We will let SPOT indulge himself because he deserves it…comic rock-outs, twisted jazzy jams, guitar doodlings, country hoedowns, rock ballads, perceptive rentings, and pure electric indulgence. Those who love him, love it.
Countrified, psych craziness on two rousing instrumentals with the melody care of kazoo on “Gestampo” and via harmonica on “Chicken Scratch.” Sound strange? Well, it’s really rockin’. Really!
Still demented, psychedelic, with painfully slow power rhythms and that unmistakable growling voice, this is no surprise except that they sound more like SCRATCH ACID than I remember. (Or did they just leave D. Yow off the credits for “Never Gave Me a Kiss”?) Oh well, no standouts but as good as ever and equally as irritating.
This Minneapolis band blends a hard melodramatic rhythm with the typical complexly performed pop their town is known for. Ugly words, big buildups, and a hard drive make for a promising debut. Reminds me of WIRE at times.
This is the legendary SF garage band that spent years preparing for this release. Although I’m partial to their rockin’ live show, this record is an adequate representation of the garage madness they’re capable of. Couldn’t live without it.
A sexually offensive pic on the front (girl and gun mode), and an equally ridiculous essay on the back. Can’t figure this band. But the music is like a demented PIL meets early GODFATHERS bordering on industrial pop with very catchy melodies. Quite good.
Garage rap is here and anyone can do it. Or so prove these guys. And they are really tough with songs/raps like” “James Dean is an Overrated Asshole” (“I’d kill him if I were able”), a song about a school chum called “Billy the Scab” who they want to die for various reasons, and of course a “We’re the Warlocks” anthem that all rappers must have no matter how stupid. This record is ridiculous but pretty funny.
This Philly conglomeration featuring ex-members of MCRAD and AUTISTIC BEHAVIOR is pretty rockin’ on all six songs. They’re fast, catchy, and even though they sing mostly about girls and booze, they’re pretty fun. Who’s to knock these guys’ tradition? Pretty hot.
This band has always been a breed that is able to blend industrial noise with garage punk. Most notable here is the colored marble vinyl plus a live extremely noisy sound. Most of the stuff is slower and more experimental noise but one of the five is the best bunch of rockin’ noise lately. Not their best but OK.
Straight ahead mid-tempo garage punk with strong social and political commentary. A stab at melodic structures and decent playing makes these guys a step above the ordinary. Hand-screened covers and self-production. Yeah!
Melodic epics with jams and just enough psychedelic-ness to be interesting. Without these occasional freak-outs, it would be just a little too offbeat to be another new wave pop record.
More strangeness from Kramer and the gang at Shimmy Disc. A lot of this is acoustic, switching between experimental ditties and folky ballads, but the lyrics are poetry and quite humorous at times. If you enjoy musical poetry…this is it.
This four song EP sung half in German and half in English leaves me wanting a translation, and the two English ones, “Remember Soweto,” and “Man vs Nature,” have simple but admirable lyrics. There’s one mid-tempo punk song, one slower ballad, and a couple catchy, crunchy songs with gnarly vocals and a stab at originality. Pretty good.
This fourth record is more esoteric musically by being thematic blues in “White Boy Blues,” metallish in “Satan’s Buddies” (great song!), and funky in “Song with a Message.” But the jokes are just as poignant lyrically and musically as they’ve ever been. I’m glad the rumors of this band breaking up weren’t true. Their classic humor and skilled playing are as great as ever.
A dark pop single with semi-industrial overtones. The A-side is upbeat and more poppish, yet still has keyboard gloom. The flip is the real moody one, not as fun as the other side.
Catchy hardcore with a definite admiration for the DC sound. Buildups, tempo changes, breaks and heartfelt, seemingly sincere lyrics for all the “positive,” “unity,” and emo aware. Pretty refreshing in an attitude sense.
A rough recording but still varied enough to be interesting. Early punk, later punk, pop, a little psychoticness and some humor add up to potential that should be followed through later on. Enough good moments to be worthwhile.
This Ellensburg, WA band’s second LP is an exciting moment. They get more indulgent here, proving themselves a real ’80s psyche band. Intricate swooning and meaty jams with a few melodic ’60s influenced songs. But ravers like “The Pathway” make it worth living for.
This Irish band has been cranking out the records. Lucky for us too as even though they are kind ’60s-ish, they really rock out with a garage-y touch. Strong and slick with crunch, catchy hooks, a little of the ol reverb, and some incredible jams. This LP (and in fact the band) are a must for all garage enthusiasts.
FOETUS is continuing the greatest blues/punk/industrial mania around.. Really crunch and powerful stuff as well as musically interesting and varied in influence. The title track is a demented big band number and the rest is big build-ups, and noise abounds. A really good one (no disco).
This is a document of one of two BIG STICK members’ tragic family separation, daughter’s death and is as anti-poverty, drug, and racism as conceivable. Musically rap, scratch, noise-a-rama (a la “Cookie Puss”) and great in its repetitiveness. But it is one of the most lyrically powerful pieces witnessed in a long time. Real and frightening.
Trendy title. And there is a song about fucking. (Plus a few anti-live ones too.) Meaning and trendiness…Oooh. Although they don’t instantly wow me this time, this LP is as demented, crunchy, and interesting as always. And the end. The end.
You know what’s irresistible and charming about this record is that it reminds me of JOHN CALE during his best period, right down to the vocalist, and acoustic ballad and some of the crunchiest rock’n’roll with perceptive lyrics that I’ve heard since I bought Sabotage.
This new one, with a new guitar player, has a rich, pop-ish feel that the last few missed. But this polish and melody doesn’t mask the catchy hooks and rhythms these guys are capable of. Maybe it is the vocalist, but this reminds me a little of early GANG OF FOUR.
“I’ll take my Chadbourne and make it a double.” Four sides as crazed and priceless as always. From goofy Martin Mull-ish “In A Sentimental Mood” to BEATLES, BURL IVES, ROGER MILLER psych-out medleys. These records feature bits and pieces of other tapes and even early lost SHOCKABILLY material. There’s the regular dose of insightful, folksy guitar — diddling, singalongs, psychedelia, and political prowess.
What we have here is lots of wailing guitar, really catchy rhythm section, zany and creative vocals, humorous yet pointed lyrics, and effects galore. It’s all been done before, but not quite like this. Highly recommended.
Bringing Fowl Records out of the closet is San Francisco’s longest lived and, as far as I know, only punk piano player. A fine novelty record if only for his covers of “Racism Sucks,” “Holidays in Cambodia,” and “Judy is a Punk.” He also plays lots of originals with vocals that are quite the goof.
It’s a bird…It’s a plane…no, it’s the rest of SHOCKABILLY back for an encore. Hooray! Kramer and Licht team up with Ann Magnuson taking vocal responsibility and with celebs like FRED FRITH making appearances. The result is god-like. Great psycho freakouts, covers, catchy new ditties and moving moments.
The greatest hits of Homestead. Can’t afford all those records? Get all the hits here. Included are: VOLCANO SUNS, BIG BLACK, NAKED RAYGUN, LIVE SKULL, DEATH OF SAMANTHA, DINOSAUR, SQUIRREL BAIT, SALEM 66, and many more.
A fine collection of known and unknown, previously released and unreleased psychedelic and psychotic bands of 1987. Nothing “neo” about this. Just hit after love hit. Features among many: HALF JAPANESE, SHOCKABILLY, ARTLESS, BONGWATER, FRED FRITH, KRACK HOUSE, STEVE TAYLOR, and ALLEN GINSBURG. Absolutely wonderful.
Sort of interesting comp of mostly East Coast pop bands. I’ve never heard of (except homeboys TEN TALL MEN). From pretty catchy to extremely droll. A little electronics and a little psychedelia. SIGNS OF LIFE, TEN TALL MEN, BIG DIPPER, and EXPANDO BRAIN are the highlights. So-so.
The only thing likable about NY bands aside from SONIC YOUTH or even TEENAGE JESUS/LYDIA LUNCH was that their first few records sounded like this. A clean crunchy grind with raunchy vocals, dirty lyrics, and no noise — just garage-y and trashy psychoticness. Hope they stay this way.
These guys used to be RED LORRY YELLOW LORRY. At least they figured out how stupid that was. This new one is “late 80s gloom disco” music. You’ll hear it at all the cool clubs. Heavy on the beat, rhythm, and somber BAUHAUS-ian vocals. If you go on for this kind of thing — it’s pretty damn good. Otherwise, beware.
Maybe I haven’t been reading my NME and Sounds lately, but I could swear this is the FALL incarnate or a formula for coolness. No apology for the comparison here. The only difference is that the FALL didn’t get this type of production or push on their first singles. Too bad.
