It’s tough to follow up their exceptional LP, but 7 SECONDS have done it again. These are the tracks recorded with Ian MacKaye in DC, and you can note the influence. All the pleasant harmonies and sing-alongs are present in full form, and the well thought-out lyrics that make this band what they are. A cover of “99 Red Balloons” ought to perk you up, but the other tracks are the real steadfast melodies. As usual, great stuff; get it while you can.
Full of speedy, noisy thrash. High-quality sound and recording make this highly listenable. Of course, it doesn’t hurt that the band throws in nice little touches here and there, making them one of the better “unrecognized” bands around.
A much-improved and thrashed-out line-up of AGENT 86 here. Mike Briggs and Co. maintain their dedication to rebellion and the scene, delivering eight ripping tunes. Thin production does detract a bit, but it’s still worth it.
This four-song Japanese release is in the mid-fast paced HC vein, and although it’s pretty heavy-handed at times, there’s plenty of hooks, too. At times, there are too many metal leads for me, but overall they’re pretty punchy.
Starts off slow and raunchy, but works its way up to a frenzy. Lots of controlled noise and feedback, but not “noise” at all. Excellent hardcore from Japan.
Another diverse effort from this odd group. All of the tracks—whether garage punk, Oi, or experimental—are extremely primitive and, even better, full of scathing lyrical barbs directed against the likes of John Lydon and macho idiots. Check out this sadly appropriate couplet from “Skinhead Glory”: “Give me a reason to pick a fight / Let me prove that I ain’t bright.” Original through and through.
There’s not a band on Australia’s Big Time label I haven’t found worthwhile. As they’re really bluesy and slow-paced, these guys are a little hard to get into. Still, this is some of the coolest garage rock-blues around, and even a bit psychedelic at times. Not as psycho as SHOCKABILLY or as rockin’ as PANTHER BURNS, but still good if you’re in the right mood.
Ranging from CRASS-type minimalist punk rants with male and female vocals, to out-and-out pro noise, this is one of those bands that makes the metal-punk argument of “we’re just trying to do something different” look like the weak statement it is.
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.
I love BIG BLACK for their heavy rhythms, crystal-clear production, and storybook lyrics. This new record is no different. But as much as I love any abuse I can get from these guys, and as much as I love some of their songs here—their material is getting slightly tired. Their new stuff keeps reminding me of their other past classics. Same riffs! This may be too harsh a criticism, though, as I’d recommend this record above most others. So, I still highly recommend it.
This post-mortem (?) LP recorded in August ’84 is a potpourri of the many directions this band was heading. Sometimes, the record seems incohesive, but there’s great talent here. They do some killer raps, a HÜSKER DÜ-type pop song, partying-style wildness, great punk anthems, and dissonant jazzy stuff. Not their best as a concept, but still not to be missed.
Mid- to fast-paced punk tunes. While not thrash, they are really driving with lots of hooks and guitar power. Excellent production as well.
Basically, this is just a one-man band that features an ex-member of Chicago’s STRIKE UNDER. But because the sound here is so dense and cohesive, it sounds like a full band. With this release, they are a full group now with the addition of two former members of MAN SIZED ACTION. Some of the thick sound recalls the din of MISSION OF BURMA coupled with a light, dreamy pop atmosphere, but even so, there really is a definite and distinct sound here.
A female-fronted, slow-mid tempo punk combo, featuring melodic tunes and echoey singing (as opposed to screaming). Reminds me a bit of PENETRATION.
There’s some really hot-sounding material on this live recording—lots of excitement and energy. But the recording is such that it renders a lot of that power defused, not unlike many bootlegs. For fans.
Scorching mayhem clobbers you cold with this sonic speed screamer out of the depths of the East Bay. Featuring ex-members of TEENAGE WARNING and TREASON, the new union combines fast thrash with intense lyrical assertions that haul a lightning pace without being of the norm mold. Twin guitar flailings beef up the sound with a good, tight drum assault as Barrie’s scrawling vocals blast it all into an uproarious excitement. New and hot.
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.
