Recorded in ’83, these four tunes are all previously unreleased and all rip. Great covers of “If the Kids Are United” and “These Boots are Made for Walking.” Available only as a 7 SECONDS Fan Club promo, so send $5 to Positive Force.
Quite a versatile band. Almost every track sounds substantially different from the last, ranging from straight chord garage rock (great cover of “Boys”) to folk punk, to MUTANTS/X-type early punk (cool male/female trade-off vocals), noise, thrash, and more. A band to watch for.
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.
A full-length tape of rantings in the truest cutting edge these guys have every mustered up. Most of the music borders on industrial, though some is thematic to the scathing verse. Their classic anti-establishment, anti-industrialist sentiments are put forward candidly, pointedly, and humorously.
HENDRIX hardcore? There’s a hard, quirky element at work in this otherwise hardcore band that adds unusual flavor now expected from this label. Different.
Another fine release from this great, fuzzy Aussie garage band. Although some of their stuff Is really comparable to KILLING JOKE, BIRTHDAY PARTY, and even FLIPPER, a lot of people might find them a little derivative, but I think they’re a whole mess of fun. Makes you feel dirty just slapping them on the turntable.
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.
Jeez, could they be Mods? Yes, but not very stimulated ones. Four songs, decent pop rockers, but not ravers at all.
Tricky cover (doesn’t state the band’s name anywhere on the outside), but straightforward, driving punk inside. There will always be a place for well-done ’77 grunge.
This Italian band describes themselves as “pro-Soviet,” and the LP rocks a bit more and harder than their EP, and shows a lot of diversity in the slower, mid-tempo punk songs. They seem to take a little bit more time and work to develop a sound that makes a statement that you don’t necessarily need to know Italian to understand.
This great new English band punks forth some outrageous harmonies with nice musical compositions and crafty guitar work. Male and female vocals add nice touches with the changing paces. So much like the original INSTIGATORS, it’s uncanny. Fab stuff!!
The first of many Oi! releases to be put out by Roddy of the OPPRESSED (a label looking to non-racist Oi! music. Incidentally, he’s looking for US Oi! bands for a UK Oi! comp LP of this nature.). Decent Oi!, and a project worth supporting.
An eclectic and variety-filled debut LP with rockin’ songs, psychedelic songs, thematic styles, eerie ballads and simple but precise lyrics about American life and scorn. Reminiscent of the DESCENDENTS and CRUCIFUCKS, but with more musical variety. Recommended.
Organ-dominated neo-’60s punk that chugs along pretty well. At times, the guitar parts get a bit too rockish for my tastes, but the basic simplicity of the songs save it from degenerating too much.
Pretty repetitive metalish hardcore at a medium- to fast-clipped pace. Not as offensive as some, but doesn’t do anything for the emotions or intellect. Okay vocals.
Great melodic thrash with power, hooks, and tunes galore. Neat trade-off male/female vocals. Hot production. Recommended!
A superb second LP from the DESCENDENTS. The first thing that hits you is its schizophrenic character—side one presents more of their catchy garage punk with satirical and scatological themes (some of which are overtly sexist), whereas side two highlights a newer sound that combines irresistible pop or countrified melodies, heavy punk guitars, and sensitive, reflective lyrics. I actually prefer the latter (especially “Silly Girl” and “Good Good Things”), which seem to result from Bill Stevenson’s (ex-BLACK FLAG) influence.
This 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.
Germany’s goofy punks present a concept record: five songs, each one pretending to be a different band from a different country—a US surf band, a UK metal band, Mexican mariachis, etc. Good idea, terrible results.
Well, maybe this is another case of wanting to like something more than you eventually do. Basically, a heavy, somber, dark thrash band with elements of metal hare and there. I don’t speak Italian, but it seems as though they’re flirting with Satanic overtones. Not incredible, but interesting.
Four fairly long but extremely catchy tunes. Owing more to melodic early-’70s rock like T. REX, this is a pretty stripped-down mid-tempo rock approach with an added drum-machine sound as well as regular percussion. Fun.
Most or all of the dozen or so songs here would fall under the “generic thrash” cover, with predictable but enjoyable energy and an abundance of youthful enthusiasm. Pretty tight, and decent recording quality.
This album features the addition of Graham (ex-DESTRUCTORS) to guitar duties, whose work is sharp and noticeable. But when the ENGLISH DOGS changed singers and did the classic To the Ends of the Earth 12″, I expected a churning explosion of insanity on this one. Instead, I got half of that. Bummed, but trying to be fair, this has more approaches to mainstream metal than speedmetal, which is well-executed and craveable for all you fanatics. The speed stuff is great, storms with power and exertion.