This band is still a mix of styles on this second 12″. Although there’s no apparent “hit” here, each song has a different signature; gloomy, rock’n’roll, metalish ballads, etc. And each is powerful in its own right. It’s a little hard to get hooked on these buys, but they’re good.
A fairly somber neo-’60s-esque A-side. The flip is reminiscent of TELEVISION, especially the vocals.Even though it’s extremely sad and gloomy, it has some nice effects.
There hasn’t been as wholesome a release in SF since BLACK HUMOR did their Love One Another LP in’82. What we’re talking here is hand made box sets” with presents in each and, well, the record. CAROLINER are one of a kind noise. Hearing is believing, love it or leave it, trash and bake, or is it hear and fry? This is for all voyeurs, acid heads, or collectors of rare species. Don’t rent…own.
Just when I thought the world didn’t need anymore WIRE covers, here comes a great one. BB meets WIRE is a great combo and the two on the flip are great as well. These three aren’t on the new 12″, either. BB fans won’t be disappointed.
If you’re yearning for punk, garage mania without the noise element, here it is. Grinding guitar, punchy drumming, catchy melodies, slightly psycho but stark rhythms. The first track is awesome, the EP a find.
Great! These guys prove way beyond their first single that they rock hard using a neo-psyche element but with a powerful 80s style. There’s some really catchy songs here and well worth listening. Good fun. Good rock n roll.
Here’s the dark and virtually unknown underlings of hip, European, noise-punk. OH’ DEV’s second one is all right. Lots of the ol’ dissonant, psycho guitar with poetic spoken style vocals and lyrics of the disquieted character. But they’re upbeat enough of the time to demand a few listens and the title track is great.
Imagine SCRATCH ACID meets THE CRAMPS meets LIME SPIDERS with a straight ahead approach but without much of the neo-’60s feel at all. Pretty damn fun, trashy and demented with two grindy guitars.
At first listen this band seems like another gothic throwback but their upbeat punch mixed with powerful rhythms and a psychedelic/blues style proves they can take off where LEATHER NUN left off. Hooray for a fine Swedish tradition.
After a couple wimpy singles these guys come through with a bang. Neo-psyche, yeah, but they really rock out. Only one previously released song and all-in-all a hot LP beginning to end.
Following in CAMPER VAN BEETHOVEN’S footsteps, these SF kids rock only slightly more garage-y than their forerunners but they still have one too many folk ballads. A couple cute songs like “Golden Gate Park ” are good fun, but otherwise it makes me feel like moving off Haight St. and soon.
A fine, star-studded, post-mortem release, rich with vocal and instrumental interludes, the classic dissonant balls-out rockin’ and the words…are inspirational. It’s a composition that’s well conceived, executed, and received. Too bad it’s the last.
A self-produced EP is an admirable effort and these two bands pull it off in a good spirit. Both bands utilize an early punk sound. Switzerland’s GNA GNA take influences from the RED CRAYOLA school but here they rock harder than their first single. W. Germany’s BAD ATTITUDE combine hardcore and punk styles into two catchy songs. A good EP.
Spotness, you bet. Produced, paid for, played, written, sung, and art by the almighty Spot. And although it’s a little self-indulgent at times, it’s also a masterpiece of composition in both silly ditties, calculated garageness, and elaborate, intense, rockin’ instrumentals. Pretty damn weird but pretty damn good too.
Another release in the spirit of early UK punk with just a tad of the old post-punk. Catchy (almost danceable in their B-side dub remixes), and raw enough to be interesting. “South Africa” sounds remarkably like the PISTOLS with effects and “Power for the Many” is a studio piss-about.
There are a couple of really good songs that have the always great combo of heavy rhythm, and melodic craziness. They maintain their own definite originality. The other songs are more of a crooning dirge which is fine, but not as fun. Overall, recommended, though.
A good follow-up to their 7″ featuring the same quirky yet melodic thrashers, funky moments, some good material, and lots of the ol’ saxophone. Their slower moments get dull and gothic sounding, but the fast ones are really fun.
The rock/blues Australian style, but hey, they seem to be German (this is in a blank sleeve). Somewhat neo-’60s in style, especially the B-side, which rocks out. The flip is down and dirty blues. I wish I had more info.
Somewhere in between YOUNG MARBLE GIANTS and VELVET UNDERGROUND enters this band. There’s some really great intensity building, musicianship and twists, but is so subtle and quiet that unless you have a “mood” for soft music, this is a bit boring.
Al’s been around and playing the neo-psych world for what seems like forever, and this LP is good to see and a slight departure. Most of it is rowdy country music, but there is some good country blues, and the rest is some plain rockin’ hot dogs. Good fun.
A double LP comp with a really wide mix of mostly known bands doing cover songs. And a lot of them are 60’s covers to make it even more fun. The highlight is the DK’s doing “I Fought the Law.” There’s also ALEX CHILTON, SKY SAXON, PANTHER BURNS, SLICKE BOYS, and 20 others. Pretty great!
TUPELO CHAIN SEX are sort of a novelty rock’n’roll/horn ensemble that use a lot of cover material and are pretty goofy for the most part. And if that isn’t enough, this is a rare, collectible 10″ blue vinyl, limited edition that’s one of the worst recordings, quality-wise, ever. For fans and collectors only.
This band used to be the X-MEN… the Chicago ones. I’m glad they changed their name, too. They are an eclectic group showing diversity in their mix of aggressive and twisted pop songs that range from frenetic pop punk to bare and goofy melodies. A weird band.
Mostly mellow, almost folky with occasional bursts of mania reminiscent of the Minnesota sound (HÜSKER DÜ or a soft SOUL ASYLUM). Admirable for this as the rockin’ parts are good and the mellow parts pretty but still a little too subtle.
Their last record was notable because half of it was great aggressive post-punk. But this second one is very mellow, comparable to the quietest JOY DIVISION or SAVAGE REPUBLIC. There’s definite musicianship, but it’s pretty boring.
I can’t help thinking ECHO AND THE BUNNYMEN when I hear these guys. They do have some decent pop numbers, but most of it is minor key dance songs or crooning ballads. I’m sure they’ll be a college radio hit.
For a Denver band, they sure do sound English. They’re of the doom and gloom JOY DIVISION school but more like BAUHAUS in their better moments. They also do some neo-’60’s ballads which rise above the gloom.
Finally, a MESSIAHS record which isn’t on a major label which means I’ll finally add this trio’s powerful rock’n’roll blues to my collection. Psychedelic guitar, singalong lyrics, and a raging rhythm section in four of their old hits.
The NUN rock full out. They’ve always been a rock band and offended in a humorous way, but with this posing girl front cover, posing band back cover, big production, and some trite rock songs they’ve lost their appeal. Only one song I like. What happened?
A potpourri of live recordings from between ’80-’85. The recording quality definitely varies, but it is truly a fan’s edition. There are a few songs that have never been available elsewhere and some rare early recordings. Most notable is the foldout and cut touring game/sleeve which is good for at least three plays. Not bad.
Every time these guys put out a record, which is quite regularly now, I really want to hate them. If I describe the mix of Euro-pop with electronic dance beats, it makes them sound awful and for the most part they are. But they also managed enough dementia, recording strangeness, and catchy pop numbers to be likeable.
You won’t see any band members or label name on this record because the whole thing is plagiarized by taking everyone else’s Top Ten hit and changing it radically (mostly lyrically). There are “covers” of “We Are the World” (“We Are the World”), “California Girls” (“California Punks”), “Break Dancing” (“Fake Dancing”) and more. Every piece of trash you ever wanted to change. Genius.
Wow, I’m impressed. A one-song, three mix record which is the catchiest, trashiest, most rockin’ song I’ve heard from this lot in a while. They do two electronic versions (1 dub) which are okay, but the “shit mix” rules. Hope the LP’s this good.
It’s easy to complain that the BABIES are too much like the BIRTHDAY PARTY, but after some classic singles, this LP isn’t bad. While no one song really stands out, the total record is quite enjoyable, adding Southern-style blues and pickin’ to psycho post-punk.
At first listen, it seems like a wimpy pop record and the B-side mostly is. But after a few listens, the A-side seems like it must be a lost and forgotten AVENGERS song. Melodic and simple with a bite of its own.
Still as great and still as diverse, this SUNS LP is almost as good as their first. It’s a mixed bag with half psycho rockers and half melodic country-type beats, which is OK but not as overwhelming as before. However, some of these songs are real standouts in terms of originality and intensity. Still worthwhile.
These guys are very diverse with their influences and styles, varying from song to song: rock’n’roll, blues, funk, ballads… But regional similarities are too obvious to ignore. They have that distinctive Twin Cities sound (somewhere between HÜSKERS and SOUL ASYLUM). Vocal and guitar harmonies abound. Catchy and recommended. Each cover is handmade.
