On the B-side, MASSAPPEAL show some real talent at crazed, frenetic HC in the DISORDER vein, with the rockish edges showing. The flip is a bit repetitive, but this is by and large a solid effort.
This record comes with a free condom to promote “safe listening,” and the material on this EP is fairly infectious, with some hard, up-front guitar work. The style, however, is distinctly ’79 flailin’, rockin’ new wave—the lead vocalist even has an English accent. Fairly good, I guess, but it definitely grows on you.
The mid-tempo punk style here is assisted by a good feeling for melody in their power chord structures, and the two songs on this 45 are undeniably good at what they do. The vocals are gravelly, with lyrics that seem to have a certain humor to them. Very good release.
Mid-to-fast tempo German punk abounds here, with catchy choruses (especially on “Your Escape”) and a powerful power chord guitar sound. The songs are pleasant, but there are no particular revelations here. Just good, basic, loud punk.
A terrific idea: Mystic has decided to chronicle a series of local punk scenes in a “Sound of USA Cities” LP series, this one centering on Portland, Oregon. RANCID VAT, ANATHEMA, N.R.A., and other bands share this album, which varies severely in sound and song quality. Still, an interesting document.
UPSET NOISE specializes in mid-tempo punk with distinct speedcore influences in most of the guitar riffing and some of the wanking. Good for the style, I don’t have much of a sensitivity for this kind of punk, though I have to compliment the fine acidy album cover.
Instead of the typical Finnish piledriving thrash, this superior EP contains four finely crafted classic punk tunes, all in an anthemic vein. “Shout,” in particular, reminds me of the kind of nostalgic, melodic punk we all used to live. Highly recommended.
Four tracks here, all in a bouncy pop-punk style with those irresistible choruses you can’t help but sing along with. What’s more, the lyrics are extremely funny, showing a real satiric bite and flair. I have a feeling that punks everywhere are going to be singing these songs to themselves for a long time to come. Terrific record!!
Rampant sarcasm and a less than tight, ripping hardcore style are the trademarks on this debut LP by the SHAVED PIGS. The song structures are not always distinctive in these simple tunes, but their cover of the ISLEY BROTHERS’ “Shout” (here entitled “Slam”) is delightful. Good album cover, too.
The hardcore on this album goes in some original directions, especially in so far as the song arranging is concerned, but the ultimate effect is rather monochromatic and unappealing. Nonetheless, strong energy and power abounds here, and the lyrics are very strange.
The A-side of the 45 is a mid-tempo punk number boasting great hooks and lyrics in the best SS-20 style, with good arranging and even a nifty Beethoven guitar break(!). The two songs on the flip are faster and more powerful. Another excellent record from this consistent band.
This record is a re-release of NEGAZIONE’s classic Conannati a Morte… EP with an additional live track, and it displays this band’s absolute command of a fast, frenetic, thrashy, and memorable songwriting style. The live song is a tantalizing hint of how good this band must be live. Great record!
Less overtly “punk” than their debut 12″, this album contains ten pop-punky tunes with the emphasis on the pop, in a style reminiscent of the early SHOES. Undeniably catchy, this record is best when guitars take precedence, but there’s still a good deal here for fans of cool pop music — though the style does wear thin after a while.
This live LP showcases LIVE SKULL’s guitar-laden, atmospheric post-punk sound. Obstinately non-melodic, the songs on this LP, although excellently recorded, don’t excite (they’re too slow) and don’t stick to the ribs (they’re not catchy enough). Fans of the band will like this, though.
Ultra-catchy Yugoslavian pop punk appears on the tracks here — really, it’s quite a departure from the typically messy, thrashy style popular in this country. KUD IDIJOTI have great melodies on three of four tunes, with nifty choruses in a mid-to-fast tempo style. Fine record.
The two songs on the FRATRICIDE side display a punk style with certain metallish trappings, and lyrics that address the fundamental purpose of punk. On the flip, MISSION OF CHRIST are more demonstrably speedmetal in the vocals and guitars, with lyrics that are forgettable and fuzzy production. Unmemorable.
The latest EP by ATTANAS shows considerably more finesse and style than before, with occasional melodic concessions, but losing none of the high-sped HC power. These songs are short and to the point, and show some songwriting quality. Very good effort.
WHITE FLAG has, on this live EP, documented their European tour with a clutch of fast, funny, and hard-rockin’ songs. The recording quality is adequate, no lyric sheet is provided (this band needs one), and all things considered, this is probably a good documentation on their tour. Actually enjoyable.
VIKTIMZ pride themselves on their highly sarcastic, “fuck-you” lyrics and high-velocity thrash attack. A variety of topics, from abortion and nuclear war to martians, is covered with adequate musical punch and fair production — but the attitude is the main attraction here.
This is simple, three-chord punk with basic production and messy vocals — all played in a moderate tempo. The four songs here sound uninspired and rather monochromatic, though I did like the harmonica break in “Control U.”
This duo of Spanish bands demonstrate a remarkable similarity to Finnish bands from 82 or so. U.G., with their ultra-fast, messy thrash sound, is reminiscent of that first BASTARDS EP; R.D.R., with more extended song structures but the same general style, recalls the first EP by RIISTETYT. Altogether, rather like a blast from the past, and recommendable for the U.G. side.
TOTALITÄR, with a grinding HC guitar approach and a tasteful speedcore edge, pummel out five tracks on this one. The closest comparison I can think of is ANTI-CIMEX, and the vocals on this one manage to convey a real sense of urgency and power. Very strong release.
Echoes of ASTA KASK and 6-10 REDLOS reverberate through the eight tracks on this fourth release from this Swedish band. Melodic, driving pop-punk is the order of the day, and it’s handled with style and verve. Nice choruses, powerful instrumentals—a good showing.
The rambunctious pop-punk on this record has a pleasantly tough power chord instrumental sound (abetted by sloppy, but good arrangements), and screamed vocals over the whole thing. The two songs on the A-side rock, while the one on the flip is less special.
Terse, speedcore riffing energizes this fast, to-the-point trio of songs. The abrasive vocals are quite good, and the guitar work aims for original reworkings of the basic core figures we’ve come to expect from this genre. Verdict: a top-notch example of the style, though not exactly my cup of tea.
A hilarious sleeve introduces four HC numbers along fairly predictable lines: mid-to-fast tempo, shouted vocals, messy guitars, mosh intros, and no melody whatsoever. The energy’s cool, but more originality is needed here. From South Africa.
SM-70, hailing from W. Germany, opt for short, fast songs in a messy thrash mode. It’s a style that’s familiar, and you can bet there’s loads of aggro and a pummeling sound from track to track — it’s also, despite its effectiveness, a trifle too common to make a major impression. Still, it’s good.
Primitive production and an almost terrifying rawness make the highly distorted thrash on this one actually connect in a distinctive way — much in the way that TERVEET KÄDET did it years ago. The more experimental tracks, with lyrics over drums, are less effective, this is one unusual, interesting record. I like it.
What a pleasant surprise! Instrumentally varied, kick-ass punk with personal lyrics, both tracks camping out in the same area as early material by the LEFT. What’s more, there are hooks, nifty guitar breaks, and more than a little arranging skill. Highly enjoyable, and recommended.
A five pointed star on the front cover, costs ¥666, released June 6 — hey wait! — this must be satanic rock! This is one of those cases when I’m glad I don’t understand Japanese; one side is a god awful drone with some woman screaming, the other side has three tracks in HC, pop-punk, and post-punk styles respectively. Poo poo.
Rockin’ pop in an English mode, but made palatable by the guitar predominance and a novel sense of melody. The chorus on “True Blue” is wonderfully catchy, and the other two tracks hold their own with a mid-tempo, bouncy style; an obscure comparison, but the sound is very much like Australia’s KELPIES. Good.
Messy, fast, gruff, loose, riffy HC thrash abounds on this highly energetic EP — it’s really a non-stop, high-velocity assault with gritty instrumentals and raw vocals. It’s also quite distinctive and very, very hot.
Despite their hilarious name, this one is just mid-tempo pop-punk served up with solid guitars and rockish edges in the occasional lead breaks. “Cocky Rock Boys,” with its catchy vocal chorus, is the standout; the other two songs just sit there. Okay, but not mandatory.
This album of gruff, terse hardcore contains more than a few moments of gritty diversity where DISTORTION X has a chance to demonstrate its wrenching, discordant style. Compositionally, this record lacks the good cuts it needs, but there’s good power and aggression here.
A very bassy instrumental sound with the occasional intrusion of synth underpins melodic female vocals on this three track flexi. One song is slow, moody, and long; the others completely forgettable.
The fast HC on this six track EP has all the energy, gruff vocals, and power you’d want. It’s also very repetitive and just on the verge of genericness — especially when those guitar leads kick in. “Lie & Truth” is hot, though.
The pop-punk on this 45 shows more of a vocal orientation in the melodies and background choruses, but the guitar sound is sharp and interesting. “Där Tiden Inte Stämmer,” a commentary on South Africa, is especially bracing. Fine record.
The instrumental sound is not unlike REBEL TRUTH (remember them?) with its inventive guitar riffing, and this band excels when the tempos are fast indeed. While the songs could be a bit faster, there’s a good “fuck you” attitude here, despite the rock trappings of some songs.
NEIGHBORHOOD WATCH (not the old L.A. band), on their second release, comes off with some unique punk which boasts some real uniqueness. The cool use of keyboards helps: an utterly scratchy guitar sound, played with restraint, makes for some good moments; and the rampant sarcasm pushes this into the black. An interesting record well worth checking out.
This platter of HC/thrash has that tinny, garage-laden sound that I’ve always loved, and the good news is that MSI has a good command of their style. Not remarkably original, but the three all-out thrashers make for an entertaining ride.
It’s a trade secret that these guys’ debut album was one of the unsung pop-punk surprises of a few years back. With this, their second LP, the CONDITIONZ seem to veer deeply into some R’n’B punk regions, as well as toward basic pop-punk with rich hooks. The change is interesting: the result is an enjoyable record with a good guitar energy.
Don’t let the predominance of guitars fool you, this is pop—and not quite as engaging as I would have hoped. The compositions have no real stylistic niche and remain fairly generic: the vocals are just amateurish enough to become cloying after a while. Not good.
Personal/political lyrics, repetitive thrash song structures, exceptional speed, and tight delivery are all a part of the package with this debut EP. Of course, it’s been done often and better but that doesn’t stop at least three of the four or five songs here being strong, muscular thrash.
This album represents a variety of Norwegian HC styles, the most interesting being that by BRENT JORD, TMB, OVERLAGT DRAP, and KAFKA PROSESS. Production is good but basic, and the best material here demonstrates a richness of talent from this country that makes me hankering for more.
This South Africa band makes another political stand that shows real courage, but the music here is the best POWERAGE has yet committed to vinyl. Simple, urgent HC with a rich guitar sound is the style — and it’s that combination of power and credibility that makes this a winner. Very strong!
On their second LP, this German band upholds a uniformly good quality of energy, instrumental tightness, and anthemic lyrics. Overall, a very pleasant package, but on listening to the individual songs, nothing really stands out as unique or especially gripping. Just another buncha mid-to-fast tempo HC/punk songs with the slightest of core tinges.
The really outstanding thing about this album is the remarkably flexible, yet plaintive female vocals which grace the songs. The instrumentals veer into a kind of bassy mid-tempo HC drone as the tunes progress, but with more distinctive material, this band could really excel.
This Aussie outfit employs an approach to HC which emphasizes simple, riffy structures (frankly with not enough variety to keep my musical interest) abetted by the upfront guitar sound. The real highlights here are the exceptionally passionate words, and of course, the great cover art.
This is German thrash in a pared down American style — thirteen no-nonsense, short and to-the-point songs….terrific energy….riveting bass riffing….great guitar attack. This one has it all, so you’d be a sucker not to snap this baby up. (Great cover art, too!)
ABRATZK provide garden variety thrash on their cuts, with one pop-punky change-of-pace number that took me off guard and is quite good. On the other hand (and side), G.E. delivers amazingly intense HC thrash with spirited gruff vocals — a totally winning band. Two outfits to watch out for—and recommendable for the ELEPHANTS’ songs.
A textured guitar sound fronts the four mid-tempo songs on this EP, which opt for a pop-punkish approach — paradoxically without much in the way of hooks. The slower “Everything Turns Grey” is the best track here, but this band has to eventually decide whether it wants power or melody.
This band opts for an atmospheric approach not unlike the more moody UK outfits, with excellent production on both tracks. “Blue Army” has interesting filtered vocals, but the material here does not grip.
This rockin’ all-female foursome kicks out five songs, nearly all with a chunky guitar sound and plaintive vocals. This band really connects when their humor and personality comes through (as on “What? Scuz Me?”), but this is still an enjoyable slab.
This band has spent altogether too much time listening to AEROSMITH. RAGING SLAB’s music shows a saturation in that most dreaded of all genres — rock —without the healthy self-parody that made the WILD, and early MENTORS and PLASMATICS so enjoyable. I’m surprised this is on…
CCM finally achieves their musical peak with this album, which often approaches the intensity of early GERMS — both musically and vocally. A few songs lack that total punch, but chilling numbers like “Feel Like” and the excellent title track make up for occasional weak points. Very, very good Italian HC.
Speedy HC emphasizing a gritty, nasty, almost grainy sound which is quite effectively used on all four cuts. Lyrics are personal and rather chilling, making for a powerful slab of aggro.
A wall of guitars and percussion on the edge of audio distortion makes these two powerful tracks surprisingly appealing. This is mid-tempo, discordant, and rather indescribable with those demented vocals and unique instrumental approach. Quite good for its genre.
The CIRCLE JERKS, CROWD, UXA, TSOL, BLACK FLAG, SOCIAL D, and others show off mostly ace material on this collection of previously released tracks. Uneven, but mandatory if you don’t have the original pressings of the punk acts represented.
It’s about time! This collection of tracks from 1981-2 sports a series of outstanding tunes by vintage TSOL, including one clinker (“Weathered Statues”): the rest is dynamic, upbeat, guitar-oriented TSOL at their best and near-best.
Best effort yet from these inspired French punkers. Both sides of this single exploit powerhouse guitar and vocals with absolutely irresistible riffs and melodies. Total ace!
A marked improvement over their debut EP, SCREAMING BROCCOLI opt for a poppish rock approach to gently satirical material. The jaunty humor and poppish sensibilities of this record recall early ANGST, though this has a less aggressive sound.
Three songs here, exploring a faster paced punk sound with a certain lack of musical distinctiveness. I tried playing their first EP after hearing this, and the contrast is telling: the conciseness and good hooks of the old RHYTHM PIGS has been lost along the way.
Humorous themes abound on this one, a slab with the fast/slow. HC approach and vocals reminiscent of the CRUCIFUCKS. Basically raw and okay, but the ultra-fast version of the CURE’s “Killing an Arab” is priceless.
I’ve always enjoyed stuff like this: tight, to-the-point thrash with basic production and snappy riffing. Although I can’t say this is remarkably original, it connects with charm, fun, and touches of songwriting quality. Very good!
Chicago’s LOST CAUSE performs HC with a melodic punk edge, always aiming to kick ass in energy and drive. Echoey vocals got in the way of my full enjoyment, but there’s undeniable potential evidenced in some of these songs. Above average.
Still more rock’n’roll fun with Australia’s irrepressible goofball punkers. Both sides pummel in the fast, snotty punk vein; while the hooks are kept way in the back, the energy and speed here almost compensate for it. “Ferdi’s Song” has some good choruses. Pretty good.
Mix that trademark Aussie rock sound with a dose of the Liverpool pop sound (TEARDROP EXPLODES), and you end up with a very accessible, textured sound which boasts a real distinctiveness. Good on melody, but doesn’t really connect with any discernible punch.
The instrumental sound is basic French punk/HC with loads of instrumental punch. The songs emphasize a hard sound over melody, although the real weakness of this album stems from the out-of-tune female vocals which alternate with the male singing. Adequate.
This solo artist plays industrial dance music (synth, rhythm machine), and the result is much more likeable than PHIL COLLINS, so I thought I might let you know.
Quintessential British Oi! with all the melodic aspects melded to the street lyric themes. A powerful guitar emphasis makes some of these tracks quite enjoyable from a musical point of view, but this is not OI POLLOI.
French Oi! with a fast crunching sound quite unusual for this style of music. “Oi” is my favorite track here, with its haunting vocal choruses, though the other two tracks have power to spare.
The A-side is okay melodic neo-psych with Farfisa and lead guitar soloing coolly along, while the flip is more jangly. Adequate, but not particularly exciting.
Predictably, this album combines the instrumental excesses of BLACK FLAG with certain rockish tendencies, resulting in a nicely produced but self-indulgent effort rife with lead breaks. A nice melodic element creeps in via the vocals; still, it’s not quite enough. Not good.
A difficult band to pigeonhole, SPOT 1019 veers into pop-punk, C&W, lite funk, and pseudo-surf on this LP, with good and consistent results. The material is almost always funny and catchy, and their best songs (“Surf Machine,” “16 Wheels”) very enjoyable indeed. Poppish, but very strong.
This record marks a low point in the career of this influential Reno band. The style of this record has been described as reminiscent of U2, but I found the tunes here unpassionate and the sung vocals unsuited for the mid-tempo material. Come on guys wake up!!!
Hailing from West Germany, this thrash band shows off a highly energetic approach to thrash rather like the better German outfits from 82 and 83. Abrasive vocals and a hard guitar sound push this one over the top — a strong and spirited debut album. (Great sleeve, too.)
On their third 12″, the PRIMITIVES show a slight decline. The title check, despite a nice chorus and good guitars, lacks the catchiness of their past pop-punk efforts; “Laughing…” is too wimpy for words, though the rockabilly bounce of “Buzz Buzz Buzz” is pleasantly bouncy.
I heard the first song of this LP, and I said to myself: “Eric Hysteric.” He produced this, and the same distorted, trebly punk you remember from DER DURSTIGE MANN appears here, complete with the nice vocal choruses. Nothing on this quite equals their hilarious cover of NENA’s song, converted into a beer song — “99 Kasten Bier.”
A disappointment. MADNESS was the very best of the English ska bands, but this effort comes across as limp and unenergetic despite some pretty good material. “Bed and Breakfast” is the catchiest number here, but better versions of the songs are to be had elsewhere.
One this album, M.I.A. adopts more of a SoCal melodic punk approach (which is good), but grafts it onto the slick style of their last LP. “Beautiful World” is strong, and their cover of “California Dreaming” engaging, but this LP is not up to the standard of what used to be one of the best bands going.
Many of the tracks on this album are stylistically similar, but I enjoyed the grungy, basic production here, as well as the urgent songs and sarcastic lyrics. This is punky thrash with good velocity and an infectious spirit of fun. Good work! I liked this a lot. Filed under “Speedfolk.”
A nifty cover of the SWEET classic is augmented on the flip with more of KGB’s upbeat, guitar-oriented punk. Good power here, but the cover alone makes this worthwhile.
Terse Greek hardcore is played tightly and with real passion on the six tracks. While the songs could have been more memorable and catchy, I liked the first song on this 12″ a great deal, and hope to hear more from this very promising outfit.
GENERIC mines a punk vein with an informal style not unlike a thrashy APOSTLES, with occasional lapses into poetry and folk. ELECTRO-HIPPIES, however, deliver an ultra-distorted HC/thrash variant that hits and misses. Two interesting bands, both highly credible from a lyric point of view.
This spirited EP features female vocals over a nicely fleshed-out set of mid-to-fast tempo punk and thrash tunes. The playing is excellent and songs are well-arranged; one track, “Eins-Eins-Null,” even uses the violin to interesting effect. An excellent release!
The Boston EDGE have moved back to Ohio, and somewhere along the way picked up a banjo to augment the band. “Just An Illusion” is a poppish ditty with a good melody and nifty banjo pickin’, while the flip is slower but still pretty good. Takes getting used to, but I recommend it.
This album sees the DESCENDENTS with somewhat longer songs than usual, a more power-pop compositional style, and the hooks we’ve come to expect from these popsters. The problem is that their emotion of ’82 is largely gone, but this is listenable for those who value melody over crunch.
This follow-up to their fine debut album, despite some moments of power, shows a decline in songwriting and a notable increase in speedcore tendencies. This band would profit by increasing their influences rather than narrowing them.
Eccentric as hell, BOMB go for varied song structures which go from soft to loud, sung to screamed, weird to punky. The experiment wore thin on me, but suckers for novelty might give this a listen.
On their debut LP, this band gathers together a very consistent clutch of pop-punk tunes, all of which meld Scottish vocal motifs, catchy power chord progressions, good melodies, and interesting lyrics. BLYTH POWER has a unique sound exploited well here. A solid LP.
This New Zealand band opts for a pop-punk approach with good guitar bite on their second EP. Of the three tracks, “Deja Vu” and “Friends” are especially strong, and aficionados of upbeat melodic punk will enjoy this one a lot. Very good.
Distinctive, nasal vocal meld with a gritty instrumental sound not unlike a cross between BLACK FLAG and traditional fast-and-loud HC. The result is unique and effective a fair proportion of the time, though consistency isn’t S.D.T.’s strong suit. Aggressive and loud.
The re-formed STARVATION ARMY showcases four medium-tempo rockish punk songs on this EP, which lack much in the way of power, melody, or interesting lyrics. Below the standard.
This well-known English ska outfit fares quite well indeed on this selection of early cuts. Terrific tunes and energetic performances make this record special — in particular the bouncy version of “Monkey Man.” One of the better Peel session releases.
The special appeal of this record is in the fact that it’s the first real taste most people have had (aside from a pathetic bootleg) of the early, punk SLITS. Some familiar, and some unfamiliar material — all of it very raw and quite interesting. Recommended.
Fans of The Scream period SIOUXSIE will find favor with this excellent four-track release recorded in late 77. “Love in a Void” is as great as always, but “Mirage” and “Metal Postcard” also connect with a vengeance. Rawer than other versions of the same songs, and a real treat.
SINS specialize in solid mi-tempo punk with good instrumentals and vocals reminiscent of the early SAINTS. Aside from a few less interesting songs, what emerges here is an extremely promising effort, especially on rootsy punkers like “In the Red” and “Fair Share” which balance power with finesse.
This Texas band opts for a truly punk approach on this five-song effort, and the charm here is largely due to the hard guitar sound and the “fuck you” punk attitude. I liked the title song in particular, though the entire platter is filled with riffy, punchy, enjoyable punk rock. Good.
SCRATCH ACID is back with six demented, charging rockers, a nasty guitar attack, and vocals very reminiscent of NICK CAVE. While not as rootsy as their last LP, the band emphasizes power on this release, which rates as very good for its genre.
These mid-’79 tracks, five in all, show a fair diversity of punk styles and some rockin’ power, especially on “Society.” The RUTS were never a major force in British music, at least in my opinion; fans will find this an interesting document, nonetheless.
On the basis of their first two singles, I was expecting bouncy female vocal pop-punk with a great sense of personality. This set of tunes, however, veers into X-MAL DEUTSCHLAND territory with its sung vocals, slower tempos, and thinned out guitar sound. Too bad.
POPTONTO utilizes a riffy, traditional approach to mid-tempo HC with an emphasis on power chords and serious lyrics. A very sincere bunch of tracks, but this band doesn’t stand out in the areas of songwriting, or overall personality. Okay.
If you don’t have a sensitivity to noise, this will sound like a self-indulgent instrumental mess. What we have here is an insane, grinding, industrial-strength set of “tunes” which purposely tries to disorient and infuriate. You know what? It works.
This all-girl band from Japan specializes in upbeat, melodic pop with tight, clipped, melodic vocal harmonies and nifty songwriting. Bouncy and energetic. I like this a lot!
This release touches on that fringe where HC meets haunting, discordant post-punk. The shouted female vocals, rhythmic instrumentals, and loose, fragmented compositions were difficult for me to enjoy.
This reissue (?) of an early 80’s Aussie punk single by the KELPIES shows a studio approach to the same restrained punk style that was showcased in their recent posthumous live LP. The guitar work is rather like CHELSEA, the two compositions here pleasant but not earthshaking.
This German band showcases a mid- to fast-tempo HC approach with somewhat engaging vocal choruses and a dynamic instrumental punch. While there were a few interesting moments here, the overall effect is aggressive but not gripping.
Both bands collaborated on this split EP which contains four tunes by a single band who shares members between them. One side has spare instrumentals, delicate female vocals, and a punk attitude, while the other contains a good APOSTLES-style tune in “The Wasteland.” Interesting.
Previously only available on costly bootlegs, these four tracks may not have the production crispness of “official” releases, but there’s still a brace of alternative versions that will please JD fans. “She’s Lost Control” is just as good as always. Recommended.
