
An Italian band that occasionally sounds like the REACTORS or—dare I say it—a smarter VKTMS. A feisty Englishwoman belts out some modern rock material—punk, reggae, and post-punk. With such a wide stylistic approach, it’s not too surprising that S.I.B. don’t really excel at anything. The best songs here are examples of classical punk with real power, like “My Secret Life,” “Listless,” and “You.” A few worthwhile moments, but nothing earthshattering.
Nifty garage punk from the real Northern California. Some of it’s fast and some of it’s slow, but all their material shows potential. “Raygunomics” is a definite classic.
More demented experimental punk from this bizarre fellow’s band, though the punk element is only pronounced on “Guncontrol” and “The Army Is Calling.” “Africa” has, as might be guessed, strong African and reggae influences, while “Star” is a slow psychedelic piece. Interesting, but not for everyone.
The long-awaited return of ex-CRAMP Brian Gregory. Does his new band also feature primitive punkabilly? Unfortunately not. Instead, we get an atmospheric post-punk sound complete with haunting female vocals, a sax, synthesized sound effects, and a squeaky clean guitar. The horror themes alone remind one of the CRAMPS, so listen to this before you buy.
One of the finest underground bands I’ve ever heard. The CRUCIFUCKS have more going for them than any group could ask for, including amazingly sharp lyrical barbs, insane Jerry Lewis-style vocals, sheet-metal guitar, innovative bass and drum interaction, and unique overall arrangements. The tempos vary, but every song is brilliant, especially “Establishment” and “Hinkley Had a Vision.” Mark my words, you’ll be hearing a lot more about these guys in the very near future.
This New York outfit pounds out a stirring anthem directed against the stupidity and regimentation of our “educational” system (along with a mouldy JOHN FRED cover song). It’s medium-fast older-style punk rock with great lyrics and catchy choruses in the early SHAM 69 vein. You’ll flunk unless you give it a listen.
This Maryland punk band lies on the wrong side of the fine line between endearing primitivity and musical ineptitude. Still, the lyrics are strong and the vocals are great, so all these guys probably need is more time to practice.
After reading the hype about this Arizona band, I expected to hear great garage punk. Instead, I found wimpy new wave music with cutesy-pie female lead vocals. The uptempo “Pump-Rama” and the title track are OK songs in the B-52’s tradition, but the only things really interesting about KILLER PUSSY are their name and their trashy lyrics.
This is weird. “Zulu Beat” has conga-style drumming, XTC-type vocals, a bass run lifted from any number of ’60s psycho-punk songs, a restrained sax, and a couple of instrumental rave-ups. The flip pretends to be noisy rock ’n’ roll. Nothing to lose sleep over.
A new hardcore band from Portland. The material ranges from thrash to garage punk and their sound, while not terribly original, is nice and gritty. Unfortunately, the lyrics are really stupid, being sexist (“Devil”), violence-prone (“Pop Your Head”), and, despite their protestations, racist as hell (“Go Back”). These guys could be good after a few consciousness-raising sessions.
This is a great Bay Area garage band. I mean, this is such a good example of the genre it could be from the Midwest! Hilarious lyrics and a grungy sound make the MOHAWKS appealing as hell.
A great new New Jersey group with an intense female vocalist, slashing guitar chords, and top-notch lyrics. “Fuck the Past” proves that NO THANKS rank right up there with the best.
Radical teacher at local school is let loose in a recording studio and manages to produce a politically astute critique of Reaganomics within a humorous garage punk format. Pretty good for amateur hour, but grittier guitars could have turned these entertaining ditties into minor classics. Maybe next time.
Extremely abrasive metal noise supposedly stimulated by listening to the STOOGES played “backwards, forwards, and sideways.” Well, I believe it because this is definitely brain damage material. The lack of real vocals won’t help them commercially, but I doubt if they’ll give a fuck.
A much faster and more enthusiastic follow-up to this Ohio band’s kwiet KINKS-ish debut. Great ’60s pop vocals, hooks aplenty, and heavy guitars make this a sterling record. Really impressive, but I wish to hell Bomp would do a better job distributing their subsidiary labels—you can’t get Voxx 45s anywhere in the Bay Area and the situation probably isn’t much better elsewhere.
An amazing garage psychedelic 45. The bittersweet vocals, simple chord progressions, and crude guitar tones on “I Want…” remind one of innumerable underground classics from the mid-60s without plagiarizing any particular band. The flip is more “psychedelic” in the modern post-punk sense of the term. Great debut.
A new sampler of mostly unknown New York groups. It features stuttering thrash by the MOB and SQUIRM, but most of the music and themes are rooted firmly in the garage punk tradition. The best garage group is ISM, who should get kudos for both their political lyrics and the best song title of the year—”Moon the Moonies.” The HEADLICKERS, BUTCH LUST & THE HYPOCRITES, and KILLER INSTINCT have more of a rock/heavy metal origin, but the latter are real fast. This record is uneven but it does contain some gems.
This is perfection? No way, it’s a thoroughly unsatisfying debut album from CHARGE. And sneaky, too. First, they put out a brace of punk 45s and then lure everyone into buying a long-player’s worth of very different material. Herein lies rhythmic music with annoyingly precious vocals that should be placed somewhere between post-punk and experimental punk, the closest comparisons being UK DECAY, THEATRE OF HATE, and (gasp!) ADAM & THE ANTS. These guys have played punk rock like “Gasman” here since ’78, so they’re entitled to change styles if they want to. On the other hand, we don’t have to keep listening to them.