Here Eugene is joined by two members of VIOLENT FEMMES and the outcome is extra good pickin’ and the same strictly CHADBOURNE twisted folk protest songs. All classic, no fan disappointed, all lyrics hitting their mark, and lots of good clean fun.
Another UK band returning to earlier punk, or rather what we now think of as post-punk, roots. Minimal melodies and rhythms, noisy and full of screeches and snarls. Reminds me of when the FALL, PERE UBU, CABARET VOLTAIRE, and THROBBING GRISTLE were “punk” bands. And just as good.
Somewhere in the midst of JIM MORRISON, MARK RILEY, NICK CAVE, the CRAMPS, and other rockin’ doom and gloomers steps in this Greek band that screams, moans, and sings of inner turmoil and damnation, and basically gets down, jams and rocks out. What more can be said except it’s mostly pretty good.
This is too obvious. What we have here is the same people who’ve listened to a lot of the BIRTHDAY PARTY. But hey — that’s not all bad, because some of these tunes get way down, in a good way. I like “Ex” the best and the rest are okay, but tend to be a little tired.
I’m sure there are plenty of die-hard fans out there that’ll think this is cool but as far as I’m concerned this is amore like HUMPERDINCK or BELAFONTE, string section and all, rather than his down and dirty self. Oh well.
This Greek band is able to perform various styles, paces and moods very well. There are early punk — hook laden — rockers, psychedelic punk tunes and slower melodic crooning. And all of it has strength of arrangement and intensity. Quite eclectic and all in all an absorbing record that has some great moments.
These guys remind me of a really early FALL with a rhythm machine. Screaming to whispers vocal prowess, strong lyrics (I do wish they’d included a lyric sheet), noisy , stark and intense. I’d rather hear a real drummer, but this is definitely a refreshing release for lovers of early Brit post-punk.
It’s taken me a long time to like these Aussies, but this one has finally sunk in. This band has the traditional rock’n’roll Á la BIRDMAN/SAINTS sound but with their own poetic style in both rockers and ballads. Great production, inventive arrangements, and topics ranging from world view to personal view. A fine release.
On their first solo release, this band plays slow, plodding, early-style punk with a post-punk twist. Really stark and subdued but after a few listens even the seemingly boring songs sound melodic and catchy to me. And I haven’t heard anything as catchy as “New Clear War” since the OUTCASTS’ or CRISIS’ heyday.
This LP is a long time coming and they’ve come a long way since their single. It’s really easy to hear the JOY DIVISION in them and lots of it. But the production and rhythm sections are hot, the continuity flowing, the words integrating so that recognizing that distinctive sound becomes secondary. Dark, poetic, and proficient.
The GIRLS are off in many tangents and can be a little boring but they are still provocative. Here they have depressing psychedelia to lounge music to ethnic accents to the true LSD freak-out. Very musical, poetic, downright pretty, distinctively ugly, the great acid experience or background music.
In this day of slick releases, this may seem pale. But this band is pure garage aesthetic in both sound and words. This is dirty rock’n’roll and as dirty as it gets, too. You may be offended by “Just Wanna Die,” “Pussy Teen Power,” “Cunt Tease,” or “You Look Like a Jew,” but I say that these guys get four stars for bravery.
At first, I thought there was something different about this band and I couldn’t put my finger on It. More metal? Slower? More doom and gloom? More rock? Well, yeah, all of the above and produced by ALICE COOPER. Very gothic, slow, tired, and staid. Are the ’70s back or were they here all along? Yawn.
This band has been one of San Francisco s premiere doom-and-gloom bands for years and this new LP deserves some notice. They haven’t completely eliminated the gloom, but they have become much more musical and the arrangements shine over and above previous material. Some great rockers here and a variety of styles, instruments, and lyrical material.
I love BIG BLACK and this LP is no exception; the only qualm I have is that a couple of these songs sound so much like the BUTTHOLE SURFERS that they should’ve declared an ode to them so as not to be called plagiarists. Still, this material is strong in melody, rhythm, lyrics, and production. Classic songs as always.
Emma is a squat/rehearsal/recording studio/concert hall in Amsterdam that is run by and for bands and fans. This double-LP not only comes with a complete description of Emma’s intent and a booklet by the bands, but lots of music that’s been performed live an in the studio there. Thirty international bands in varying styles and recording quality. There is literally something for everybody here divided by sides: hardcore, pop, post-punk, noise, etc. They’re an example to us all.
These guys remind me of early TUBEWAY ARMY, which means that they border on a wimpy, electro-pop sound and have commanding lyrics. Just enough drive to make you listen. I don’t like the A-side, but “Stop USA” on the flip is OK.
An ABBA cover. Well, if anyone can pull it off, I suppose LEATHER NUN can. Actually, it’s great—their powerful, sleazy, pop punch comes right through and the B-side is a great dirge, too.
These rockin’ folksters are back, and while just as endearing as ever, there’s a bit more of a challenge involved here. But musically, they’ve included lots of technical and instrumental variations by using horns, mandolin, violin, and lap steel, to name a few. YO are different than any other band, and I’m sure this one will grow on me as has every other record they’ve done.
This is a benefit single for the International Haymarket (May Day) gathering in Chicago and is decidedly anarchist, freedom-fighting, and information-oriented. I think that describing the melodic, punchy songs would minimize the amount of info and sincerity involved here. I’m overjoyed that people are still putting out records to inform and communicate.
Blues overtones are what make these five songs great. “Hard on You” is a rockin’ PAGANS-style song, while “Played to Death” is loping, sleazy blues. “Call of the Wild” has a ska beat that turns into a knockout rocker. And nowhere except maybe KILLDOZER have I heard a vocalist like this. They’re hot.
You get a record, a tape, a booklet, stickers some punks, and some refreshing “We’ll never sell out” literature. The record and tape are packed with diverse goodies (no hardcore, though). Classic crash and burn from the EX and SONIC YOUTH, bluesy dirge from CARLETON MORGAN, great garage stuff from UT and ETON CROP, and a lot more I’m pleased to hear from again or for the first time.
Hot damn, this is a great record and the best yet from this band. They surely can’t be labelled and shelved as SONIC YOUTH clones again. Raving vocals with the most fulfilling melodies and arrangements I’ve heard from them while maintaining a powerful, steady rhythmic backbeat. Eclectic post-punk at its finest.
Wild, fast, art-damned craziness that’s endless and tireless. SONIC YOUTH on speed…Yow! The B-side slows down the turns into what’s closer to an emotional ballad and not as inspired.
Very English-sounding dirge with some redeeming value in that they have a melodic tinge with a simple rhythm section up front. Kind catchy and kinda weird.
This project is up-tempo rockin’, heavy on the industrial rhythms and hooks. What a find! Ranting poetic words that discuss a wide variety of relevant topics. Yer SPK-type deformation pics. I’d love to see ’em live.
Acoustic and sometimes electric guitar with MAUREN TUCKER-meets-YOKO-type vocals weaving around. I’ve always been fond of Vancouver’s Lester family and folk lovers could like this, but I’ve gotta take it off.
Recorded in prison, this seemingly professionally produced cassette proves without a doubt that this Vancouver Five member can really sing the blues. I don’t doubt any word of this acoustic folk endeavor. Mellow, pretty, and not punk…but I like it anyway.
This one is even more of a drone than ever. “Flower” is upbeat in their classic noise style while the title track is lyrically provocative and musically sedate. Still, both songs are good. Not my fare, but I wouldn’t be without.
The coolest thing about this record is that it’s a two-sided paisley pic disc. Musically, they’re most definitely Marc Bolan/Donovan influenced, i.e., very sweet and melodic psychedelia. Well done for that and OK for those special moments, but wimpy for the rest. Still, I’ll keep it.
I have always been a fan and know that they can be slow, sweet, and tedious at times, but this, unfortunately, is more tedious than ever. It is sweet and lovely, which could be OK, but this fan is disappointed. I’ll take nutra-sweet from here on in.
This is a bit different than previous records in that there’s only a couple of songs with their distinctive bass licks and chunky melodies. So instead of bordering on redundancy, they prove their diversity by being more melodic, rockin’, and even pop. This LP is more challenging than before and really great.
As followers of the JOY DIVISION school, these guys really impress me with their attention to sequential detail, rhythmic style, and moodiness. Although they have slow moments, this first vinyl offering is well done and combines the aforementioned plus a smattering of industrial starkness, some noisy blockbusters, and melodic meanderings.
Slow, moody folk-pop that has a few sparkling moments, and lots of confusing, sad stories. They have potential, and are OK but lack punch on this recording.