This exceptional Dutch band comes back with a four-track EP even more impressive with their fine debut album. Passionate female vocals, a biting guitar attack, punchy mid- to fast-tempo punk compositions with melody…what more could you ask for? Great lyrics, too. Buy this now.
Melodic guitar pop abounds on this album, with 60’s pop edges which add a certain charm to the proceedings. Mostly, it’s effective, though all the best hooks seem to be concentrated on Side A. Above average.
Japanese speedcore, complete with lead breaks, mosh breaks, and every manner of instrumental self-indulgence. Good energy, but this is too close to Rock for comfort.
Pee-pee.
This fan club only release shows good command of a more tasteful speedcore style. Still, there’s a monochromatic element in the songwriting which makes this fall a bit flat, despite good energy and power. Adequate.
Aside from the excellent version of “Release the Bats,” the BIRTHDAY PARTY is not captured to their best advantage on this release. First rate production bolsters the mid-period output of this band moderately, but the material mostly doesn’t stand out.
ANGRY RED PLANET has developed their own unique and accessible punk style, passionate and full of immediacy, and this LP is dynamite when it connects. “Mediocrity” and “Pasturetime”, in particular, show off this hand at their best, but even the less memorable cuts tend to grow on you. Very good!
This album incorporates a variety of influences (punk, BIRTHDAY PARTY post-punk, and even industrial tinges), spreads its invention too thin over the ten tracks here. What results is a punk sound with wanky edges; I only wish the whole LP sounded like the terse, disciplined title track.
The metal-punk on this release crosses the Offensive Barrier, at least for me. Basic speedcore riffs, crunching lead breaks, and sub-par songwriting combine to make for four songs distinguished only by their relative speed and energy.
One of the greatest of all UK bands is given another long-shot chance to become the next BEATLES on this 12″, which contains disciplined but enjoyable versions of four of their terrific songs. UNDERTONES fans (and I know there are lots of them) should snap this one up, and fast.
This release contains engaging change of pace thrash with solid performance and production, along with some very strange lyrics. Meets all the requirements for slamming along with it in your own bedroom. Nine songs, very good.
SOB clearly take their nod from fellow Japanese thrashers the SWANKYS and CONFUSE; nine fast blasts here, exploiting an enormously energetic, basic HC style with loads of emotion and power. A total winner!
In their latest effort, SEKAANNUS employs a mid-tempo HC approach that’s listenable, but fails to pick up enough energy or noise to make a definite impression. Three songs, all in a repetitious, riffy style.
“Noise” is the operative word for PUSSY GALORE — and happily, noise is used in very inventively on most of the tracks here. The two songs on the A-side sound remarkably like riffy 60s garage punk put through the old blender, while the thrashy “Get Out” easily out-trebles the JESUS AND MARY CHAIN. Unusual, and good.
This four song effort presents mid- to fast-tempo punk/HC with some lead breaks that tax one’s attention, and frankly less in the way of memorable compositions than I’d hoped for. Good energy, but unmemorable.
This French band manages a mid-tempo punk style competently, yet without the passion of some of their countrymen (i.e., KIDNAP). “Ilot Amsterdam” is the clear standout due to its energy and melodic crunch; much of the other material just stands there.
The thoroughly glammed-out band photos on the pic sleeve was fair warning on this one. Three songs in a metal-punkish vein, interrupted by dreary Japanese lead breaks and lame sung vocals– and close to zilch in the way of cool songs. Too bad.
Melodic pop-punk is, of course, the approved sound of the ten approved cuts on this LP. Lyrics are committed, guitars up in front, but the standard for this punk style is much higher. LAST STAND should aim their sights to the likes of STRANGLEHOLD or MOVING TARGETS, and a bit more energy (as on “Scum Guns”) wouldn’t hurt.
This sometimes self-consciously bizarre EP uses a funny variant on a rap style on “Gödel Escher Bach: The Eternal Golden Rap,” while the two songs on the flip use a trebly synth (played quickly and seemingly at random) to underscore some similarly humorous lyrics. Strange, and basically okay.
These four songs, recorded live in Denmark early last year, are not only first-rate versions of their best material, but actually surpass what I remember of their good live show. “Free” is the clear stand-out here, although all the songs are pretty good.
IDIOT IDOLATERS, on their debut, proceed in a punk vein with rock influences in the instrumentals and especially the vocals. A very good guitar sound only partly compensates for basically undistinguished melodies and power.
This double-album set from the HUSKERS rates as a real disappointment. Aside from two catchy numbers, the compositional structures here meander through their mid-tempo territory without going anywhere; the typical “lyric – chorus – lyric” structure of past efforts having been largely abandoned. Too bad.
Monochromatic metal-punk from this veteran Japanese band. The tempo is moderate, the instrumentals and vocals a decline from the distinctiveness of past efforts.
This influential band is captured here at their peak in early 79, and the classic “I Found That Essence Rare” and “At Home He’s A Tourist” are given an aggressive, raw treatment on this EP, along with two other numbers. Very good versions, and recommended.
This thoroughly enjoyable album showcases a blistering thrash attack with catchy power chord guitar progressions and solid melodies. Sixteen songs, each distinctive compositionally, with good lyrics to boot. My suggestion: purchase this terrific LP!
Two slow, uninteresting post-punk ditties appear on the A-side of this release, but a clutch of eight energetic punkers charge away on the flip. A rudimentary sense of melody and nifty speed changeups make for accessible listening, but the material doesn’t stick to the ribs. Okay.
Goofy humor is the appeal of this LP from CHAOTIC DISCHORD, who use a UK thrash style to cover topics like nasal sex, beer as a metaphor for life, random destruction, and nail bombs. No lyric sheet, but the music ranges from okay to very good, especially on “Vibrator Up Your Nose.”
This has nothing to do with punk, thrash, or hardcore; rather, BRAVER NOISE springs from folksier roots, not unlike an American BLYTH POWER. What’s more, I tended to like this record’s melodic sense, well-structured compositions, and sung vocals. Very different; it’s unbelievable to me that this band contains three members from the original LAW & ORDER.
I’ve always been a great fan of WRETCHED’s loose, powerful brand of hardcore, but I’m not as impressed by this release. Much of the manic energy is still there; yet, the “live” feel of this disc gives the production less density than usual, and the guitar wanking was a real annoyance. Still, “La Tua Morte…” is a powerhouse track.
Too many years have elapsed since WIRE’s prime to make this record an event. The four songs here seem more like a rock-ier extension of DOME than the kind of dense, rich songs WIRE and COLIN NEWMAN used to do. Nonetheless, “Drill” has a nice beat and interesting vocal rhythms.
This French band shows a real skill at fast-tempo thrash with punk overtones. Guitars are in the front where they belong, leading a ferocious instrumental attack, and the vocals are extremely strong and characteristically French. A fine effort, and very recommendable.
SEMINAL RATS owe some of their stylistic nuances to fellow Aussies the CELIBATE RIFLES; this seven-track EP rocks hard, especially on standouts like “Rat Race” and “Change.” While none of these tracks will revolutionize rock’n’roll, this release is solid. Very decent, and very Aussie, if you know what I mean.
MUSTA LAMMAS straddle that boundary between hardcore and thrash, adding a loose Finnish sound and ending up with nothing too grabbing. The songs mine a gritty, medium- to fast-tempo style, and it was difficult to remember much in the way of riffs, much less songs, when the EP ended.
This Dutch band seems to model itself after outfits like PANDEMONIUM, who specialize in ultra-fast thrash with political lyrics. The harsh, speedmetallish vocals are way in the front of the mix, which unfortunately pushes away the great instrumental sound here, but this is still a respectable debut.
This four-tracker from the MALINHEADS has all the elements of great thrash: stop on a dime instrumentals, passionate, throaty vocals, ripping production, and roller coaster energy. The fact that nearly every song here is distinctive doesn’t hurt matters, either.
That basic French pop-punk style, complete with those trademark vocal choruses, seems to be the order of the day on this release. Unfortunately, though, the songwriting is un-notable except for the catchy “Maurice,” which opens this seven-track 12″. The other songs have hooks that are predictable, and songs with little if any staying power.
The JONESES seem to have glammed out, judging by the cover pics, and their music has definitely veered even more into a slicker, more generic rock direction. To wit, compare “Ms. 714″ and “Crocodile Rock” to the versions on their first 12″ — the rawness and immediacy are gone. Nice guitar mix, though.
Musically, this is fairly unimaginative Italian HC with four grinding mid-to-fast-tempo numbers, and one ripper, “Non Per Me.” Lackadaisical production and playing buries most of the material here.
The band’s name says it all: this is a series of demented versifications backed by a kind of improvisational MINUTEMEN style. An eccentric concept with interesting results, but not astounding.
One side of this fan club record has five unreleased GERMS tracks recorded in 1981, none frankly up to their highest standards, while the flip contains a number of songs from their last show at the Starwood in L.A. A good memento for fans of this once great band.
GASH turn in four songs here, showcasing a mid- to fast-tempo hardcore format with excellent lyrics and strong female wailing. A real progression from their debut LP, sacrificing nothing in the way of power or drive.
VIIMEINEN RAKKAUS, with their emphasis of funk and post-punk influences, spread their ingenuity a bit too thin on their two tracks, but one song by FSF — a punkish treat with a “beat” intro, has personality and flair. Decent.
The instrumental work on this EP, which sounds the work of an undisciplined MINUTEMEN, tends to lack focus and drive. While “Sunburn” sustains energy, the other four tunes use more complex, “funk” guitar figures that left me unexcited.
A speedcore instrumental edge, featuring hard, fast guitarwork, underlies the three songs here, which operate in a faster HC vein. Powerful, but lead breaks and lackluster songwriting detract from this effort.
This strong three-tracker exploits a riffy, rock’n’rolly approach to the kind of music perfected by bands like the LIME SPIDERS and CELIBATE RIFLES. “Action,” with its rambunctious energy, rates as the standout here. A very good showing.
Varied female vocals are featured on these seven songs, most of which plumb a poppish vein with the hooks on the subtle side. Moments of rockin’ energy emerge from time to time, but the predominant style is soft and mid-tempo. Adequate, but I’m not convinced.
WUT cruise with a basic HC style that’s either slow or moderate in pace, but spurt outbreaks of unbelievable fast thrash to add power and interest. This band only connects during these moments of instrumental fury; the reggae and mid-tempo HC doesn’t hit the spot. Uneven.
WCF play their thrashy punk very competently, with screamed vocals and an acceptably fast instrumental complement. Nothing stands out, however, and the DISCHARGE influences, both lyrically and musically, don’t show off WCF’s originality. Pretty good.
The VARUKERS’ usual style varies from ultra-intense thrash that rips, to a metal-tinged HC approach with occasional guitar breaks. The latter style predominates here, and although powerful, the song structures tend to become repetitious. Not up to their standard, but it’s still respectable speedcore.
Four British bands share this compilation 45. SATANIC MALFUNCTIONS and ACTIVE MINDS play hot and heavy thrash, while basic punk and folky approaches are mined by INDIAN DREAM and RADIO FREEDOM, respectively. A respectable, interesting EP made recommendable by S.M.
The female vocals here recall a mid-period SIOUXSIE, but not overtly, while the instrumental sound falls into that flanged British post-punk approach popularized by VIRGIN PRUNES et al. This is a good example of the genre, but by no means special.
The STAR CLUB are at their best when playing their trademark ’78 sound, with good guitar hooks and catchy melodies. This album is not quite as consistent as their last two, but contains a few flashbacks of their former glory, albeit without the characteristic grunginess. Okay.
New wavy power-pop with saxophones and some funky elements thrown in. I don’t like this.
This outfit has a power-pop approach very similar to GET SMART or early ANGST, though the hooks almost (but not quite) connect on this three track EP. “I Made Love to A Vulcan” is pretty funny. Good sleeve, too.
This album sees the genesis of a much cleaner and more defined RAZZIA sound, with synth even making an appearance. The best songs here are engaging and passionate, and contain a measure of accessibility to compensate for the loss of power. This band is still a force to be reckoned with. Very good.
Five songs in a punkish vein here, with good female vocals to boot. The operative track is “Fuck SACEM,” a steamroller in the tradition of the ELECTRIC DEADS with blazing guitar and great wailing, though the other songs are adequate.
This British band specializes in committed mid-tempo punk in an ’82 formula, sounding somewhat like a rawer DIRT with their alternating male/female vocals. Good nostalgia value here, but the formula is fueled with contemporary energy.
OTH combines a punky power chord song structure with cool rock’n’roll breaks to create a familiar and engaging instrumental sound. The individual tunes don’t leave much of an impression, and this is proven by the fact that the best song on this LP is a wonderful cover of “California Sun” called “Le Soleil du Midi.” Basically okay.
When they really get rolling, O.H.M. are an instrumental powerhouse, with loads of guitar abetting their thrashy tunes. The sung vocals definitely detract from the overall power, but this Danish band wins points for a sound that should be the envy of many a thrash ensemble.
This posthumous live recording of the KELPIES, a Sydney punk/rock outfit, shows real songwriting quality and makes me hungry for more. The inventive guitarwork recalls CHELSEA, and the tunes are subtly crafted pop-punk. Sound quality is respectable; this one definitely grows on you. Recommended.
Three of the four tracks here adopt an upbeat pop-punky style with good energy, little discernible melody, and somewhat undisciplined vocals. The other song is a lilting reggae-tinged number that segues into ska. Adequate, but it doesn’t quite hit the mark.
HONOR ROLE has devolved since their highly distinctive debut. Time seems to have eroded the vocal uniqueness and punky tightness of the past; while there’s good, hard guitarwork and some interesting ideas, not one song really stands out from the pack.
The homemade production sounds full and rockin’ just like all the good Aussie releases, especially on the powerful A-side. The flip has less punch, and frankly, neither track is particularly noticeable aside from the occasional instrumental punchiness.
The four tracks on this, FUZZBOX’s second record, demonstrates that this band has more in the way of a distinctive sound than great material. Cool synth bass with instrumental intrusions (sax, rhythm box, but no guitar I could hear) provide spare backdrops for vocals reminiscent of HAGAR THE WOMB. Nothing special.
FULL FATHOM FIVE sounds like the better Homestead bands, with their powerful guitar sound, varied arrangements, and abstract vocal concerns. I liked their HUSKER-ish changes on “Why Their Faces Are So Worn,” and the other tracks are quite respectable.
I admire this band for their hilarious lyrics and rich, hard guitar sound, and there’s certainly cause for interest in their punkish, rockin’ tunes. The problem is that the goofy vocals don’t hold down melodic interest, making the songs run into one another. Still, there’s talent and drive here; I want to hear more.
This exceptional album features a load of dynamic uptempo thrash by two accomplished outfits. CHAOS UK, in possibly their best work to date, wins by a length for their thick vocals and layered guitar attack, but ENT have fascinating arrangements to recommend their side of the LP. A thunderous, exciting release.
Not quite up to the standards of their exceptional debut 45, the A-side still manages to cough up the requisite rockin’ 60’s punk energy to keep the toes tapping, though the melodic punch is largely absent. The flip is more poppish and less enjoyable. Pretty good.
Atmospheric post-punk with novel studio effects and original song structures. None of the music stands out in the way that top-notch SPK or EINSTURZENDE NEUBAUTEN does, but it’s okay for its genre.
This Danish outfit plays rock in a darker, discordant vein which tries to maintain power through atmosphere. “Who Is the Man…” almost pulls it off, but the overall effect of this EP is nondescript — as if the band were purposely trying to distance you from the music.
Seven bands, including the SCAM, PSYCHO, GG ALLIN, and CANCEROUS GROWTH contribute a song each to this thrashy EP. Two songs rip (STUPIDS, SPASTIC RATS), one is pretty good (PTL KLUB), and the rest lapse into genericness.
This solid 4-track EP contains upbeat HC with a uniformly slicing guitar attack from the likes of GAGIZE, WEEDY EGGS (more pop-punkish), SWORD, and REZIST (excellent ripping thrash). Good record.
This EP contains very basic, simple power chord thrash, the vocals uninventively mimicking the guitar progressions for the most part. The instrument sound is biting, but the record itself is rather generic.
Neo-psych with the emphasis on the Farfisa organ, the song structures sound remarkably like those of YARD TRAUMA, yet without that guitar bite. I enjoyed the instrumental on the flip, with its surfish overtones. Unremarkable, but entertaining.
The hard-edged rockers on this album usually have some hook or twist to make them quite listenable, whether it’s the hard and varied guitarwork or a melodic twist to the vocals. The compositions don’t, however, really stick to the ribs, a fact attested to by the fact that the best song here is “Ex-Lion Tamer,” the WIRE song.
SHONEN KNIFE, an all-female band from Japan provides enjoyable, and very simple pop and pop-punk on this LP. The endearing cuteness of the songs reminds me of a more poppish KLEENEX, with light lyric themes to boot (“I Wanna Eat Chocolate Bars”, “Ice Cream City”). Just adorable… Pretty good, too.
This Aussie ensemble concentrates on catchy songs, all done in a variant of the Mersey style with a slight rockabilly edge. There’s a lot of bouncy poppish fun on this album, though a harder guitar edge would have made it perfect. Pretty good.
A chorused guitar sound and sung vocals provide the musical interest on this set of poppish punk songs, with the melody following the guitarwork in most cases. SCOUNDRELS succeed best when their songwriting wins over, but there is an inconsistency in that regard here. Good lyrics.
The humorous themes and high-velocity HC energy here reminds me of BEDLAM’s debut record, albeit with slightly less punch. Includes a fun version of a STALIN track, “Powerplug”, as well as eight other short ditties. Not great, but good.
R.I.F. specializes in power chord punk with sung melodies, in the accessible Swedish style. The five tracks here don’t connect in the same way as the ASTA KASK or TREDJE KONET, but the record is well-crafted and definitely hummable. Very good.
More of that irresistible British noise pop appears here on this second 12″ by the PRIMITIVES. The title track has the same mid-tempo guitar power and good female vocals that made their debut so special, though the two songs on the flip are lighter and slower.
This NEIGHBORHOOD WATCH hails from San Diego, not the Venice band. The lyrics are highly ironic and socially conscious, the instrumentals feature a crisp guitar attack, and the riffy punk ditty, “Man on My Street,” rates as the best cut here. Recommended.
Rather like fellow Aussies LIME SPIDERS, this outfit opts for that rockin’ power on the A-side, while the ballad on the flip is slower and more “soulful.” Fragile hooks and a lack of real crunch put this one in the second rank.
Up-tempo punk appears on this 4-track EP, which sustains a curious ’78-79 sensibility — but with the typically Japanese gruff vocals. “Mother Fucker” is the only memorable song here, with its Farfisa/guitar backdrop and spunky songwriting.
MOD FUN opts for more of that poppish ’60’s neo-psych, with the only drawback being that a certain telltale wimpiness accompanies the accessibility. Cute background choruses, jangly guitars, not much passion… Okay, I guess.
Lots of influences pop up here — neo-’60’s, power-pop, power chord punk — and all mixed so much together that no one style predominates. There are a few good songs (“South Africa” is my fave), but LOST PATROL doesn’t strike me as exceptional, either.
Christian punk in a simple power chord style abounds on this, the LEAD’s second release to date. The slow songs are boring, the fast rippers have tiresome lead breaks, and the music is largely uninventive. And as to the lyrics…
Garden variety Japanese thrash is presented here — good tempos, passionate screamed vocals, riffy thrash guitar — respectable in all categories, but lacking in that extra emotional punch. And then, perhaps it’s a little too garden variety…
The touch is lighter here than on past KOHU-63 releases. “Salattua Historiaa” has good speed, but none of the three songs here have memorable songwriting or a HC punch. Sounds like they’re going through the motions.
Slow to mid-tempo punk is mutated by post-punk tendencies on this EP, which manages a gritty (and sometimes wanky) guitar sound abetted by sung vocals. Completely unnotable, stylistically or musically.
Necrosis adopts a slow, riff-laden YARD TRAUMA approach to its macabre theme, while the flip does much the same, with more of that restrained guitar. This record never really blasts off, either vocally or instrumentally.
The vocals sound like Paul Weller (JAM), the songs are intricate and somewhat pop-punkish (but without very strong hooks), and the lyrics socially conscious. The overall effect doesn’t excite like the best French bands, but provides inoffensive listening.
The DISORDER sound is again successfully filtered through a uniquely Japanese sensibility on this energetic, crunching 4-tracker. Every track here is fueled by the same manic power, backed by raw guitars and vocals, making CONFUSE one of the best outfits in Japan. Total ace!!
A debut by this German garage band, new LP in the works, and while it’s not a blazing psych effort it does have a smooth charm to it. Similar in nature to the BACKDOOR MEN. Perhaps a little too much leaning on the Farfisa and maybe a little more guitar next time, okay?
A country-ish style slips into this album of accessible ditties, which is at its very best when an upbeat energy conjoins with solid power-chord punk. A few of the less disciplined and slower numbers miss the mark, but the rudiments of good songwriting with a great sense of humor make this band a potential contender.
The folkish side of neo-’60’s pop emerges on this lilting EP, which reminds me for all the world of later-period BANGLES. The most energetic material here is recorded live, but that isn’t enough to revive this limp slab of wax.
This American release showcases the greatest hits, as it were, of the German Weird System label. BLUT & EISEN, NEUROTIC ARSEHOLES, RAZZIA, CRETINS, and others serve up a series of blistering HC and punk cuts mandatory for those who don’t have the original German recordings. Excellent, varied sampler.
This Aussie band once again delivers the goods: mid- to fast-speed hardcore with crunching guitars and an impassioned vocal attack. Occasional forays into slower velocities result in less power here, but there’s more than enough frenzied thrash for most HC aficionados. Good LP.
Four nifty songs here, all in that irresistible Swedish pop-punk vein. The guitarwork is hard and well-fleshed out, the melodies more often than not memorable, and the entire record so buoyant that I recall the best work of ATTENTAT, 6-10 REDLOS, and other fine Swedish bands. Wonderful!
These early recordings with one of the greatest UK punk outfits contain four songs, all finely recorded and performed. While lacking in the immediacy and power of their first LP, these slower alternate versions have their own charm. “Barbed Wire Love” is especially good.
SCHLIESSMUSKEL tries a little of everything on their debut EP: “Klaus E.” is a blast of catchy thrash in the gritty tradition of HEIMAT-LOS; “Nachigedanken” has an almost RAMONES-y appeal; “Rita,” with its wonderful vocal choruses, qualifies as appealing pop-punk. A varied, and very good, EP.
Gruff vocals accompany discordant, biting hardcore and thrash on this hard-rocking seven-track EP. A lack of variety in songwriting is about made up for with the grinding guitars and overall vocal intensity. A good follow-up to their excellent debut EP.
The percussive edge of SPK and later EINSTURZENDE NEUBAUTEN springs up on this 12″, which has less power and dementia than it really should. This is industrial noise filtered into several distorted rock compositions, making for some repetitious listening. Below the standard.
A well-executed poster sleeve makes a nice introduction to ENOLA GAY’s highly committed brand of punk and thrash. The compositions vary in quality from song to song, but their best moments occur when their instrumental power conjoins with great hooks (as on “Wealthy Ones”).
The DEPRAVED do it again! While there aren’t as many standout numbers here as their debut LP, there’s crunch and lyric spite to spare on this one. Imagine British thrash with catchy riffing and memorable vocals choruses, and you get an idea how special this record (and band) is. Very strong!
Four ripping early blasts by the DAMNED are featured here, versions formerly only available on bootleg tapes and records. Several of the tracks, like “Sick of Being Sick,” are actually superior to the previously released versions. A must for fans of ’77 punk.
Political lyrics in both English and German accompany thrash with very tasteful speedcore influences. No guitar leads here—just fast hardcore, even though I would have preferred songs with more overall distinctiveness. D.B.F. put in a solid debut effort here.
It’s hard to pin down what it is that makes this EP so appealing. It may be the well-honed HC songwriting, the elaborate power-chord tracks, the added edge of accessibility, or the powerful vocals. Whatever it is, I enjoyed the four tracks on this record thoroughly. Another great one from Florida.
The nifty 3-D album cover (glasses provided) presages this band’s lyric compulsion with horror movie themes. The songs are all presented in a stripped-down, punkish format, with good melodies and arrangements, but very little in the way of power. A little dumb, and only a little better than average.
SCRATCH ACID shed some of their BIRTHDAY PARTY influences on this LP, which contains an assortment of powerful, gritty rockers mixed in with a few artier numbers. More of a rootsy rock approach is evident here, and the overall variety makes it recommendable.
This seven-song job rocks hard, but also contains a number of instrumental and vocal over-indulgences that infect even the more promising tracks. It’s like the MINUTEMEN in terms of song structure, with lots of guitar wankings and awkward vocal intrusions. Basically unappealing, for me.