An interracial Britpunk band that currently sounds too much like the EXPLOITED for its own good. DEATH SENTENCE are fast, loud, and a little rough around the edges, so they could come on strong if they develop more of an individual style.
The PURPLE HEARTS return with three fairly pedestrian pop ditties that make one long for their older neo-Mod classics like “Millions Like Us.” This stuff isn’t really bad, it’s just totally unnecessary. Oh well!
Yet another in a seemingly endless line of British punk records. Though this new group doesn’t really break any new ground, better songwriting ability lifts them above the pack. If you insist on rehashing a ’70s punk format in 1982, you’ve got to write memorable tunes to hold anyone’s interest, and MAJOR ACCIDENT occasionally succeed where innumerable others are failing. Cool recording, too.
Great roaring post-punk with an abrasive sax, horror themes, and frantic drumming, especially on “Mind Disease.” “Nine” is more arty and hence less effective, but these guys have real potential. For early KILLING JOKE fans.
Another great-sounding Oi record from SPECIAL DUTIES, but regrettably they’ve exhibited completely reactionary values on this one. “Bullshit Crass” is an anti-CRASS diatribe which might be funny if these clowns did even 1/100th as much as CRASS to generate intelligence and help other bands. And what can you say about goons who consider CRASS—the ultimate anarchist group—to be “Reds”? Embarrassingly stupid.
Ditto for this long-player. SPECIAL DUTIES have everything—ripping guitars, amphetamine speed, sandpaper vocals, catchy choruses—except the all-important brains. This time they rail against the “Campaign for Nuclear Disarmament,” asserting with jingoistic passion that they don’t want to die for a weak England! (Fellas, you were born about a century too late.) If the imbecility quotient wasn’t so high, this would be one of my current faves. As it is, I can’t recommend it.
A very lengthy reprise of the militaristic song that once appeared on the VIBRATORS’ second album, courtesy of original member Knox. The 45 rpm side has more punky spunk and guitar effects; the 33 rpm side is more brooding and bass-heavy. If you like the song (as I do) you’ll enjoy this, but it’s not exactly good value for money.
This is a cool punk record with pop overtones. The latter appear as melodic riffs laid over a buzzing mid-tempo structure, very reminiscent of the late, great CRISIS. The intro to “Never Say Goodbye” is lifted straight from “Boredom,” the Buzzcocks’ old chestnut. A little nostalgia never hurt anybody.
Well-recorded English punk. The guitars are loud and the sound is heavy, but the material is just too typical to sustain interest. Ho-hum.
The fourth and supposedly final Oi compilation LP is far from the best. In fact, I’d say they’re scrapping the bottom of the barrel here. Aside from fetching cuts by the BUSINESS, the OPPRESSED, ATTAK, SKIN GRAFT, and our own BLACK FLAG, as well as a magnificently funny poem by ATTILA THE STOCKBROKER (“Away Day”), the res is pretty disposable. Gary Bushell’s silly liner notes are well in character, but he’s got a lot of cheek trying to force BLACK FLAG into an idiotic Oi mold.
Like the LAST RESORT album, this compilation suffers from weak production and generally lackluster performances. Only TDA generate real firepower with their speedy instrumental attack. The ACCUSED and the SEDATED also have their moments, but almost all the other groups have trouble writing a memorable tune. The biggest surprise here is that the newly reformed SKREWDRIVER—a seminal ’77 proto-Oi band—display little of the obnoxious punch that made older songs like “You’re So Dumb” so classic. On the whole, disappointing.
Super fast thrash, the characteristic Finnish hardcore sound. The BASTARDS have strong vocals and a nice wall of noise, but the weak drumming occasionally lessens the punch and the tunes tend to blur together. That doesn’t keep me from recommending it.
The missing link between LAMA and the younger Finnish thrash bands. KOHU-63’s newer material is considerably faster than the tracks on their ’77-like “Pelimanimusaa” EP. They certainly haven’t lost any drive or power, though some of the melodic hooks may have been trampled in the stampeding tempo. Still, a fine record, and check out the COCKNEY REJECTS/EXPLOITED parody (“Härpsälä Kids”) for a good laugh.
Fast classical-style punk with a chunky instrumental attack. It’s really good but not as awesome as some other Finnish hardcore releases. “Paskaa” is the standout cut, with its throbbing bass and drum beat.
Extremely biting ’77 punk with rough sandpaper vocals straight out of a horror film. This is really strong stuff and, best of all, it doesn’t evoke any close comparisons with other groups. Laryngitis rules, OK!
More ultra thrash from Finland. On this EP every individual song is manic and would sound super if played by itself, but it’s hard to distinguish between the various tracks when they’re all played back-to-back. I guess distinctive songwriting is what separates great thrash from good thrash, but this stuff is still pretty wild.
A raw one-sided thrash record with vocals that sound like they’re coming out of a covered garage can. In other words an extremely nasty debut with loads of promise.
Powerful Finnish thrash punk. The closest comparison is probably GBH, except that these guys are better. “Jos sota tulee” is the best of a bunch of great songs.
The newest release from these scene veterans, and they’re getting faster and more intense each time around. Given the youthful competition, it’s not surprising that this EP showcases heavy thrash stuff, and it’s well worth your attention. Watch for an LP soon.
More of the same great sound. The material here is very much like early DISCHARGE, only more garagey. I defy anyone to try and surpass T.KÄDET’S primitive guitar leads. Highly recommended.
With this release, T.KÄDET come of age and prove they’re among the world’s best hardcore bands. This well-produced record has everything—ultra tight thrash power, join in choruses, and lead vocals so demented they make the MEAT PUPPETS sound like the BEE GEES. The hottest punk EP released thus far this year, really.