Great stuff from the UK again. Potent riffs with power and might, featuring a great distorted guitar sound that grinds with an echoing feedback. Raunched-out vocals, with a strong bass and good drum hooks, brings this effort into a fast paced charge of exciting melodies in the vein of early GBH or newer ENGLISH DOGS. With this being a four-songer, hopefully vinyl will soon follow.
CONFLICT does it again. Not only is the music sheer energy, thrusting chaotic charges of havoc, fully evident in the B-side with the DISCHARGE-style whines and wails, but CONFLICT’s undeniable power. Check out the fold-out poster and the band’s sincere critical stance, read what they have to say and how they care. Support this. Cheers to CONFLICT.
A lethal brainbomb. Pack the ferocious chaotic attack of CHAOS UK and DISORDER, and plunge it headlong into the grinding speedcore of GISM, and you have CONFUSE. Hungry havoc runs amok with fast drumming and raw grinding guitar action, helps this explode into an onslaught of rapid-fire blitzkriegs. A brutal hammering that is intense and great!
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.
The A-side is sort of like METAL URBAINE meets ’60s pop-punk. The flip is snappier, and both sides combine cool rhythmic, pulsating, noisy rants with neat pop guitar licks. Very good, from France.
Finally, an LP’s worth of mayhem from this great Aussie band. 26 songs pack this platter full of straight driving power punches with shouting vocals and whining guitars. Political lyrics with raw furious music in the true hardcore attack. Some variety, but mostly medium-paced with some fast throbbers. A classic like the BGK LP.
One studio and one live side, this tape is better than most all this English band’s recordings. Side one has some great covers, such as “I Wanna Be Your Dog,” “Wild Thing,” “Sonic Reducer,” and “Lexicon Devil,” all done with some amazing power and clarity. Cool.
Personally, I think these two songs (culled from their upcoming album) have much more impact than the bulk of those on their debut 12″. The production is still murky, but here it accentuates a wall-of-sound style of thrash that almost sounds European. Both cuts also have memorable choruses and good lyrics, so I’m anxiously awaiting the long-player.
DIRT HEROES’ sound is best characterized by very hard-driving but simple drumming and rhythms. This puts them in a V.U. vein, with occasional ripping guitar solos and chanting vocals. Good rock with punk influences.
A three-song job: one outright excellent thrasher, one slower Oi tune (also good), and a mid-tempo hardcore number. All are done well, though I can’t really comment on the lyrics. Good production, from Japan.
One of the more animated and fun bands around, this EP captures both their ridiculous and serious side. The Leading Edge crew sings “They Rock.” Good production, too.
Interspersed between their wise-guy hardcore songs are wise-guy comments and witticisms. I’d assume this is a wise-guy intellectual punk band, somewhat reminiscent of the CRUCIFUCKS. Interesting.
This is the one band you gotta keep your eye on. After their all-out noisefests, they’ve decided to hit back with their version of pop music. The title track here is a neat little marching Arabic tune very similar to early CAN, and it’s been remixed by Adrian Sherwood to give it this incredibly heavy-footed rhythm. The two songs on the other side are a creepy Exorcist-style tune and a straight version of LEE HAZELWOOD’s “Sand” that would make NICK CAVE proud.
Although the thrash here is not anything new (admittedly, it is quite good and powerful, though), the lyrics are outstanding. It’s great to see a band sing about battered wives, on sex and morality. Intelligent and angry! Good sound quality, too.
If you’re missing those early KILLING JOKE days, then here’s a great record for you. Side one has that hard rhythm and intensity that KILLING JOKE used to play and don’t anymore. The flip, though, is a little spoiled with whiny vocals and electronics that are OK but not as interesting as most industrial bands and not hard enough to be dub style. Recommended for side one.
A live EP that’s a bit of a letdown from their awesome Outburst. Four songs that are rockin’ R’n’B, but nothing to write Sweden about. “ESP” is the hottest track of the lot here.
Nice book-type sleeve full of beliefs, lyrics, and art. The musical direction is a weird criss-cross of early FLUX and CRASS sounds, combined with dance-type rhythms, all this shoved into a wild arrangement. Has so much going on, you miss some. Very crazy sound-wise, very intelligent lyric-wise. Overall, a unique release.