PAINFUL DISCHARGE specializes in mid- to fast-tempo hardcore addressing personal/social themes. “Not So Cool” has some riveting instrumental changes, but the four other tunes lack distinctiveness. Overall, a respectable debut release.
The passion comes through on this frenzied EP of high-velocity thrash. A pummelling guitar and drum attack combined with harsh vocals makes each of these songs decisively effective, as well distinctive and dynamic in their own right. A winner!
The MR. T EXPERIENCE definitely connects with an entertaining record here. This is simple and catchy punk rock, presented with biting guitarwork and high energy. What’s more, they address a variety of offbeat themes in a trademark funny/dumb manner I found winning. Good work, guys!
“Teen trash” is right—this neo-’60s garage outfit presents a clutch of primitive, upbeat rockers on this one. We’ve heard it all before—and that’s the problem. Montreal’s GRUESOMES don’t recycle their riffs to sound new or different, though there are a few nostalgia moments here, like “For All I Care.”
Hardcore energy melds with funkiness on this record, which sounds somewhat like a jazzier version of late BLACK FLAG. I didn’t care for the songs here, but there’s a certain catchiness and power that might make this band into a future contender.
Punkish fright-rock is performed adequately on this EP. While the ballad “Fiend Without a Face” lacks any measure of menace or melodic interest, the other two numbers boast an upbeat, riffy energy and sung choruses. Basically unmemorable.
Four bands offer one song each on this nifty sampler. We get an intense, original HC offering from RUIN (with great lyrics); hook-filled pop punk by ELECTRIC LOVE MUFFIN; SCRAM performs an okay reggae-tinged number; and F.O.D. go completely crazy on their trashed out live track. Cool record; buy it.
The likes of TUPELO CHAIN SEX, SCREAM, and several other artists offer largely mediocre tunes on this comp, which covers punk/rap, HC, pop, C&W, and even spoken word on the various tracks. Only MCSHRED connects with two high-velocity thrashers; I daresay it would be impossible to skateboard to the rest of this.
The five hardcore numbers on this EP boast screaming vocals over the basic slow/fast arrangements, none particularly notable. “All By Myself” has a certain vocal power to it, but this record doesn’t excite or surprise as it should.
“Terrorist Attack” and “Drunk Driving,” of the five songs here, show an approach to punkish thrash that’s anything but general. Tense vocals and energetic guitar work fuel these songs well above the standard for the rest of this EP, making RANDOM KILLING a potential powerhouse. I’d like to hear more.
The music on this disc is definitive RANCID VAT—loose punk rock, infused with a gritty guitar sound and often hysterical lyrics. The individual tunes lack distinctiveness by and large, but the fart choruses in “Low Blow” and the goofy cover art help make up for it. Spirited, and basically okay.
Loud guitars and occasional vocal choruses are a good starting point, but they only do so much to enliven this album, which contains largely undistinctive mid-tempo hardcore. Even the lyrics, covering a range of punk rockfish themes, also seem to lack the extra punch to push this one over the top.
The growled vocals and rebellious lyrics on this LP are definitely punk, but the music is poppish in almost a PATRIK FITZGERALD style. The result is credible without being especially powerful, and frankly I wasn’t exactly bowled over by the tunes, either. An interesting idea marred by lackluster execution.
KATATONIX display a knack for catchy, inoffensive neo-psych on this one. The A-side contains synth and poppish vocal harmonies in a ballad form, while the flip is even slower, but has some good, hard guitars. Basically okay for what it is.
This trio of songs uses a punkish power chord style to address fairly nondescript lyrical themes. “Nowhere” has varied guitar work melded into an energetic, bouncy rocker, and it rates way above the two other simpler and less interesting tunes. Recommended for the good song.
This Welsh punk outfit presents four songs here, all in a plodding, mid-tempo Britpunk vein. The hooks are unconvincing and the power variable, though there seems to be a partially redeeming element of sincerity on this disappointing release.
Imagine Kevin Seconds singing over a high-velocity thrash backdrop, with periodic lead breaks interrupting the proceedings, and you have a rough approximation of FANOUS CHEEZCAKE. Production is very basic, the songs fairly typical of the genre.
A ringing, thrashy, riffy guitar attack sets the pace for this set of dynamic, distinctive numbers. This has it all—intensity, spirited vocals, and (from what I can gather) committed lyrics. Terrific!
In the LIME SPIDERS school of rockin’ Aussie punk, EASTERN DARK shows an added element of accessibility and real consistency in songwriting on this one. “I Don’t Need the Reasons” has especially memorable hooks and strong guitars. Top notch!
DISPER-AZIONE kick up a nasty dust-cloud of dark, energetic chord progressions in their mid-tempo HC, add some powerful vocals, and also opt for lots of self-indulgent lead guitar breaks. When disciplined, as on the superb title track, this band is stunning; otherwise, this album is still rather impressive, but flawed.
Rock’n’blues reigns supreme here, helped along by nasty, satiric lyrics and a gritty guitar sound. Perhaps accidentally, punkiness shines through a handful of tracks (like “Jealous”), though the primary impression this LP leaves is that of a cool, fun bar band. A good release.
Some speedcore trappings, managed in an entirely tasteful and powerful manner, make the thrashy songs on this album very creditable on a musical level; bands like BROKEN BONES should look to the SOX with envy. The socially and politically responsible lyrics, however, make this one into both an intelligent and very listenable record. Very good.
COLERA fans won’t be disappointed with this one. This album has more of that uncompromising, Finnish-style thrash in a style very similar to vintage APPENDIX. While I would have preferred a little more guitar (the approach of fellow Brazilians, RATOS DE PORAO), this is still a very good release—and I appreciated the translated lyrics, too.
Still another progression for this interesting Connecticut band. Several loose, spirited thrashers (like the catchy original, “Summertime Blues”) vie for one’s attention along with mid-tempo numbers reminiscent of a rawer HÜSKER DÜ. Songwriting is inconsistent here, and their hallmark intensity and humor are in short supply. Still, it’s an original effort.
Bizarrely, this offering sounds like BILLY IDOL singing over a LORDS OF THE NEW CHURCH instrumental backdrop; the result is a rockish, slick, and highly commercial pair of songs, neither of which left much of an impression on me.
Two riffy, rockin’ tunes appear here: the A-side contributes GUN CLUB-style guitars to agreeable, half-sung vocals, while the flip is a sloppier and less interesting mixture of the same. Not memorable, but hardly mediocre.
A surprising entry from Florida, AMAZING GRACE clicks in with a rock’n’roll approach that varies in passion and slickness. For me, the songs didn’t stick, though the energy here is commendable, especially on numbers like “Raw Power” (an original). Contains a stupid song, “Boat People,” that shows misinformed political views.
One of these two German pop bands, TOT ODER gets the bonus points for interesting instrumentals. Still, both songs are fairly slow and lilting, lack engaging hooks, and are listenable primarily through my adoration of female vocals. Uninspired.
The SECT make their debut on vinyl with two ’77 style punk anthems in the STIFF LITTLE FINGERS vein. Both sides are up to the highest standards; skillful melodies, a hard guitar sound, and solid lyrics (especially on “A Free England”) make this one absolutely essential.
Not unlike an Italian MIRACLE WORKERS, this band has five mid-to-fast-speed garage psych punkers on this likable 12″. Nearly everything here is catchy but the snotty vocals and kinetic energy of “Out of Control” is definitely above the standard. Very good record.
Undistinguished, straightahead hardcore with occasional lead breaks is the basic style here, the power-riffs underscoring a fairly aggressive instrumental attack. Half of the lyrics are in a bizarre kind of English that makes no sense whatsoever.
Three of the four songs on this EP use an extended slow introduction followed by an explosive Swedish thrashfest, while “Andring” simply lets loose with the goods from the start. A solid dose of tight HC, though not quite up to the best material from their LP.
TOŽIBABE straddles the line between riffy punk and hardcore energy with their sheer enthusiasm, and I found these four simple songs even more engaging on multiple listenings. Good female vocals and a distinctive instrumental sound make this a fine debut release.
This band with their off-tune brand of brisk, almost catchy punk, shows the touch of ERIC HYSTERIC in the demented, almost drunken production. Has an aggressive spirit, some personality and very little else.
This all-female band from Australia forces out a tough, grungy guitar sound and some nasty vocals — and I admired the lyrics concerns, too. It’s too bad that the melodies follow the same minor-third guitar professions song after song. Extreme repetition, which is too bad, because I was hopeful about this band.
Alcoholic sickness infects every one of the songs on this loose, funny, disjointed, and original album. One first-rate thrasher, “Wandertag in der DDR”, leads off an assortment of predominantly medium — to slow-tempo sing-alongs that have primitive production, and sound like the band is drunk. And yes, it’s just as engaging as past DURSTIGE MANN releases.
This French band has a knack for hard-edged post-punk with a good sense of energy, even if they uncharacteristically lag behind in the melodic sense. “Gom Jabbar” is a slow, tasteful dub, though the other three songs are more spirited.
This posthumous release captures ASTA KASK in eleven songs recorded live just this year. Sound quality is good, the performance spirited, and songs up to that trademark quality. Can’t say it captures all the excitement but it will have to do won’t it? Get this record.
Psychedelic tinges weave their way through these two songs, which have strong female vocals and an agreeable sense of melody. These racks don’t really take off into orbit, but the A-side rocks solidly and the flip boasts a pleasant, up-tempo ballad. I liked this.
This band covers typical MENTORS lyric territory with less satiric justification, and plays excruciating guitar rock with flailing leads that bored me to the point of wanting to make this sucker into an ashtray. But then I realized that I may be able to trade it to my local record store…
This promising EP features impassioned screaming vocals over a bunch of frenzied, almost-interesting thrashers. The lyrics cover the basic punk-rock subjects, but it strikes me that bands like the QUEERS and E-13 have done a much better job with this kind of music. Adequate.
Following their effective 7″ (included here with an additional track), BIG STICK pushes five guitar-oriented songs through a flanger, adds pounding drums, sprinkles demented vocals over the mix — and what results is funny, wild rock that many PERE UBU fans might find agreeable. Interesting.
Not to be confused with the Ohio outfit, this Italian band presents fast, aggressive, utterly tuneless punk and HC in a suitably non-descript style. Tempos are fast, energy high—it just doesn’t connect.
This very strong release almost seems like a Dutch version of DIE KREUZEN, with the emphasis on high-speed thrash and the occasional guitar squiggles (and sometimes more than squiggles). I liked several of the tracks here, which at their best, seem to combine all of the elements. Recommended.
Fast-paced sing-along punk from Germany. I enjoyed the energy and style (as well as the interesting arrangements); I can’t say I was altogether blown away by the tunes. I’m certain that an understanding of the lyrics would have helped in this case.
This five-tracker displays this Finnish band’s adeptness at mid- to fast-speed hardcore with rockin’ vocals and sizzling production. None of the songs stand out, but the energy and power abound on this record.
CAS PRAWDE is one of those bands with an upbeat punk attack, abetted by riffy song structures, but without much in the way of hooks or memorable tunes. The power’s OK—where’s that added punch that wants to make me listen to it again?
I found myself getting caught up in the dynamic thrash of CNT—hot guitars, passionate vocals, the typical Finnish speed attack—so much so that the intrusion of speed-metal licks bothered me all the more. Too bad; otherwise, it’s a cool record.
This is just as good as the British pop we all used to love before hardcore became fashionable. Three superior guitar-pop ditties are here: the distinctive lyrics, delightful hooks, and unusual, almost archaic arrangements are clearly done with care. Even better than their fine debut release; the track “Sordid Tales,” with its surfy guitar, is especially appealing.
Strange rock with a flanged vocal chorus and a good guitar progression makes for an interesting and oddly enjoyable A-side. The flip fares less well.
This strong release shows this Virginia band at their near best: distinctive vocals blend with flailing rockish punk on the four songs here, of which the title track seems the most memorable. Production is hot, making for a ripping release. The only drawback is the sporadic guitar leads.
This intriguing album contains textured and highly varied guitarwork and an emphasis on good songwriting I found refreshing. Not all the songs are memorable, but there’s a poppish edge to CONTRABAND’s best songs, combining mid-tempo punk with harmonic vocals to make for an LP that grows on you. Good, solid release.
I don’t know where these characters come from, but what we have here are six innovative cover versions (with great femme vocals) of classics like “Purple Haze,” Georgy Girl,” and “One (Is the Loneliest Number).” Strong guitars and semi-tasteful use of effects make this one a winner. Completely hilarious.
Imagine the catchy, female-vocal guitar pop of the SHOP ASSISTANTS melded with the simple song structures of the RAMONES, and you end up with something that sounds like this excellent release. Four songs, all snappy and memorable, with hooks galore. A complete surprise!
Melodic rockish pop is NEW ROSE’s stock-in-trade, and the slow-to-mid-tempo tunes on this release show fair promise. “Run for Cover” is upbeat and pleasant, and at least two of the other four tunes show an adeptness for very understated hooks and adequate songwriting. No great revelation, but OK.
This second EP from JUNK SCHIZO presents still more of the same driving, raging hardcore with “Black and Red,” but moves into other directions with the remaining three tracks. A pretty good EP, but probably not up to their debut in terms of energy. Good production.
This Italian outfit displays a power not unlike bands like BIG BLACK and NAKED RAYGUN, with its rich guitar sound and mid-tempo hardcore energy. The commitment to gutsy, disciplined playing really pays off too; this debut LP is entirely assured—and the individual tunes, all finely produced, do stand out after multiple listenings.
After a six-year layoff, this Danish combo presents four tunes in a quintessentially “rockin’” mode—and I mean it. Guitar leads about over mid-tempo metallish guitar riffs, and although there is a punkish power in the songs, all four tunes here are clearly “rock.” Quite unlike JOHNNY CONCRETE’s previous efforts, and basically OK for what it’s doing.
This band is similar to a MINUTEMEN without fleshed-out arrangements: the bass and drums interplay while sung vocals drone over all six songs on this EP. With more energy or musical invention, this could have been intriguing. As it is, I had the feeling of incompleteness.
We missed this one the first time around, and it’s another first-rate single by one of Australia’s leading rock outfits. The JOHNNY CASH title tune is catchy and fun, and despite a fair flip, this one recalls the better rockin’ material from this country.
This album pushes the RAMONES’ style into catchy, straight-ahead HC (which they manage to do better than the vast majority of bands going), with a smattering of rockin’ pop (which has been their forte for a while now). This is another extraordinary RAMONES LP (nothing but great cuts here), and it’s about time we all recognized that they’re the great American band.
This compilation of French pop-punk bands contains all that we expect from this kind of band: songs with choruses, catchy melodies, and moderate tempos. While there are respectable tunes by THUGS, OTH, PARFUM DE FEMME, and BABYLON FIGHTERS (cool reggae), no song really stands out in my mind. Interesting.
This Belgian band relates commendable lyric concerns in a simple, riffy punk style that’s a mixed bag for me. I enjoyed the hard, stinging guitar sound, but the compositions seemed a bit “simple” and uninvolving. With better songwriting, this band could be a contender.
This outfit is a French equivalent of DER DURSTIGE MAN—a punk band whose material is most likely to appeal to those whose musical sensibilities have already been clouded by massive amounts of alcohol. Mid-tempo punk with shouted group choruses, and aggressively delivered; typically, the title track is translated, “Beer.”
This snappy slice of upbeat pop-punk presents its wares with verve and intelligence. A cut below the best in this genre, I still enjoyed the four tracks here—and found their amalgam of thrash and poppier punk bracing. Very good.
This powerful album combines some metallic touches with an urgent, dramatic compositional style. All of this results in memorable songs which really clear the air, and there’s a distinctiveness here that should be recognized, too. Very strongly recommended.
This new one from ASTA KASK has that brisk, melodic, and powerful style, but with an added emphasis on power. This sacrifices a bit of accessibility, but makes for some great moments, especially on the steamroller, “Sexkomplex.” Another great one from these guys.
WIMPY DICKS incant growled vocals over a tough, uncompromising hardcore style that has unquestionable bite and power. The songs tend to be repetitive, however, both within and between cuts; but those who can ignore this will find all of the basics on this one. Adequate.
JFA present two lackluster instrumentals on one side of this EP, but the showcase for this band’s talents, “Desert Jewel,” demonstrates adeptness at a diverse punk approach: a haunting intro, bright guitars, and impassioned vocals make for their best track in a long time. Very good.
Diverse influences crop up on this four-track EP. The less urgent numbers on the “9” side didn’t capture my attention, owing more to a loose rock approach. Side “FF”, however, contains two dynamic, mid-tempo punkers which represent this band at their best. Not altogether catchy, but still respectable.
I’ve thought the BUTTHOLES’ records frankly variable in quality to this point, but I am really enthusiastic about this one. More subdued than usual, at times boasting a pounding backbeat, this is their first attempt at “acid pop”—and it’s a real breakthrough. Absolutely fascinating from song to song. Get it.
Expect the same abrasive uncompromising thrash you enjoyed on their debut 12″, but with an additional grunginess—almost a looseness—on their latest. The band is hot, no question about it, and I still enjoy their offbeat humor and personal commentaries represented in the lyrics.
This band is a hybrid of the Swedish outfits MOB 47 and FILTHY CHRISTIANS, and they pack in 32 songs on this 7″er. The ditties range in the under-30-second category, with ultra-raw production, not unlike the early NEOS, and I only wish I knew Swedish so I could understand the humorous lyrics. Real fun!
This rather original Swedish outfit balances just a tinge of metal influences in some of the vocals and riffing with a definite punk sensibility everywhere else. The result: crunching, powerful punk delivered with HC energy. Another cool Swedish punk release…
This Norwegian outfit displays their political commitment in a highly distinctive HC style: gruff vocals bark over a mid-tempo series of smoky minor-chord progressions, with a very occasional hook to sustain interest. This album tends toward unpleasantness, though the band’s desire to communicate makes this an effort well worth supporting.
This is stylistically not unlike a spacey KILLDOZER 85 vocally and in compositional structure; the thing I found continually annoying was the endless guitar wanking that attenuated all of this LP’s intensity and power. More discipline next time, guys. Boring.
This sampler resents diverse sounds from some familiar (MICRONOTZ, BUM KON, IGUANAS) and mostly relatively unknown bands. While side one is composed of adequate alternative pop tracks, the flip really lets loose with hard-edged punky tunes spanning most of the punk/HC spectrum. Interesting comp—and worth your attention.
This band covers familiar territory—mid-tempo hardcore with dark, sarcastic lyrics—without much in the way of originality. Still, this record boasts good production, full guitars, and solid lyric concerns. I just can’t get excited over it.
I can’t claim to be impartial about this band, but predominantly raw live tracks are mixed in with a few early demos on this one. New versions of all of your fave DICKIES songs will make fans delirious with joy, though this tape is not the ideal introduction to this great band.
DEATH OF SAMANTHA opts for a discordant and somewhat arty approach to mid-tempo DIY rock. That may be the problem; in presenting a style rather than ace songs, this band evades any real appeal for me. Good, hard guitar sound, though.
The second (and very long-awaited) single by SHELL SHOCK contains four examples of straight-ahead HC done in a no-nonsense style. While lacking the unintentional humor of their debut, this one piles on fair amounts of aggro in its best moments, as on the aggressive title track. Basically OK, though unexceptional.
This all-girl combo recalls PARANOIA in some respects, yet seems altogether more diverse. This is poppish post-punk with snappy rhythms and a nifty sense of counterpoint, providing an overall impression of freshness, despite the absence of catchy melodies. Pleasant.
A bunch of Yugoslavian punk bands (U.B.R., III KATEGORIJA, EPIDEMIJA, TOZIBABE, ODPADKI CIVILIZAGIJE) present four to six songs each on this cool sampler. The mode of HC is grungy and loose, following the examples of the Italians, yet veering toward the speedier approach of the Northern Europeans. A very good sampler, and fairly consistent from song to song.
These two bands are actually fairly much the same band, but with divergent styles. SPERMBIRDS indulge in an upbeat hardcore style with hilarious lyrics, while their alter-ego boasts a totally winning pop-punk approach, especially on “Kaiserslautern.” A very good record, and look forward to more.
This combo shows promise on two tracks, where their individualistic pop songwriting melds with their pleasant female vocals; and they connect solidly with the EP’s title song—a gritty, melodic mid-tempo track that sticks in the memory. Not hardcore—just good independent-minded pop/rock.
Reminiscent of English atmospheric pop (VIRGIN PRUNES, etc.), MADAME EDWARDA succeeds moderately with the title track, although as with most examples of this genre, the poppishness and hooks get stretched too thin for the sake of mood. OK.
COSMIC PSYCHOS employ a riff-laden punk style with very prominent guitar solos, as well as a strange arty edge that mixes poorly with the punk elements. I’m uninspired by the songwriting, and hope that the self-indulgent wanking doesn’t get in the way of future releases.
This three-tracker calls to mind JuJu-period SIOUXSIE, and they do a commendable job with this moody, new wave material. I expected to dislike this immensely, but the B-side, “Polarlicht” in particular, is undisputedly first-rate post-punk—completely unique and memorable.
MUSHROOM PLANET performs Aussie rock’n’roll in the usual fashion, and here a distinctive guitar sound provides the interest. “The Chair” is the operative track, with its psych guitar riffing and sneering vocal attack—a wonderful song. The flip fares less well.
LIBERTY has the benefit of political commitment abetted by an original approach to mid-tempo British punk. Great guitar riffs abound on two of the four numbers here, and the overall sound is rough, gruff, powerful, and uncompromising. Good solid release.
Their debut single made me look forward to listening to this LP, but I was disappointed in KALASHNIKOV’s lackluster pop and pop-punk compositions, despite the plaintive female vocals. Some adventurous musical changes of pace—and sadly very little in the way of hooks or power.
This record captures the Aussies’ rock sound, but without the overwhelming power you’ll find in the LIME SPIDERS or CELIBATE RIFLES. The songs are pleasant and quite listenable; I just felt that an added punch was needed to push it over the top. Adequate.
With this album, KILSLUG dirged their way into aggravating the hell out of me. Good, bassy guitars hold down a dose of dark, discordant hardcore in the basic FLIPPER mode, but devoid of hooks or power. Nothing really drew me in on this LP.
Surprise of surprises, I liked this. Punk with a genuine pop sensibility combines with metal on the two songs from the flip of this EP—the vocals are gruff, the music gritty and mean. DECONTROL’s cover of the STEPPENWOLF standard connects with abundant energy—so much so that I hardly noticed the flailing guitar leads. Recommended.
This is aggressive rock’n’roll distinguished by intriguing vocal choruses on both sides as well as prominent lead breaks. I enjoyed “Complaint Dep’t” better of the two songs here, if only for its studied poppishness. Fun.
ANTI-SCRUNTI FACTION champions the grunge-o-rama attack on their debut LP. The lyrics and punky spirit of this band go a long way, but the sameness of the songwriting detracts from the album’s ultimate impact. I’ll tell you one thing: if the whole album were as hot as “Suicide Note,” an impassioned thrasher, they’d have dynamite here.
This comp contains primarily demo tracks from the likes of AD NAUSEUM, STUPIDS, OI POLLOI, CHRONIC DISORDER, and a variety of less well-known bands, in appealing (and consistently political) songs. Very solid sampling of good bands.
This Swedish combo fails to enliven their mid-tempo punk format on their latest single. “Tragedy” is an uneventful ditty with lackluster hooks, and the flip sadly rates only as a mishmash of bad production and songwriting. SLAM has done much better than this.
While the FALL seems to be suffocating in their own style, MARC RILEY exploits the sound of his former mates and adds gusto to make a quartet of first-rate songs. Imagine Witch Trial FALL with an added dimension of life and catchiness, and you get an idea of what this fab disc is like. Get it!
Two routine Brit-punk entries on their latest, but at least there’s rudimentary songwriting skill and punky energy in evidence. Adequate, though hardly up to the standards of their first two singles.
Beki Bondage, formerly of VICE SQUAD and LIGOTAGE, falls flat on her face on this EP. She has a great voice, but the music is completely characterless and bland pop and rock. TOYAH has done music in this vein infinitely better.
The ADICTS show the return to their hallmark pop-punk style, replete with snappy arrangements and solid hooks in three of the four songs here. Almost up to the quality of their first few records, though admittedly they have softened their sound.
The primitive compositions on this EP reminded me of the late, great CHILD MOLESTERS, a similarity which even extends to the sick lyrics. Unfortunately, the songs lack that essential catchiness that made the MOLESTERS so great. There’s good spirit here, but the music veers toward genericness. (Not to be confused with VIRUS, the NY band whose test press we reviewed eight months ago, but whose LP is yet to come out!).
SPORES make some interesting musical choices on this LP of mid- to fast-tempo mutant punk. The songs are quite catchy, but also often have that added instrumental difference (chimes, echoes, weird breaks) that makes for distinctiveness. Not earthshattering, though it’s a solid and recommendable LP.