“Osat” is a great punk song in the classic late ’70s tradition, complete with choppy fuzz guitar and cool background vocals, added for punctuation. Only the handclaps are missing. The B-side is slower and far less memorable, but this band is mining a rich if overused vein.
Unlike most Finnish bands, which pursue their chosen genre with a single-minded and frenzied dedication, 000’s debut is a mixed bag. Their crunching sound is applied equally well to thrash, mid-tempo punk, and even a couple of engaging post-punk numbers. It’s good to see experimentation, but I still favor the straight and nasty.
The second album from an old Toronto punk band known for its cavalier offensiveness. Compared to their classic In Love with the System LP, which was filled with unforgettable satire like “Elvis Is Dead” and “No Beatles Reunion,” this new release is rather tame. Despite the personnel changes, the group retains its infectious pop-punk sound and its absurdly ironic quality, but the themes are much more pedestrian and much of the obnoxiousness is gone. I guess that’s “progress” for you.
Punky pop-rock from Germany. The songs range from the heavy PROFESSIONALS-like pop of “Pest Club” to the PISTOL-ian “Rote Masque,” but they all have dense guitars and hooks aplenty. A mixed bag, but definitely worthwhile.
Mid-tempo ’77 punk from this German hardcore band. If the guitars were turned up twice as loud and the vocals were more raspy, the NORMAHL might have something going here. This isn’t the case, so the results are less than satisfying. These is an appealing amateurishness evident here, but it’s not enough to overcome the above-mentioned shortcomings.
Basic ’77 punk with no surprises. I’m not sure why, but most German hardcore groups are still mired in the slow ’70s punk tradition. The SYSTEM display little power, no intensity, and undistinguished songwriting. “Knall sie ab” is the best of this batch of material, but someone should send these guys a MINOR THREAT or NECROS EP to show them how it’s done in the ’80s.
The best garage punk album of the year. The SAMOANS have once again produced a brilliant amalgam of 60s punk, 80s punk, and heavy metal. The punchy uptempo sound, buttressed by three guitars and extremely belligerent mid-60s lead vocals is so dense that it’s well-nigh impenetrable, but it’s the SAMOANS’ exceptionally retarded sense of humor that really accounts for their perverse appeal. This brain-damaged approach is vastly better than the commercialized punk and self-conscious Satanic crap which currently dominates the LA scene, so don’t miss out.
Reputedly the last release from ZOUNDS, this 45 showcases an appealing change of musical direction. From punk origins to their rather post-punk phase to this, an ennui-filled variety of pop music particular to the English. Pick this one up if you’re a TV PERSONALITIES or SOFT BOYS fan.
The third in a series of German compilation albums recorded live in Hamburg. All of them have been uneven, and this one’s no exception. Basically, it contains boring rockers (SALINOS), art damage junk (LIEBESCIER), and unimaginative punk (the CORONERS). Even groups that have previously produced something worthwhile (the RAZORS, ABWARTS) are unable to rise above on this platter. For collectors only.
Experimental punk from Denmark. A raw guitar assault and excellent lyrics are wedded to quite varied arrangements—some are thrashed out, some are slow, some are staccato, some are unrelentingly driving, etc. “Government, the Biggest Enemy” hurtles along at a breakneck pace and comes in first on the Bale scoring system.
Like their Alternative Tentacles 12″, this new EP has three metal thrash attacks on one side and a reggae composition on the other. The outstanding punk cut is the blistering “Joshua’s Song,” and the BRAINS are finally improving their previously poor reggae style. Politically, this record reveals the typical Rasta mixture of progressive (opposition to the Establishment) and reactionary (repressive religiousity) values.
A really solid guitar-bass-drum attack anchors these highly intelligent blasts by a new Chicago band arising out of the ashes of DIRECT DRIVE. The singing is gravelly as hell, the music fast yet tight, and the songs infectious. A sure winner.
Thrash garage punk with amazingly snotty vocals. The instrumental raunch perfectly complements the singer, who sounds like he’s right on the edge of sanity. You’ll be singing the chorus to “Beastie Boys” for days after hearing it, and the psychedelic (“Jimi”) and country (“Michelle’s Farm”) satires are really silly. The best of the new crop from New York.
A new punk EP with a sound reminiscent of some of DOA’s earlier material. The production is real basic and the songs grow on you with repeated listenings, but the overall delivery is too restrained for the angry anti-fascist lyrics on songs like “US Police State.” Enjoyable but not earth-shattering.
Rock and roll retard JEFF DAHL is at it again! The guy may be a jerk, but it’s hard to fault this nifty garage punk record. “Power Trip” is older-style gutter rock, while the others are real fast punk blasts in the recent ANGRY SAMOANS vein. In fact, I’ll be anything it is the SAMOANS backing him up here.
A split package by these transplanted Floridians—two metallic rock songs and two thrashers. Although the vocals on the former pair remind one of the late Jim Morrison, the real strength of this EP lies in the others. “Male Domination” is a particularly outstanding cut, with its adrenaline kick and vicious anti-chauvinist lyrics.
Wisconsin thrash punk with more structural complexity than usual. Choppy rhythms, fluid guitarwork, and spastic vocals are the distinguishing characteristics here. DIE KREUZEN (formerly the STELLAS) provide further proof that the Midwest is no longer slumbering, so give them a listen.
Texas garage punk. “Hydro-Head” is sort of slow with a memorable chorus and one of the worst guitar solos I’ve ever heard; “Johnny” is a much faster and punkier song with a basic rock and roll bridge. Fun stuff.