Storming out of Venice comes the latest speedcore rave band since SUICIDAL TENDENCIES. Fast, effective, with lots of metallic speedy chords, EXCEL is a young ensemble who sounds just too good on this second demo. They attack with a no-holds-barred lightning striking barrage of blasting vocals and great instrumentation. SUICIDAL look out—EXCEL are moving fast.
The second tasty release from Holland’s FUNERAL ORATION. This one features guitarist extraordinaire Tos N., who adds some distinctive frills and textures to the band’s already shredding sound. Most of the material here combines HÜSKER DÜ-style instrumental density and vocals with the traditionally powerful Dutch thrash approach, and the results are stunning. Add to that a couple of plaintive ’60s-tinged cuts (like “Dayfall”), and you’ve got an LP that will be on your turntable a lot.
Actually, this is a four-song 6″ that comes in a 10″ jacket. Don’t ask me why! Musically, it’s slowed-down punk and noise, somewhat like FLIPPER (garage-y) but more tonal. Decent, but not exciting.
Totally mindblowing madness here from Japan. Raging speedcore thrusts out pile-driving chaotic leads and maniac raspy vocals, whose style is unique and adds character to the GASTUNK sound. Fast, maniac slices with some interspeed variations make this one of the hottest Japanese LPs since GISM.
Unlike a lot of contemporary Japanese HC bands, this group delivers some very powerful HC without resorting to metal influences. Really well done recording and come distinctive touches add up to one hot release.
Excellent debut, full of hard-charging rhythms and catchy melodies. The clean and punchy production really helps to sharpen up their brawny attack. You can make favorable connections with MARGINAL MAN and 76% UNCERTAIN. A nice mind-blowing punk version of the BEATLES’ “I Am the Walrus.”
Aha, here we have for a mere few dollars what government-supported scientists have been paid millions: conclusive evidence that prolonged use of marijuana rots the brain. All kidding aside, this record “blows it” (tee-hee). No, really, if your “bag” (ha-ha) is “fusion” music, this does it: punk, jazz, rock, reggae, horns, synth, etc., etc. “Dread”ful (ho-ho).
“Expand Your Mind and Shorten Your Life” is one of the six songs here, and that typifies the “zany” outlook expressed by this combo. Musically they play a grungy, noisy but tight garage metal-tinged thrash. Unique.
Quite a departure, at least as compared to the ICONOCLAST demo of a while back. Only one of the tunes is ripping thrash, and the other two explore more melodic/poppy and abrasive post-punk fields, which they accomplish to varying degrees. Adventurous.
A rippin’ little tape. Full of sharp lyrics, tuneful-as-hell thrash, and an upbeat attitude. Another fine band out of Canada with a good debut.
Another very hot recent Italian hardcore release. Gnarly, well-produced political thrash, intense vocals—good all the way around. Get it!
This is a rockabilly band playing mostly originals, and features ex-members of SADO-NATION, LOCKJAW, and the RATS. Although the production is thin, they have their rockin’ moments. Probably more fun to see live.
More in the current wave of “positive” HC bands owing most to 7 SECONDS and MINOR THREAT. And, as the title implies, the impetus is to think before acting, set to a driving mid-to-fast tempo. Good effort.
Despite the garagy recording, this young DC-area band shows they’ve got something to say, and a zippy way of doing it. Straight-edge Á la MINOR THREAT. Will be good.
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.”
Melodic punk that’s well done, with the accent on both lead and back-up vocals. This is not raw punk, but the guitar sound is powerful, and the drumming strong, too. ’78 in ’85.
Missed reviewing this a few months back. This trio is pretty versatile, varying from tight, fast thrash to rock ballads to metal-tinged punk to melodic fusions. Well produced, but the heavy rock influences take their toll.
LUDICHRIST definitely flies for quickness on this 12-songer; has all those thrashing turbulent punches that you love to hear with similarities to great DC bands or to CAUSE FOR ALARM or ANTIDOTE. Wild, chaotic, intense, and full of different variations, LUDICHRIST charges outward with a superb sonic flailing.
Some of the rockingest and most sparkling post-punk I’ve heard since the early FALL. Hey, it’s a band like this that might give “post-punk” a good name.
Metal-influenced thrash and punk from Finland. Well done but somewhat uninspiring, though it should appeal to more people than not, as their genre is “in.”