Variable quality mid-tempo punk/rock on this one, and none of the five tracks left any impression on me. I’ll credit their aggressive guitar sound and the total absence of metal tendencies, but the songs and performances just lack punch.
Charlie Harper (of UK SUBS) and Knox (of VIBRATORS) pair up on this album of lackluster ditties in a proto-punk style. The songs on this release, while unrepresentative of the talent here, also display a noticeable lack of passion. These URBAN DOGS do have a pedigree, but here I could have mistaken them for strays.
Basic German punk, fast and punchy, with catchy guitar riffing—the same kind of thing NORMAHL has been doing for a while now. Nothing is performed with particular brilliance, though I find this style quite listenable. Good, but unspecial.
DANBERT NOBACON from CHUMBAWAMBA presents a collection of solo folk ditties here, performed in a style not unlike that of PATRIK FITZGERALD or an acoustic BILLY BRAGG. Most of the songs are quite catchy, but a certain monotony does set in after a few tunes. A fairly good record, though it would have been palatable as an EP.
This unusual release features ex-MOB members in songs which, in three of four cases, exploit a medieval flavor with a punk energy. Surprisingly, the gamble works—though I also enjoyed the pop punky style of this EP’s only rocker, “God Has Gone Wrong Again.” A good record that will grow on you.
ACCIDENT clocks in with some slick, routine melodic punk with sung vocals, including some new versions of old songs. Most of the material here sounds like punk as attempted by power-poppers, and only a pair of songs on the flip escape that tendency for inoffensive cuteness. No power, no heart, no soul…no buy.
URUKU approaches HC from an eclectic point of view, so if you combined the likes of BEEFEATER, UNITED MUTATION, and GREY MATTER into one outfit, you might come away with something like this. Thrash with diverse and arty overtones—mostly fairly routine, with no real standout numbers.
Of the three tracks here, the operative one is an idiosyncratic version of the BYRDS classic, “So You Wanna Be a Rock’n’Roll Star”—a hard-rocking rendition with lots of raw edges. The two remaining songs meander into rock/experimental domains that lack much real focus. Almost adequate.
POLITICAL JUSTICE? delves into a medium-paced punk style with highly distinctive lyrics—and songwriting that unfortunately lacks any sense of uniqueness or catchiness. I admired the committed point of view of this band, but I hope the musical aspects of this outfit catch up with them on their next release.
P.T.L. KLUB have the style down pat: fast, thrashy songs, angry vocals, committed lyrics on good topics, and very occasional guitar leads. Of course, it’s been done often before, but when it’s executed well (as it is here) the music sustains power and drive. A very good record from this Massachusetts outfit.
A raw, gritty guitar sound innervates these garagy blasts of mid-tempo funnypunk. With titles like “Grilled Cheese Sandwiches” and “Spastic and Proud,” you can infer LETHAL YELLOW’s goofoid tendencies, but there are some really good songs delivered with spunk on this one. A lot of fun.
This 7″ represents the tracks ZYNTHSLAKT released on two split EPs with N.O.S. and the PAST, and the material here is gritty, catchy, and highly original. A rockin’ punk style is evident on all six songs, though I was particularly drawn to the vocal choruses on “Es Ist Krieg.” A good one.
This Swedish sampler dips into a variety of pop genres, from nifty pop-punk (KOTTGROTTORNA, TREDJE KONET, SPION 13), highly questionable new wave (WUTABOUT, FLYGANDE NUNNAN), and just plain rock (WHOOPS!, SCANDAL BEAUTIES). The songs vary considerably in quality, but some promising bands are represented, too.
This one slipped by us somehow, so here’s the review, albeit late. One side is devoted to American bands (DOA, 76% UNCERTAIN, WHITE CROSS, etc.) in first-rate tracks mostly on other records already. The flip however, is all-French (TROTSKIDS, COLLABOS, and WARRIOR KIDS turn in especially good pop-punk efforts) and all unreleased. A very good comp; if the duplication doesn’t bother you, give it a listen.
Four bands contribute three tracks each on this comp, which is variable, but respectably workmanlike. BUNCHAFUCKINGOOFS are the only HC band represented, and provide some good satiric numbers, while LIVING PROOF shows vast improvement over their LP in a basic, rockish vein. ANIMAL STAGS specialize in mid-tempo goofoid rock, and MADHOUSE are forgettable. A 35/65 affair.
This Swedish compilation showcases a variety of newer bands, some rather promising. BEDRÖVLERZ and CRUDE SS whip away at their three songs each, while BIZARR demonstrates a pop-punk sensibility worth noting. Five other bands put in workmanlike efforts on this variable, but largely entertaining LP.
A rockish energy mixes winningly with thrashy song structures on this five-tracker. The song quality is about on par with their varied debut EP, but here exhibits much more consistent power, especially on the steamroller “1984.” A solid record, worthy of your attention.
Two catchy, finger-snapping ditties make this single a worthy investment for those who might like an amalgam of textured ’60s pop and late-’70s power-pop. The slightly off-tune and off-time female vocals somehow adds to the effect as it did for the MO-DETTES long ago. Recommended.
Highly political prose and poetry make this offering a pleasant surprise. No music here, just committed, clever, and anarchic words infused with a punk idealism. A breath of fresh air. Buy it.
STAR CLUB’s third album is clearly their best yet, boasting rowdy, up-beat ’77 punk not unlike the PROFESSIONALS, but consistently rawer and more powerful. This band cherishes their early punk roots, and numbers like “Radical Real Rock” and “Urban Guerrilla” demonstrate their complete assurance with the genre. An excellent LP.
The term “generic” comes to mind on this one. Mid- to fast-paced hardcore from this Aussie outfit, but the songs are too repetitious (both lyrically and musically) and the guitar sound altogether too thin to sustain much power. “Copper,” of the five tracks, has a nice riff to recommend it; otherwise, I was unaffected.
Both bands on this EP share an abrasive thrash style, and both are very good. PROCES shows an adeptness at a gripping, dissonant approach although their songwriting is basic, while STENGTE DORER boasts remarkable energy and superb arranging, much like SVART FRAMTID. Hot. Buy it.
The emphasis on clever arranging reminded me of late MAGAZINE, but the musical adeptness isn’t nearly as strong on this debut LP. In fact, the songwriting is largely monochromatic and uninteresting, despite a good feeling for the personal/political lyrics. Maybe next time.
As with most extremely prolific bands, the FALL hit and miss with most of their compositions. This is basic middling FALL, with the repetitious arrangements and obscure, taunting vocals that aficionados of the outfit have come to expect. About every other song is pretty good, and nearly everything is very, very predictable.
Rockabilly trappings blend with an off-beat raunchiness on S.C.O.T.S.’s debut LP, which shows promise despite its inconsistency. A few klunkers, but bursts like “Bop Bop Bop” and “Atom Age Truckers” show the band’s rockin’ roots to good advantage. The instrumentals here are especially appealing.
A stinging instrumental attack provides the distinction to this brisk tape of thrashy tunes. While this band definitely need work in the area of writing distinctive HC, they seem best at the quasi-NEOS approach of songs like “Scared Single.” Maybe this is a good direction for this abrasive outfit.
Gritty post-punk, not altogether unlike the WOUNDZ, but here with a more well-established sense of mania, both musically and vocally. But there are no standout songs, nothing I particularly remember as I write this review, so I guess I didn’t like it.
The six songs on this EP represent a solid try at edgy, riff-laden post-punk with both tension and energy. BRAVE NEW WORLD do sacrifice catchiness for atmosphere, but those who enjoyed the instrumental sharpness of earlier SIOUXSIE material may find passing interest in this effort.
ANGST aim for a “roots pop” approach, incorporating elements of punk, country, blues, and power-pop into a clutch of highly accessible ditties. Some songs are slow, but this band’s forte is in faster, intricately arranged tunes like “It’s All a Lie” and “Butler Grace,” which demonstrate a subdued, yet punky energy. Fans of the NEATS and EMBARRASSMENT should enjoy this.
There’s good, solid thrash on this six-tracker, but ABSENCE OF MALICE add nothing particularly original or inventive to the proceedings. You know what to expect: fast tempos, atonal guitar rifting, occasional lead breaks (and some good lyrics expressing youth alienation). OK.
This live concert, recorded in Hollywood, represents a fusion of late JOY DIVISION and Ummagumma-period PINK FLOYD. Atmospheric, slightly psychedelic, and well-recorded, this performance hits and misses with its post-punk sensibility; selected songs, however, are pretty decent for the genre.
Hungary is well-represented by this four-track compilation EP, which contains some intriguing punk and hardcore material; especially powerful is ETA, whose track sounds amazingly like AGENT ORANGE’s “Bloodstains.” (This is on Primitiv Cozak, a division of France’s New Wave label dedicated to presenting Eastern European releases. More power to them for the initiative.) Some fine stuff on this one.
A testament to the DIY mentality, SKEEZICKS present some simple, disciplined thrash with a combination of originals and covers. Recording quality varies a bit, but the songs are always bouncy and highly energetic. Recommended.
Interesting. Solid pop-punk music-making distinguishes this enjoyable three-track EP. The title track is quite an engaging ditty, though I was caught by the vocal harmonies and lyric satire of “Heroin,” and a hard guitar sound bolsters the power of all the tracks. Recommended.
CÁ”LERA, PSYKOZE, FOGO CRUZADO, and the fabulous RATOS DE PORÁO appear on this reissue of the excellent ’83 compilation. Superior thrash by all concerned, in a Finnish style. Get it—it’s a must.
The OLHO SECO side contains material culled from past releases, and their crushing HC sound must be savored if you lack these records. The flip seems to be a brace of live-in-the-studio tracks by BRIGADA DO ODIO, recorded to sound like DISORDER sped up and stepping on boxes of Rice Krispies. A very good value.
This live recording documents DEZERTER at a 1984 rock festival in Jarocin, Poland before an audience of 20,000 (!) people. While the production doesn’t do justice to this first-rate outfit, the excitement comes through; 17 songs here, most of them very good, and a few really excellent.
AKOB walks a thin line between nasty, powerful thrash (“Officer Friendly Blues”) and metal punk (“Explosion Blues”), so my feelings toward this EP are ambiguous. There’s a fresh, flexible guitar sound to please everyone, plus some interesting lyrics. Still, these guys would be great if they stopped listening to those BROKEN BONES records.
WE THE LIVING incorporate goofy lyrics I can’t quite make out into a messy thrash format, with lots of cymbals and out-of-control vocals. I liked the spirit of this five song EP, though I was left rather unmoved by the material.
Aggressiveness and a knack for original power riffs buoy the three songs on this EP over some of their competition. SOREX utilize a mid- to fast-tempo thrash formula, and while the song structures are somewhat longer than the norm, the band sustains the energy well. A solid and promising debut.
These zanies from Alaska have unleashed a surprise with this one. SKATE DEATH throws 20 songs at us, mostly falling into a mid-tempo punkish groove not unlike the BURNT. The lyrics are hilarious, boasting titles like “Food Is Good” and “Life Is Such a Boring Job,” but the individual tracks vary considerably in catchiness. Recommended.
Committed lyrics add a measure of punch to this five-tracker, which features high-velocity thrash with an unfortunate excess of annoying, squiggly guitar leads. Too bad the guitar wanking attenuates their appeal for me; PIG CHILDREN are potentially a powerhouse combo.
The IGUANAS specialize in respectable guitar rock. While both songs here are good, I’m quite partial to the impassioned flip, with its boisterous energy and instrumental changes of pace. Good record.
This eclectic release from the DK’s bassist combines rock and pop with a crisp, engaging experimental feel. The unassured vocals got in the way of my enjoyment, but the post-punk sound of this one is on-target: it’s upbeat, well-recorded, and quite varied from cut to cut. My fave is the instrumental, “Mochra.”
ROTTING CARCASS showcases a bright, fast HC sound augmented by clean and basic production—resulting in a pleasant dose of good German material. On the other hand, WUT shows more inventiveness with their BUZZCOCKS-style guitar figures and spoken breaks, even though they mine the same general style. I enjoyed this LP, even though I find it difficult to pick out any standout tracks.
Despite the band’s name, this resembles Oi only in the grungy arrangements. Instead, this tape features about a half an hour of inventive thrash with hilarious lyrics conveniently translated into English. The recording is basic, but clear and often quite powerful. I look forward to more from this outfit.
LEBEN & LEBEN LASSEN exploit a nifty and unique guitar sound on this EP—it’s all refined treble, and remarkably effective. Unfortunately, the band doesn’t do as much with their sound as they could; “Nightmare” rates as a cool change-of-pace HC number, but the other tracks don’t fare as well. All in all, an OK record.
The stereo guitar sound adds interest to this tape of incendiary thrashers, which boasts first-rate songwriting, good lyrics, and a shitload of excitement. In fact, the instrumentals remind me of DIE KREUZEN’s first EP. An exemplary effort!!
HIGH CIRCLE sticks to a well-disciplined mid-tempo thrash style on most of these six songs, resulting on listenable (and rather staid) hardcore. But “Lucida Follia,” the standout track here, approaches the domain of RAW POWER with its frenetic instrumental attack and spirited vocals. I’d like to hear more of this power in future recordings, but I still recommend this 7″.
GEPÁ˜PEL doesn’t beat around the bush; they beat the bush to death. Ultra-high energy thrash with virtuosic chord changes is this band’s stock-in-trade, and this eight-tracker consistently plumbs that style with skill. Easily up to the standards of the better Dutch outfits. In other words, first-rate.
Utterly frenzied, like most Italian bands DECLINO utilizes a guitar sound which is somewhat less full than the typical power-chord thrash approach. Song quality varies from cut to cut, but the best material (like the live version of “Vita”) shows the class of this distinctive outfit. Committed and often pleasing.
Tim might say that “this sounds like KILLDOZER meets COLIN NEWMAN watching an SPK video en route to a concert by KING SUNNY ADE.” Suitably confused? Join the club. This is highly original, intensely percussive music that defies categorization; some of the tracks, like “Ostrich” and “Soul on Ice,” have really grown on me. Real good.
ALIEN SEX FIEND’s musical style concentrates on a gritty, vaguely spooky rock/post-punk approach without any discernable emphasis on songwriting. Nine songs appear here. Only the rockabilly-tinged “Boneshaker” connects with its up-front percussion and psychotic echo effects. Nothing special here at all.
This mini-comp proves the D.C. scene is indeed alive and kicking with six tracks, all by different bands. The standards are solid all-around, though the songs by MARGINAL MAN, UNITED MUTATION, and GRAY MATTER seemed especially impassioned. Good record.
This band combines the sneering sarcasm of punk with bursts of mid-tempo energy, and it’s the humor that makes this effort interesting. The frantic “Running Wild” contains some power-chord abrasiveness; the other five tracks lack a distinctive punchiness. Not great, not bad.
Hard, medium-tempo thrash seems to be PARTY OWLS’ forte, though I was far more enamored of their goofy/retarded lyrics. Of the five tracks here, “Competition Skank” kicks up the requisite energy to be a winner; the other songs just sit there. Still, an above-average, entertaining release.
Yes, it’s really the DEBBIE BOONE schlock classic, but here adopted to a neo-rock format—and with no small success. The flip, however, has a driving guitar sound and stands on its own as solid alternative rock. (They also have a recommendable cassette, Streets of Poison, available; good material and excellent sound quality.) Good band.
LDS straddles the fence between two genres: portentous horror rock and mid- to fast-tempo thrash. Certainly a tight outfit, this band doesn’t seem to have that sense for unique HC compositions—probably because they don’t really exploit the possibilities of either genre. Uneventful.
There’s a clutch of manic, ultra-fast thrash on this EP—some of it well up to DRI speed and even faster. Admittedly, the recording could be hotter and much of the guitar wanking could have been excised, but this record contains enough unspoiled moments to make it well worthwhile. Good basic release.
This band explores the same territory as England’s SCREAMING DEAD—this is atmospheric horror rock, albeit with much less of a rock energy. Of the five songs here, only “Pink Little Playhouse” combines catchy post-punk arrangements with GARGOYLE SOX’s trademark twisted lyrics. A novel release.
Not only do you get the DESCENDENTS’ classic Fat EP on this one, but also the two songs from their rare Ride the Wild 45 and an additional compilation track. This is hard-edged SoCal funnypunk at its best, and a welcome return to vinyl. May be the band’s best record.
CANCEROUS GROWTH do a respectable, but by no means brilliant job with the mid- to fast-tempo thrash formula, replete with rebellious lyrics and gruff vocals. This kind of thing has been done before, but I really enjoyed their high-velocity numbers. Basically OK.
The BURNT recorded this album on an 8-track machine in a basement somewhere, and the songs explore a variable-speed thrash style with growling vocals. It’s a good piece of work, too; most of the songs are concise, to-the-point thrashers, and there’s at least one mini-classic (“Garbage Can”).
The title track of this four-song release has a loose, angry, experimental energy that reminds me of Wednesday nights at the Mab in ’78. Synth and drums predominate on this one, but if you like diverse, almost-experimental pop, you might find this sporadically interesting. They also have a strange cassette out.
This is spare pop with a country tinge, with an emphasis on the melodic vocals. A little wimpy.
Three fine Spanish outfits (ODIO SOCIAL, ANTI-DOGMATIKSS, and AUTODEFENSA) share this 15-song tape—and each of the bands have something special to offer. The basic mode here is highly political thrash, and the sound is so frantic and committed that I think these tracks could justifiably be on vinyl. This is a great job; buy it!
A 50/50 proposition. The bands, with the likes of FRITES MODERN, PORNO PATROL, MAU MAUS, UPRIGHT CITIZENS, DOA, etc. are world-class, and the songs are uniformly excellent. Unfortunately, most of the recordings were culled from hand-held walkman cassettes, which doesn’t help the sound quality. I must admit that the excitement comes through, though.
Those expecting the charging thrash of their debut EP will be in for a shock. O.X. POW’s style has degenerated into a new wave pop reminiscent of a spare U2, or perhaps AIRSTRIP 1 without the catchy material. And while political pop is OK in my book, there’s no real songwriting skill in evidence here. Too bad.
HUNGRY FOR WHAT’s approach is molded by ’77 punk, but a certain sleekness of production imparts a contemporary feel to their songs. There’s some good music here; still, H.F.W. see-saw between moments of power and a sedate professionalism, with the latter winning out in most cases. A strong, yet unmoving release.
Denmark’s LE CRAP wanders through bewildering territory, indeed. While the guitar sound is hard and driving, the songs on this EP work with experimental song structures and off-beat percussion, with some unpleasant results. Not unlike France’s HUMAN BEINGS.
CARNAGE delves into a slower punk style on this release—an approach which unfortunately omits songwriting skill or instrumental punch. Some good lyric themes are addressed here, but the music is largely stolid. Too bad.
Various punk celebrities from the old days offer their talents for this album of slower, ’77-oriented material. The absence of energy in the tempos put me off initially, but there’s some very palatable SEX PISTOL-ian material here, albeit cleaner and more refined. A decent record.
The compositions on this release from UNITED MUTATION sacrifice the thrashiness of their debut for a spookier, more atmospheric approach—but it works. Churning arrangements, an aggressive HC energy, and those trademark laryngitis vocals team up to good effect especially on “Take Your Pick.” Solid and recommendable.
On the A-side, TRUE WEST showcases a neo-generic pop style that’s so soft and unassuming that it left me completely uninvolved. The STOOGES cover on the flip, though, musters up some excitement despite the band’s continual tendency to squelch its own power. Lacks heart.
The thrash on this record contains some gripping instrumental changes of pace, and demonstrates the rudiments of songwriting finesse. A brace of hard-driving HC numbers, a nifty cover of WAR’s “Why Can’t We Be Friends,” and some concise, dynamic production values make this one well worth getting. Some great potential here.
I hate jazz even more than metal (at least heavy metal is humorous in a pitiable kind of way). That’s why I was surprised to enjoy (moderately) this cassette of finely recorded live cuts from the LOUNGE LIZARDS’ repertoire. Though these songs have their own robust energy, this is not punk.
JFA have documented their live performing talents with mixed success on this album. The instrumental numbers (and there are a ton of them here) have both energy and clarity, though the vocal tunes tend to show the fair-to-middling quality of the recording. For JFA fans only.
This unlikely effort incorporates elements of garage pop and ska, combined with a satirical punk attitude; the result is subtly entertaining. While CVB could increase their energy level a bit, the band’s intelligence and offbeat humor come through in tracks like “Lassie” and “Take the Skinheads Bowling.” Pleasant.
This band unveils a new variety of hardcore—”destructo rock”—which sounds for all the world like gruff and grungy mid-tempo thrash. ANTISEEN can’t boast great songwriting skills, but I still enjoyed the irrepressible aggro and rebelliousness of their output. A pretty good release.
The TOY DOLLS return to vinyl with a display of outright mania unlike I’ve ever quite witnessed. While the general song quality is a bit lower than on their classic debut album, the band’s crisp pop-punk style and Olga’s unforgettable high-pitched vocals make this record a must. “She Goes to Fino’s,” “My Girlfriend’s Dad’s a Vicar,” and the hilarious “Commercial Break” are classics. Hysterical.
The SEX PISTOLS re-emerge from the vaults on this three-tracker, which features the guitarwork of CHRIS SPEDDING. Mainly a curiosity (better demo tracks appear on their A&M sessions), this EP boasts good sound quality and some interesting instrumentals on “No Feelings.” A nice item for PISTOLS fans.
I’ve been a POISON GIRLS fan from the beginning, but even I have to admit that this album is their first really poor one. The song structures are funk/new wavish and unfortunately lack the melodic or rhythmic punch of past efforts; there’s no real heart on this LP, either. Ultimately, nearly all of this album is uninvolving, despite some subtly written lyrics.
This seven-song effort from the (NEWTOWN) NEUROTICS once again demonstrates their adeptness at the ’77 punk style, though with less consistency than past efforts. “This Fragile Life” boasts a strong melody buoyed by a brass section, but it’s the high point in a selection of more subtle pop-punkers. Pretty good.
At their best, the NEUROTIC ARSEHOLES display some stylish and melodic punk compositions supported by clever instrumentals. While less aggressive than their debut LP, this one connects most of the time it remains in that melodic mode; happily that’s the majority of the time, and classy ditties like Du Russe” and “Kern Tag Ohne Liebe” attest to that.
The MAU MAUS display an adeptness at a wide variety of punk and hardcore styles from thrash to sing-alongs, pop-punk, and slow/fast numbers. Happily, they perform it all with authority and intelligence; I can recommend this varied album without reservation.
This band opts for longer song structures and a pop style with moments of instrumental invention and even ingenuity. While the majority of this album sustains a melodic approach, there are welcome blasts of thrashy energy from time to time; too bad the compositions tend to fall into an earlier, less accessible German style.
This band seems influenced by British post-punkers LEITMOTIV, and the two faster songs here represent good examples of that taut, expressive style. The other two numbers mine a languid mood I found sleep-inducing.
This veteran German band treats us to a selection of mostly live and some studio material ranging from 1978-’81. Most of these tracks showcase the BUTTOCKS’ no-nonsense amalgam of aggressive punk and hardcore to good advantage, though the superior sound quality of their studio recordings (from their two EP’s) shames the rest of the LP. Limited edition of 1000.
BETON COMBO represents an earlier style of German hardcore, in which the power and hooks are more subdued than the work of their contemporaries. A solid piece of work; still, only the textured thrasher “Ich Krieg Dich” leaves a real impression on multiple listenings. This EP’s not as impressive as their best recordings.
MOOSE AND THE MUDBUGS recall the halcyon days of power-pop with these four songs. Most of this EP is unnotable—instrumentally adept but somewhat geeky in the vocals department—though I enjoyed the Farfisa/guitar combination on the pleasant rocker “20 Ashford.” Somewhat below the standard.
MENTAL ABUSE performs thrash within some longer punk song structures, and what results is a gritty, kinetic, and highly enjoyable album. It’s difficult to pick standout tracks here, though “Rat Race” works well in the ’77 mode. Rambunctious and a hell of a lot of fun.
The sneering, cynical thrash on this EP should appeal to fans of bands like JACKSHIT, despite special studio effects which hurt some of these songs. “I Hate MTV” rates as a rousing thrasher, though this record falls beneath the standard of their ripping debut EP. Above average.
NIXKONNER, ANNEXION RUSKI, and SEX TEENS, and the recording is fairly good. Basic thrash and punk is featured on this one, nothing particularly astounding, though there is some up-and-coming underground talent evident on this cassette.
A variety of underground German HC bands share this tape, including TIN CAN ARMY, IDIOTS, ANI(X)VAX, and eleven others. The sound quality is adequate, the songs respectable, and the tape’s a good value for those curious about the prolific German hardcore scene.