Yet another release from this man among persons. This isn’t unlike so many other recent releases. Lots of goofy cover songs, done Á la carte or in medley, straight or crooked. Plus spoken word, original psychoticness, folk protest songs, and country pickin’. Oh, Eugene…
This band gets even more eclectic, excessive, and mellow on this second LP. They do have some great melodies, goofy lyrics, a variety of instruments and styles: blues, country, folk, etc. They also have some dull moments. Fans will definitely rejoice; hardcore fans veer the other way.
This LP includes material from the last 12″, and even the new material sounds like a rehash of his past few records, though it’s more thickly layered and more difficult than before. However, ex-POP GROUP’s Stewart and Adrian Sherwood still create some of the best haunting wildness and lyrical nightmares. Still will keep the fans happy.
I don’t want to imitate Tim’s brief analysis, but this record really does sound like BIRTHDAY PARTY. (Old members are present, I believe, but name changes make it hard to be sure.) Great screamin’ blues, rockin’ moments, and other dementia. If you can find it, get it.
Here is a fascination with the CRAMPS and early American pop and blues. In any case, there are lots of covers that are rockin’ and dirty. “Haunted House” really rips, as does most of the rest of the record.
Discordant, psychotic, psychedelic, and painful. Simple, stark, and crazed. OH! DEV plays twisted jazz meets the most painful blues. Definitely arty, but not wimpy. Nick Cave and Lux Interior take heed.
This band has always done great pop and post-punk but I have never been able to dig out those essential hooks. I guess they transcend them, because this is a fine recording full of melody and great rockin’ moments. They seem to have split it into a rockin’ and melodic side, but whichever way you splice it, these guys deserve attention.
San Francisco’s newest garage band comes above ground with a raw cassette that perfectly imitates their stage appeal. Rockin’, hook-laden, goofy (even when serious), wild, immature, satirical, and completely genuine. Watch out for these guys—you’ll be humming their songs before you know it.
After all these years! This classic NYC punk band is powerful, rockin’, full of hooks, and has unrelenting political prowess in matters social and political. They include recordings of their now hard-to-find singles plus lots of other great songs. My life is now complete.
Long-time no-see from these Canadians, and they’re back with a vengeance. One side features most of their now out-of-print first LP, and the other is new material. The new stuff is a little metal-tinged at times, but old and new are rockin’ classic punk. Dirty, violent, obnoxious, and lovable, DAYGLO ABORTIONS have their hearts in the right place.
Slow- to mid-tempo post-punk. Haunting and flowing mood music bordering on gothic, but not as trite. Weaving but simple melodies. The title-track is the star by far. If you’ve been following the bountiful post-punk bands from the East Coast, you’ll love these Brits.
This French band has put together an impressive package with photo cards and cover booklet. The single is right in the JOY DIVISION, early NEW ORDER, experimental vein, although “Santa Maria” is a little more rockin’. I know this doesn’t sound great, but they’re not bad. Needs more edge to make me happy, though.
Imagine mixing FRANK ZAPPA, CAPT. BEEFHEART, TESCO VEE, EUGENE CHADBOURNE, DOC DART, and SACCHARINE TRUST down to one demented guy and his musician buddies. Jazzy, discordant, pun-filled, at times melodic and/or rockin’ with horns, various percussion and tape effects. Original and weird enough to be recommended.
Another great package from IPR. Mid-tempo with ’60s pop and surf influences, punchiness, and a little goofiness. Not a standout, but they definitely have merit. I especially like the instrumental “Dangerous Visions.” There’s only 1500, so collectors beware.
DRUNK INJUNS—the greatest enigma of our times. Can you afford to miss the classic, rockin’ SF garage band who, apart from a hard-to-find cassette and a few comp tracks, are treating us to decent (not great) live recording which includes their greatest energy and material? There’s only 1000. Get it!
Incorporating the best mid-’70s rock with an obvious fascination for the STOOGES, as well as NY DOLLS, RADIO BIRDMAN, and the best pre-’77 punk, this is timeless dirty rock’n’roll and fairly enjoyable.
This is essentially the new CRASS record. At least most of the members make an appearance in some capacity. I’d say it’s the most innovative, interesting, and yes, inspired thing they’ve done in a while. Still a stark beat and lots to say, but more varied in terms of influences, moods, and studio effects. Reminds me of something FOETUS would do and dependent on many listens. Admirable.
Still cranking it out, as morose, apocalyptic, and truly psychedelic as always. Superb production with some covers, some of Chadbourne’s demented ballads, and lots of over-the-edge wildness. God damn, these guys are godhead, and Heaven is as great if not better than ever.
They’ve done it again. A fascinating LP chock full of goodies: poster, book, and militancy. While they maintain melody, dissonance, moodiness, and a hard edge, they continue to grow and encompass many styles. Before, they’ve reminded me of CRASS; now I’m hearing elements of the FALL and SONIC YOUTH, but hell, the EX have been playing as long if not longer. Their integrity is rock hard and dependable. Godhead!
Their second LP shows growth and diversity as well as a bit of taming. This type of ’60s-influenced psych kicks ass anyway, but since 90% of these songs are originals, YARD TRAUMA have managed to scan the decades and prove timeless and talented. Not as rowdy on this record as live, but not to be missed either way.
Six new songs by what should be considered the MINUTEMEN of New York. Definitely influenced but well-meaning and some good songs, too. Includes a couple instrumentals that also hold their own. Worthwhile.
A very appealing release from a Midwest band on the English Hit label. They’re rockin’ ’60s psych meets ’70s punk with a little rockabilly thrown in and a DYLAN cover. At best, they have elements of both RADIO BIRDMAN and the NOMADS. Not as great as the above, but close.
These guys only border on post-punk as they tend to write mellow yet intense pop ballads. At their finest moments, they remind me of the VELVET UNDERGROUND or MAGAZINE. They have more interesting melodies, lyrics, and intentions than their current UK counterparts, and deserve attention (but maybe not here).
A great new LP by an interesting (and now proving without a doubt) diverse band. Clean, catchy rhythms and distinctive melodies that lean toward the post-punk end of things. But they incorporate gothic, folk, psychedelic, and especially the punk element. Side one is full of great melodies, and side two rocks out. Recommended.
The best of post-punk without wimping out. In fact, this new one rips. You can hear BIRTHDAY PARTY, CRAMPS, and country blues influences, but the material stands on its own. Reminds me of NAKED RAYGUN and SCRATCH ACID in terms of classic post-punk originality and guts.
Those gumbie English socialist musicians think they can change social consciousness by hitting the charts. Makes one wonder how these great political intentions, evident in lyrics past and present, can possibly instigate changes by making the masses dance the night away to that big-band white-soul disco dance beat. Boring at best.
The NUN has done another one worth mentioning. They cover WIRE’s “506” and pull it off quite well, except it’s not the hottest WIRE song to begin with. But most noteworthy are the two songs on the B-side—”Fly Angels Fly” and “I’m Alive.” There are basic rock’n’roll riffs reminiscent of early STOOGES and RADIO BIRDMAN. Cool lyrics, too.
This band features Peter Prescott of MISSION OF BURMA, and is indeed reminiscent of those days, but this is a little less tame and more likeable. They are being touted as the “new HÜSKER DÜ,” which I’d like to avoid doing but it’s incredibly hard not to. Nevertheless, the VOLCANO SUNS are unto themselves in imagination and talent. This record is fabulous.
Hot shit! You thought their past records were great, well here’s 19 tracks that are rockin’, thrashin’, imaginative, and catchy. The slower songs have a catchy early ’77 pop-punk sound, and the thrash just rips. A good mix that shows that NOTA are expanding their boundaries and coming of age as a style to US hardcore.
GG will never change. Rockin’ early punk-style garage numbers and every combination of obscenity and sexual depravity. We decided a woman should review GG to see if he really is offensive, and I think that if you are offended with such absurdities as “I Wanna Fuck Myself” (“cause I’m the best”) or “Needle Up My Cock” or “Kill the Children, Save the Food” and don’t see the obvious ridiculous satire, you’re just as sexually repressed as GG. If you like to hear strings of cuss words for 45 minutes, find this tape.
NO TREND is much tamer than they used to be; their wildness has been traded in for precision and style. LYDIA LUNCH has added some vocals here that add to their style. Moodiness, melody, and tradition make this LP a good soundtrack but not as gripping as before. Some good tracks make this worth getting—but it’s not my favorite.
This is the second release from an English band that has superb garagability. Both sides here have great hooks with the A-side being slower and starker; it’s the poppier number here. The flip is faster, more upbeat, and has a great grinding guitar break. A must for psych-pop garage fans.