You can tell it’s a good record when it ends all too fast (or else it’s way short, but in this case you get 16 songs). Rippin’ punk/thrash/skate music with bits of funk, but all really well delivered. Theme-wise, skating and “fun” songs predominate, but there’s some serious stuff too, such as “C.I.A.A.I.D.S.,” which insinuates there’s a CIA conspiracy behind the AIDS epidemic. Hot record!
A five-song, one-sided 7″, this is largely abrasive slower punk/post-punk. It’s all well-done, though I think knowing the lyrics would be most helpful.
Actually, I’m not sure which is the band’s name and which is the title, but this seems to be the likely set-up. Very unmelodic, short outbursts, driven by mostly snare drum (bass and bass drum aren’t audible) and fuzzy, gnarly guitar. Mixture of speed-metal and straight thrash. Very fast stuff.
You’ll be hearing more from these guys on vinyl soon (a couple comps and perhaps their own release), but for now you’ll have to settle for this raging seven-song demo, a slightly more metalish version of DIE KREUZEN. Good start.
I believe this comes under the general heading of “generic thrash”—well done, fast-as-hell, pissed political lyrics, and as of yet an “undistinctive” style. Give ’em time, though, because they’ve got all the ingredients except the time to grow.
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.
Yet another neo-noise band. This group combines the sparse post-punk sound of BIRTHDAY PARTY with the treble feedback guitar of JESUS AND MARY CHAIN. Three tunes, none awesomely ripping.
This is the “HOLY DOLLS,” formerly RIISTETYT, gone from HC to new wavey synth-pop post-punk. If that sounds bad, it’s because it is. If that sounds good, pick up another rag.
The first release on Spot’s new label, this all-female combo hits hard with quirky punk. There are funk influences in their post-punk rhythms, traces of PATTI SMITH, POISON GIRLS, and more illustrious predecessors. A well-executed variety pack.
Over the metal edge go our Italian friends. This time out they present four songs, all of which sound like GBH to me. A step in the wrong direction musically, but they’re still hitting hard lyrically.
Those gumbie English socialist musicians think they can change social consciousness by hitting the charts. Makes one wonder how these great political intentions, evident in lyrics past and present, can possibly instigate changes by making the masses dance the night away to that big-band white-soul disco dance beat. Boring at best.
Very excellent ’77 punk style release. I thought by the sleeve and name it’d be metal mania, but instead it’s really powerful, tuneful, and catchy PISTOL-type punk without being really imitative. It rocks.
Quite unusual punk. Take a synth-oriented new wave band, double their speed, adjust the vocal speed to “perky,” and voila—three songs, all zippy, poppy, and enjoyable. Good hooks.
A four-song rip-snorting thrash attack. It’s in the English-style of thrash, but with a decent amount of melody. Non-stop tight, angry attack.
Not to be confused with the early UK punk band, this combo is formed of ex-RATSIA and PELLE MILJOONA N.V.S. members. Both songs are in an early pop-punk style, owing more to pop than punk, with an accent of high production.
Pretty atypical for a Japanese release, this all-female combo comes forth with four grungy garage tunes, with production to match. Some fast, some slow, all trash. Primitive.
I think this is the band that went to Guyana to bring HC to the “natives,” but instead brought back the “natives” to us. Really, though, this is a sloppy noisefest of thrash, much like many of the European thrashers. Great lyrics, totally pissed and flailing about. Enjoyable anxiety attack.
Let me put it this way—if you liked PSYCHEDELIC FURS’ first LP or two, you’ll be heavily into this. The likeness is uncanny.
Good skunk French punk, if you know what I mean. You know, music you can pogo to, that has those unmistakable French choruses. Strong production.
Very good neo-’60s punk, indeed—perhaps second best in the burgeoning Swedish scene. Tight, loud, and with really good influences (HAUNTED, CHOCOLATE WATCHBAND). But they are just a shade shy on pure aggression, and that’s why I give the nod to the NOMADS.
A very limited posthumous release, this garage production features a 1981 recording of two wonderfully noisy, trashed, raw-as-hell punk rock classics. Find it at all costs.
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.
A live EP of SLAM cranking out those strong rhythms with effective arrangements and variations. The vocals are extremely raw with a definite deep edge, as the band hits some fast chords, but sticks close to some creative licks. The live mix is not bad, and the energy is very high. A Swedish band with their own distinct style, and good at it.