Hard-edged experimental punk with a lot of intelligence, the second release from this New York crew. Vocalist Stephan Ielpi is one of those rare individuals who doesn’t allow himself to be restricted by conventions, punk or otherwise, and it shows in the grooves. “Fun” is loud, fast catchy, and highly critical or ignorance and violence; “Functional” is slower and filled with romantic bitterness. Strongly recommended.
The undisputed king of New Hampshire raunch rock returns with yet another trashy garage offering. G.G. may be predictable in his excesses, but when the results are this loud and absurd, it’s OK with me. This type of bone-crunching guitar-heavy stuff is as American as mouldy apple pie, but don’t expect the Reaganoids to invite G.G. to perform at the White House.
A hot garage punk album by a hitherto unknown bunch of nerds. Their uptempo sound, which is driven by two or three guitars and a synthesizer wall-of-sound à la METAL URBAIN, is extremely dense and chunky. The lyrics are satirical and usually funny, thought some songs (“Nazi Snotzy”) go too far and make them sound like insensitive geeks. The final verdict? Entertaining as hell!
Bass- and drum-heavy post-punk from the state of New York. “Screaming” has a basic rock’n’roll-rockabilly influence, while “Naja” is a pulsating quasi-psychedelic chant. I’m surprised this band hasn’t received more attention.
The first release on a Touch and Go subsidiary label (Special Forces) that apparently will not be restricted to hardcore punk. Detroit’s L-SEVEN has a unique neo-psychedelic sound that features an exceptionally fluid, almost jazzy guitar style. It works especially well on “Clear Visions,” which begins with an annoying sort of art damage before kicking into high gear. Interesting.
Ultra-primitive thrash from New York. Lyrically, the NIHILISTICS live up to their name, but the instrumentation sounds like a runaway vacuum cleaner and can be strongly recommended for that reason. This record is guaranteed to make musicologists puke, which increases its value substantially.
The kind of quintessential California beach punk that usually appears on Posh Boy’s label. The songs here range from slower pop-oriented numbers (“Scene”) to fast bursts of punk, but all of them have enough strong hooks to accommodate a large wardrobe. Cool music for a hot summer.
The third release from a truly inspired Minneapolis band. The REPLACEMENTS have managed to assimilate the best elements of rock and roll from all eras and fuse them into one high-velocity package. This EP contains real fast, raw garage music, and the wild recording has even more power than their great LP. “White and Lazy” sounds like CAPTAIN BEEFHEART, so this package is a must.
An amazing amalgam of ’60s punk and the infamous Johnny Thunders/HEARTBREAKERS school of dirty guitar sleaze. Distorted axes, humorous, socially unredeeming lyrics, and a remarkably trashy aesthetic make it difficult to relate this current incarnation of RED CROSS to the band that was once famous for quintessential teeny punk anthems. But if you probe beneath the new gutter exterior, you’ll find the same warped Southern California prism. With instant classics like “Linda Blair” and “Kill Someone You Hate,” this album has got to be bitchin’. Grab your wide bellbottoms and cop this sucker.
Great songs, great band, great people! 7 SECONDS were almost single-handedly responsible for creating the enthusiastic, intelligent Reno hardcore scene, and that same enthusiasm and intelligence are the hallmarks of their primitively produced debut EP. Most of the tracks are speedy thrashers propelled by soccer choruses and an exceptionally trebly guitar, though a couple (“Racism Sucks,” “We’re Gonna Fight”) have a slower Oi-type sound. “Anti-Klan” is destined to become one of the great punk anthems of the ’80s. Buy this one.
Sleazy garage punk from San Berdoo. This is the kind of band that seems to thrive in America’s non-cosmopolitan hinterlands, and it has a kind of basic honesty that is often lacking in musical centers like LA, NYC, and San Francisco. Lead guitars flail away in a mid- to fast-tempo format, and the lyrics have an untutored quality without sounding stupid. Pick it up.
SOCIAL UNREST has been one of my favorite Bay Area bands since they formed, and this EP reveals why. The mix is a bit too piercing on the high end, but the songs are fast, tight, catchy, two guitars loud, and lyrically sound. I personally prefer the older straightforward wham-bams (“Mental Breakdown,” “General Enemy”) to their more recent slow-fast numbers, but all the material packs a wallop.
Basic garage rock with some punk influences seemingly gleaned from the CLASH’s Give ’Em Enough Rope period. Music of this type normally doesn’t have politicized lyrics, but to their credit the TWINS are exceptions in this regard. Low marks for musical originality, high marks for persistence and a sharp tongue.
The best release on the Stiff label in quite a while (except maybe for the DAMNED reissues). When you graft an appealing instrumental sloppiness and belligerent New York vocals onto an irresistable base of pop melodies and punky guitars, you end up with this boisterous debut from the UNDEAD. Definitely worth the wait.
A really strong compilation of old and new LA punk bands. Some of the material is unreleased, but even the stuff that appears elsewhere sounds much better on this LP than it did on the originals. The remixing is that outstanding. It’s really hard to pick the cream of this crop, but I favor the high-powered thrash of MODERN WARFARE, MIA, and LOST CAUSE. If this is the first volume in a series, its successors should also be killers.