Crisp, tuneful rockabilly (invested with a rich musical and lyric sense of humor) melds with punk on this bright four-tracker. It’s such infectious, hysteric, clever fun that I defy anyone to keep their feet from tapping during their three upbeat originals, or their delightful rockabilly reworking of the RAMONES’ “Blitzkrieg Bop.” A must-get.
SVEA SKANDAL contributes four adequate compositions on this EP, and despite some good musicianship and vocal choruses, it doesn’t quite connect. “Nar Solen Gatt Ner” comes close to a spirit of aggressive catchiness, but this record basically contains medium- and fast-tempo punk with the vocals imitating the chord changes. Okay.
These two refreshing slices of Swedish punk revive a ’77 sensibility without losing a mite of the hard-driving energy needed to excite in the ’80s. “Ni Ska Få Ångra” in particular maintains an invigorating pace and style that updates the work of older Swedish outfits like EBBA GRON. A fine single.
While “Lois” fails by virtue of its numbing repetitiveness, the flip is enjoyable fast punk—though rather inexpertly produced; if the recording had more punch, the song would be a memorable bit of ’77-ish punk. An okay single.
PROFAN RELIK muster a sharp, buzzy guitar attack on this nifty three-tracker. The mid- to fast-tempo punk tunes here sustain their distinctiveness with a clever blend of offbeat guitar riffing and BUZZCOCKS-style guitar solo figures; in this vein, “Esam Kvar” is especially effective. This disc really grabbed my interest…recommended.
KOTTGROTTORNA produces some respectable power-pop with this, their second EP, and this band’s hallmarks are unforgettable vocal harmonies and choruses. “TT Tass” is especially strong, though the two songs on the flip demonstrate this band’s consistency. Considerably “lighter” than their contemporaries, this record is still good in its own right.
DECAY explores the grungy edges of messy, chaotic thrash in a way that makes most Italian thrash outfits sound disciplined. Tim says this record sounds like it was recorded on their third rehearsal, and that may not be too far from the real truth.
Yet another band named CHAOS hits vinyl, this one hailing from England (though it’s not CHAOS U.K., whom we know and love). This outfit delves into a mid-tempo Brit-punk approach with good production and terminally uninteresting songs; all three songs seem to be mired in musical ennui.
This competent, yet uninventive band strives for a brisk pop-punk style; for me, the hooks didn’t entice me to bite, and most of the five tunes here even induced a bit of monotony. “M” has an adequate melody, buoyed by novel guitar riffing. A fairly uninvolving outing.
This collection of early recordings (1955-’61) presents a clutch of wild rockers plunging into the roots of the genre. ROY CAINES, TONY CASANOVA, MEL MCGONNIGLE, RHYTHM ROCKERS, and CRAZY TEENS provide raunchy, rockin’ fun in a distinctly ’50s style, though some of the other tracks are less impressive. A treasure trove of obscurities.
ROTA let loose with five thrashers on this one, and the songs are at their best when the band’s breakneck instrumentals are conjoined by real passion in the vocal department. “Hypocrite” in particular makes for riveting listening, but some of the other songs are more like garden-variety thrash. The lyrics deal with identity problems, school, ideals, etc.
The twisted musical hi-jinx of this tape recalls TIN HUEY, but this outfit has more of a garage sensibility. This is spare, arty rock with a rhythm-machine backdrop—and maybe I wasn’t particularly moved by the music on this cassette because this band isn’t excited by what they sing about.
The MINUTEMEN are a superb live band, but the undistinguished recording values here detract from some fine songs performed with finesse. “The Red and the Black” is hot, though I’d prefer to hear an ace production of this outfit instead of the one we have here.
LEEWAY straddles what I hope will eventually be a Berlin Wall between hardcore and heavy metal, with mixed results. “Be Loud” is a nicely textured thrash number, but metal rot gnaws away at the edges of their other arrangements. Aggressive, though this variant of HC doesn’t suit me.
This single bridges the gap between late-’70s power-pop and ’80s new wave—a marriage of styles with a potential for unbridled cuteness. KOO DAT TAH use the layered vocals of the SHOES with a U2-ish guitar sound, and the two songs here veer into wimpiness despite intelligent lyrics. This band needs more of an edge to their music.
KILLDOZER 85 opt for a gritty, rock’n’roll approach with a sandpapery instrumental sound, complete with the obligatory lead breaks. Disciplined rockers like “Hatbox Matinee” and “More Thanks” show a feeling for good, rootsy rock; a number of their other tunes seem atonal and monochromatic. With more consistency, this outfit could be a contender.
This band has, with some justification, been labeled an all-girl FLIPPER. And FRIGHTWIG does have rather loose arrangements, but their sensibilities are more rock’n’rolly than arty, and there are some good songs on this LP (especially “The Wanque Off Song” and “I’ll Talk to You and Smile”). There are also some awful songs. Still, this record is recommendable through the sheer force of the band’s personality.
This band plays hard country rock with a touch of swing, and writes some occasionally funny lyrics. When the CATTLE really let loose, as on “4WDORV” and the instrumentals “Finland” and “El Con Maio,” this outfit grooves with class. Unfortunately, only about half of this album has the kind of energy this style of music requires. An adequate LP.
This altogether surprising duo of cassette compilations features well-known outfits like FRITES MODERN, PEGGIO PUNX, MOTTEK, and OLHO SECO—plus a variety of cuts from a clutch of promising new bands. The breadth of punk and hardcore styles represented on these two tapes, in addition to the general quality of the music, helps make these cassettes highly recommended additions to your collection. Intelligent and well-conceived.
The title of this comp isn’t strictly accurate, nor could it be with the likes of AVSKUM, XPOZEZ, SCAPEGOATS, and 15 other international bands. In fact, the song quality is quite good, with a political backbone braced with sincerity and honesty. Sound quality’s fine, too.
The inner wardrobe of the VIBES’ minds must contain a lot of the CRAMPS’ clothes, given the deep mutant rockabilly/psych influence on this record. At least they’ve chosen their mentors well, because this band has good material (though not as invigorating as the CRAMPS’) and perform it with verve (but without the CRAMPS’ personality). “I’m in Pittsburgh” is a killer.
This limited edition (1500 copies) disc contains 16 songs recorded in a board mix with good sound quality. The vocals are up-front, with the drums and guitars vying in the background for your attention—not an ideal state of affairs—but the VARUKERS’ material saves this from being “just another live album.” Adequate.
This Yugoslavian thrash outfit sustains the requisite speed and aggro for a credible effort, but little of the distinctiveness their geographic origins might suggest. This is churning, repetitious hardcore which, oddly, sounds somewhat Italian—until you realize it was pressed in Bologna. Fine booklet sleeve.
SYSTEME D address their output to a mid-tempo pop-punk style that, with an added “something,” could be really special. “Loser” weds catchiness to a punky rawness of energy, but most of this has been done more convincingly elsewhere by fellow countrymen like KIDNAP, COLLABOS, REICH ORGASM, etc. An OK record.
The SOLDIER DOLLS invest these recordings with vocal zeal, yet the instrumentals miss the passion and drive this band seems to be aiming for. Still, “Victims,” a slower ’77-style number, provides a measure of catchiness to save this well-intentioned EP from its uneventfulness. The two thrashers haven’t the punch they need.
NEGAZIONE musters up one of the most ferocious Italian EPs I heard in a long, long time. Crisp production adds an edge to frenetic thrash that reminds me of the great INDIGESTI, but with a more biting vocal attack. One would be well advised to get this record immediately.
L’INFANTERIE SAUVAGE combines elements of pop-punk (in the restrained guitar work and sing-along vocal choruses) and Oi (in the chants that punctuate this EP) on the four-and-a-half songs here. This record’s distinctiveness feels good on the way down, but this band hasn’t quite developed the knack for writing songs that stick to the ribs.
Two incarnations of the same band are represented on this 12-song tape, which plumbs a mid-tempo punk style in both live and studio recordings. Truthfully, I didn’t feel the excitement on this one, but the music’s OK.
DEATH SENTENCE provides us with one side of studio demos and another of live tracks on this cassette. The studio recordings demonstrate that this band can pummel out thrash in a high-velocity DRI style, though both sides suffer from a certain muddiness in the taping. Still, keep your ears unplugged for this band—they have real potential.
Calgary’s BEYOND POSSESSION have a knack for tight stop-and-go thrash with near-virtuosic guitarwork. While this outfit is more adept at arranging than songwriting, numbers like “Where’s the Matter” and “No Religion” demonstrate a preciseness (and rebelliousness) that makes this record a well above-average effort.
This album witnesses the fruition of the VOODOO IDOLS’ songwriting skills, and their admixture of rootsy rock and punk (with a hearty infusion of sax for good measure) makes a better impression with each listening. The vocals seem way too manic for the music, but VOODOO IDOLS get a definite thumbs-up for improvement and distinctiveness.
The TELL-TALE HEARTS use an invigorating R’n’B-style as an inroad to their brand of psychedelia, replete with cheesy organ and harmonica. “Crawling Back to Me” employs a biting ’60s punk sound with good results, but I also enjoyed the moody “Dirty Liar” the most of their slower material. A very good effort.
This album reminds me of a tug-of-war between ’60s psych and late-’70s power-pop, the latter victorious by a respectable margin. My favorite cuts, “Gotta Tell Me Why” and “Glendora,” were previously released in better versions, and the studied pop leanings on this album don’t succeed as often as on their last LP. Pleasant listening, but not the special effort I expected from the SLICKEE BOYS.
Mystic’s “Nardcore” series continues with this workmanlike EP of energetic thrash by SCARED STRAIGHT. This band suffers from a common problem: they have every bit of the requisite “power” but little of the distinctiveness modern thrash outfits need in order to avoid the morass of genericness. “Typical” is the best song on this nine-tracker, and ironically, the record itself is good, but typical.
These two bands have almost the same line-up, and both boast a mid-speed punk style with compositions that verge on memorability. The track by NOONDAY UNDERGROUND, “Injun Joe,” wins the honors here by virtue of its enthusiastic vocal choruses. Solid all-around.
A heavy dose of YARDBIRDS-style R’n’B fun almost works on “Waste Your Time,” which lacks in melody what it offers in rockin’ power. On the other hand, the flip is a down-and-dirty instrumental that recalls the “rave-up” spirit admirably. Not earthshaking, but altogether decent.
Demented rock underscores a lyric barrage having something to do with religion on this flexi; the music’s original, but also rather unpleasant. CLAUDE COMA has had better moments.
Opening this cassette package is like Christmas! I got a Q-Tip, two slides, a plastic fruit-fly, one cellophane “mystery fish,” a bunch of neat booklets… I, for one, am excited. There’s also a cassette, which features some OK “sensitive” pop by TERRIBLE PARADE, and a lot of arty compositions, mostly in a very, very slow mode. Great packaging, but the music’s not too enthralling.
This neo-? record from Sweden has an OK A-side, but “I Tell No Lies” is buoyed by a delightful pop sensibility, layered vocal harmonies, and good instrumentals. This combines the accessibility of modern rock with the stylistic elements of ’60s punk. A strong release.
Tapes #3 and 4 in what may turn out to be an endless series of cassettes from SECOND AUSCHWITZ. The Agent Orange tape, like the rest in the series, contains zillions of songs, while Zyklon, Belgium seems to be a live recording with even more zillions of songs. Well, this band certainly gives you volume.
This limited edition bootleg (200 copies) showcases the live performing talents of this early English punk band through a variety of vintage performances. The sound quality ranges from poor to pretty good, but only about one-third of this album captures the excitement of this band. I suppose one’s desire to find this disc depends on how much of a RUTS fan you really are…
LUNATIC FRINGE employs repeating guitar figures to create an effect of intensity and drive within their songs, not unlike ANTI-SECT, but without all of that crushing power. Still, much of this EP works by sheer insistence—especially the fine rocker, “Con-formity.” Good British HC.
This German outfit, not unlike fellow countrymen the NIKOTEENS, sustain thrash-tempos without sacrificing their fundamental commitment to distinctiveness and even melody. The two songs on side A, with those tasty choruses, are especially appealing. A treat.
All three songs on this Danish EP go on too long for their own good, and opt for restrained guitar progressions and lyrics heavily influenced by spaghetti westerns. Hypnotic; in fact, I’d better finish this review before I’m lulled to sleep…
This New Zealand punk band maintains some real drive through many of their songs, which plumb a style emphasizing a diversity of punk approaches, fast and slow. Nevertheless, the compositions themselves rarely impressed me with any measure of catchiness or inventiveness; but there’ s no denying that the title track is a highly worthy kinetic thrasher. A mixed bag.
This album features the upbeat pop-punk of the ADICTS with 15 tracks recorded in 1979. These songs possess the same aggressiveness as the material on their debut LP, though the truly outstanding material here is re-pressed from their fine debut EP Lunch with the Adicts, long out of print. There’s a fair allotment of strong material on this album, and that should be good news for ADICTS fans.
Two of the songs on this solid EP demonstrate adeptness at clever, mid-tempo punk with tastefully humorous lyrics. The other two ditties, however, remind me of the aggressive punk of early DEVO, with its addition of minimal synth. Not bad at all—VEX seems to enjoy re-expanding the sound of punk music.
This re-release of the FRAT-GIRLS’ garaged-out, raunched-out, ultra-sick classic contains all the tracks on the original EP plus “The Egg Man Don’t Cometh,” a sort of poem. This is SHAGGS-rock meets punk, with lyric moments designed to offend anyone and everyone. Astonishingly mandatory.
A fun, adolescent sense of humor infects this garage punk EP from SNARE AND THE IDIOTS. Semi-catchy instrumentals, primitive lead guitar breaks, and some R’n’B-ish song structures supply most of the charm here; the lyrics, too, are goofy enough to win my affection. Loose, rock ’n’ roll fun. Recommended.
“Howling at the Moon” is by no means the strongest track from their current album, but the two songs on the flip are very good and non-LP. “Smash You” is a return to vintage ’77-RAMONES, while their cover of the STONES’ “Street Fighting Man” is equally irresistible. I guess I still like these guys a whole lot.
PREVARICATORS specialize in mid-tempo punk rock with highly distinctive vocals and disciplined power-chord arrangements. The music is largely solid, but lyrically, this LP is variable from cut to cut. Commentaries like “Snubculture” and “Jesus H. Falwell” are well taken, but the apparently anti-gay song “Jesse’s a Girl” is in very poor taste. Some songs are sexually oriented Á la early PORK DUKES. A problematic record, for me.
About half of the songs on this tape are carbon copy covers of IGGY POP (“Five Foot One”), JOY DIVISION (a priceless version of “Dead Souls”), and even the likes of BUTTHOLE SURFERS and BLACK FLAG. The original numbers are sporadically funny, too, sounding something like a R’n’R version of the MENTORS. This tape is almost so bad, it’s good.
JUVENILE FRUCTATION are responsible for a whole tape’s worth of pre-garage ramblings in a punk-rockish style that gets a bit tiring after about two minutes. Proto-primitive; these guys need more practice.
TH’INBRED rely on songwriting finesse and the basic HC trappings to hybridize an effort that’s very special. Their off-beat humor melds with the music quite effectively—resulting in thrash with an unusual and likable difference. I look forward to their upcoming record.
This band opts for a metal-thrash approach incorporating a power-chord orientation with the strong influences of SSD (in some of the squiggly guitar solos), DIE KREUZEN (the anguished vocals), and DISCHARGE (in the basic song structures). The compositions on this 12″ exhibit fine energy and commitment, though they only occasionally assert any degree of originality. Basically OK, I guess.
Two snappy slices of power-chord rock here, neither of which caught my fancy. Both songs boast mildly appealing choruses, but very little else aside from the hard guitar work to recommend them. HARLOTS need more sustained songwriting to satisfy a die-hard pop fan like me.
GLENHEADS definitely have the requisite weirdness to succeed in the experimental biz, but none of the talent for creating noise that eats away at your cortex. Tesco would know what I mean. Basically, it’s self-indulgent pop-influenced experimental material with a lot of vocal treatments. I don’t like it.
Completely unrestrained weirdness, this tape is guaranteed to fry your brain after a mere ten minutes. Strongly reminiscent of early-vintage RESIDENTS, albeit with considerably more dementia, both lyrically and musically. Though inconsistent from cut to cut, FARMERS are fairly good at what they do on this tape.
DON’T NO recalls the high-velocity antics of the better Boston outfits before they went metal, and there’s some fabulous stop-on-a-dime thrash on this one, powered by ripping drum-work. A potential classic. Get it.
DAMAGE connect again and again with a nasty, no-holds-barred thrash style on this, their debut album. Apparently recorded live at CBGB’s, this platter has the sharpness of a studio effort with high marks for tightness, production bite…and some very different lyrics (some partially in German!). A very pleasant surprise.
What’s happening to America when high school kids begin producing industrial music? It has to be an encouraging trend. I didn’t much care for their voice-oriented material; yet, the instrumental sections here are sometimes haunting and effective, spanning a wide variety of experimental styles. More, I say!
A good value, this cassette features a clutch of Cleveland bands (CIVILIAN TERRORISTS, LURID, JIPPO, PESTILANCE, and PLAGUE) and just under 30 songs. The sound quality’s good, the music even better—and this tape (as well as future ones in this series) comes with a fanzine, stickers, etc. if you send $1.35 to No Fun.
Imagine, if you will, a bass guitar, drums, and sax fighting with sick vocals in a messy thrash format. Imagine 19 songs, some as short as ten seconds, delivered in under four minutes. The lyrics are viciously anti-religious and pro-vegetarian, but this is still a very unusual package.
Winnipeg’s MANIC DEPRESSORS churn out a thick, high-velocity style of thrash with lyrics that address major issues head-on. A good band; the sound quality of this tape, however, has a great deal to be desired—it’s extremely fuzzy.
This odd release features French post-punk in a sporadically interesting vein. The A-side’s brisk tempo and catchy, spare guitar riffing makes for pleasant listening, though the flip moves into a more freeform mode with disappointing results. An original effort, but this band needs much more discipline.
VOA addresses a basic thrash style with loads of spunk, though their songs structures are highly reminiscent of early ILL REPUTE. With added songwriting finesse, these guys could really develop into contenders; that’s why I can recommend this tape, and look forward to future releases.
The LEPERS’ latest four-track EP ranks, in my opinion, as their best to date. This band blends a simple thrash style with distinct rock ’n’ roll elements, and emerge with a treat in their piledriver, “Concentration Camps.” While this outfit will win no awards for originality, they deliver their measure of aggro with agility.
Seattle’s FASTBACKS return to vinyl once again to showcase their solid, chunky pop/punk compositions. Of the four songs here, “Midnight Confessions” and “See and Say” win the top song honors, though the general standard here is somewhat lower than their debut 45 and 12″. As always, the plaintive female vocals fit the music well.
This primitive effort by DEVIL’S NIGHT adds new dimensions to the word “garage.” The female vocals veer into psychosis more often than not (which is good), but the slow- to mid-speed offerings here aren’t quite as entertaining as they could be.
Six bands share this compendium of Spanish hardcore, including the likes of ULTIMO RESORTE, SHIT S.A., and MG-15. R.I.P., however, shame their competition with 13 ripping live songs in a well-orchestrated thrash style; their tracks alone make this compilation especially attractive. Give it a listen!
Although the previously released tracks by MORNINGTON CRESCENT and BGK make for a shred-fest in themselves, the two songs by BUTCHER are also worthwhile. Their cover of T. REX’s “Get It On” is a delightful pop-punk version, but “Psycho Trend” seems a tad more lively. Available with Chainsaw zine.
This trio of Swiss experimental bands channels their ideas through traditional rock song-structures. COPVLATION are the punkiest here, adopting an early CABARET VOLTAIRE sound, albeit with more power in the drums; XERXES VON MUNSHREIN have definite potential, though this band is decidedly more synth-oriented. No truly great songs here, but let’s hear more from the country that used to be the creative center of first-rate post-punk.
Their cover of SWEET’s “Teenage Rampage” is a tiresome retread of ’70s rock I’d just as soon forget (is it meant as a joke?). The flip, however, is more in keeping with VICE SQUAD’s typically polished punk sound. Release by release, this band is sounding increasingly like LIGOTAGE (Beki’s band). Coincidence?
This tape features a selection of live tracks by TERVEET KÄDET, most ranging in sound quality from fair to good. Remarkably, though, I liked the power of these performances much better than the ones documented on the live side of the Black God album; so, this cassette could prove an interesting addition to your TK collection.
This buoyant sampler of Boston-area bands concentrates on accessible, up-tempo power-pop and punk—and manages it with surprising consistency. The FLIES, EDGE, and UNDERACHIEVERS vie for top honors, but the odds-on favorite is a slice of country swing (!) by SCRUFFY THE CAT. No thrash here; just agreeable, aggressive hard pop and punk—the kind you listened to and liked way back in ’79.
The incredibly prolific RATTUS presents 25 songs, some already released in different versions, on this “live in studio” tape. The sound quality is very good to excellent, and the selections give you a chance to hear this band branch out musically; note the cover version of “Police and Thieves.”
The LINKMEN sound for all the world like a poor-man’s NOMADS: rich production values, that riff-happy ’60s punk sound, and a genuine instrumental aggression abound here. All that’s missing are the great songs. “Every Inch a King” lacks melodic punch, though the HENDRIX cover on the flip has some moments of power.
ERIC HYSTERIC and his friends again treat us to some garagy, off-beat punk; here, however, the mid-tempo ditties utilize synth and rhythm machine to augment their hard guitar sound—and add a bit of dementia. The songs are better than ever, too, though my inability to understand German left me out of a lot of the fun. Then again, if you get drunk enough, anybody could understand this music. Good stuff.
Likeable, garden-variety thrash are DTJ’s stock-in-trade, though the lyrics on this one definitely push this outfit into the growing ranks of “drunkcore” bands. Five of the six songs on this EP have energy and spunk, especially the upbeat rocker, “Die Schwarze Else.” Pretty good record.
23 bands from all over the world contribute to this compilation, though a sound problem on the first side (is it just my copy?) works against some of them. First-rate efforts by the ACCUSED, NOT MOVING (from Italy), YOUTH KORPS, VICIOUS CIRCLE (from Australia), and Denmark’s DISRESPECT make for some rousing moments; el Demento award goes to HAPPY FLOWERS for “Mom I Gave the Cat Some Acid.”
With their folk-style vocal harmonies and sedate instrumentation, this band seems to have steeped themselves too deeply in MOR ’60s pop. Too bad; the rudiments of good songwriting are evident, but the STEPPES don’t develop their melodic hooks or arrangements with much originality. “Kathy McGuire” rates as an above-average moddish ditty.
Folk, mutant psychedelia, and experimental influences abound on this debut cassette. Acoustic and electric guitars predominate over lilting vocals in these improvisational-sounding songs; I felt that this band needs to apply more structure and invention to their output.
This remarkably consistent eight-track effort shows the PART-TIME CHRISTIANS at their quintessential best. Scathing, DIE KREUZEN-style vocals blend with grinding thrash (metal overtones included) on most of these songs here, though “Bowling Pin Massacre” parodies rap effectively. If they bowl as good as this record sounds, they’d probably hit a near perfect score.
The PANDORAS present two rockin’ blasts of ’60s psych/punk on this one. “Hot Generation” opts for a slightly more commercial approach than past efforts, though the flip packs it all in—cheesy keyboards, thickly textured guitar riffing, and an unforgettable melody. The cover’s great, too.
The production on these acidic thrash compositions is extremely basic, as on their debut LP, but HUMAN SUFFERAGE earn high marks for improved songwriting and a sense of passion that’s almost tangible. “Take It for Granted” is a snappy hardcore number worth special mention, but the lyrics on all these songs show that this band is extremely articulate, too. A must-get.
The songs on this debut album hallmark some fine elements of the DDT style: exceptional lyrics, passionate vocals, and compositions that emphasize thrash with tasteful guitar breaks. Although some of the tracks do tend to lack distinctiveness, “Last Train to Athens” rates as a classic satiric rocker. Pretty good.
The NEWTOWN NEUROTICS again display their complete command of the ’77-style punk style with these three highly melodic up-tempo bursts. “Suzi” qualifies as a finely honed bit of pop-punk in the best English tradition, and the two songs on the flip are almost up to the same standard. Is this band capable of putting out a bad record? No.
The DISRUPTERS continue their treatment of fascinating lyric themes with their second LP, but the music is considerably less impressive. The plodding tempos and sluggish guitarwork impart a certain lethargy to the song structures, which mine a basic Brit-punk influence. “Surfshock” qualifies as a pleasantly abrasive, mid-tempo rocker.
The title track of this five-track EP is a sedate dose of riffy funnypunk, but the only song here that shows any life is the fast rocker “Maniax.” While the compositions on this 12″ delve into a Brit-punk style of a less-than-generic sort, I found myself pining for the CULT MANIAX of a long time ago. Tiresome.