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.
Unrelenting fury lashes out some speedy Japanese speedcore with overly gruff vocals. Wild, intense, and full of moving rhythms, GAI pushes the limits of foreceful power in the VARUKERS or DISCHARGE vein, yet the vocalist growls the flesh right off his throat. Great stuff to brainbeat to.
Thrash your brains out with this exceptional Japanese speedcore release. Full of ultrasonic quickness and metallic whines, GASTUNK rivets out three heavy barrages of good rhythms that are powerful and exciting. Featuring ex-EXECUTE singer Baki, GASTUNK does resemble a sound close to the EXECUTE, yet more metal guitar pieces. Really good stuff.
Raspy larynx shouting with a demonic flavor rises with heavy bass lines mixed high in this exceptional Japanese speedcore release. GHOUL mix speed, power, and continuous drum wallops to give a sound reminiscent of GISM, yet with a different drive of aggression. One of the better of the new Japanese vinyl blasters. Get it while you can—they don’t last long.
Sometimes sounding like BIRTHDAY PARTY, sometimes CRAMPS-ish, sometimes like early punk, sometimes all the above at one—they can be interesting and annoying. The vocals are too “clean” for me, and the band’s restraint is frustrating, but those into less crazed stuff may appreciate them. (Not to be confused with the UK MAU MAUS.)
A totally excellent thrasharama. This band is tight as hell, delivers powerful music and lyrics, and seems really dedicated.
Children from hell, it must be. Please note: this ain’t music, per se. I can hear a guitar, etc., but it’s your basic noise/industrial freakout. A nasty business.
This Japanese quartet starts off from almost a ’77 punk base, but sometimes gets a bit more adventurous, adding in discordant bits and gruffer vocals. All of it is pretty well-done, though—even the standard punk tunes.
Oui, oui! This blasts and terrorizes in every form, a blitzkreig of maniac rhythms powering an assault of skillful mayhem. From France, HEIMAT-LOS combine a familiar French punk sound with a blizzard of thrash havoc, all worked extremely well and enjoyably pleasant. Sharp instrumentation, with a good mix. If you liked KIDNAP, you’ll crave HEIMAT-LOS.
Powerful post-punk for the most part, but occasionally wimping out. The material that’s most gripping is in the JOY DIVISION tradition.
Predictable but competent skinhead anthems and lyrics. One ska tune, one faster punky tune, and a couple of Oi-ers. I guess “Oi Oi Oi” means “Oi Oi Oi” everywhere.
One of the hardest thrashing Italian combos are highlighted here, with tons of raging songs. The sound quality is good, and if you aren’t yet familiar with INDIGESTI’s material, don’t pass up the opportunity.
Very powerful thrash—lost of slow/fast changes, good noisy guitar chords, tight as hell playing, and excellent vocals. One of the best production jobs Mystic has done. Hot!
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.
A very hot thrash band with lots of energy, some good production, and lots to sing about (in Spanish). Recommended.
One of the least mono-dimensional Finnish releases of late. KANSANTURVAMUSIIKKIKOMISSIO plays everything from gravelly punk Á la MAHO NEITSYT (“Pääni” and “Työlaisen Aurinko”) to post-punk (“Valaistu Risti”) to full-tilt thrash (“Kalinka” and “666”) to a host of annoying discordant numbers that don’t have any hooks (like “Meksiko”). The latter material unfortunately predominates, and the album is uneven, but there’s some fine stuff herein.
Excellent, powerful, and tight thrash. While this is just a four-track demo, it bodes well for future recordings. The material, while straight-ahead, is done with zest and excitement.
Hot Italian buzzbomb laced with metallic thrash-paced guitar whines and changes in tempo running to and fro. High-speed stuff that doesn’t get lost in the shuffle, with swift vocals, yet musically it offers a variance like HÜSKER DÜ. Overall production is low, but the music delivers potential goods. KINA are quick and effective, with enough pops to grow into big stuff.
Fairy standard thrash fare for the most part, but occasional use of effects on the guitar add a distinctive touch. Should improve with age.
The first track is in Tesco-territory, if you know what I mean—industrial “music.” Second track is a little more musical, and mercifully short. From Japan.