A nice concept almost ruined by disorganization. Meant to be an aural chronicle of an ourdoor punk fest held in Berkeley in the summer of ’81, this LP unfortunately reflects many of the event’s shortcomings. There’s no list of songs on the cover, no sheet or booklet with info on the bands, and, worst of all, the original recording speed was way too slow. I don’t know whether the generator used to record the bands kept frying out or what, but I do know that all the singers have been miraculously transformed into slow-motion bassos and all the groups sound embarrassingly out of tune. No one gets away unscathed, but noisy thrashers WAR ZONE are really hurt, having lost velocity and been censored (an anti-Bill Graham rap before “Marriage of Convenience” is missing). Fortunately the punk (DOA, TSOL, LEWD, WAR ZONE, FLIPPER) and post-punk sides (OFFS, WOUNDS, TANKS, TOILING MIDGETS) have been segregated, but on the whole this LP proves that good intentions alone do not a good album make.
Here is one record that forces me to wax philosophical. If ever a release reflected the yin and yang of the punk scene, this is it. In one corner is MIA, a band originally from Las Vegas, the champions of punk’s positive side. They’ve managed to fuse a super tight thrash sound with enlightened attitudes—”I Hate Hippies” is obviously meant as a satire with a moral—and the results are absolutely stunning. In the other corner is New Jersey’s GENOCIDE, who exhibits all the mindlessness attributed to “punkers” by straight society. A dirty, metallic guitar and some catchy tunes can’t disguise their blatantly sexist (“Period,” “Teenage Girls”), reactionary messages. I only hope MIA doesn’t suffer too much from guilt by association.
Sub Pop is an innovative little magazine that deals intelligently with alternative American music, sort of a pint-sized version of its cousin OP. In place of the usual eclectic printed zine comes this equally eclectic aural zine. The variety of musical styles covered, in one sense a strength, also ensures that few will appreciate the entire LP. I love the ’60s garage punk of Wichita’s EMBARRASSMENT, the innovative guitar pop of DC’s NURSES, the powerful instrumental by Seattle’s PELL MELL, and Doug Kahn’s nastily edited version of a Reagan interview. The rest ranges from good post-punk, pop, and psychedelic to unlistenable art damage, but those interested in the best of the non-punk underground should look no further.
A good but somewhat disappointing sampler of New York punk bands. The main problem is that the compiler—Tim Sommer?—didn’t always use enough discrimination in selecting bands or songs. Especially impressive are KRAUT’s piston-driven punk, the BEASTIE BOYS’ primitive thrash, and intense experimental punk by both the FALSE PROPHETS and the long-defunct MAD; one should also note ADRENALIN OD’s ultrafast funnypunk and the female-led noise of EVEN WORSE. Most of the other groups should already be familiar (BAD BRAINS, UNDEAD, HEART ATTACK, NIHILISTICS), but there’s no excuse for including macho Misfits-clones like the FIENDS and leaving the great REAGAN YOUTH off this compilation. A lot of the material here is available elsewhere, but ROIR has provided a service by reissuing some hard-to-find and out-of-print items.
CHAOTIC DISCHORD have fortunately stepped into the vacuum created by the demise of DISORDER, thereby showing that the English are capable of producing first-class thrash punk if they decide to. All these tracks are monstrously raw, and “Sold Out to the GPO” may even be too fast.
This is fast, quasi-experimental punk with incredibly out-of-tune guitars with are bound to annoy the feeble-minded. The CLOCKWORK CRIMINALS transcend all Britpunk clichés and come up with a truly original sound. Hooray!
After a two-or-more-year vinyl hiatus, the NEUROTICS are back with a stirring critique of both the reactionary Thatcherites (“Tories”) and assorted violent headcases. They’ve abandoned their earlier garage quality in favor of more melodic, well-produced sound, but without completely sacrificing their appeal.
After their first dismal 45, I’m amazed to report that ONE WAY SYSTEM’s new release features great Oi music. The excellent production highlights their soccer-chanting and twin-guitar-powered songs, one fast (“Future”), and the other slower. A good buy.
Probably the weakest single ever from this long-standing Northern Irish punk band. Nothing could salvage that putrid piece of muzak, “Angel Face,” though their militaristic rendition comes close. The flip is a remixed version of an already-released song. This band is capable of much more than they display here.
Left-wing skinheads put out a great pair of untypical songs that deal intelligently with important political themes. “Peasant Army” is driving and anthemic; the flip is rhythmic and bass-heavy, almost funky. Recommended.
One of the few recent post-punk records that I like enough to bother reviewing. Sure, it has the standard JOY DIVISION-clone vocals, but the drum machine’s hypnotic beat and the powerful psychedelic guitar in “Adrenochrome” are irresistible. The flip isn’t quite as good.
A brilliant punky follow-up to their excellent rockabilly-tinged debut. The double guitar power really grabs you, but the Straps also have a knack for writing dynamic, unforgettable tunes. “Brixton” is a mini-masterpiece dealing with Britain’s recent riots.
Slow punk verging on post-punk. These songs are powerful and rather hypnotic, but they don’t match the band’s irresistible “No War” on the Punk Is… cassette LP. Singer Tez is dedicated to disseminating obscure punk through his Retaliation Records enterprise, so support him and buy this 45.
Classical punk from Holland. The vocals are nice and rough, but the guitar is too clean to scrape the wax out of your ears. Not as good as their well-rounded Dead Entertainment LP.
Hard Finnish punk, ’77-style. “Totuus” is almost fast enough to be thrash; the others are slower. Nice buzzing guitar.
This group’s first EP had a certain charm that they have now replaced with a leaden sound like that of label-mates ANTI-PASTI. The result is pretty nondescript.
With a name like DISEASE and a song title like “No Future,” this record has to be punk, right? Wrong, it’s weak post-punk with squeaky-clean guitars. This is about as wimpy as ORANGE JUICE, so someone ought to sue them for false advertising.