This album contains a fair amount of monochromatic thrash on side one, but several tunes of the flip show that the UGLY AMERICANS have an unexpected versatility; I really enjoyed “The Bad, the Worse…” and especially “Bob’s Beach,” with its surfy overtones. The lyrics are always incisive and hard-hitting, so even though this LP is musically a mixed bag, I can recommend it without too much difficulty.
While this mini-LP boasts considerably more production finesse than past efforts, the songs by and large didn’t grab me. KRAUT use metal and punk power-chord figures with skill and taste—yet, it’s difficult to pick out a single memorable track here, or anything even remotely along the lines of past greats like “Bogus” or “Kill for Cash.” Disappointing.
Always turning out interesting slabs, this four-song job contains two originals and two covers (RESIDENTS and FUGS). All are creative, with a variety of sounds ranging from crypto to country blues to folk bizarro. Only “Get Real Loose” is a real rocker, but even it isn’t in their previous sometimes-thrash mold.
This fascinating document covers the career of RICHARD HELL from his early work with the HEARTBREAKERS in 1975 through various incarnations of the VOIDOIDS. Mostly studio material with a smattering of live recordings, there’s some first rate stuff here, much of it previously unreleased. Fans of RICHARD HELL and seminal US punk would be well-advised to get this one.
Side one of this rather strange release contains a brace of spoken word recordings by BLACK FLAG, only one of which is graced by an instrumental backdrop, and most of which are OK as novelties. Side two has four metal-punk instrumentals, none of which are even passable. You have to be a pretty desperate BLACK FLAG fan to want to buy this LP.
BABY OPAQUE kicks up a dust-cloud of guitar and drums in a style that reminds me somewhat of mid-period UK DECAY, but with an added dimension of accessibility. The five songs here, which address themes of alienation, contain twisted guitar riffing, though my favorite is the spare pop number “Blue Crimson.” Quite out of the ordinary.
The stark, discordant post-punk on this cassette LP epitomizes the rebellious, satiric, and occasionally infuriating music of ASBESTOS ROCKPYLE. The compositions utilize slower tempos with mixed results; but when the vitriolic lyrics and music conjoin (as on “DC Deadcore”) the results are close to magic. Unusual.
Although their compositions are longer than those of most contemporary thrash outfits, ARTICLES OF FAITH employ a fine sense of drama to create extraordinary tension within their songs. A screaming guitar sound, impassioned vocals, and their sheer velocity make for some great moments of noise and music, particularly on the pile-driver “American Dreams.” Of course, this is mandatory.
The YARD APES demonstrate an arty, no wavish influence on these tracks, with varying effects. “Neurosis” mines a funky-rock approach without much success, though the flip’s poppy offering qualifies as a modest foot-tapper. OK, but no big deal.
FUNHOUSE specializes in mid-speed rock compositions with lead solos and angry lyric concerns. “Retaliation” has a tense, riff-laden approach that makes for powerful music, but rumor has it that these guys are now much better than these early 1983 recordings indicate. A promising band.
These goofballs from Reno cut loose with some hysterical thrashers on this six-song EP. “We Still Like Drugs” has loads of amphetamine thrills, though “ET Go Home” arguably rates as the funniest song of the bunch. My recommendation: go out and snap up this record and join the yuk-fest!
England’s glam-punkers, the RAPED, finally release an album—and it’s out five years after they wimped out and became CUDDLY TOYS. This one has a side of pile-driving ’77 punk anthems, concentrating on kinky sexual themes, and another side of fair quality live recordings taped at the Vortex in late ’77. Mandatory for aficionados of vintage UK punk.
The pounding, abrasive punk on this Japanese five-track EP seems rather fuzzy and ill-defined—which may be a mutual function of uneventful songwriting and lackluster production. The title track is fairly strong, but this is a severely uneven follow-up to their creditable debut.
While there are no innovations in the basic thrash formula here, EXISTENZ employs good energy and production quality to fuel this ten-tracker well above the level of their debut EP. This outfit follows in the VARUKERS mold, albeit with echoey vocals and less intensity; nevertheless, “Fight For Freedom” qualifies as a classic pile-driver in the best Swedish tradition.
A fine puzzle record in the grand tradition of MORNINGTON CRESCENT, which can be played at 33 or 45 with equal ease. The lyrics are ultra-gruff, like fellow Japanese GISM, but the instrumental backdrop has elements of both metal punk and mid-tempo rock, with prominent lead breaks. “Shit Babies” is appealing, but the EP’s title cut is more memorable, with its classic vocal choruses. Good record!
COBRA sounds something like a Japanese version of the TOY DOLLS, with their high-pitched vocals and studied pop-punk trappings. “Real Now” is a delicious burst of power-chord pop, but in fact the whole EP demonstrates fine songwriting abilities. Atypical punk for Japan, but strongly recommended.
I’ve only occasionally enjoyed the British pop-punk of MAJOR ACCIDENT in the past, but this rather bootleggy sounding live LP sacrifices the primary merits of past recordings—production quality and layered instrumentation. Only for diehard fans of this outfit.
This third Big City compilation EP features solid, aggressive material by ULTRAVIOLENCE, ARMED CITIZENS, UNJUST, and in particular, NO CONTROL, who delivers a gripping mid-tempo blast reminiscent of the AVENGERS live. Some rowdy, biting material here (although some has been previously released, and all are slightly dated)—so give it a listen!
This spirited release contains loads of wildly satiric funnypunk, with dabblings into C&W, funky rock, and similar musical madness. A lyric sheet is desperately needed to enjoy this album (none is provided), but a few songs, like the hysterical “Mohawk Town,” provoke laughter without such assistance. In the same general mood as their debut 12″, and therefore recommendable.
“Wally Wally” satirizes the arch-conservative Wally George TV show with a disciplined power-chord attack, some studio gimmicks, and self-consciously funny lyrics. The flip is a spoken word/tape dub track. I admired the spirit of this 45 more than I really enjoyed it.
RHYTHM PIGS play good “meat and potatoes” thrash with surprisingly effective vocal harmonies and musical changes of pace. Most of the songs here manage to break the typical thrash mold without sacrificing a whit of power in the process. Check this one out!
This varied album contains quite a few lilting acoustic tracks, some straightahead rockers, a bit of metal, and some really inspired lyrics. “We’re Coming Out” and “Favorite Thing” are exciting enough, but the remainder of this release lapses into lackluster, uninvolving pop. Severely inconsistent.
Superficially not unlike SIN 34, KREMLIN KORPS opt for a more churning guitar sound and longer songs that emphasize personal politics. The compositions are OK, but not exceptional; the things which really make this four-tracker work are the rich instrumentals and sneering, satiric vocals. Interesting.
Powerful production and an incisive guitar sound conspire to make this debut album by JUNIOR ACHIEVEMENT both dramatic and exciting. None of the songs in particular stand out from the rest, but the ten mid-to-fast-speed HC tunes here boast clever arranging touches that add good measures of texture and vitality to the proceedings. A solid LP—with some exotic lyric themes.
NO TREND’s debut EP was a grungy blend of demented lyrics and near-insane instrumentals—in other words, a classic. This 12″ contains those tracks remixed to sound a bit cleaner, plus two additional songs. Of the newer stuff, “Die” in particular rates for its chilling vocals; of their older material, “Mass Sterilization” still maintains its dynamicism. Great record.
Excellent, powerful ’77-style punk in a MISFITS/UNDEAD vein. The title track is instantly memorable for its sickoid lyrics and preeminently catchy instrumentals, but the other two songs here keep up the standard just as well. My opinion: get this EP as soon as humanly possible.
These guys have a knack for extremely clever punk arrangements, and demonstrate a good hand for satiric lyrics, as well. I only wish the ultra-boring guitar solos had been excised from these boisterous and intelligent mid-to-fast-tempo punk tunes. “Spontaneous Human Combustion” is a pop-punk near-classic.
Elements of ’77 punk, hard pop, and even C&W surface on this pleasantly upbeat five-track effort. Instrumental expertise and good songwriting about on this tape, though my favorite composition is the pop-punky “It’s All a Lie” because of its tasty guitar riffing. Very entertaining.
MALEFICE’s highly distinctive musical approach incorporates elements of thrash and hard rock into a near-psychotic performing style. Of the three songs on this EP, the title track rips with an unbridled instrumental fury reminiscent of the NEOS, while the other compositions boast somewhat less passion. This is good.
While sporadically exciting, the CORPSICLES fail to live up to the promise of their fine debut 45 with this album. The instrumental sound on these biting punk numbers is sharp and abrasive, but the melodies follow the guitar chordings too much, making for lackluster songwriting. The thrasher, “Scene,” is a good example of their more accomplished material.
Metal riffs and infuriating lead guitar breaks mar this somewhat nondescript album of heavy metal-punk from Winnipeg’s UNWANTED. There’s good energy and responsible lyric content on this one, but the uninspired music leaves me cold. The numbers “Party Degs” and the LP’s title track are adequate, but hardly appealing. Too bad.
Easily up to the standards of their fine cassette, this debut EP by Milan’s CRASH BOX contains some good examples of their piledriving thrash approach. “La Trappola” and the gut-wrenching “Morire Cosi” boast snarling vocals and a gutsy guitar attack, though some of the other songs here are more workmanlike.
While solid all around, the ASEXUALS don’t write songs with overwhelming catchiness, either. “Wake Up” is a pleasant pop-punk amalgam with tasty guitar riffing, but the other three songs go at it with fairly quick tempos and a bit too much echo on the vocals. Decent, yet unspectacular.
The latest Pax compilation contains mostly unreleased material, and some killer tracks by the likes of the MAU MAUS, DESTRUCKTIONS, ONSLAUGHT, and the post-punkers LEITMOTIV. 20 songs, most of them good to excellent, and yet another thought-provoking editorial by Marcus Featherby on the back cover.
The textured, and often virtuosic musical trappings of the SUBHUMANS augment four compositions not quite up to this band’s ultra-high standards. “Labels” is an energetic dose of British thrash, and the EP’s title track contains some bracing changes of pace—all with the great SUBHUMANS lyrics.
While “Dead Man’s Dreams” mines a lackluster SIOUXSIE influence, the flip delights as a bouncy mid-tempo burst of catchy post-punk; it’s also very finely produced and executed. On this single, PARANOIA continues to explore some unusual and interesting musical directions. Pretty good!
OMEGA TRIBE relates lyric concerns of alienation and discontent into a strictly MOR/New Wave format, making this formerly vital outfit seem something like the STYLE COUNCIL. “Young John” has a moddish pop appeal, but the disturbing addition of a synth and wind section make this release greatly disappointing on a musical level.
FACTION reminds me of a cross between early vintage SIOUXSIE and the A-HEADS, and the themes here address issues of personal politics. “Turn Away” contains a pleasantly pop-punk ambience, though none of the songs cover any new ground with much authority or power. A fair, basic release.
This unusual single by AUS 98 has a certain propensity for repetitiveness, but despite a tiresome dirge-like flip, “Alles Fällt” rips with a chilling guitar attack and some fine gravelly vocals. The extended song structures here provide an interesting change from the typical thrash formula. Pretty good.
There’s some first-rate American hardcore on this compilation, easily enough to compensate for an occasional so-so track. The FREEZE, BLACK MARKET BABY, KRAUT, GOVERNMENT ISSUE, and F.O.D. come across with some intense tracks, though my favorite may be the great live version of the DICKIES’ “Gigantor” that opens the album. I hope Volume Two of the series is as good.
Despite some truly intelligent lyrics and an admirable sense of rebelliousness, the LITTLE GENTLEMEN hit and miss on this release. Some slower punkish numbers, an occasional rock track, and even a few thrashers fill out this package, though the band doesn’t seem to have much of a knack for tasty melodies or ripping guitar riffs. “You Can Run, But You Can’t Hid” is an exceptionally powerful anthemic rocker in the ’77 tradition, and my favorite song on the album.
The NEIGHBORHOODS were one of the most promising late ’70s power-pop outfits, and this record would be great if the recording had more power. “Fire Is Coming” and their aggressive cover of “If I Had a Hammer” have a PURPLE HEARTS-style energy about them, but much of the other material on this disc seems more commercially minded, and therefore sacrifices its potential. Still, it’s an interesting find for rabid popsters.
This lively experimental release melds rhythm machine, synthesizer, and demented vocals to obtain a refreshing effect. It reminds me of the sort of thing MORGAN-FISCHER once did so well, but TECHNO-PRIMITIVISM boast a social sensibility that the open-minded should find delightful. Frenetic and fun.
The FUZZTONES dig their claws into some mean neo-’60s punk with this single. “Bad News Travels Fast” delivers its good with nasty guitar riffs and Rudi Protrudi’s “lead snarl,” though the screaming lead break on the B-side turns out to be the musical high-point of the record. Primitive, raw, and raunchy.
MEAT JOY viciously slices away at a variety of pop and rock genres on this curious and extremely uneven album. “Proud to Be Stupid” mercilessly chops apart punk nihilism with its dirgy hardcore attack, while “My Heart Crawls Off” pummels the BANGLES’ cutesy pop into submission once and for all. Too bad there’s also a large proportion of experimental and post-punk rot on here. It’s your money.
This debut EP from LA’s STUKAS OVER BEDROCK contains a legitimate mid-tempo funnypunk classic whose lyrics extol the virtues of Yogi Bear as a youth role model; the two songs on the flip also exhibit real satiric charm and solid tunes. This should hold you over until the next DICKIES release.
The TOXIC REASONS’ latest EP features some scathing commentaries on contemporary American life, though the songs don’t quite rate with their best material. “Can’t Get Away” is a bracing shock of ’77-style punk, while the two other tracks invade D.O.A.’s territory of pile-driving political rock. Timely and heartfelt.
Neo-’60s psychedelia has a good outing with this release from New York’s VIPERS. “Never Alone” rates as a winning amalgam of cheesy organ, mildly snot-nosed vocals, and distinctive songwriting that should leave you singing the melody, whereas the flip seems somewhat less catchy. Still, a respectable and entertaining record.
QUEL DOMMAGE specializes in spare, slow post-punk with the typical complement of chorused guitars, arty lyrics, and utterly uninventive songwriting. Their sound recalls minimal pop outfits like the early CURE, but with none of the latter band’s clever stylings. Boring.
This Knoxville hardcore outfit gyrates dizzyingly between forceful thrash and basic heavy metal punk, lead breaks and all. What redeems this uneven debut are the highly satiric lyrics on songs like “Skateboards Suck” and the ultra-vicious “Businessman’s Lunch.” My favorite cut is the demolished version of JOHNNY CASH’s “Folsom Prison Blues.”
More melodic punk from Boston’s STRANGLEHOLD, yet with considerably more production bite than on their fine debut 12″. “Same All Over” features the band’s trademark guitar riffing to bolster a rowdy, engaging pop-punk composition, while the flipside recalls mid-period STIFF LITTLE FINGERS with its gravelly vocals and varied instrumental flavorings. My advice—get it!
’60s pop with distinct hard rock trappings. MOD FUN’s general tone of aggression has to be admired, but neither of the songs on this 45 are raunchy or catchy enough to sustain much interest. “Happy Feelings,” the better of the two, offers pleasant background vocals, some jangly guitars, and not much else.
The MINUTEMEN have packed 45 of their minimal, funk-punky songs onto this very satisfying twin album. Most of the compositions here rate from fair to very good, and utilize some combination of melody, guitar riff, or interesting lyric twist to sustain the listener’s interest. The seven or eight really excellent numbers live up to the MINUTEMEN’s best standards—”Corona” and “My Heart and the Real World” have superb melodies, while cuts like “Nothing Indeed” employ the typical MINUTEMEN formulae very well.
Try as they will, the modern cowpunk bands can’t begin to approach the psychotic C&W on this disc. The LEGENDARY STARDUST COWBOY specializes in a music that sounds like a cross between HANK WILLIAMS and the late-period MEAT PUPPETS on a “drug train”; if you think you might like that kind of stuff, songs like “Paralyzed-’80″ and “Radar” should tickle your funnybone and send your feet a’dancin’. This is the real thing.
A fairly uninventive, unappealing seven-song EP from Switzerland’s KIE-13. “Anarchie in CH” has some pleasantly diverting guitar progressions, but the medium-speed songs on this disc plod along without any discernible passion or excitement. Rather monochromatic and tiresome.
This six-track EP from Norway’s SVART FRAMTID features finely arranged thrash with some trademark staccato guitar figures and lyrics touching on the basic anti-religious, anti-war themes. The highly textured sound contributes to making just about all of the songs pretty remarkable, so get it!
This ultra-produced effort by CH3 is very disappointing in comparison to their past output. All four tracks are unfortunately oriented to the college and commercial new wave radio markets, with their rich instrumental sonorities, acoustic breaks, and studied poppishness. In that context, songs like “I Wanna Know Why” beat the hell out of the competition, but it’s definitely a step down. Beware!
APPENDIX’s new album seems to slip into that morass of genericness that many of today’s Finnish bands find themselves mired in. Occasional swipes of driving, well-written thrash (“A Man,” “I’m Scared,” and “An Ass Licker”) largely fail to enliven an LP that suffers from lackluster songwriting and a guitar sound bereft of real bite.
N.O.S. have two fairly unappealing cuts in a slower, brooding vein with some rich and bass-y guitar accompaniment. ZYNTHSLAKT, however, write powerful mid-tempo tunes with some deft touches in the arranging department, as on the excellent “Paga,” with its nifty two-channel alternating vocals. In fact, that one cut makes this Swedish EP well worth buying.
As far as ACTION PACT’s output goes, “Yet Another Dole Queue Song” combines fair pop-punk stylings with solid production to achieve a hummable, though unremarkable, end result. Their cover of the RAMONES’ classic, on the other hand, is so dreadful as to provoke laughter. Uneventful.
While hardly up to the standard of their fine debut EP, these four skunk-style anthems definitely grow on you. The standout here may be “1984 Reality Today,” with its pop-reggae to punk change of pace, but the thrashing title track also packs a real wallop.
Instead of garden-variety Swedish thrash, ARABENS ANUS opts for medium and fast tempos to augment compositions with minor key progressions, and even an occasional intrusion of synth. The result is different and quite good. “Himmel och Jord” and “Hjälter gÁ¥r Först” manage to intrigue and excite simultaneously, much as their countrymen ZYNTHSLAKT do. Recommended!
The EJECTED’s second album musters up loads of melodic pop-punk in a surprising array of styles, from chunky and fast punk to a few touches of reggae-flavored pop. “Stop, Look, and Listen” is a lilting, effective bit of UB40-ish reggae, but a brace of brisk rockers with catchy choruses make this record click. Despite a few dull slow numbers, this is basically solid Britpunk.
A garagy energy infuses the boisterous thrash on this six-song EP from NEBENWIRKUNG. The very short compositions here unfortunately have the vocals too far up front, but kinetic rockers like “Gewalt” and “Total Voll” triumph over the primitive mix with a guitar/vocal combination that really rips. Check this one out.
While some of the ferocity and offbeat humor of their debut EP is absent here, Winnipeg’s STRETCH MARKS still manage to come out with a creditable album. Breakneck thrashers like “Turnbuckle Stomp” and the title track are the standouts among these thirteen mid- to fast-speed punkers, though the cover of CREEDENCE CLEARWATER REVIVAL’s “Bad Moon [Rising]” also lives up to all expectations. A good basic record, aside from my perennial gripe about BYO’s sedate production.
Nothing but intense, powerful British thrash can be found on this excellent eight-track EP. The VARUKERS mine that middle-peroid DISCHARGE sound and do an even better job of it, especially in vitriolic streamrollers like “The Last War,” “Deadly Games,” and the superb “Seek Shelter in Hell.” The best vinyl yet from this consistent band.
This fascinating release presents inventive, discordant post-punk with poetic lyrics. While some of the songs have a lilting, unmelodic approach that goes nowhere, “Dismembered” is a chilling aural composition, as are the instrumentals that finish both sides of the album. Not for the closed-minded, for there is some really beautiful music here.
This three-track EP of mid-tempo British punk delivers little in the way of excitement or clever songwriting. “Psycho Rocker” has some diverting power-chord progressions, but the other compositions are strictly routine stuff. The lyrics, too, are pretty lightweight, as they primarily satirize old youth fads.
BROKEN BONES manages the British metal-punk sound more effectively than most of their peers, but many of these compositions blend into one another, much like recent GBH material. “Big Hard Man,” “Terrorist Attack,” and the humorous “Dem Bones” qualify as solid hardcore, yet the repetitious song structures and guitar solos detract from this record’s overall charm.
Somewhat better than volume 1 of this series, this compilation contains material by the DICKS, the BIG BOYS, JFA, DRI, and MDC, along with a few others. The MINUTEMEN have a winner with “Fake Contest,” but DRI’s “Madman” and the MDC tracks rate as the highlights on this varied sampler. Inconsistent but still worthwhile.
MENTAL DECAY specializes in a raucous, somewhat raunchy hardcore attack reminiscent of A.O.D. and BEDLAM. The themes here are alternately humorous and rebellious, but I found clever numbers like “You Suck” and the near-classic “Love Story” the highlights of this entertaining disc. Fans of aggressive, stop-and-go thrash should snap this one up pronto.
This album witnesses an evolution in G.I.’s style from thrash to a decided “rock ’n’ roll” approach, and is not the band’s best moment. Their hilarious cover of “These Boots Were Made for Walking” aside, the songs here are largely un-catchy and lacking in punch. The lyrics provide intelligent commentary on social/political issues, but I’m still disappointed.
The eleven tracks on this EP plow into a maniacal thrash attack with frequent metal lead breaks. The lyrics are remarkably funny, but the song structures aren’t as memorable as they should be. “Rock Jam” and “Zombies” are solid rockers, though I feel that GOD’S WILL can more effectively develop musical distinctiveness in the future. Pretty good.
Perhaps not as continuously energetic as their fabulous debut EP, but CHRONIC DISORDER still manages to connect with some impassioned thrashers like “Eileen’s” and “I See Red.” My favorite, however, is a whacked-out send-up of JOY DIVISION’s “Isolation” (“Point/Counterpoint”), that shows this band to be quite versatile indeed.
Another Rock-O-Rama bonus album with a side each of studio and live compositions. All of the studio material (some of which was previously released on their last Finnish 12″) exudes that trebly thrash feel that one associates with CHAOS UK, and special mention should be made of acidic rockers like “Brainless Violence” and “Skitzophrenia.” The live side varies in quality, with occasional vocal drop-outs, but it’s still entertaining. A fine release.
The PETER & THE TEST TUBE BABIES track, remixed from their second album, boasts some great production values and inventive guitar figures, but still seems a bit uninspired. On the other hand, I found the FITS tracks at least moderately appealing, with its catchy guitar riffing and melodies. Nothing special, though by no means offensive.
One side of studio and another of live cuts can be found on this typical-sounding British Oi release. Some of the studio material has previously appeared on 7″ EPs, but aside from the intriguing “Violence,” most of their medium-speed compositions leave a lot to be desired. The live side is particularly poor, and the lyrics on a number of cuts are backward. Buy at your own risk.
I’ve always been partial to the unique punk stylings of the PARTISANS, and their latest album, which contains one side of studio and one of live tracks, is quite strong. Most of the studio material has a richly arranged, dense rock ’n’ roll flavor, but with an abrasive hardcore edge. Their new version of “I Never Needed You” is much more raw and powerful, and the meaty, mid-tempo pop-punk title track is surely the best. The live songs are also excellently recorded.
Astonishingly original. ATTILA’s latest album adapts Renaissance instrumentation to clever, satiric views of contemporary British life. At times, the amalgam seems tiresome, but some novel tracks—the slow, moving title song, the somewhat thrashier “Dies Irae,” with its exciting mandolin work, and he hilarious “Boadicea Über Alles”—make the record interesting enough to appeal to those with broader taste.
MDC deliver a funnypunk classic in “Chicken Squawk,” an uproarious C&W thrash tune which belies a more serious argument for vegetarianism—it even has banjo lead breaks! On the flip, “Kleptomaniac” rates as a strong, catchy thrasher, although “Death of a Nun” suffers from lackluster performance and production values. A mandatory EP, however, and the foldout sleeve is extremely interesting and informative.
SACCHARINE TRUST’s new album has an artistic approach that reminds many of the MINUTEMEN, although they seem even more demented and experimental. It exhibits a marked unevenness from cut to cut—the faster rockers (like “The Giver Takes” and the wonderfully scratchy “Craving the Center”) add a level of accessibility to the proceedings, but a number of the slower, artier pieces (such as “The Cat Cracker” and “Our Discovery”) don’t take long to become tedious.
STALAG 13 demonstrates a sleek, clean thrash attack with occasional metallic lead breaks which remind me of SUICIDAL TENDENCIES, and their songs deal thematically with teenage identity and rebellion. “Black Stix/Silver Badge” is a chilling thrash number, and the unexpected changes of pace in “The Choice Is Yours” make for solid, inventive hardcore. Recommended.