These guys are still pretty diverse in their own weird way. Part 1 of the song is an eerie psych-pop number, plodding but catchy and likable. Part 2 is off the deep end, using a drum machine which makes it eve eerier—with no vocals and added studio effects. It’s a little repetitive, but I like it. Too bad it’s so short.
FOETUS has done a lot of bizarre material in the past, but this LP is a classic. As always, this is all written and performed by lone FOETUS, and combines his morbid, poignant, biting poetry and an upbeat, precise musical inventiveness with out-and-out aggressiveness and recording skill. He is many steps beyond CREME & GODLEY, MARK STEWART, or NICK CAVE, although the comparisons are obvious. I can’t scrape it off my turntable.
This is a comp of their first two 7″ EPs released by a new LA affiliate of this cool Australian label. In my opinion, they’re one of the hottest R’n’B, rock ’n’ roll, neo-’60s, psych-pop bands in the world (next to the NOMADS)…and the best from Australia since RADIO BIRDMAN, whose influence is felt here. It’s hard to pick a fave track, but “Can’t Wait Too Long” and “Slave Girl” are hot with great hooks.
NIP DRIVERS are as fun, crazy, and rockin’ as ever. This new LP shows better compositions and recording than the last, and there’s a good variety of material that’s embellished with their traditional tidbits of vocal and musical comedy. “Bone Spider,” my fave, is a great neo-psychedelic number. Recommended.
If you’re missing those early KILLING JOKE days, then here’s a great record for you. Side one has that hard rhythm and intensity that KILLING JOKE used to play and don’t anymore. The flip, though, is a little spoiled with whiny vocals and electronics that are OK but not as interesting as most industrial bands and not hard enough to be dub style. Recommended for side one.
This post-mortem (?) LP recorded in August ’84 is a potpourri of the many directions this band was heading. Sometimes, the record seems incohesive, but there’s great talent here. They do some killer raps, a HÜSKER DÜ-type pop song, partying-style wildness, great punk anthems, and dissonant jazzy stuff. Not their best as a concept, but still not to be missed.
I love BIG BLACK for their heavy rhythms, crystal-clear production, and storybook lyrics. This new record is no different. But as much as I love any abuse I can get from these guys, and as much as I love some of their songs here—their material is getting slightly tired. Their new stuff keeps reminding me of their other past classics. Same riffs! This may be too harsh a criticism, though, as I’d recommend this record above most others. So, I still highly recommend it.
This EP has one band with three songs. “Punk Islam” has lots of effects and an ethnic style that paints a vivid picture of Middle Eastern strife—it’s slowish, slightly catchy but still intense. The other two songs are better, mining a sort of UK peace punk style: “Spara Jurij” is the best, most rockin’ song here. An enclosed booklet discusses international war tactics: I wish I could understand it. Interesting and worth tracking down.
This is their first LP after two strong EPs and they’re lyrically and musically just as strong as they ever were. In the tradition of the RAINCOATS, their four female vocal harmonies really stand out—you’ll either love it or hate it. They do mostly somber, melodic ballads but every once in a while they pick up the pace and sound almost psychedelic. “Nervous Breakdown” is especially good.
These guys play traditional style R&B madness like PANTHER BURNS, and you’ll have a knee-slapping good time with this wildness. The A-side even has a harmonica break that will make you crack a grin, and “Stampede” is a great rowdy instrumental number. An absolute must!
The best way to describe this outfit is to say that they’re “new wave.” They have a melodic saxophone, cute vocals, and a rather slow poppish beat. These guys remind me of a million club/bar bands that I never remember except that I got really drunk that night. Fine for some, but not for me.
Anything from the BUTTHOLE SURFERS is great by me, so taking that into account… here’s another great one from the rrreal rrrockers themselves. This live 12″ contains most of the material on the first EP with two extra tracks: “Cowboy Bob” and a short, surreal ditty called “Dance of the Cobras.” These guys are such a great live band that hearing the whole five-piece with live banter is a real treat and worth the investment.
A mysterious split single in a plain white sleeve. While the HAPPY SCHIZOIDS play a fairly uninteresting minor-chord pop number, ASBESTOS ROCKPILE plays a really crazed ditty, “Industrial Religion,” that is musically stark with its repetitive fuzzed guitar and beat—but has lots of sound effects and ominous, sputtering vocals that satirize big religion. Worthwhile for that track alone.
The graphics and leaflets that come with this flexi contribute to an admirable project. Both bands have a distinct message orientation, and the music is slowish, basic peace-punk—English style. While the songs are a little on the dull side, the themes of peace and individuality are still important ones.
I’m not sure if the world needs another BIRTHDAY PARTY clone, but as far as these clones go, this outfit is one of the best at carrying out that demented tradition. This new 45 has a rockin’, hard edge that gives it an R&B/CRAMPS feel, and of course there’s lots of screeching vocals.
Mykel Board compiled this for ROIR, and the outcome is by far the best and broadest international compilation yet. Not only does it have a wide variety of styles, it also has a wider variety of countries represented (27 in all), including the Eastern Bloc, South Africa, and South America, but excluding the US and UK. There are excellent hardcore and garage bands on side one, and on side two are some really great pop-punk and post-punk groups. A new wave band from Columbia is hard to get through, but I can’t think of any other bands here that I don’t like. Check this out.
This record is a bit confusing. The A-side is an unappealing, slow rocker that sounds like the BREEDERS might be listening to too much LOVERBOY or FUN BOY THREE; the two other songs are fun thrashers. “Fuckheads” has great sentiments about people who play too rough in the pit, and seeing them live might clear up the confusion.
This Melbourne band was likened to the FALL or KILLING JOKE, which isn’t too far off, but they also do songs that sound like CRISIS or some of the more raw, inspiring ’77 punk bands. A couple of these five cuts (like “Atom Age”) are especially likable due to the killer drum and bass lines; the others are more poppish but still really good. Recommended.
These two Italian bands describe themselves as anarchists, and from what I can gather, they are to be admired for their dedication and efforts. STALAG 17 play pretty good thrash and slower, ballad-type songs; IRAH do pretty intense, fast songs that are catchy. Even though translations of the lyrics would be nice, musically this is a record worth tracking down.
Well, you can’t spend too much time analyzing the TOY DOLLS, and they’re as humorous as always here. “We’re Mad” isn’t a typical song for them; it’s a bit heavy-handed with lots of reverb and a metallish guitar solo, but I’m sure that’s part of the parody and it’s starting to grow on me. “Deirdre’s a Slag” is remixed from the Strength Through Oi! compilation. Still great fun.
More geeks from San Pedro! Yeah! At first, their pop guitars make them sound as though they’d like to get on MTV, land a big recording contract, or imitate insipid Euro-pop bands. But you’ll soon see that this is just another bunch of self-indulgent weirdos (including Rob Holzman of SACCHARINE TRUST) playing a mixture of pop, post-punk, and jazz, with a slight dash of psychedelia and occasional keyboards and saxes. If you like TRAGIC MULATTO, you’ll love Slovenly.
Here are some rousing numbers that prove to be a good follow-up to KILLROY’s previous 7″. They have a mid-tempo, somewhat ’77-ish English style that combines good arrangements, choruses, and that LA spirit (especially in “The Battle,” the title cut, and “The Scream,” which sounds like YOUTH BRIGADE). A little derivative, but an enjoyable effort.
This is the third weird-ass art-damaged band I’ve reviewed lately, but I find them to be more hard-edged and unique (and less self-indulgent) than the others. They remind me at times of the CRUCIFUCKS, SWELL MAPS, SACCHARINE TRUST, etc., as they utilize many types of instruments, tempo changes, breaks, moods, and styles (including jazz and rock ’n’ roll). There are also lots of eclectic lyrics that parody soldiers, heads of state, and people that think they’re cool.
No further explanation is needed about our dear friend Mykel Board’s insulting intent here. The title song is a droning yet rockin’ cover with a sax that isn’t bad at all; “How Much Punk Rock Do You Hear in Russia?” and “We Want Nuclear War” are remixed from the previously released German ARTLESS/GG ALLIN split EP. They sound much better here, and will probably go down in history as the two most witty punk rock things Mykel has ever done.
Proficiently recorded and executed new material that sounds distinctly German. It’s filled with anti-war themes, ’77-style three-chord riffs, and Oi-type choruses—without an Oi “attitude.” Side one utilizes humor and funny little musical intros and breaks, so it sounds a bit disjointed if you don’t understand German. Side two, while less imaginative, is more rocking. Not bad at all.
This band features members of UK groups RUBELLA BALLET and the MOB, and it has that type of temperament. It is folksy yet intense, and they add little tidbits like a piano solo at the end of the first side. I especially like the catchy melodies and the clean, grating guitars in “Camp,” and the well-done rhythmic poetry in “Cold War”; the lyrics are of course strong and intelligent. Recommended.