A bona fide classic, manic thrash punk of the most intense kind. This EP demonstrates that DISORDER is the very best punk group in the UK and the only one that can even approach Yank outfits like MINOR THREAT and the FARTZ in terms of sheer power. If you get only one English record from 1981, this should be it.
The new release by the UK version of the PLASMATICS may contain the best song they’ve ever written (“Alternative”), with its snappy hook-laden chorus, raw power, and—perhaps strangest of all—intelligent lyrics. Unfortunately, the flip exemplifies their usual mediocre standards.
RAMONES clones who sound more like the LURKERS except for some obvious vocal touches. Even so, these are the type of good poppy tunes that “da brudders” don’t seem capable of producing these days. I guess that’s a recommendation.
GBH are real fast and real powerful, but for some reason I’m not wild about them. Their songs just are not that distinctive and I have a nagging feeling that they’re all form and no content. Even so, “No Survivors” is one of their best efforts to date.
Disappointing. The sound is certainly heavy enough, but it’s too slow to keep up with their first thrash EP. Thematically sound but musically average, and I could do without another version of the HEARTBREAKERS’ “Chinese Rocks.”
By no means special, but a vast improvement over their first heavy metal-punk release. Increased speed is the differentiating factor rather than improved songwriting.
A bunch of losers from the DAMNED, DEAD BOYS, and SHAM 69 band together and prove they’re not has-beens. This is a really original record featuring irresistible hooks, tasteful psychedelic guitar work and enough snottiness in the vocals to hold down the pretension. A pleasant surprise.
Very clever and very funny, but all too typical from a music standpoint. Except for the thrashed-out “Got Any Wrigley’s John?”, it’s the humor that makes this one stand out. (Not the award-winning title: “I Lost My Love to a UK Sub.”)
Awesome thrash punk from DC. This band has the kind of power and commitment that most groups only dream about. Not only does this blast right off the turntable, but the songs really stand out. One of the two or three best releases of 1981, no doubt about it.
Medium-tempo SF punk with anti-war lyrics (I think), a few experimental touches (especially on “Mercs for Hire”), and a guitar that could use a helluva lot more distortion. The main problem here is the lack of any discernible passion.
Weirdly-structured guitar raunch crammed with cynicism. Some of the cuts are fast (“Red Brigade”) and some are slower with herky-jerky rhythms, but all of them stimulate thought. The vicious critique of fashion-clone punks (“Mohawk Man”) is alone worth the price.
An extremely talented ’60s band from Riverside, CA that eventually immigrated to England to seek fame, fortune, and appreciation. This album, which contains some valuable unreleased material, showcases their evolution from a raw blues band with punk overtones (side 2) to a powerful, guitar-oriented group with Asian influences in the YARDBIRDS’ vein. Innovative records like this don’t age with the passage of time.
If you long for those great Irish punky pop groups like the UNDERTONES, RUDI, and the MOONDOGS, you’ll love this one. In addition, this Wisconsin bunch is that rarest of birds—a political pop band (“Make the Rules”). A minor classic in a currently neglected sub-genre.
Fast synth/drum-machine music with politicized lyrics, sort of like punk without guitars. Interesting, but not for the narrow-minded.
Power pop with real power. Loud, jangling guitars and exceptional catchiness make “Friends” one of the best examples of this style in a long time. The flip is more mundane, but the OUTLETS are getting better with each release.
A really cool debut. “West Coast” is a satirical look at the California punk phenomenon which parodies the ADOLESCENTS’ “Kids of the Black Hole.” The flip is more strong mid-tempo punk with a short bridge that reminds me of the TURTLES! Recommended.
Wild thrash punk in the FARTZ tradition, minus the distinctive songwriting. For some reason, only “Fight Establishment” and “Go Die” really stick in my head later, probably because of their strong choruses. Still, this EP is raw as hell and has great lyrics.
A thinking person’s punk 45 from Philly. Two politically sophisticated songs, one a thrasher (“Apathy”), and the other slow and measured with a focus on the half-spoken, half-sung vocals. Recommended.
“Wherewolf” is yet another entry in the SoCal shock-horror-punk sweepstakes. It’s pretty good if you like that genre, and I guess it was inevitable that LA punk would branch out somewhat. “Shapes” is a pedestrian punk cover of the old YARDBIRDS’ classic.
Representative English punk circa 1982, with gruff Oi-influenced vocals grafted onto a typical punk background. “No Escape” is fucking hot, the rest merely ordinary.
Generic Oi with a five-year-old theme and a banal sound. Too little, too late.
The best of the “skunk” bands comes up with a second terrific release. On this one the guitar sound isn’t quite as heavy and dense, but it’s more than compensated for by the accelerated tempo. A must.
Super lame. Boring songs, weak guitar, and a general lack of imagination make this a waste of vinyl. CHRON GEN were much better on their debut EP, before they allowed themselves to be overproduced. Live and learn.
A wild thrash attack makes this one a necessity. Better than 90% of the current crop of Britpunk. Why are there so few bands like this over there?
Like their first 7″, this is garage pop from the deep Midwest. I’d classify it as garage punk if the guitar overwhelmed the Farfisa-type organ, but it doesn’t so I won’t. Pretty good in an unremarkable way, and the critical anti-conformist lyrics to “Zombie” prove that these Okies aren’t from Muskogee.
Superior thrash punk from SoCal with a roaring sound and more punch than most in a genre known for hitting power. Need I say more? Highly recommended.