This selection of material, recorded between 1982 and ’83, both reveals ANTI’s strong points and suggests areas for improvement. The upbeat compositions (like “We Will Die”) and the short thrashers seem to burst with energy, while others (like “Media Scam” and “Backfire Bomber”) seem lethargic and just sort of sit there. A decent, though inconsistent release.
As their name suggests, RESISTANCE 77 utilize a “classic” punk approach, one that’s rich with strong melodies, irresistible background choruses, and an aggressive guitar sound. “Will They Survive?” and “Advance Factory Units” are the most intriguing of the four tracks here and, although the lyrics aren’t as inspired as one might hope, aficionados of good ’77 punk will fond something to their liking. Very fine.
The energy and hard guitar sound here approximate the spirit of mid- to fast-tempo punk quite admirably, but there’s very little memorable material on this varied release. Despite the frenzy of “No Time for Losers” and a very solid rendition of the MONKEES’ “I’m a Believer,” I remain unimpressed.
Still another thunderous, exciting EP from Italy’s WRETCHED. The compositions on this record are somewhat longer than on their previous efforts, but the messy, explosive thrash sound remains highly effective, especially on steamrollers like “Mai Arrendersi” and the title track. No question about it, here’s another winner. Bravo!
Excuse my German, but the six ditties on this release sound like light-hearted, goofy funnypunk in the best tradition of ERIC HYSTERIC and friends. While an inability to understand the lyrics hurts one’s capacity to enjoy this record fully, DER DURSTIGE MANN still manages to produce some fairly catchy mid-tempo punk—especially “Kronprinz Rudolfs Letzte Liebe” and the title cut—with somewhat overloud vocals. Pleasant enough.
This powerful album features an energetic, thrashy sound aided by killer production and some truly inventive compositions. Songs like “Lange Cesichter” and the superbly arranged “Dein Leben” add variety to a solid collection of tracks that contain some excellent guitar work. A consistent, strongly recommended record.
Perhaps not as consistently appealing as their debut EP and album, this new release from JFA takes a few more musical chances, with tracks ranging from punk and surf to weird psychedelia. Two instrumentals (“Tentpeg” and the rollicking surf tune “Pipetruck”) are the songs with the most melodic interest here, but the old JFA wit resurfaces more convincingly in “I Love Broads.” Although mixed in terms of quality, this LP just might be worth a gamble.
A highly varied selection of tunes, all from records already or soon-to-be released. Ultra-demented tracks by the likes of VOX POP and the MENTORS may not appeal to everyone’s tastes, but I was delighted by the compositions from the MINUTEMEN, SIN 34, and the hysterical reworking of “I Am Woman” by ACIDHEAD. Enjoyable, by and large.
Although quite poppish, SERIOUS DRINKING may have their finest moment on vinyl with “Country Girl Becomes Sex and Drugs Punk,” a hilarious novelty track with humorous lyrics and pre-eminently catchy instrumentals to boot. The B-side recalls SERIOUS DRINKING in their more rowdy, inebriated state, although the song isn’t as memorable. An enjoyable, upbeat record.
LEITMOTIV seems more influenced by contemporary British pop than punk, but they’re excellent at what they do. “(Living in a) Tin” utilizes an intense drumming attack with a tasteful, spare use of guitar and synthesizer, while the B-side offers less kinetic energy. Infinitely better than the work of most of their peers.
LOVE CIRCUS makes more raw psychedelic noise on their first 12″ effort, yet they generate neither notable songwriting nor a pervading sense of atmosphere. Even though “Live Forever” contains some pleasantly brooding instrumental touches, they’re usually more annoying than inspiring.
HÜSKER DÜ’s version of the BYRDS’ psychedelic classic is an impassioned, screaming track which combines their live fury with a certain studio sophistication; the flip is an intense live version of “Masochism World” that loses a bit of its spunk due to rather bootleggy production values. Yet another iconoclastic release from the HÜSKERS.
The NIGHTERS are one of the first Italian outfits to capture that irresistable ’77 punk style, and translate it into convincing ’80s hardcore. “Live It Anyway” boasts powerful guitar riffing and a hummable melody, but “Nightrise/Take a Look” is the winner here, with its especially energetic guitar work. Very stylish and entertaining.
NABAT’s second EP contains a bevy of aggressive Oi onslaughts with those delightful soccer choruses you can almost sing along with. The amazingly raw guitar sound and distinctive material found on their debut 7″ is somewhat lacking this time around, but I still enjoyed this record, especially the catchy “Potere nelle strade.”
BASTA have captured a rich, bassy instrumental sound on this debut EP, which features some solid mid-tempo Oi anthems. Of the compositions here, “Nessum pudore” and the tasty “Caos” exploit the raw guitar assault and gravelly Italian vocals to good result. Recommended.
This compilation of anarchist and “human rights” punk bands from the UK is a strong, varied, and provocative selection, one that should be of major interest to hardcore aficionados. It’s somewhat uneven, as are most samplers, but the brilliant track by CONFLICT stands out, and is almost matched by those of some surprising new groups.
Beki Bondage, formerly of VICE SQUAD, has a decent outing with this new EP. “Crime and Passion” is a confounding yet effective mixture of pop, metal, and ’77-style punk, but still nowhere as good as early (or even recent) VICE SQUAD. The two songs on the flip unfortunately swerve toward genericness with that same combination of influences. Merely adequate.
While the ICONS aren’t as consistently dynamic as some of their peers, their debut album shows that, at their peak, they can thrash with the best of them. Incisive lyrics, mostly emphasizing the need for individual responsibility and autonomy, work particularly well on steamrollers like “Power for Power” and “Sod the Children,” and the cover art is equally impressive. Intelligent and politically astute, if a trifle inconsistent musically.
On this bizarre and surprising double album, FLUX alternates between strangely mixed, highly inflammatory hardcore attacks and bursts of industrial noise. Most of the material here is rather unpleasant listening, though the vitriolic lyrics and some of the studio effects are remarkably compelling. I’m not sure whether I like it or not, but it’s certainly challenging.
An OK compilation of Phoenix rock and hardcore bands that features one side of studio and another of live tracks. MIGHTY SPHINCTER has a twisted psycho-punk style that I found quite interesting, but several of the songs by CONFLICT and SOILENT GREENE (especially the latter’s “Pledge”) provide most of the energy and excitement. An uneven, interesting release.
This varied effort from L.A.’s RED SCARE is reminiscent of U.X.A.’s early style, but with a considerably more metallic approach that I found somewhat annoying. Nevertheless, “Last Request” and the chilling, mid-tempo title track qualify as standouts here, in spite of the fact that many of the other songs don’t seem remarkably catchy. Fair.
REBELS AND INFIDELS provide some sharp, almost nihilistic satire to complement their mixed-tempo compositions, but it’s the thrashers that really stand out here. The pile-driving “Last Rites” and “American Citizen” (as well as their theme song) offer both excitement and food for thought, and the off-beat production emphasizes this band’s raw, “live” qualities. Solid and creditable.
Despite some rather questionable lyric overtones, there’s no question that this 9-track EP by the NIP DRIVERS presents extremely catchy, high-velocity bursts of punk rock. “Dog and a Cow” and their theme song are especially strong thrash-style tunes, so if you like accessible hardcore with dumb/funny lyrics, you’ll find this release delightful.
Another winner from NAKED RAYGUN. The three compositions on this EP mine poppier song structures, but don’t sacrifice a whit of abrasiveness when the situation calls for it. “Surf Combat”, with its inventive changes of pace, rates as the most notable song here, but the aggressive energy of “Gear” is also quite appealing. A highly original release.
Although dodgy sound quality mars some of the tracks on the MINUTEMEN’s latest opus, this retrospective album offers a variety of unreleased studio and live compositions (including gems like “I Shook Hands” and “Base King”). Not all of the songs here exploit this band’s unique punk-funk stylings, but their fans will find interesting moments among these twenty-seven tracks.
How strange! You’d expect this album to mirror the manic ultra-thrash which characterized their debut efforts, but it’s almost exclusively Country & Western. It’s pretty good, too. The rock’n’rolly charms of “Split Myself in Two” are contrasted with gentle, melodic numbers like “Climbing” and the swingin’ “Magic Toy Missing.” Is there a C&W revival going on that I don’t know about?
At their best, 45 GRAVE excel at creating distinctive amalgams of pop and horror rock, but their debut album seems altogether limp and lacking in power. Sadly, Dinah Cancer’s vocal renditions are rather lackluster, and the best tracks here (“Evil” and “45 Grave”) have been released in far better versions on previous records. The annoying intrusion of synthesizers only serves to hammer one more nail into the coffin of this disappointing LP. Too bad.
HATED PRINCIPLES’ song structures may not be as provocative as they really should on this five-song debut EP, but their lyric sentiments and engaging sense of humor add spunk to this effort. “Burn Those Churches” has a satiric outrage worth of GG ALLIN, as well as a welcome thrashy power, while the other compositions mine equally nasty concerns with less musical aplomb.
This provocative tape contains material from a variety of political English punk bands. Although the sound quality varies (sometimes drastically) from cut to cut, the material by the XPOZEZ, the INFECTED, and SCREAM & THE FITS provide enough moments of interest to present an effective cross-section of British underground music.
This two-album set rates as good value for those who enjoy the socially conscious and unusual pop stylings of the POISON GIRLS. Album 1 combines unreleased and classic P.G. material, some of it out of print for years, while the other disc contains live tracks from a number of vintage concerts. As a retrospective, Seven Year Scratch shows the POISON GIRLS’ original music-making off superbly, and I’m sure that fans of both punk and pop will find much of value in this document.
This scion from the DISCHARGE family tree performs highly metallic, fast-tempo hardcore with considerable abandon, and provides some moments of blistering intensity. Aside from the tasty bass guitar licks on “Problem,” however, the three songs on this EP owe a great deal more to strong production than distinctive songwriting. BROKEN BONES fail to innovate with this release.
This all-girl sextet from Holland combines an abrasive, post-punky quality with lyrics that address primarily personal concerns from a woman’s viewpoint. “Second Part” is a brisk, spirited rocker, but the rest of this album accommodates offbeat guitar figures that sacrifice a great deal of accessibility. Novel, though uninvolving.
This Italian punk outfit plays pre-eminently catchy mid-to-fast tempo stuff, and seems to have an exceptionally fine sense of orchestration. Production is a problem, though—the drums and vocals are up front in the mix, guitars in the back, which detracts from the level of power this record could have had. Nonetheless, the songwriting is excellent, particularly on the gripping “Corri e sopravivi.” A promising release.
This retrospective album by the current leaders of the industrial noise set features some remarkable material. Side one contains tracks from SPK’s out-of-print Australian singles, including classic cuts like “Kontakt” and “Mekano,” while the flip features studio material previously heard on their Live at the Crypt tape. Auto-Da-Fe has obvious moments of unevenness and even tedium, but the best compositions here possess astonishing rawness and power.
A worthy successor to Volume 1. Eight groups contribute a total of fourteen diverse tracks on this compilation, ranging in style from straight-ahead rockers to power-pop and even Country & Western. While this album is a mite inconsistent from cut to cut, standout tracks by the JONESES, the MINUTEMEN, and the SCREAMIN’ SIRENS might make this eclectic, engaging record worth owning for some. I found its party mood delightful.
This six-track EP by a veteran skunk outfit fails to generate much in the way of interesting songwriting or forcefulness. While “The Revolution Will Come” rates moderately well for some tasty riffing and snippets of melody, the rest of the compositions here seem rather generic, and the lyrics are especially unchallenging. All in all, tiresome.
The rhythmic, discordant compositions on this single plumb the same nether-regions of industrial music as SPK, but with more insistent repetitiveness. Both tracks here follow in the same path as the band’s Will LP, and while there are no revelations, the music is solid and often quite hypnotic.
This four-track effort presents thrash of screaming intensity and instrumental punch, addressing themes of teenage angst and rebellion. FINAL CONFLICT is particularly adept at compositions with dramatic yet subtle changes of pace, like the title song and the clever steamroller, “Self-Defeated.” Heartfelt, riveting, and therefore highly recommended.
The DICKIES’ first vinyl in almost four years ranks up there near their previous funnypunk triumphs. Most of the eight songs here veer toward amphetamine pop, with irresistible layered choruses to boot, but the highlights include the poppish “Rosemary,” “She’s a Hunchback,” and an incredibly fast cover of LED ZEP’s “Communication Breakdown.” Buoyant and entertaining as hell!
The eight tracks on this release showcase BAD POSTURE’s hysterical brand of aggressive funnypunk to its best advantage. The title song and “Time for Smack” are good examples of this band’s abrasive, mid- to fast-tempo hardcore assault, and while I admire their on-target lyric sense, the song structures could use more catchiness and originality as a rule. Nonetheless, there are some nice, gravelly vocals on this entertaining disc, so give it a listen.
This six-track EP contains material primarily from past singles and compilations, but it nonetheless represents some of the highlights from this skunk outfit’s intriguing career. “Die With Dignity” and the classic “Gangland” epitomize the VIOLATORS’ highly dramatic, accessible style—so if you don’t have the original releases, you should find favor with this inventive release.
IMPACT’s undistinctive brand of skunk lacks any discernible punch, and that absence of power hurts the title cut, an otherwise fast and engaging original with loads of X-mas cheer. Of the two songs on the flipside, “Law of the Land” musters some spunk and energy but, quite frankly, I expected more from this lackluster offering.
Musically, the six tracks on this intriguing EP are reminiscent of early KLEENEX, but the women in this band possess an encouraging independence of thought which other punk outfits should pay attention to. While hardcore fans will sure find favor with the rich guitar sound and some fascinating compositions, HAGAR THE WOMB could improve some of their melodies by deviating from the tonic of their chord progressions.
While the highly abrasive, metallic sound of this album has its own rebellious charm, most of the songs veer toward undistinctiveness, a problem traceable to the lack of musical changes of pace, and vocals which eventually become tiresome. Nonetheless, I enjoyed the stormier numbers like “Diplomatic Immunity” and especially “Rally of Death,” as well as some of the more inventive guitar figures on the mid-tempo cuts. Definitely a mixed bag.
Although this EP lacks the clever humor of past efforts, the EJECTED have opted for a resonant, bassy guitar sound to infuse their extremely catchy punk compositions. Of the three tracks, “Russians” and “24 Years” contain especially melodic instrumentals, and although this isn’t terribly vitriolic, it makes up for its lack of emotion with finesse and good arranging. Good basic record.
DISCHARGE’s patented wall-of-noise guitar sound seems inextricably entwined with severe heavy metal influences on this single, which admittedly has its moments of power. But those tasteless lead breaks, combined with utterly lame heavy metal vocals, help make these two medium speed offerings as disappointing as their recent 12″ effort. Adequate lyrics, but they can’t save the show.
This single won’t win any awards for power, but it’s still rather engaging in an inoffensive sort of way. The melodic “One Man’s Crusade” has evocative lyric concerns and catchy guitar progressions, but neither of the mid-tempo tracks here boast any of DEAD MAN’S SHADOW’s former abrasiveness or aggression. For fans of subdued pop-punk.
ANTISECT’s song structures ripple with hypnotic guitar riffing and a truly nasty instrumental sound, counter-pointed with lyrics that range from diatribe to poetry. What results is mesmerizing—radical and highly distinctive hardcore with an intensity that perfectly complements the album’s mood of outrage and horror. An exceptionally powerful release.
This limited-edition album features punk music with a deliciously trebly guitar mix, some offbeat song structures, and a lot of musical variety. The mid- to thrash-tempo material here also boasts an engaging garage quality rare in British releases these days, and though I would have preferred more standout tunes, this LP still contains much of merit. Give it a listen.
The anthemic “Banner of Hope,” with its fast guitar work and melodic background choruses, recalls a more rock ’n’ rolly “classical” punk style, while the flip tends toward a slower, rockabilly-tinged flavor. Neither track really ranks with steamrollers like “Burn em Down,” but the material on this single is pleasant enough, I guess.
The three mid-tempo rockers on the A-HEADS second EP explore distinctly personal concerns related to love, disillusionment, and isolation—and with some success. “Love or Pain” features rich female vocals and catchy musical changes of pace, while the other tracks are more workmanlike. Nonetheless, it’s a punky, thought-provoking, and heart-felt disc, so I recommend it.
The spirited thrash attack on this album recalls the work of the very best Texas bands, and reveals lyric concerns which mine a blend of youthful outrage and rebellion. “Fight Back” and the LP’s title song rate as my favorites, but the entire record demonstrates remarkable consistency—a factor in no small part due to the wild, raucous production. An exciting and distinctive release.
The eerie, discordant compositions on this EP call to mind girl-bands like the SLITS and the RAINCOATS, but MORBID OPERA have their own varied musical styles and distinctly American lyric concerns. Most of these six tracks are quirky and unusual, but “Liar” probably ranks as my favorite. The open-minded will undoubtedly find much of interest on this garage-y and original release.
In contrast to their former grandiose ’77-style punk, the MISFITS have adopted an all-out thrash sound on this intense nine-track album. Nevertheless, their traditional horror-rock trappings remain, resulting in a consistently powerful, dynamic, and politically neutral effort. And on that level, the compositions here are marvelously effective, embodying the blistering speed and thunderous production values which complement their occult themes.
One of Boston’s most inventive and aware punk outfits, the FREEZE connect on this album with a clutch of viciously satiric youth anthems. Land of the Lost is chock-full of cleverly written melodic thrashers (all superbly produced), but “Megawaki Cult” and the hilarious “Food Lava” rate as my favorites due to their sheer kenetic abandon. Too hysterical and wild to be true!
AGENT ORANGE again clock in with that irresistible ’60s surf-rock sound on this new EP. Two engaging instrumentals spice up the package (“Out of Limits” and “Bite the Hand…”), but the real surprise here is a rockin’ rendition of the JEFFERSON AIRPLANE’s “Somebody to Love,” which AGENT ORANGE make uniquely their own. Solid, catchy, and fun.
While PERSONALITY CRISIS’ style of hardcore exhibits a number of influences, the most notable is heavy metal, which appears predominantly in the highly abrasive chord progressions. The music on this album, however, is very fast and aggressive (if rather uneven)—if you can get used to the distinctively gruff vocals, chances are you might grow to like it. I found it a hit and miss affair.
Have the EXPLOITED finally joined the “human rights” punk movement? Who can say for sure, but their first EP on the Pax label contains a sharp anti-Bushell tirade (“Singalongabushell”), plus two surprisingly strong anti-war compositions, “Army Style” and the title track. The latter are especially fast and thrashy.
“Monday” mines a neo-psychedelic vein with fair success, though it compares poorly with the ESCALATORS’ past output and other contemporary ’60s-style bands. The real treat is the flipside—a surf-influenced cover of the theme from the Munsters TV show—which is probably a must for fans of novelty releases. Lots of fun.
This bracing album by Tucson’s CONFLICT pairs piercing female vocals with a thrashy guitar assault; the result is both unique and exciting. Rockers like “Fester” and “Human Cargo” rate as my favorites, but CONFLICT are also quite adept at change-of-pace and slower punk numbers. The lyrics, which sometimes emphasize women’s concerns, are particularly refreshing.
Good production and fascinating song structures distinguish this new release by ARKANSAW MAN. Post-punk influences are softened by lively tempos and the addition of a brass section, and there’s certainly more than enough originality on this record to make it a solid contender.
This British all-girl trio emerges from relative obscurity with a delightful album of hard pop reminiscent of early GIRLS AT OUR BEST. Songs like “Drunk Problem” and “Barbara Cartland” counterbalance a gutsy guitar sound with irresistible melodies, but even ballads like “Thinking of You” connect with a vengeance. Comes with a free four-track EP.
The high-velocity insanity of this debut album by the TOY DOLLS brings to mind the work of great funnypunk bands like the DICKIES and the NOTSENSIBLES. Virtuoso guitar work, unforgettable melodies, and patently hilarious lyrics raise Dig That Groove, Baby to instant classic status, especially clever ditties like “Spiders in the Dressing Room,” the title track, and “Glenda and the Test Tube Baby.” Spirited and (s)punky.
The newest 7″ from Sweden’s LEATHER NUN features two compositions mining an atmospheric post-punk vein. “Primemover” uses a basic metal riff to underline restrained, understated vocals, while the flip maintains a slower tempo and showcases more demented lyrics. No revelations here.
The mid-to-fast-tempo punks on this, SLIME’s third album to date, range from melodic ’77ish material with catchy choruses to hardcore thrash. Most of it is quite good, but I particularly enjoyed the title track and “Junge Junge” (a cover of BUDDY HOLLY’s “Oh Boy”). As you might have expected, it’s another superior release from SLIME.
Catchy power-chord progressions, tasteful lead breaks, and extremely clever lyrics set this debut four-track apart from most current British hardcore. “Kent’s Theme” integrates snippets of cigarette jingles with a sharp anti-smoking attack, while “Let’s Get Married” adopts a loose, good-humored quality. An exceedingly winning release from a relatively unknown band. Bravo!
Originally released as a cassette compilation, Lung Cookies features an impressive collection of bands from all over America expressing a variety of styles. The recording quality varies from cut to cut, with most being quite garagy, but these compositions provide an intriguing view of the domestic underground music with an emphasis on hardcore. The bands include RF7, SACRED ORDER, RED MEAT, the REJECTORS, TEN MINUTE WARNING, and several others.
The tracks on this album exemplify the BAD BRAINS’ unique blend of reggae and metal-embellished hardcore. Ric Ocasek’s excellent production works especially well on the thrashers by underlining some of their complex arrangements and superb musicianship, and even though a fair proportion of this material has been released previously, it’s difficult to ignore memorable blasts like “Fearless Vampire Killers” and “How Low Can a Punk Get?” Solid and powerful.
A variety of influences and moods infuse this unusual effort from KOMMUNITY FK. The mainly slow-to-mid-tempo compositions here feature some experimental intros, BAUHAUS-oriented song structures (though these Angelenos are better), and very stylish vocals. I especially admired the rich, abrasive guitar sound. Fans of the eclectic should find favor with this offbeat release.
Just when you thought they had been sold off as bacon, the PORK DUKES make their grand return to vinyl after a five-year hiatus. Admittedly, their new album suffers from inconsistency, but the DUKES seem to have recovered slightly from their calculated trashiness to connect with some real pop-punk delights here. Rumor has it that this band is actually STEELEYE SPAN incognito, and Jeff Bale detects elements of the SPAN sound in a couple of songs.
The NEWTOWN NEUROTICS’ command of melodic ’77-style punk is reconfirmed with this single. They cover the RAMONES’ classic, but add explicitly anti-war lyrics in an effort to increase its salience as ’80s political punk; the change works, though the vocals aren’t as affecting as Joey Ramone’s. On the flipside, they reprise the splendid song from their debut single, “Hypocrite.”
England’s SKEPTIX and one of Germany’s premier thrashers share this four-track EP. While SKEPTIX’s “Got No Choice” boasts a scorching delivery and good, trebly production, OHL’s “Spionage” ranks as the best song on the record, with its catchy guitar progressions and clever stop-and-go arrangements. The mid-to-fast-tempo hardcore on this release earns a strong recommendation.
Powerhouse drumming is the only thing going for this Oi-punk release. ACTION PACT’s style changes so little from song to song that this four-track sounds like a retread of old material, except with plodding tempos and even a sax section on the title track. Boring.
A great compilation of tracks from the vaults of Poshboy Records. There are many gems here, but the CIRCLE JERKS’ “Wild in the Streets,” the CROWD’s “Modern Machine,” and TSOL’s “Peace Through Power” rank as highlights in an album that also includes chestnuts by AGENT ORANGE, BLACK FLAG, and UXA. Good variety and quality make this record mandatory if you don’t have the original recordings.
Penny Rimbaud’s distinctive production spices up four new compositions by ANTHRAX on their second EP. “Violence Is Violence” and the title track boast fast tempos and a blistering guitar sound which underline well-taken lyric concerns; the two cuts on the B-side aim for subtler effects, with equal success. This is political punk that’s both unusual and exciting.
This is a profoundly different sort of CRASS album. It counterpoints a thrashy, wild instrumental backdrop with an extensive lyric essay attacking the politics of power, nuclear escalation, organized religion, and especially our sheep-like passivity that allows it all to happen. CRASS apparently feels that their message hasn’t sunken in yet—hence the numbing music and emphasis on words—and they obviously hope that action will replace boredom and endless posing in the contemporary punk scene.
A rich, abrasive guitar onslaught provides an aggressive energy to this debut EP by the ACTIVES. The recording seems a bit muddy here, but two songs in particular (“Riot” and “Out of Control”) suggest that this group can emerge from a standard Britpunk style with catchy, change-of-pace instrumentation. Recommended.