Yeah! M.A.F. plays fast punk—not thrash. A fist-full of energy with good hooks and speedy beats makes me want to sing along, even though I don’t understand German. Like many German bands, they have that ’77 UK influence in some of their songs, but it’s very energetic, like the best from that era. “Gefangenschaft” and “Alkoholiker” are great blasts; they also do a spirited cover of “If the Kids Are United” and some mock drunken rousers. Recommended.
This is definitely from the whiny Bat Cave genre, but it has that extra punch that few such bands have. It’s catchy enough to warrant a review, but insipid enough to be easily categorized. “Craving” is the best cut, due to its KILLING JOKE beat.
This is as strong as their album, featuring one unrelenting thrasher after another. “Action Man,” the title cut, and “Bite the Hand That Feeds You (Shit)” have especially great hooks and breaks, and all seven songs contain some biting attacks on conditioning in modern society. This one is a must, and don’t miss them on their US tour this summer.
This is an amazingly meaty package. A graphic/lyric book, a poster, and two discs make this ominous piece quite remarkable. They plunder, explore, and ramble through many hideous subjects and musical flavors, from Christ: The Album-type CRASS opera to frightening industrial rhythm electronics like KOSMONAUTENTRAUM. If you’re familiar with the EX and like their work, this new release must be experienced from start to finish; if not, check it out.
This 12″ gives TRAGIC MULATTO more room to be weird than their earlier single. It sounds like physically disabled persons attempting to play jazz, blind people playing from sheet music, or some self-indulgent artists with saxophones. But since most of it has a hard, steady beat and a melodic guitar—not to mention peculiar lyrics—it’s tolerable and interesting for other weird-asses like myself. Likable in short doses.
The new SHOCKABILLY fare isn’t as accessible as their earlier stuff, which was more R&B-oriented. They are either returning to the early days of the MOTHERS OF INVENTION or doing lots of LSD. They do everything from “freak outs” to DOORS’ acid jams to sweet southern ballads to a wild version of “Homeward Bound” (God forbid!) to songs with a fuzzed-out guitar and Eugene trying to blow his nose. Whoooaaa…
I think this falls into the industrial category because of its starkness, repetitive rhythms, loops of breaking glass, and obsession with radiation death, but it’s much more musical than most industrial music. “Maya” has a wonderful rhythm (even if the vocals sound too much like JOY DIVISION’s Ian Curtis), but it was this song that got me to listen to all of it, many times. A compelling effort, eerie and rather listenable.
At first, this new long-player from FALLOUT all seemed to have that familiar anarcho-Britpunk style, but after more listenings, the variations and intensity come through. They have a PiL sound on “Know Your Enemy” and “Apartheid,” an IGGY POP riff on “Trojan Horse,” and lots of early CRASS garage influence. Well thought-out and executed.
It’s been a long time since this Houston outfit has released anything, and they’ve come a long way in the interval, as this is undoubtedly their best material to date. Side one is hard, and side two is soft, but both contain haunting post-punk. Although MYDOLLS aren’t outspoken feminists, they have a scathing demeanor—musically, vocally, and lyrically. “Christmas Day” is a great track, and “Please No, Mary” is poetically grand.
An enigma. The band is English, and all we know is that this EP was recorded in ’77 and has just now been released. It’s not half-bad either, sort of a cross between the early AVENGERS and X-RAY SPEX, with its catchy tunes and a female vocalist.
Two Dutch bands join efforts on this four-song maxi-EP. ALERTA’s earlier material was extremely dissonant, but here they join the ranks of the SEX GANG CHILDREN/X-MAL DEUTSCHLAND school of new Euro-hits. On the other hand, the EX is now more aggressive than they’ve been in a while, even though they’ve always produced interesting post-punk. “Crap Rap” is a fast, thickly layered chant that sounds as if CRASS merged with the FALL, and I think it’s really great. An interesting and worthwhile offering.
What can I say? Wherever MINOR THREAT left off, FAITH might be able to step in. Even though I worry that they might be too much of a sound-alike, they’re cool. They play fast songs, slower songs, and songs with shifting tempos, to which they add interesting studio bits, a lot of spirit and energy, and sincere discussions about the day-to-day aspects of their lives. Could become a classic.
Here’s a budget-priced live album with at least sixteen tracks and a whole booklet with every fact you’d ever want to know about the MAU MAUS. The quality is definitely live, which they apologize for on the sleeve, but it’s got the energy that every live recording should have. This band is one of the first English bands to be inspired by US thrash, and they’re still good, though at this point somewhat ordinary. Regardless, if you like powerful punk, this is a good deal.
The third 7″ from UPROAR isn’t bad, it just goes in one ear and out the other. It has great production, good lyrics, and I really like the song “Your Empire,” but it sounds like a million other English punk records.
A proficient debut EP from this LA band. The lyrics are thoughtful, the production is good, and the delivery is fast, but they tend to reduce the songs to a formula by throwing in similar breaks and changes of tempo that confuse me. Although they show potential, it needs to be developed. Not bad.
Here are three ditties that rouse all the “protest and survive” sentiments you might need. “No Fuckin’ War” is a slow, grueling masterpiece that’s simple but powerful, and will have you singing along before the end. The other songs are short, quickly delivered minor chord headbangers in the best of the new DICKS style. I especially like “I Hope You Get Drafted,” an unrelenting anti-stupidity song directed at “apolitical” punks, which I’d like to see being sung in the streets, busses, and homes all over the world. Somebody finally had the guts to come right out and say it.
I like C2D because they epitomize the late SF “vat” soul. Here, they offer six ripping semi-thrash numbers that are real spirited. The songs are good and rousing, but they constantly remind me of other bands. Still, it’s hard not to like them.
The long-awaited release by an inactive band featuring Steve Miller—ex-FIX guitarist—and dear ol’ Tesco (MEATMEN), getting down and dirty in a slow, noisy, art-damaged, and—dare I suggest—FLIPPERish drone with the purity of true nihilists. I find it a little refreshing in a musical sense, and a fine way to start my day if I don’t want to get out of bed.
This isn’t what one expects from a Finnish punk band. 013 play guitar-heavy rock ’n’ roll that’s greatly influenced by both early UK punk-pop and ’60s-ish garage rock. I think the early UK-type material is the strongest, but all their songs are delivered with power. If you like raunchy punkish rock, check this album out.
West Berlin’s SICK PLEASURE produces a raw style of punk with cynical lyrics about desperation and street life. They combine gruff vocals, heavy guitars, and distinctive song structures which steadily build in power and intensity. Down and dirty.
Back again with fervor. This is what got me listening to punk in the first place—powerful, unrelenting rock ’n’ roll. “MX America” is a great song with heavy production, good lyrics, a breathtaking bass line, and a drumbeat that whacks you upside the head; the weaker B-side is more of a ballad. Pick it up anyway.
A must for OMEGA TRIBE fans. The production isn’t great, but this tape includes most of their classic punk stuff (like “Profiteer” and “My Tears”) rather than their later psychedelic material. Since there’s little chance of seeing them live again now that they’ve broken up, this release is as close as you can get. Recommended.
It looks like this really will be the last from these guys. I’ve always admired their simple, dreary, and repetitive style, as well as their double guitar sound. Although their cover of “I Wanna Be Your Dog” is uninspiring, and the intro to “Nerve Gas” sounds like a Lydon rip-off, the rest is fine. “Khmer Rouge Boogie” is a great song.
This debut combines a garage recording, psychedelia, and an early UK punk sound with a modern anarchist stance. It has spunk and scathing, cynical lyrics. Not exceptional, but raw and spirited.
I thought their first few singles made them seem like silly Oi boys, but this album is so well done that it’s given me faith in their ability to play gripping rock ’n’ roll. They have an English skunk style with heavy metal overtones, but the gruff vocals, sing-along choruses, and demented lyrics turn many of the songs into instant classics, especially “Degenerate.”
This is the best thing I’ve heard from this band in quite a while. They still trot along in the wake of the BANSHEES, although “Hook…” is very catchy and the fastest, most aggressive song since their debut. The other two cuts are OK pop-rock numbers. Semi-interesting.
Another good Big City compilation. One side consists of New York bands (NO CONTROL, DISORDERLY CONDUCT, and ULTRA VIOLENCE); the other features groups from Connecticut (REFLEX FROM PAIN, C.I.A., and the VATICAN COMMANDOS). Even though these aren’t the best tracks by these bands, they’re all good thrashers. The great songs by NO CONTROL and the VATICAN COMMANDOS definitely make this record worth checking out.
YARD TRAUMA, featuring Tucson troublemakers Lee Joseph and Lance Kaufman, have managed to capture the essence and energy of ’60s garage psychedelia on this single. With a strong, upbeat, even danceable bass-line and an electric organ for flavor, they exhibit considerable madness. Good work.