MDC, formerly the Texas STAINS, are one of the most politically-aware punk bands around today, and this record has enough food for thought to gorge the average listener with ideas. The music is exceptionally fast but much more complex than the typical thrash attack, a combination that can be disorienting until the material becomes more familiar. My one complaint is that the mix emphasizes the vocals at the expense of the guitars, but this is still one of the year’s best albums.
Garage punk at its finest. Only someone as smart as Touch and Go fanzine editor Tesco Vee could be responsible for something this trashy. With its gritty sound and themes like infanticide, repressed sexuality, and Beatlephobia, this EP is guaranteed to offend anyone with a speck of decency, so buy two and send one to the moral puritan of your choice. Me, I’m sending a copy to Senator Jesse Helms (R-North Carolina).
A mod-punk hybrid which is kind of catchy but too wimpy to have much impact. At least it’s different.
A new political punk group whose music isn’t yet wild enough to shake you up, though “Death to Humanity” comes close. “Bottled Oi” is notable for its ironic feel and its vicious critique of Oi mindlessness.
Depressing. Once a great guitar-heavy pop band, RUDI has now resorted to sickening keyboards. Just because the UNDERTONES added strings doesn’t mean that it’s OK for other Irish groups to get wimpy. Shoot the synth player.
Great funnypunk with a powerful sound and Oi vocals. This is the kind of record that it’s uproariously fun to sing along with, especially if you’re drunk.
An oddball release from a new funnypunk group featuring brilliant satire (“No Russians”) and a snarling song sans guitars and bass (“Revolution #10″). Atypical and recommended for that reason.
A strong debut for this group. Real fast standard punk throughout, none too original, but better than most.
A band that’s really deteriorated since their first two EPs. This new one, though not as bad as its immediate predecessor, barely halts the downward spiral. Beki seems bent on taking the same route as Siouxie, and the band appears content to follow lamely along. Only “Tomorrow’s Soldier” packs a real wallop because of its straightforward nature and louder guitars.
The third 7″ from one of my favorite Oi bands. Though their amazingly gruff vocals and speedy tempo again lift them above the usual fare, none of these tracks is as irresistibly catchy as “Violent Society.”
Whether you call this slow punk or fast post-punk, it’s got a certain flare. The buzzing guitars in “Fugitive” are attention-getting, and the melody line sticks in your head. Give it a listen.
Manic thrash punk with gravelly Oi singing. With its speed and intensity, this is probably the best record yet from Sweden. They thank BLACK FLAG, the DEAD KENNEDYS, DISORDER, and Dischord Records on their info sheet, which should give you some idea of their influences.
Possibly the fastest thrash garage punk ever recorded. So fast that the music cannot be structurally confined and sometimes degenerates into total noise. Some might think it’s too fast, but I really like the NEOS’ combination of aural chaos and political conscience.
A ska-ish band from SoCal. I was prepared to hate this, but it’s not all bad. “Disarm” is fairly straight ska, but “Destiny” is an engaging ska-punk fusion with a super fuzz guitar. Progressive lyrics provide a further bonus, so check it out.
Boston is happening! SS DECONTROL fired the shots heard ’round the world and generated a thriving hardcore scene. This great album shows why, with its ferocious thrash assault, committed delivery, and intelligent radical lyrics. Fan the flames!
A strong new release from the only real underground label in New Orleans. This EP offers ’77-type punk with a bite. Worth your attention.
LA Satanic chic by 45 GRAVE’s lesser shadow. “Become a Pagan” is a fast, haunting chant with spooky vocals that would provide an excellent soundtrack for pagan ritual dancing. The rest are slower dirges better suited to luded-out covens.
A huge disappointment. This is so lame it’s hard to believe TSOL put out one of the best punk EPs of 1981. “Man & Machine” is alright punk, “Statues” is embarrassingly wimpy and pretentious, and the others sound like substandard out-takes from the LP.
“Life Is Cheap” is cool garage punk with hilarious lyrics, and “Expectations” is punky enough to be OK. The rest is basic rock of the most boring type.
A fantastic group with a chunkier sound and a slightly slower thrash attack than MINOR THREAT. “Pay No Attention” is an awesome musical steamroller and this EP would be perfect if they’d included the classic “I Object,” but you can’t expect everything.
LA punk with female lead vocals. Stylistically, it fluctuates between modern thrash and more traditional punk. Surprisingly good for unknown band, and the song about Oki Dog—the infamous punk grazing ground—is hilarious.
The hype surrounding FLIPPER has already reached nauseating proportions, and I have no intention of adding to it. If you’re downed out, you’ll like their abrasive slow numbers and if you’re straight-edge, you’ll probably prefer the fast abrasive tracks (“Living for the Depression,” “Nothing”) that they seldom do these days. FLIPPER was much better back when this album was recorded, before they started taking themselves too seriously. After all, any joke—no matter how effective—ceases to be amusing if it’s told too often.
The best band from Hoosier territory since the PANICS and the early GIZMOS. The ZERO BOYS have managed to combine elements from the ’60s punk-STOOGES axis of their first EP (especially the great vocals) and ’80s thrash without losing anything in the process. This well-recorded album is varied enough to hold the interest of punk afficiondos from all eras, no small achievement.
The ZIPPERS return with a whimper rather than a bang, as might have been expected. This is undistinguished pop-rock without the faintest glimmer of originality. Ray Manzarek ought to be ashamed of his sickly production.