Can you picture MDC meets HALF JAPANESE? Sort of garagy thrash blitzes punctuated by ranting vocals and a unique drum roll. Short tunes, and short on melody. Different.
Recorded live in ’83, both sides of this disc rip. While not my absolute fave type of sound, this no-wave-meets-hardcore group attacks with noise and energy, and this release is as good a demonstration of their efforts as any.
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.
Frantically awesome, this six-songer is a chunky, zooming speed-fest, featuring such a raunched out vocal beset (“Mom Grab Those Little Ones Off the Street…”) continues to sweep the senses as the Swedish mayhem goes totally apeshit. Raw, abrasive, intense, energetic, full-blown torching action will make this a new fave. Great!
Hot garage punk record from the Bay Area. Rumor had it that these guys were glam-rock revivalists, but glam rock never sounded this raunchy. The SPEED QUEENS offer a slower lament to the platform geeks of yore (“All the Young Dudes Are Dead”), a fast punker (“I Wish I Had a Big Cock Like Iggy Pop”), and a blasting two-guitar mld-tempo number Á la HEARTBREAKERS (“Underground Music Queen”). With ridiculous and humorous themes like these, they should open for GG ALLIN or, for that matter, serve as his back-up band.
Eight ripping, catchy thrashers—tight, powerful, and melodic thrash ’n’ punk. Yep, it’s yet another class act on the scene. God, it makes me mad how little exposure or credit bands like this get.
Somehow this unknown HC hand from Buffalo, NY made its way to Italy and released a five-song 7″ (I believe it will come out in the US eventually). And I’m glad they did, cuz the results are hot! High-quality production and top-flight melodic all-out thrash with excellent lyrics to boot. Get it.
There’s a bunch of rip-roaring, stripped-down thrash here, powerful as hell and with great lyrics! Then, too, there’s more to this band as they display a fair amount of experimentation on a couple of tracks, and don’t lose a bit in the process. TH’INBRED are a band to watch.
All four tracks here are instrumentals, as I assume all the tracks are on their LP as well. If you’re into ’50s rockin’ tracks like “Tomahawk, “Rumble,” etc., you’ll jump for this. Modern spaghetti western rock ’n’ roll from Sweden.
Live tapes of this group shows their affection for grungy CHOCOLATE WATCHBAND-style music, showing how hard and tight they can be. Instead, their first 45 pushes the more melodic and weaving guitar-pop side of their sound. Lots of cool playing, and their cover sounds like a cross between THEM and the STONES.
“This one is for TOM VERLAINE… We hate him!” Geddit…? “Idiot Box”…? Never mind, what we have here are a couple of mid-period DAMNED live tracks that have fairly good production and performance. On the flip, they announce their musical progression, due to the fact that they use more than three chords. Great sleeve.
Despite the RAMONES influences in the title, these tunes are much more on the pop side of R’n’R. Which is not to say that the music is poor, but power-pop is not what I was expecting. OK for what it is.
The four excellent straightforward thrashers here will all be appearing on Pushead’s EXECUTE/INFERNO split 12″ really soon, so you’ll get to check this one out or yourself. Good one.
Right up there with all the best English power-thrash bands. Repetitive speed riffs and howling vocals, hot production and no-let-up pace all add up to a great four-track debut.
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.
Hard to believe. The Pope giving blow jobs, a circle-jerk party, necrophilism leading to AIDS, and fucking someone’s dad are the themes covered here. Hard to believe.
Eccentric folk/blues punk? The YOUNGBLOODS meet the FALL? Whatever, the MEKONS are back, expanded to about seven or so people of all ages and descriptions, and their music certainly reflects that variety.
Most of the material here is psych-wanking in a BEEFHEART meets BIRTHDAY PARTY vein; post-punk inanity. But one of the two versions of “Happy Hour” that appear on the disc really cuts loose, with a great CRAMPS-like rock-out. The rest leaves me cold.
Abrasive, raucous yet sparse fast-paced post-punk. Reminds me at times of the FALL meets BLURT meets the JESUS AND MARY CHAIN.
First off, this is not the Swedish NOMADS, but a US garage band from the ’60s. Secondly, it’d have to be an awesomely great band to warrant a whole LP’s worth of rough demos, and this combo from North Carolina is not of that calibre. Lots of covers, but the title track is hot.
The cover might fool you into thinking this is ’60s-punk-oriented (it did me), but forget it. Unless you’re into EAGLES drivel, pass this sucker up. Australian country crap.