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.
This band should rule the world. They let other idiots do it, and LAUGHIN’ NOSE are much funnier. This band make the TOY DOLLS seem like the merry-go-round compared to the intense coaster. LAUGHIN’ NOSE is jovial, funny, and the lyrics will keep you rolling. Both these songs were on the Hardcore Unlawful Assembly comp LP, yet are still classics and worthy of any collection. No, this isn’t thrash, but hilarious antics in the DICKIES’ vein. Great!
A three-song noise-thrash bonanza. Completely retarded-sounding vocals combine with repetitive, relentless, pounding thrash of the most garage-y kind to give you a few precious moments of pleasure. Fun.
The second flexi put out by this group of challenging folks. This is a rap vocal accompanied by a funk rhythm and punk fuzz guitar. It comes with an informational book and lyrics—another excellent job from committed punks.
Brave, pissed-off souls from upstate NY come together and release some raving yet melodic hardcore garage material. Totally unpretentious, energetic, and enjoyable.
Quite melodic and catchy folk punk (guitar and drums) that reminds me of the pleasing simplicity of NEWTOWN NEUROTICS. And like NEWTOWN NEUROTICS, Andy T. presents material (new on side one, retro on side two) that is intelligent and caring.
Album number three from the PUPPIES has them pretty much mining the same territory as their second LP. This should alienate the shit out of the punk rockers and make college radio writhe in ecstasy. All of this doesn’t negate the fact that this is an outstanding record with great playing. Not real fast, but curling-up-on-the-porch-after-a-long-hard-day LP.
Pretty English-sounding Japanese hardcore. Three tunes. Not really strong lyrically, but the production and musicianship are excellent.
This one is pretty simple. Boon and the boys cut loose in the studio with four covers recorded “live” in front of maybe 15 people. These are the songs that floated in and out of their set on their last tour. You get so-so versions of VAN HALEN and BLUE ÖYSTER CULT, but real good versions of CCR’s “Green River” and the MEAT PUPPETS’ “Lost.”
Sometimes jazzy, sometimes experimental, sometimes straight-ahead, this punk band presents very intelligent lyrics out front so you can hear them. The music is almost secondary, but not quite, as the band does add some drama and is far from incompetent. Good debut.
Japanese speedcore with a low-end recording. Scratchy growls are ever-present, with whiny guitars and deep bass plucks. MOBS’ style of thrash is in the GISM/ZOUO form, really spits out the distortion of the prominent sound. Fast, gritty, and abrasively intense, this six-song EP really charges the chaotic crunch. Another of the monster vocal hits.
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.
NIP DRIVERS are as fun, crazy, and rockin’ as ever. This new LP shows better compositions and recording than the last, and there’s a good variety of material that’s embellished with their traditional tidbits of vocal and musical comedy. “Bone Spider,” my fave, is a great neo-psychedelic number. Recommended.
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.
Yeeeoww! Definitely the ultimate hardcore/metal crossover, ONSLAUGHT charge with a hard-hitting assault of ferocious rhythms that melt the hair off your scalp. Heavy and fast, this UK sledgehammer barrage pushes an awesome guitar grind with great vocals and continuous action. Intense black speed torpedoes that rifle headlong into severe untamed abrasive vigor. Incredible stuff on COR.
Pretty decent older, fuzzed-out English-style punk in the slow- to mid-tempo vein. Good production, especially on the guitar and vocals. Basic but substantial.
A three-song effort that’s really impressive. Really tight, assured hardcore with lots of tempo changes, but which doesn’t detract from the impact. Even the guitar solo is OK. Driving stuff—great thrash from Australia.
Kinda folk rock meets minimalist meets mid-’70s singer/songwriter twisted balladeer. Definite VELVETS influence, and some good rockers.
Ah yes, more of that seductive psych sound. While it’s usually on the quieter side of things, the jangly guitars and great tunes remind me a lot of the legendary BIG STAR. Some repeats from earlier releases, but a great album overall.
Both sides of this flexi contain songs from a live show, with no separating grooves, and a fade-out on one side and fade-in on the other. It’s frantically-paced thrash here, which comes across OK “live,” but would be more cohesive in the studio. From Japan.