A strong release of exceptional historical interest, but one that’s a bit erratic and not always up to the standards set by Dischord’s awesome 7″ catalog. This record includes outtakes from all the core bands, as well as a sample of material by defunct bands like the UNTOUCHABLES and new outfits like those on side 2. The thrash material ranges from good to great (MINOR THREAT, YOUTH BRIGADE) and the experimental punk of RED C and VOID is noteworthy for its power and originality. Oi clones IRON CROSS are a bad joke and the grooves are too compressed to yield maximum power, but these are minor gripes about a hot compilation.
This one’s probably the best US hardcore compilation available. The material of course varies in quality, but all of it cooks. It’s pretty hard to choose, but GANG GREEN has the fastest and most intense thrash attack, though JERRY’S KIDS come close. On the other hand, the PROLETARIAT and F.U.’s (especially “Preskool Dropouts”) have the most perceptive lyrics. The FREEZE combine original music with intelligent content, and DECADENCE weigh in with a critique of mindless, ultra-violent slamming. All in all, a great introduction to Boston’s finest (excepting SS DECONTROL, who don’t appear here).
Reactionary bikers posing as punks put out a second heavy metal 45 as pathetic as their first. All the record industry hype and rich backers in the world won’t make these do-dos popular unless punks have become as undiscriminating as conventional rock fans.
Another excruciatingly boring release from this overrated band. Their attack is a slow-motion one, and I can hardly stay awake till its conclusion. The wimpy pop sound on this 45 makes it even worse than their usual offerings.
Standard UK punk, slow and passionless. “Future Girl” has a unique intro and cool ’60s guitar break, but on the whole this effort isn’t as strong as their 1980’s debut. The vocals sound like Gene October of Chelsea.
A new 10-song EP from the DC area. Half of it is the standard DC thrash—pretty good but not outstanding. The other half consists of short bursts of concentrated noise with a stop/start arrangement, sort of like the MINUTEMEN. Mail away for it, because you probably won’t find it in the stores.
Greg Prevost and company again comes through with great ’60s punk from the ’80s. The “monaural” sound and snot-nosed vocals give this 45 an amazingly authentic feel, so much so that I’m actually reminiscing. But you don’t have to have been a teenage asshole in 1966 to enjoy it today—it’ll still drive your neighbors crazy.
Cover your ears, the CHILD MOLESTERS have been resurrected! The band that brought you “I’m the Hillside Strangler” is back, at least on vinyl. This material, originally recorded in 1978, is like the movie Plan 9 From Outer Space—it has enormous appeal precisely because it’s so awful. With titles like “I’m Gonna Punch You in the Face” and the most amateur musicianship imaginable, I’ve got to recommend it.
Jim Jacobi, one of the American indie pioneers of the late ’70s, has come up with an eclectic mixture in this new incarnation of his CRAP DETECTORS. An underlying intelligence is evident throughout this album, but the music, which ranges from garage punk to garage rock to garage reggae (“Phenomenal Technical”), is only sporadically engaging.
What an anomaly! An English clone punk group from California. Even if the singer is English, and he’d better be with an accent like that, there’s no excuse for the other members aping their Britpunk counterparts when they’re from a state known for superior hardcore bands. “Truth Comes Out” and “When You’re Young” work pretty well due to their speed, but the others aren’t worth talking about.
A remarkably distinctive record, combining the best elements of the VELVET UNDERGROUND, LOVE, and the LEGENDARY STARDUST COWBOY. With these raunchy points of reference, this can only be described as “psycho-delic.” Wow!
My favorite release of 1981, and that’s saying a lot given the quality of the competition. The FARTZ thrash so hard and fast that they leave most hardcore bands behind in a cloud of dust, but they still manage to exercise a lot of brainpower. This EP is as intelligent, frenetic, and intense as any you’re likely to hear, so get it now before it’s out of print.
I normally hate heavy metal punk, but the EFFIGIES do it so well that categories become meaningless. “Bodybag” is appealingly straightforward while “Security” has a dance-oriented beat with layers of metallic guitar and an occasional dubbed vocal. The production here doesn’t compare with their earlier EP, but they do include some hilariously uninformed literature about punk rock by right-wing (U.S. Labor Party) and left-wing (Progressive Labor) retards.
Lightweight post-punk with sparse guitar and “modern” vocals. There are some interesting arrangements and hooks here, but they could use a heavier, more abrasive backing.
Phoenix skateboarders thrash out and come up with an EP full of classy teenage punk anthems. The guitar could be more grating, but the songs are fast, catchy, and pretty damn funny (“Beach Blanket Bong-Out”). Check it out today, and skate your troubles away.
A strong debut by a young New York band, “God Is Dead” is the first thrash punk song from the Big Apple, unless you consider the BAD BRAINS a New York outfit. The other songs are fast but more traditional stylistically.
I would have thought it premature, but here’s a band that’s inspired by VICE SQUAD. Even though “What Justice” is super fast and catchy, one VICE SQUAD is enough, thank you.
’77-style punk from Texas. It’s real good in a vaguely nostalgic way, with lyrics ranging from intelligent (“Fallout”) to stupid (“Scrungy Girl”). “Radio Anarchy” is a particularly catchy track with slightly muddled sentiments.
A marked improvement over their debut. This time around their influences—SIOUXIE, GANG OF FOUR, etc.—aren’t as obvious, so if you’ve got a hankering for sophisticated guitar-oriented post-punk, DA is for you. “Strangers” is an especially haunting song, and the guitar work is exquisite throughout.
Fast heavy metal punk with good political lyrics. The tunes are strong, but there’s a bit too much lead guitar wanking for my taste, especially on “I’m Gonna Make You Scream.” Still, it’s a promising debut.