The MANIACS play a combination of Finnish-influenced thrash and English-style punk. Some of the songs are somewhat garagy, while others have a steady ’77-style beat. Gruff vocals and a heavy bass make the MANIACS quite likeable, especially “Weltkrieg” and “We Want You.” Very catchy stuff.
The old POP GROUP singer meets Adrian Sherwood, and the result is absolutely incredible. Is it my speakers blowing out or was the studio burning down? I’ll never know, but I do know that the blend of Stewart’s killer voice and worldview with Sherwood’s distinctive dub editing and bass-heavy style is hard to match. Whether or not you ever liked the POP GROUP, this one is recommended.
This group has a traditional UK anarchist band musical approach and stance, and they seem to be firmly committed. “Man” is a dramatic and unique song with an intense build-up that culminates in tense, maniacal thrash; the other two cuts are slower, but just as tense/intense.
The first song is a blend of tribal disco-pop sounds and good lyrics. It reminds me of 10 CC, but the flip is in the early P. GIRLS style, with its stark, dissonant, and poetic attack on male sexual attitudes. Maybe they aren’t yet completely lost to the pop circuit.
Finally, some vinyl from this eclectic, powerful band. This record has superb production, a speedy full-bodied guitar sound, and distinctive songs that are worth hearing over and over. Highly recommended semi-thrash.
The AMEBIX are not a thrash band, but they’re not wimps either. Their music is a blend of tense drama and plodding seriousness that gives me a feeling of impending doom. With its great production, distinctiveness, and angst, I think this 12″ is the best thing they’ve ever done. “Progress” and the title song are exceptional tracks.
Noisy, stark, melodic, tribal, witty, unrelenting, and snotty as hell—that’s SF’s TRAGIC MULATTO. They have some of the same elements as the Independent Projects bands, but they’re more harsh and not at all reserved.
The best of New York’s art-damaged bands. They play plodding, dissonant noise with industrial overtones, a demonic dirge that’s almost unlistenable for the most part. It’s precisely that unlistenability that makes them so great. Aggressive and abrasive as hell.
On side one, a FALL influence is celebrated, with a similar lyrical distain for tribes and trends. They tackle the pitfalls of suburban life in a direct and humorous way with no wasted words. They let loose on side two with a more original sound; “The Long Ride” is particularly great. It’s fair to say that they’re musically in synch with MISSION OF BURMA and the MINUTEMEN.
Yeah! Non-stop killer thrash that burns everything in its path. These boys make good by putting most of their repertoire on one album, including remixes of their 1984 EP. The layers of sound and lyrics get more and more revealing after a few listens, and it includes a beautifully done CRASS-style fold-out sleeve. Don’t miss this one.
Another hot debut from New York with lots of fast, raw thrashers that compare to the best of MDC and CAUSE FOR ALARM. The songs are unpredictable, but the lyrics to “Foreign Job-Lot” are suspect, to say the least.
A surprising follow-up to their great garage thrash debut. Here, these New York boys rap it up with lots of effects and a certain ethnic flavor, and also include a dub version. Punk should meet rap more often, but it may not be for everybody.
This band has joined WHITE CROSS on the Zero Degree label. They play straight-ahead punk with some flair. The production is rather thin, and the themes are a bit silly, but I think these guys will develop further with time. For now, this is a pretty good effort.
These guys are pretty catchy in the INSTANT AGONY or DEAD WRETCHED mold, but their new single is missing the fast hooks that characterized their debut. “Stand and Fight” is a good track; the flip is pretty boring.
The Pax label is doing some valuable work with the best of intentions. They’ve gone international on this, the follow-up to their Punk Dead? Nah Mate compilation. This time around, they include four uropean, eight English, and one American band (SAVAGE CIRCLE). Most of them are real strong, but CRUDE SS (Sweden), PSA (Italy), ANTI SYSTEM (UK), and the MAU MAUS (UK) really tear it up. There’s a total of thirty tracks, so don’t miss it.
It’s a bit alienating for a woman to review an album pronounced “Oi! The Boys,” and it doesn’t help that I can’t decipher the lyrics. Musically, the HERBÄRDS have a sound derivative of British Oi. Most of it is rather unexceptional, but “BMW” and “Schweinbach” are rousing tracks. Listen before buying.
The title is stupid, but the music is definitely worthwhile. This album demonstrates that Germany has several ripe thrash bands, though it’s not quite up to the standard of Waterkant Hits. Here the NORMAHL offer slower, less distinctive songs; the HERBÄRDS do some funny Oi tunes; and INFERNO, CHAOS Z, and BLUTTAT produce some ripping thrash. A good value.
This is more of a novelty record than a punk record per se. The song gets to the core of British life, both thematically and structurally, since it’s in the form of a rousing pub sing-along, but it’s also about looking at ourselves as being responsible for the officials we elect, not just pointing the finger at them later. CRASS may be serious, but here they display their anger in a humorous format. Americans may find it a bit inaccessible, but if you know that “#10″ is the residence of the Prime Minister and the “Birds” is akin to Jello, you should get the point and have a laugh besides.
This is the third INSTANT AGONY single, and they’re slowly degenerating into mediocrity. I like the lyrics and the general approach, but I find the specifics very ordinary. Generic English punk.
This group is akin to other Independent Projects bands, in that they’re rhythmic, stylized, moody, and very hard to pin down. Side two is a little too sweet for my taste, but side one has a great rendition of “Lawrence of Arabia.” Wonderful soundtrack music.
YARD TRAUMA is a very versatile band, in that they deliver slices of industrial, psychedelic, and garage punk material. Aside from a few live tracks, the recording is very good (like most Iconoclast tapes). These guys are not ordinary!
One side of this is thrash, the other is a bit slower, but all of the songs have good qualities. “We Want the Money,” the title cut, and “On My Own” are especially strong. This EP isn’t any great production, yet there’s definitely something about it that stands out.
This is sort of a mixed bag. Some of the songs here exhibit the worst elements of heavy metal, whereas other cuts (“Fight for Your Life,” the title track, and “World at War”) are clear-cut, well-designed punk jams like those of YOUTH BRIGADE and TOXIC REASONS. Most of it is pretty good.
Except for one great thrasher, HOSE still ply that unmistakable FLIPPER sound. It’s slow and grinding, with lost of feedback and silliness. The sleeve packaging is novel, and the record itself is hand-etched. A good release.
A lot different than their post-punky LP. This 7″ features quite decent English-sounding punk with some great hooks and an engaging style. They also do a couple of thrashers.
An extremely likable thrash album from Germany that’s well-produced, powerful, and full of great hooks. At times, the wall-of-guitar sound reminds me of DISCHARGE or CHAOS UK. There are some slow songs, but most of them really rip.
D.I. have well-executed, concise songs with interesting but not necessarily innovative arrangements. There are a lot of obvious influences here—FLIPPER, ADOLESCENTS, CIRCLE JERKS, MISFITS—but the witty lyrics and good production make it plenty entertaining.
Here are ten new hardcore bands from West Germany, without a sleeper in the bunch. Most of the bands thrash—E-605, RAZZIA, MASSAKER, SS ULTRABRUTAL, and HH MILCH are all great; OXENSCHWANZ is totally weird, and the others go off in a variety of directions. Well worth the time and money.
The B-side is the star track here. It has the powerful, thrashed-out VARUKERS we’ve come to expect. They slowed it down on “Die,” which is somewhat disappointing, but it’s still tuneful and well produced. Watch for an upcoming album.
Where did they find these recordings? This tape contains lots of long-lost original psychedelic bands, including the BAD SEEDS, the CHOCOLATE WATCHBAND, STILL ROVEN, the LOST TRIBE, and a bunch more. Anyone interested in obscure psychedelic punk from the ’60s should look for this.
Hats off to the first American band on the Crass label, formerly known as ARSENAL. Both the music and the record cover are important here. The former is offbeat and original, with lots of effects and superior lyrics; the latter is a well-researched expose of American imperialism with poignant essays. This isn’t hardcore, it’s the hardest-core. A must.
The long-awaited follow-up to their album, and it’s a good one—fast, catchy LA punk with great production. CH3 are still carrying on the tradition that put LA on the map.
At last! This EP is classic DC-style punk, with strong production and strong material. The arrangements are original, with both fast and slow parts and lots of effects, but no power is lost. These guys had fun in the studio, and although they came out a different band, they came out with a great record. Play loud.
A well-done UK Oi 7″, the third from this band. It’s musically good, great production-wise, but lyrically confused, to say the least. There are good anti-police and anti-government songs, but the pro-violence “Battle-Scarred Skinheads” put a chill down my spine. For those who don’t care.