Quite a good six-song demo, they bring home important topics and intelligent perspectives with powerful melodic punk/thrash. Hope to hear more from and about this young band who, though a bit CLASH-like, aren’t too much so.
More than adequate NY hardcore, with mostly fast songs. While not especially distinctive, it is punchy and tight. Good anti-authoritarian lyrics.
The A-side is a new-wavey cover of the EXCITERS’ hit of the early ’60s, and the B is a ska cover. Not really happening, unfortunately, as this band helps their local scene a lot.
Good mid/fast-tempo punk, albeit the noisy variety. Decent recording quality, but it does diminish their impact somewhat. Imagine they’re fun live.
Six shows from RAW POWER’s first US tour last year. Needless to say, it’s another excellent representation of this powerful Italian metal/thrash outfit. Watch for ’em on tour again.
A new Seattle outfit with Brad, an original member of the LEWD. Both songs here are fast punkers with a distorted guitar and some of the meanest vocals I’ve heard since those of Blaine from the FARTZ. An added bonus is this classic line from the A-side: “Shoot the Pope, shoot the Pope, just another Polish joke.” Pick it up today.
This one’s kinda frustrating. Danzig and crew still manage to put that wonderful frantic MISFIT yelp on “All Hell” and “Hungry End.” But it seems like they’re too comfortable. I’d really like to see them hook up with a new producer who would give them more of a challenge in the studio. Still great, but the possibilities make you want more.
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.
FOETUS has done a lot of bizarre material in the past, but this LP is a classic. As always, this is all written and performed by lone FOETUS, and combines his morbid, poignant, biting poetry and an upbeat, precise musical inventiveness with out-and-out aggressiveness and recording skill. He is many steps beyond CREME & GODLEY, MARK STEWART, or NICK CAVE, although the comparisons are obvious. I can’t scrape it off my turntable.
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.
The female singer of SPERMA has quite a sex-bomb reputation, but her singing doesn’t come across that way. She sounds like a weaker Poly Styrene, and even the band sounds a bit like X-RAY SPEX (minus the sax). Good older-style punk from Japan.
Although largely generic thrash, there are moments when STATE OF CONFUSION show that if they stick with it, they could develop their own sound. This is not to say that this tape isn’t tight or powerful (which it is), but it’ll take awhile for such a young band to develop their “personality.” (This applies to 90% of today’s new HC bands.) Overall, a good start.
Tried listening to this while depressed—I broke into hysterical laughter. Tried listening while in a good mood—I whipped off the needle. But it’s “hip” to like this kind of painfully slow, “wrenching” post-punk noise, right? Guess I’m uncool.
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.
Psych of a lighter variety—nice touches here and there—a bit of surf, tempting little riffs, but ultimately a tease and no real satisfaction.
Another hot-sounding release from the EXPLOITED (most all their records have gotten good reviews in MRR—can’t say the same about Wattle’s mentality), with both thrash and slightly post-punk rhythmic tracks really ripping. Oh, and thanks, EXPLOITED, for the “fuck off” on the back cover; coming from you, it’s a real compliment.
Slowing down the pace, five of the six tracks here are mid-tempo punk. While they maintain their overall California HC sound despite the change of pace, the FACTION do throw in bits of funk, etc., too. Personal-type lyrics.
The singer has a definite Jello Biafra intonation, but that’s where the comparison ends. Both tunes are straight out of ’78, with very basic but produced punk. Non-inventive, and anachronistic.
This is a comp of their first two 7″ EPs released by a new LA affiliate of this cool Australian label. In my opinion, they’re one of the hottest R’n’B, rock ’n’ roll, neo-’60s, psych-pop bands in the world (next to the NOMADS)…and the best from Australia since RADIO BIRDMAN, whose influence is felt here. It’s hard to pick a fave track, but “Can’t Wait Too Long” and “Slave Girl” are hot with great hooks.
Respectable, hard-hitting, and melodic. Sort of an updated version of the early WHO sound (say, around Magic Bus). This clean recording helps out with the match-up of distorted guitar lines and good harmonica work. Flip is more melodic, Mersey-style. Pebbles No. 32 stuff.