Easily more powerful than their first two EPs, Unrehearsed Wrongs contains some fine mid-tempo punk compositions including “Gas the Punx” and a catchy reworking of their classic anti-vivisection song, “Animal Farm.” Some of the tracks seem repetitious, but I enjoyed the poetic changes of pace and the guitar-heavy production. Check this one out.
This four-track EP doesn’t live up to the EFFIGIES’ standard. The record’s title track has a notable guitar riff, and the thick, heavy metal-punk instrumentation keeps the excitement rolling; the compositions are less distinctive than usual, however. Rambunctious, but not exceptional.
Nine urgent, powerful punk anthems on this EP, all enriched by elaborate, carefully conceived instrumentation and fine lyrics. The production does seem a trifle muddy, but it hardly restrains the inventive compositions here, which very often combine the pop elements of “classical” punk with thrash energy. Atypical and strongly recommended.
LEGAL WEAPON’s second album is a workmanlike collection of slow- to mid-tempo punk rock numbers made more enjoyable by fine female lead vocals. Hardly a revelation, it manages to hit the mark with nicely arranged rockers like “What a Scene” and “Equalizer,” and with ballads like “Only Lost for Today.” Some of these songs go on too long, and this release isn’t as evocative as their debut, but I found myself drawn in by the rich, guitar-oriented production and complex arrangements. Maybe you will, too.
A severely underrated Bay Area band, Angst specializes in intricate rock arrangements buoyed by occasionally hilarious lyrics. Such is the case here—songs like “Neil Armstrong,” “Pig,” and their soon-to-be-classic “Nancy” have a listless dementia about them that allows them to cross the boundaries of art-rock and funnypunk with equal ease. A fine effort, so buy it.
After their exciting debut EP, this effort ranks as a disappointment. Strong female vocals are amply supplemented by a fair song on the A-side (“Say No”), but the two B-sides are dismally produced and sound almost as if the band didn’t care what they were singing about—a lack of commitment that’s fatal here. Maybe next time…
A solid, committed seven-track EP from Surrey’s LOST CHERREES. Female vocals and a basic, well-balanced production complement this varied selection, but the straight-ahead rockers like “Real Crimes” and “Pain Relief” are the most effective of these highly political compositions. A fine debut, even if “No Flag” sounds for all the world like a punk version of “O, Christmas Tree.”
A severe early CLASH influence, right down to the Joe Strummer vocals, mars the offerings on this band’s second 45. The better of the two tracks is “Fight to Win,” an unadventurous ’77-style punk number with a fair melody and uninvolving background choruses. This kind of thing has been down better elsewhere.
Vancouver’s legendary SUBHUMANS deliver their first record in years, but it’s been worth the wait. An aggressive ’77-punk style melds with strong lyrics to create brilliant cuts like “America Commits Suicide” and a very catchy version of “Googolplex”; there’s even a killer cover of MENACE’s “Screwed Up” to satisfy Britpunk enthusiasts. All we can do now is hope that they get back together and tour.
The latest compilation from Propaganda varies in quality from cut to cut, but seasoned veterans like RATTUS, VARAUS, and the BASTARDS deliver thrashed-out songs close to their best material. Of the newer artists, the MARIONETTI and TAMPERE SS seem to be the most promising, especially the former’s killer “Turha Armeija.” With 35 tracks by 18 bands, you just can’t lose!
SPK, perhaps the preeminent industrial ensemble in the world today, add traditional vocals to this EP of well orchestrated percussive and synthesized noise. It may be more accessible and less affecting than their groundbreaking Leichenschrei album, but it still contains extraordinary music possessed of originality and, yes, genius.
Wow! Raw female vocals and a manic instrumental attack charge a highly distinctive album of garagey hardcore. SADO-NATION has that rare ability to write songs with thrashy energy, without sacrificing their inherent drama, as on classics like “Don’t Bother Me.” I especially admire the trebly production. Very solid and exciting.
ISM’s annihilation of the PARTRIDGE FAMILY hit (“I Think I Love You”) couldn’t be more complete; manic velocity, unrestrained instrumentals, and vocals shrieked at top volume combine to create instantly unforgettable funnypunk. The flip is a bit repetitious, but it’s more than made up for by the vicious David Cassidy-Shirley Jones lampoon on the front cover. Hysterical!
BLITZ slips into the tarpits of new wave disco with this single. The problem is that “Telecommunications” is bad discoid synth-pop—uninventive, wimpy, and with no good melodic hooks. The flipside is more interesting, but it falls into the trap of being artsy. I’m not opposed to a change in direction, but BLITZ sure missed the boat on this one.
While I enjoyed the workmanlike Lest We Forget EP, BLITZKRIEG’s mid-tempo, hard-edged punk approach wears thin on this record. Their anti-vivisection stand on “Conscience Prayer” is well taken, but the tirade against Britain’s economic woes, “Land of Failure,” seems to be the only moderately exciting cut here. All in all, fairly generic.
The BLOOD may not be geniuses, but their debut A-side rises from the morass of Oi-punk and delivers a breakneck attack on religious excesses, complete with classical piano intro and flailing guitar riffs. While it’s good, the two tracks on the B-side are completely unnotable aside from their fast tempo and hard guitar sound. Still, it’s quite recommendable.
If you’re put off by the glaring deficiencies of the latest DAMNED album (Strawberries), this 7″ might be closer to your liking. The two B-sides are unsatisfying, but “Generals” could be the best pop song this band has delivered in a couple of years; a good emphasis on piano and guitar, along with politically credible lyrics, combine to create an arresting, well conceived track.
The unmistakable Max Splodge touch adds a dimension of class to this third funnypunk single by the GONADS. “Lager Top” and “Sandra” are the kind of rowdy songs, complete with an abrasive guitar sound and Oi choruses, that make for great beer-time fun, if very little else. Gary Bushell’s presence here may be this EP’s biggest drawback.
After two serviceable singles, the MOB must be congratulated for compiling a subtle yet affecting album’s worth of political pop ditties. This record may be inconsistent melodically, but the fourteen songs here have strong lyrics component and a simple instrumental approach reminiscent of the early MEKONS. This may not be thrash, but it is the kind of material that definitely grows on you. Good stuff.
Pleasantly buzzy guitars liven up this three-track EP of mid-tempo punk anthems from SOCIAL DISEASE. “World at Ransom” is a moderately catchy composition with an intriguing riff, but the other tunes don’t rise to that standard, despite some wonderfully garargy production values. Above average.
An unnotable amalgam of punk and post-punk influences, this latest single from TWISTED NERVE features a very distanced guitar sound reminiscent of late-period UK DECAY. Unfortunately, the material here seems monotonous, and an occasionally interesting effect doesn’t rescue the record from ordinariness.
A fabulous cover design on the ADICTS’ second album doesn’t help an affable, yet insignificant, collection of pop-rock ditties reminiscent of a cross between the early ADICTS and ADAM & THE ANTS. The single (“Chinese Takeaway”) is catchy enough but most of the songs have a cloying style and no thematic depth or personality. It’s OK for parties, I suppose.
This offbeat record displays a good hand for social satire on the title track, which is basically a spoken poem over an acoustic backdrop. The flipside, however, compensates for a throwaway number with a vaguely wimpy, but nonetheless engaging pop-punk composition (“Nuclear Attack”). Interesting.
Both consistent and powerful, this debut album by the PARTISANS contains a bevy of fine composition exploring themes of social protest and youth rebellion. An exciting version of “17 Years of Hell” accompanies new streamrollers like “No U-Turns” and “I Never Needed You”—possibly the best material this band has ever committed to vinyl. A lyric sheet would have been appreciated, but it’s more than made up for by the twelve straightforward, unpretentious punk anthems here.
Noisy and somewhat annoying, this latest effort by RED ALERT fails to approach the standard set by themselves or most other “skunk” bands recording in Britain nowadays. Both compositions here are musically undistinctive and, surprisingly, quite messily produced.
A primitive, garagey sound permeates this 6-song cassette by horror rockers SCREAMING DEAD. Perhaps not as stirring as their Valley of the Dead EP, this tape still contains abrasive standouts like “This Is the End of the World” and “God of Love.” It comes complete with a ghoulishly illustrated booklet and a SCREAMING DEAD button.
Strong (and occasionally annoying) heavy metal influences punctuate both sides of this hardcore offering by SF’s own CODE OF HONOR. “What Are…” grapples with the important issue of passivity in the current punk scene, while the somewhat slower B-side addresses a variety of societal ills. Highly credible and articulate lyrics.
Haunting guitar progressions and an impressive wall of noise distinguish both sides of this debut single by BUTCHER. While “Grow Up” wins points for its breakneck, amphetamine-paced instrumental attack, the flip maintains more dramatic power and distinctiveness. Good, rowdy hardcore energy throughout.
The six short compositions on this EP suffer from badly mixed, garage-style production values, with the guitars pushed way into the back. Too bad, because the subjects covered on this record demonstrated a high level of political astuteness and credibility. “Conscription” and “Laughable Attack” are especially topical.
If you enjoyed the classic 12″ by GRANDMASTER FLASH, chances are that you’ll favor this scratch version of “Buffalo Gals” by SEX PISTOLS creator and music entrepreneur Malcolm McLaren. Demented, confusing, and very funny, this collage of tape loops and dubs definitely hits the mark.
Four punky bands from Wessex participate on this strong compilation EP. The SUBHUMANS connect with “No Thanks,” their vitriolic commentary on “making it” in the music biz, while the PAGANS’ track (“Wave Goodbye to Your Dreams”) provides the high-velocity excitement here. Even the A-HEADS mix a satisfying melodic approach with their anti-government tirade. A very fine effort.
The SAINTS’ current album is bound to be a disappointment to some and a surprise to all. The mid-to-slow-tempo numbers use acoustic guitars and even brass section at times, and the slick recording actually does justice to solid compositions like “Follow the Leader” and “Curtains.” Quite frankly, though, Out in the Jungle qualifies as nothing more than competent light rock—nowhere near past triumphs like “I’m Stranded.”
Psychedelic pop without the acid flashbacks. While I prefer the guitar-heavy sound of earlier vintage SALVATION ARMY/THREE O’CLOCK, infectious songs like “With a Cantaloupe Girlfriend” and “I’m Wild” stand out as peaks on this EP of comparatively spare, vocal-oriented melodies. Some might find this record cloying, but it’s still recommendable.
This refreshing, buoyant platter of pop-punk would have been highly recommendable even if it didn’t have one of the best songs of ’82 (“In America”) on it. Seattle’s FASTBACKS rely on amphetamine velocity and memorable songwriting to fuel their better compositions (“No Lethal Hope” and “Wait”), and on ingenious changes of pace for the stunning “In America.” Enormous fun!
From their inception, TSOL’s finest efforts used both hardcore energy and a fiery dramatic tension to fuel their compositions. Sadly, there’s surprisingly little excitement or drama on their latest LP; instead, they’ve opted for a heavily atmospheric approach to hold together a set of weak post-punk songs. I will always admire TSOL’s contributions to the California punk scene, but I cannot recommend this record.
San Francisco’s most provocative all-girl outfit has preserved much of their garagey charm on this debut single. “Bamboo Curtain” and “The Plan” retain too much artiness to connect as good pop songs, but “Erotic Fridgidaire” has a pleasant melody and a bouncy guitar riff to recommend it. Above average.
More urgent and exciting than their debut 7″, this single boasts two vibrant street anthems which update the ’77-punk style into the ’80s. A powerful guitar mix combined with a slashing vocal attack merge especially well on “Urban Rebel,” even though the flip is almost as good. ABRASIVE WHEELS have become a definite contender.
CHELSEA seem to have fallen into a stylistic rut in their latest single. While the production factors are raw (a welcome change), CHELSEA have galvanized the hooks and choruses from their last two singles and album into an effective but unoriginal package. The lyrics, too, tend to degenerate into the predictable.
This live LP (EP?) by DIRT captures all of the raw intensity of their exemplary debut, and fuses it with a punky venom that’s quite irresistible. Admittedly, the songs on this record vary considerably in quality, but their fiery version of “House of the Rising Sun” is alone worth the price.
This record represents a dramatic change of direction for POISON GIRLS, Britain’s preeminent post-punk band. Their highly produced, sometimes disco-fied instrumental backdrops provide an unexpected contrast to their scathing commentaries on sex, politics, and power. Where’s the Pleasure? may lack the standout compositions which accompany their other albums, but the open-minded will find good music in a variety of styles here.
This intriguing four-track EP contains music reminiscent of early KLEENEX, with an added sophistication of production values. “The Ballet Dance” and “Unemployed” are recommendable kinetic rockers, but the catchy “Something to Give” gets added points for interesting lyrics and a strong melodic sense.
This single seems more ordinary in comparison with their debut single and their work on the A Country Fit for Heroes compilation LP. In addition, the VIOLATORS’ compulsion with violence makes this release disturbing. “Summer of ’81″ remains the poppier of the tracks here, though some might find favor with the sheer velocity of the flip. Better than most of the Oi currently available.
CHRON GEN’s polished ’77-style pop-punk may not be very exciting to listen to, but their emphasis on accessibility and politically astute lyrics make this EP an above-average one. “Outlaw” draws an especially convincing point on fashion vs. content in contemporary punk, while “Behind Closed Doors” addresses the subject of abortion somewhat ambiguously.
A disappointment. Over their past two singles, ERAZERHEAD had developed a pleasant, hard rock sound reminiscent of the LURKERS/RAMONES. In place of this, they do an awful cover of the old DION AND THE BELMONTS song, while the flip tries for a more upbeat approach. Unimpressive.
Although a vast improvement over their Young Offender 45, this three-track EP fails to score any marks for distinctiveness or style. The political points are astutely drawn and written; unfortunately, the compositions here are very basic and very uninvolving.
The basic riff is familiar, but “Punk’s Alive” remains a pleasing enough cut, with sentiments to warm the heart of any hardcore aficionado. Even though the B-side doesn’t meet the standard, an abrasive guitar mix and orange wax make it all quite worthwhile. Recommended.
Standard Britpunk mining a heavy metal vein. This kind of thing has been done so often and so much better elsewhere that a record like this really has a hard time maintaining interest. Fast, loud, and tedious.
This exciting British import combines the trashy songwriting of the CRAMPS with atypical hardcore energy and bite, resulting in a disarmingly effective debut EP. While all the songs are very good, “Valley” sets especially high standards in Halloween-style noisemaking. Also note the cheap price.
TOTAL CHAOS specializes in a terse, powerful hardcore sound when they so choose, and this four-track EP is quite distinctive stylistically. Songs like “Factory Man” and “She Don’t Care” contrast well with the brooding protest of “I Die,” making this an atypical, though by no means outstanding record. No major developments since their debut.
Those who found Bullshit Detector 1 disappointing may be pleasantly surprised at the quality and intensity of this important double album set from the people at CRASS. The musical spectrum ranges from experimental and poetic right through to the trashiest of contemporary hardcore, and the tracks by BOFFO, RIOT SQUAD, and the SUSPECTS are worth the price of admission in themselves. In addition, you’ll find this to be the best document of the current British underground scene to date.
This well-produced debut album by LA’s LEGAL WEAPON presents a solid collection of hard rock numbers in the same general style as 45 GRAVE, but without the satanic overtones. Compositions like the kinetic rocker “Daddy’s Gone Mad” utilize Kay Arthur’s rather plaintive voice to good advantage, even though the highlight of Death of Innocence is probably the haunting “Wanna Be”—a ballad. This album definitely grows on you.
You probably won’t be able to get this garage-punk gem anymore, but suffice it to say this nine-song cassette is both funny and wise—with lots of hardcore thrills mixed in. Even though the WRECKS are no longer with us (sigh), songs like “Couldn’t Believe It” will live on in the annals of punk history. Mark my words.
The three supremely infectious pop-punk compositions on this EP are matched, unfortunately, but rather generic themes of teenage rebellion. “Steamroller” and “Numbers” ripple with fast melodies and enormously clever lyrics, and undoubtedly “Viva la Revolution” could have been a classic if only they hadn’t run the chorus into the ground. Very entertaining, but not very important.
Definitely not as gritty and hardcore as ANTI-PASTI’s first album, Caution in the Wind opts for a greater emphasis on melody in the mid-to-fast-tempo compositions. This “classical punk” sound adds a new dimension of distinctiveness to the songwriting (especially in standout tracks like “Get Out Now” and “Mr. Mystery”), even if it does occasionally wimpify some of ANTI-PASTI’s best songs. Entertaining, but not particularly energizing.
BLITZ limps into their third single with two Oi anthems of only passing musical interest, especially in comparison with their past triumphs. Predictably, “Youth” whips through the familiar turf of teenage rebellion, but “Warriors” remains the far more disturbing of the two cuts; its lyrics, surprisingly, almost condone British gang warfare. Avoid.
CHELSEA finds the groove with an upbeat collection of melodic 1977-style punk anthems. Often inconsistent in the past, CHELSEA’s latest lineup orchestrates classics like “Cover Up,” “War Across the Nation,” and the incredible “Evacuate” with flair and authority. Best of all, the band fuels their political sentiments with a higher level of literacy than most rock outfits can muster. There is only one bad song in the bunch. Snap this record up.
CHRON GEN’s debut album derives most of its influences from CHELSEA circa ’78, though without as many of the catchy melodies to depend on. Originals like “Reality,” “Chronic Generation,” and “Mindless” are the class offerings here, but it’s odd that all of these appear on past singles. Nonetheless, the bonus free live EP is excellent, hinting at the excitement of their tight, powerful live performances.
Two albums, one poster, and a splendid 28-page large-format booklet (all in a sleek boxed set) seems all too much to digest—especially from England’s most astute punk outfit, CRASS. The studio LP, ranging from unrestrained thrash to sophisticated post-punk, contains some of CRASS’s most astonishing compositions to date; especially exciting are “The Great Working Class Rip-Off” and “Tribal Rival,” two impassioned attacks on Oi violence, and the superbly written “Reality Whitewash” which exposes vicious sex stereotypes and roles. In addition to a delightful live LP, Penny Rimbaud’s extensive article in the booklet provides a historical background for CRASS that’s spellbinding, perceptive, and lyrical. This release is incredibly mandatory.
Of the four tracks on this record, “Wargames” blazes through familiar hardcore territory, anti-war protest, with economy and splendid production values, while “I’ve Had Enough” connects with a poppier approach. The other two numbers, more workmanlike and less inspired, still hold enough requisite punk energy to be recommended. A fine debut.
The incessant, no-holds-barred thrash on this EP surpasses on all counts CHAOS UK’s serviceable debut, Burning Britain, with a strong combination of intense vocals and a blistering guitar sound. All three songs set fairly high standards of quality, but fans of the VARUKERS should take special note of the vitriolic rocker “No Security.” This is loud, political, and uncompromising.
After two disappointing singles, the CRAVATS almost return to their true 1980 form with a pair of mid-tempo post-punk offerings. While “Rub Me Out” opts for a more hypnotic effect, the real stuff appears on the flip, with its spooky changes of mood and entertaining sax work. Quirky, inventive, and original, this single also has the most hilarious lyric sheet I’ve ever seen.
Don’t ask me how an unknown band from Wales emerges with a winner like this. Songs like “Woe-Man” succeed modestly in a slow, atmospheric vein, while “Fish” and “Faceless Rite,” mining the territory of light pop, deliver totally original melodies with complete finesse. I especially enjoyed Debbie’s unpretentious, nonchalant vocals, though the novel use of woodwinds was probably the deciding factory on this EP.
Despite a rather dreary B-side, DRONGOS FOR EUROPE injects genuine passion into the anthem like “Death’s a Career,” an angry tirade against military conscription. True, war is a rather easy subject to rebel against, but the message is important—even if this sub-genre needs more particular targets (take your pick) in the future.
Judged in comparison to their first two records, this latest EP by GBH is bound to register as a major letdown. Yet, in its own frantic, trashy way, songs like the rather hilarious “Sick Boy,” as well as the more serious compositions on the flip, grab your emotions by virtue of their sheer vigor and enthusiasm. While by no means a great record, this EP remains undeniably effective in its modest way.
They’re back? Yes, but with a new vocalist, and two incompetently written and edited ’77-genre punk rock-outs. While I admired the hard guitar sound, the songs here (especially “Wolf at the Door”) go on far too long, and with surprisingly primitive production to boot. Was this the same outfit who did “Freak Show” and “Last Guitar in Town”? The old LURKERS are nowhere in sight.
The anti-war sentiments of this single are related with a good feeling for concise, compelling verbal imagery; too bad this effort veers into non-descript pop, especially on the flipside. While a song like “No Doves Fly Here” would have been right at home on the Wargasm compilation, its subject matter has been done more powerfully, lyrically, and eloquently elsewhere. Disappointing.
This respectable funnypunk entry by PETER AND THE TEST TUBE BABIES doesn’t have quite the innate charm of their last single, yet it’s still enjoyable hardcore fun. “Up Yer Bum,” with its driving guitar attack, rates as a fine example of hate-rock, though “Run Like Hell” strikes an amiable compromise between hard pop and Oi—with hysterical lyrics to boot. Recommended!
The POISON GIRLS, easily one of Britain’s finest post-punk ensembles, have translated a sense of rawness and snarling intensity onto this live LP which hasn’t yet been heard on their studio efforts. Commanding songs like “Persons Unknown” and “State Control” stand on their own, but familiarity with their material helps in appreciating this album. Elegantly packaged.
This delightful post-pop single represents the RAINCOATS’ definitive vinyl to date. While the A-side, “No One’s Little Girl,” impressed me with its subtle melodic sense, the SLY STONE cover on the flip is quintessential RAINCOATS—good-humored, loose, and charmingly amateurish. Good stuff.
This second single by UK’s RED ALERT would have been fine if the tracks had appeared on an album. The recording is powerful, the themes politically astute, and the songs above average; unfortunately the three Oi songs are far too generic-sounding to be on a single. “Take No Prisoners,” the best track here, is only mildly catchy.
The reissue of SIX MINUTE WAR’s first EP provides fans of intelligent political punk a great opportunity. Production here is very garagy, but more than compensated for by its thought-provoking lyrics and inventive arrangements. Standout songs like “Strontium 90″ and “Camera” contribute to the integrity of this abrasive, mid-tempo record.
Like their last single, this latest EP by the SUBHUMANS (UK) offers one excellent ’77-style punk cut and three good examples of filler. There’s no doubt that “Religious Wars” has it all. Inventive guitar-work, manic velocity, and scathing anti-religious lyrics; unfortunately, the other songs imitate generic Brit-punk.
This record demonstrates improvements over the VARUKERS’ very good debut, and also a development from their early DISCHARGE influences. “Dance Till Your Dead” maintains a thrashy power with added melodic complexity, though “I Don’t Wanna Be a Victim” seems more ordinary. All in all, the VARUKERS mix energetic songs and powerful production with astute, intelligent lyrics.
The TV PERSONALITIES (a.k.a. the TIMES, the GIFTED CHILDREN, TEENAGE FILMSTARS, etc.) perform a truly charmed version of “Geoffrey Ingram” here, a perfect pop song from the HERMAN’S HERMITS camp of pop music. The wry human commentaries which made their early singles so disarming, however, are missing from “And Don’t the Kids Just Love It” and the mildly catchy, psychedelic “Three Wishes.” For TVP fans.
Some feel that VICE SQUAD is falling into the morass of contemporary post-punk. Not quite yet. Stand Strong Stand Proud, despite several throwaway numbers, clashes with social malignancies like vivisection (“Humane”), political passivism (“Freedom Begins at Home”), and the steady erosion of punk values (“Out of Reach”) with power and complete credibility. In addition, Beki’s point of view provides a welcome contrast to the typical male-dominance in modern-day hardcore. Highly recommended.
Not as accessible as the first two BIRTHDAY PARTY LPs, Junk Yard meanders into the nether realms of dementia, violence, and sex. The style here reminds one of the POP GROUP, but this is only a comparison of convenience; the predominately dirge-like song on this record captivate your attention with their originality and unusual lyric concerns. An acquired taste, though worth an investment of time.
Deathly industrial noise abounds on this well-recorded tape, a document of SPK’s last American tour. Simply the best band of its type, SPK runs through their disturbing pop music parodies and every manner of human atrocity, and always with that dynamic tribal beat in the background. The show must have really fried their brains in Lawrence, Kansas. This cassette is extraordinary.
SPK, utilizing their encyclopedic knowledge of sound and its relation to specific emotional states, hit the bull’s eye with this landmark industrial music release. Leichenschrei takes perfectly orchestrated chunks of noise, modulates them with a powerful percussion section, and even adds little shreds of humor for the hell of it. The result: industrial music-making that, instead of isolating the listener, involves them. One of the three or four best LPs of 1982, no question about it.