This one is heads up for ERAZERHEAD. When they’re hot, they’re hot. “Zombie” uses the same riff as the RAMONES’ “Rock and Roll High School,” which makes it great fun.
This is a concept album in which each song is a take-off on an ethnic musical style. All are artfully executed, and they vary in speed, energy, wildness, effects, etc. I find this LP extremely inventive, original, provocative, and listenable. Four stars to LA’s ATILA the hairdresser.
I love OMEGA TRIBE. It’s fast with that masterful Penny Rimbaud production, but this band also has a pop element. For example, the great “Profiteer” is the epitome of catchiness, with handclaps artfully added; and “Another Bloody Day” is a ballad that includes piano, but it retains power. The lyrics are predictably unrelenting, so don’t miss this one.
Like those from the first installment, the bands here haven’t released any other vinyl yet. And true to the No Future label, this is a mix of punk and Oi! bands. Some of them are mediocre, but CADAVEROUS CLAN and IMPACT make this record worth the £2.50.
Although their first EP was good, this new release shows progress. Two of the songs here are SUBHUMANS-type thrashers; the others are slow and steady. Sensitive lyrics and lots of commentary on the sleeve make this a must.
Start by reading Featherby’s tirade on the back cover, a great intro full of optimism about the achievements of punk. Then move on to the great music. The MAU MAUS appear with one new track, and ANTI-SYSTEM and XTRACT both debut some powerful songs. The rest of this varied LP contains material by the XPOZEZ, MANIA, and the SEPTIC PSYCHOS, some of which is fiercely melodic, some which is quiet and calculated, and some which is thrashed-out. All in all, it’s a pretty intelligent compilation.
An admirable new release out of DC, with ten tracks, two bands on one 7″ EP. The EXILED have improved a lot since their recent tape. They do both thrashers and slow, grinding numbers with interesting effects that show versatility and imagination. They sound young but have potential—”Artificial Friend” is great. What ARTIFICIAL PEACE lack in production values, they make up for with some good lyrics and classic thrash in between the slower bridges and haunting background vocals. Hats off to “Think For Yourself.”
I’m not sure if the Small Wonder label is here to stay, but it’s real good to see this new record. ANTHRAX definitely has that CRASS-family sound, with its orchestrated highs and lows. This EP is musically and lyrically powerful, so watch for another soon on the Crass label.
Nowadays, one opens a single on the Crass label with a little skepticism. Does the classic sleeve conceal another ANDY T? Well, you don’t have to worry about ALTERNATIVE, because they rip. The title cut is an excellent show song that may not appeal to the unrelenting hardcore type. The others are dynamite and should be played over and over, as loudly as possible. Great record.
I have a hard time finding fault with this album. Once again, if you don’t like your punk political, steer clear, because FLUX is dynamite. The whole LP is a marvelously orchestrated opera of poetic condemnations of our nuclear world that builds up to a climactic musical explosion. The production is superb, and a booklet is included. My copy’s grooves are already worn down.
Somewhere in between CHAOS-Z and DAILY TERROR we got HARNRÖHRER. They are a German garage band with heavy guitar sound similar to that of early U.K. punk. The production may not be great and the songs are rather monotone, but they are charming. Is this the real German underground?
More value for your Deutschmark. This band is similar to many other German groups, but also has some standard Britpunk elements. Most of the songs are mid- to slow tempo numbers with good strong hooks. Take it for its musical value, because this record comes with an incomplete lyric sheet.
Another LA compilation with a lot of unrecorded bands and a few who’ve already released vinyl (like NO CRISIS, MAD SOCIETY, and the CONSERVATIVES). The first efforts by F-TROOP, RED BERET, the CREWD, SECRET HATE, NUCLEAR BABY FOOD, and New York’s EVEN WORSE are good. Most of them play unique thrash, and a number of the songs are quite memorable. The production is also decent, even on the live tracks. A fine effort off of the LA mainstream.
This compilation from Tucson is an admirable effort. The tape features good production and wide variety of bands. There are punk bands like CONFLICT, who have a strong thrash attack, and the URBAN GUERRILLAS, who have a garage tinge like the CHURCH POLICE—grinding, profound, and original. The defunct SELDOMS do a JAD FAIR imitation, GREEN ON RED have a live track that’s not as good as the stuff on their 12″, and the PHANTOM LIMBS have a track that sounds like Jello Biafra playing with the PANTHER BURNS. There are other pop, electronic, and psychedelic cuts that have a certain spark. Something for everybody, and a chronicle of Arizona’s musical history in one package. Let’s have some more, Lee.
One record with a separate band on each side. In the No Future world, this is an appropriate move, because one side is punk, the other Oi. CRASH is the punk band, and they’re similar to many of the bands on that label—anthemic songs Á la BLITZ. CRUX are more like the EXPLOITED or the 4-SKINS, only sorta low-key. “I’ll Die with My Boots On” is the epitome of Oi topics, but “Streets at Night” is the better song. Nothing exceptional here.
Well, they’ve finally put an album out. The sound quality is so good that you’d never know it was live except for the crowd noise and interaction between the band and audience. These guys produce powerful Oi music, but their themes are questionable, as with most such groups. They have all sorts of songs about “birds”—the English equivalent of “chicks”—and not being able to get off. Then we have the familiar ode to fighting, getting beat up, and the wimps that won’t fight in “Moped Lads.” Socially relevant themes in “Keep England Untidy” tell us to litter, and “Shitstirrer” is where they explain that when things are bad they will make them worse. Their song “Elvis Is Dead” is a classic, though, and “Maniac” is a great pun. But who knows at this point if they’re serious? Fun band to listen to but not to contemplate. They are thugs and proud of it.
I’ve always wondered if these guys were punks. They’ve put out two singles, both great in their own right, but you couldn’t quite classify the music as punk. Now here’s their LP, and both the sleeve pictures and the lyrics demonstrate that they are indeed punks. Some of the tracks are good and punked-out; others are ripping garage numbers that sound sort of German. The singer has a very distinctive voice, and the band reminds me of UK DECAY or the ABWÄRTS in that they have a post-punk tinge. All in all, a fine band and a decent LP.
After three great singles, the SUBHUMANS have released an album that is equally great. They are part of the CRASS family, so if you don’t like your opinions strong, too bad. This LP has non-stop power, thanks to the absence of breaks between songs, and it has some great anthems like “Minority” and “Black and White.” Their themes are always handled skillfully, the music shifts from thrash to more typical English punk, and the sleeve is a lovely gatefold job which has the lyrics printed inside over a backdrop covered with “think.” No question about it, this one’s a must.
If you’re lucky enough to find this 7″, grab it. First, you get the greatest funk bass line waaaaay out front; then the trashy tin-can drums come in; then a whiny, sloppy guitar and screaming vocals. If this is what they played in discos, I’d go. Play it often, and play it loud.
Coming so close on the heels of their Christ — The Album, it’s almost too much to digest. The title song is a catchy headbanging attack on the jingoistic British attitude towards the Falklands/Malvinas crisis. It has created a hoopla in the English press, who amazingly have supported CRASS against Parliament’s cries of “treason.” The flip features Eve and will please fans of Penis Envy. CRASS may be accused of preachiness, but their unrelenting critiques are having an impact.
You have to get beyond the tacky cover on this LP. It looks like an Oi or EXPLOITED album, but GBH play one ripping headbanger after another. They even utilize blues riffs in thrashers like “Bellend Bop.” Most of the lyrics are about war, poverty, and madness, but there’s one song about getting drunk and fucking a “slut.” Needless to say, that makes me wonder about these guys.
It’s been a long time since their first single and the SEIZE haven’t come out of the garage yet. In the great tradition of slam, crash, and slobber, this EP has a nasty edge and should be played at high volume. Four great ditties are included, but “In For Me” is the standout track.
This female trio from Austin plays melodic, harmonic music. But underneath that soft exterior are fine poets who say the obvious but not so obvious. “Men in Politics” is a gem.
These guys are some sort of SF studio concoction, and they are lunatics. They swing from music for nightmares to rhythmic jungle rock. Recommended for the flexible. Check out their individually designed sleeves and enclosed worms!
This band is one of the hottest, most awesome bands to ever walk onto a stage. They are not to be missed. Their first single was weak, and their LP was hard to make out, but this new single comes closest to capturing their raw, grating, high-speed velocity. Great!
Firstly, it comes in a pizza box. Secondly, they explain that they are not three crazed TV addicts, but in fact are a scientifically planned event a la the MONKEES. Thirdly, they do lots of covers of TV themes. And mostly, they play dirty, rockin’ rockabilly a la early CRAMPS, lampooning just about everyone. They’re good fun, really rockin’, and highly recommended.