This Japanese trio wails. The strong bass playing, tight drumming, and powerful guitar pull together into a hardcore experience that’s quite noteworthy. On both fast and slow songs, they grab your attention.
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.
This album represents the best of a great band—the SONICS, who boomed out the hottest garage punk of their day. Out of the Northwest, these guys cranked out classics like “Psycho,” “Strychnine,” “He’s Waiting,” and “Witch”—tunes that bands like the CRAMPS, NOMADS, etc. revere today. Awesome.
Incredible thrash from the UK, without even a trace of the traditional UK sound. Sonic mayhem, quick and vibrant with great vocals and split second attacks, enough to be one of the best HC releases in ages. Packs the punches like the original Dischord releases did—it’s that insanely good. Stick on side A, “Elephant Man” scorches down the eight-song attack. Excellent!
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 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.
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.
Their best release to date, as far as I’m concerned. Tez and the guys are really re-energized, pounding out five really memorable fast and snappy punk tunes. Where ya been, Tez?
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.
Although the guitars are blazing fast, the rhythm tends to be slower, creating a mid/fast-tempo punk sound with aspects of thrash and even metal (especially on the ultra-gruff vocals and some guitar licks). Powerful overall, but that dichotomy creates a weird feeling.
This band hits with both well-performed older style punk and with thrash, and hits hard. The band is tight and powerful, and while not extraordinary, they are better than most. The female singer, Helen, reminds me of De De Troit a bit, or maybe SIN 34 or LEGAL WEAPON (thanks Martin). Good sound.
Like most Italian HC bands, UPSET NOISE is stronger on manic attack and noise than they are on melody (although this doesn’t hold true on all eight tracks). Lots of speed riffs, raging vocals, and ultra-fast snare drumming. They live up to their name.
Somehow omitting Vol. 14, this series of ’60s obscurities lurches on to Wisconsin, Part 2. While mainly on the softer, poppier folk-rock side, many of these tunes are pretty cool, with lots of vocal harmonies and an occasional freakout. Decent.
Neat idea, not-so-neat results. Cover songs are a tricky business—you either gotta change and update ’em (like the MEMBRANES’ “Super Freak”), or out-energize the original (SWA’s “100 Bottles of Beer”). But most of the others, turned in by the likes of SCARED STRAIGHT, RKL, FALSE CONFESSIONS, ILL REPUTE, SADO-NATION, DON’T NO, NOFX, VOA, PLAINWRAP, G.I., etc, etc., don’t make you forget the originals. They should.
A Chicago-area comp, this features CERTAIN DEATH, GROUP OF INDIVIDUALS, TORPEDOS, SPRAY PAINT, UNINVITED, RING 13, NO MORE WARS, BLATANT DISSENT, and GARAGE BODIES. Quite good sound quality, and varied but strong material. Good.
Some names on this comp you’ll immediately recognize as quality acts, like HOMO PICNIC, CHRONIC DISORDER, DEAD MILKMEN, DROOLING IDIOTS, CANCEROUS GROWTH, ASBESTOS ROCKPYLE, etc. And many others are relative newies, such as STATE OF THE UNION, PUBLIC ENEMA, etc. Lots of variety of punk sounds, and lots of intelligent lyrics.
The latest sampler LP from the most prolific sampler label, this one contains tracks from some previous records (GRIM, DR. KNOW, Nardcore, Slimey Valley, Party Animal, SUBTERFUGE, etc.) and some future releases (AGGRESSION, HOLLYWOOD NOISE, Let’s Die, Cop II, Return to Slimey Valley). Can anyone keep track of all this?
An international compilation cassette put out by Brian Walsby. Such luminaries as C.O.C., NO POLICY, UGLY AMERICANS, SLUGGO, ACCÜSED, UNIFORM CHOICE, VICIOUS CIRCLE, SCARED STRAIGHT, UNACCEPTED, etc. present anywhere from one to seven songs each, and there’s lots of raving thrash.