Decent neo-’60s punk, at times attention-grabbing though ultimately unmemorable. More towards CRAMPS than METEORS. There are a few covers, the most unusual being the SMALL FACES’ “Whatcha Gonna Do About It?”
I wish they meant what they say and destroyed metal. Instead, they’re “destroyers” in the metal vein. This metalcore stuff is pretty fast, but the guitar…I can’t go on.
If you’re unfamiliar with the UPRIGHT CITIZENS, this domestic release is a collection of some of this German band’s finest stuff. Newly recorded, it exhibits the umph and stamina of a well-rehearsed band with exuberant rhythms and strong medium-paced melodies. A good dose of excellent stuff in the BYO tradition.
Although sometimes of garage production standards, there’s more than enough hot material to warrant this Annapolis-area comp. SPASTIC RATS, FIT OF RAGE, STRICTLY PROHIBITED, CHRIST ON A CRUTCH, SICK CHILDREN, HATED, PURGATORY, ROADSIDE PETZ, and the RUDE thrash their way into your geographical memory.
Did somebody slip a GBH record inside this jacket? Metalcore to the max by SUICIDAL TENDENCIES and their homeboy buddies BEOWULF, LOS CYCOS, NO MERCY, and EXCEL. Somehow, between the metal sound, song titles, and artwork, I don’t think this project goes too far in convincing me that Mike Muir really is down on the macho, violent gang mentality he professed in MRR.
The ’60s reissues continue to pour out: #18 is Colorado, a mixed bag but with cool stuff from MOONRAKERS. #19 covers Michigan (Pt. 3), with a pre-STOOGES track of Iggy with the IGUANAS. #20 is LA (Pt. 4), and might well be the best of the new lot with classics from the MUGWUMPS, LAST WORDS, and others. #21 covers Ohio (Pt. 2) with average material. Finally, #22, and the South (Pt. 2), with a lot of folk rock stuff and a classic by DICK WATSON 5 extolling the virtues of intellectualism!
The follow-up to Pebbles #15? This Part 2 contains mostly punk with lots of fuzz, a few covers, and at least average material and bands. Pretty cool raves from the TYKES and VIKINKS. Most material is from 1966-’67.
This unusual comp accompanies Hide zine #5. And unusual it is, in that all of side one features all-female bands (FIFTH COLUMN, ASF, UNWARRANTED TRUST, WORD OF MOUTH, CURSE, BETTYS, GIRL WAR III), an effort to “make women an integral force in punk once again.” Side two features women and men together, such as MYDOLLS, RAGGED BAGS, and many more. Varying degrees of sound and competency.
A benefit tape for Greenpeace, and, in a word, awesome. Incredibly tight and powerful yet melodic Swedish thrash from S.O.D. (get their EP) RAPED TEENAGERS, ASTA KASK, ASOCIAL, DISTRUST, HERRAIDS, and MOB 47.
An international comp tape inspired by Chris of BCT. This effort covers a bit of Spain, England, Canada, Germany, Sweden, and Holland. Represented are ANTI-DOGMATIKSS, MANIACS, CHRONIC SUBMISSION, RÖVSVETT, CERESIT 81, POST-MORTEM, BLACK VAMPIRE, ANTI-HEROES, AD NAUSEUM, FIEND, and BLUTTAT. Good sound quality. More comps to come.
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.
Garage recordings of some newer Finnish bands, such as KUMISKRISTUS, WANKERS, KAYTTO-OHSE, VIVISEKTIO, and more.
There are three German guys from AJZ Youth Center (where many of the tracks here were recorded live) peering over my shoulder, making sure I give this tape a good review. Like most live tapes, I think charm is there only if you’re really into or friends with the band, so these guys love it. There are German bands like NUCLEAR, RAZZIA, BLUTTAT, NIKOTEENS, etc., as well as foreigners like TOXIC REASONS, MOB 47, KANGRENA, BGK, JERRY’S KIDS, etc…
Smooth, predictable melodic hardcore. The tunes are all tight and powerfully done, but lack a specialness or rawness to make them stand out. Titles are translated in English, but I’m sure understanding the lyrics would make this form of Finnish HC more exciting.
Fast, tuneless metallic DISCHARGE-ish thrash, heavy on repetitive riffs and choruses, rapid-fire guitar, and relentless drumming. Contains some former VORKRIEGSJUGEND jugends.
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.
Sun-baked punk, thrash, Egypto-crypto-weirdness. Sound quality is shaky at times, but fans of Southwest psycho blues will love it.