A nifty little live compilation that features the musical side of a five-day art festival held last year in New York. Lotsa homeboys on this one, like LIVE SKULL, SONIC YOUTH, SWANS, and the BEASTIE BOYS. Also includes two tracks from the FALL.
A 7″ sampler of the best of Mystic’s recent 7″ series. Features RKL, ILL REPUTE, SCARED STRAIGHT, FLOWER LEPERDS, MANIFEST DESTINY, FALSE CONFESSIONS, and DON’T NO.
I’ll skip the one track each by EXPERIMENTAL PRODUCTS (funky weirdness) and TIMI (reggae), and flip to side two, which contains a track each by RAT AT RAT R and LIVE SKULL. The former delivers a brutal blow of semi-noise music, NY art style. LIVE SKULL take that genre a bit further, less noisy but more depressing.
A garagy and nifty area collection of some of SoCal’s thrashing young outfits. There are tracks by FATAL ERROR, MAD PARADE, CHAOTIC NOISE, S.O.S., ARTISTIC DECLINE, BAD INFLUENCE, MOX NIX, BLACK LABEL, PLAIN WRAP, LOVE CANAL…22 groups in all. Put out by FFF fanzine, and comes with mag insert.
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.
An incredible comp from Holland featuring seven bands with a good selection of several songs each. Lots of good Dutch thrash from NO PIGS, who continue the madness evident on their blasting EP, sheer havoc from S.C.A., power and energy of NOG WATT, the split second attack from GEPÁ˜PEL, the sonic thrust of DEADLOCK, and good tracks from HIROSHIMA NOODUITGANG and INDIREKT. In the tradition of Dutch samplers like Als Je Haar… this is a fine release.
A storming German sampler with all your faves and some new faces. Lots of different attacks with creative approaches, it’s a good slap of Deutsch hardcore. With the incredible INFERNO whose track “Ein Tag im Schatten” really shows their intensity, plus some classic tracks from the MANIACS, MOTTEK, TIN CAN ARMY, and RAZZIA. And new entries by the IDIOTS, LUSTFINGER, KSF, AUSBRUCH, and SCHLUCKSPECHTE. Well done musically, but why do these German labels always rip off Wrightson for cover art? Thanx Winni!
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.
A European sampler featuring XPOZEZ, ANTI-DOGMATIKKS, KINA, WRETCHED, VARUKERS, UPRIGHT CITIZENS, MG 15, NEGAZIONE, and more. Sometimes rough sound quality, but comes with a neat magazine.
Most of the bands here are from Scandinavia, with a smattering from the UK, Germany, and Belgium. There are anywhere from one to nine tracks each by such manic luminaries as MOB 47, EXISTENZ, ANTI-CIMEX, MODERAT LIKVIDATION, MOTTEK, ENOLA GAY, AKUTT INNLEGGELSE, and several more.
Nothing especially mandatory here, although it’s not a poor collection either, with tracks from the QUID, SHAG, SATAN & THE D-MEN, and others. In 20 years, will Greg Shaw be documenting the current punk scenes as methodically? Will kids in 2005 even care what’s happening now?
Ramcharging cranks of aggressive power from Australia, sounding a lot like DEPRESSION or PORNO PATROL or STRETCH MARKS. Beefy vocals with active musical compositions, fast- to medium-paced, with a live studio-sounding recording. This band will soon tour the US, so watch out for this burst of energy.
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 savage thrash of WAR OF DESTRUCTION blends a harsh vocal blast with an overall quick-paced ensemble of drum splashings and that unique barking guitar wail, which makes this the best release to come out of Denmark in a long time. Good production gives a fluid bolting feel, as the beginning track “Outro” starts the fire burining! Has a funny version of “Birthday” which is a complete offshoot from the rest of this scorcher! Great stuff.
Some classic thrash, stop-and-go variety, done well and powerfully, although the overall impact is diminished a bit by songs that are almost too fast for maximum effect, and by the limitations of production. Excellent lyrics.
This is the second record by this trio, and it mixes acoustic guitars, bagpipes, mandolin, and sax with great spartan-style punk. These guys could even make it hip to listen to folk music again. Overall, their singing and playing has improved dramatically to showcase their mix of folk, Gaelic, punk, and psychedelic.
