A real mixed bag of smart and dumb lyrics hardcore, and metalcore music. It’s largely on the sharp side, though, and all the music rocks. I know Kent likes it, but she likes anything from North Carolina.
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.
This band’s long-awaited record release is here, but maybe arriving just a little too late! Bad average AGRESSION music that never really holds itself together. Heavy on the ’70s rock influence with several metal riffs that add to this record’s boredom. Not too much be happening here, but I wonder if you can still skate to it.
While their debut EP borrowed more heavily from early punk and basic thrash, this follow-up has ANGRY RED PLANET joining the burgeoning ranks of “early HÜSKER DÜ”-sounding hands. Actually, they also sound like latter-day HÜSKERS, with Bob Mould-type guitar and much poppier tunes.
If this is a taste of things to come from their long-delayed LP on New Underground, then we’re in for a treat. Well-constructed, diverse, SoCal punk/thrash with good hooks, lyrics, and delivery. Gary, get that record out!
Pretty poppy punk and rock stuff with somewhat twisted lyrics and occasionally bizarre instrumentation. I bet Biafra would like this one.
While there is punk power here, BLATANT DISSENT doesn’t rely on it for overall impact. Their sound is almost understated, based more on melodic tunes, up-front lyrics, and clean production. Complexities at times remind me of fellow Chicagoans NAKED RAYGUN (Jeff Pezzati does production too).
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.
Very raw, rough, and harsh. Echoing bass thrash in the same vein as the majority of classic European punk. A lot of variety in speed and power, but overall very straightforward, gutsy thrash!
While musically tight and strong, and despite Keith’s continued strong singing in the face of numerous physical injuries, this LP doesn’t really kill. The JERKS may never approach the heights of that first LP (a tough standard to beat), but they’ll keep at it, on the road and on vinyl. Decent.
This is essentially the new CRASS record. At least most of the members make an appearance in some capacity. I’d say it’s the most innovative, interesting, and yes, inspired thing they’ve done in a while. Still a stark beat and lots to say, but more varied in terms of influences, moods, and studio effects. Reminds me of something FOETUS would do and dependent on many listens. Admirable.
This record definitely falls into the category of great foreign crash and bang thrash. DBF offers a bit more originality and diversity which seems to keep the songs from sounding the same, a problem that the flip has. Both bands support simple, pissed-off rebellious lyrics, half of which are translated. Check it out!
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.
DEAD AIM’s sound is a vigorous, coarse, grinding one with influences ranging from C.O.C. to AGNOSTIC FRONT. The metal licks are kept to a minimum and the cool vocals really hold the songs together. The lyrics, on the other hand, are the weak point and really do subtract from their potential.
After a bizarre beginning, this tape launches into a thrash attack that’s raw and exciting. Recorded live, there’s some charm here overriding the obvious live recording problems and garage aspects. Definitely are hot moments.
Incorporating the best mid-’70s rock with an obvious fascination for the STOOGES, as well as NY DOLLS, RADIO BIRDMAN, and the best pre-’77 punk, this is timeless dirty rock’n’roll and fairly enjoyable.
Although too many bands get compared to the BIRTHDAY PARTY/NICK CAVE these days, here you have to make that analogy again. There are these great, loopy, tribal rhythms and general trashiness that begs for the comparison. I like this record.
Another one bites the dust and bites it hard. Amazingly poor ’70s power rock much in the AEROSMITH vein. At times, the songs become comedy pieces with the “Oh, baby” and “Let’s rock” lines. One or two songs find their roots in early punk, but these still aren’t enough to help this drowning puppy.
Much more on the punk side of things than pure thrash, their most appealing material has good melody, tough guitar, and an almost PISTOLS-like quality on the better tracks (“Brainwash”). But there’s plenty of thrash too, as well as a clunker or two. Overall—pretty good, hot production, tight playing.
I’m really locked on the DIED PRETTY’s latest. Some of this is very similar to the early attempts by the WHO and KINKS at psychedelia. Real nice, catchy melodies with haunting vocals, not really muscular but the little flourishes make this record.
A collection of DISORDER’s most popular material, all of which is recorded live. The production is very rough and the music supports the band’s ability to turn out some of the best loud, noisy, raunchy thrash. Definitely a potent and raw release.
As their name suggests, this is indeed Oi music, and decent at that. It’s got all the ingredients—catchy tunes, choruses, etc. Lyrics are in English and are anti-authoritarian. Only question: these guys are out of uniform—all spikey heads.
A half-dozen pop-punk tunes owing to ’76 East Coast proto-punk more than anything, with a touch of REPLACEMENTS. Good beat, intelligent personal lyrics, snarly vocals, occasionally lame metallish guitar, but otherwise it’s pretty rockin’.
A catchy 14-song tape produced by this Milwaukee outfit. Several blatant metal leads are weaved into medium-paced melodic thrash, both of which are topped off with strange, echoing vocals. Lyrically, a bit on the basic side, but it doesn’t detract too much from this tape as a whole.
Counting this release, there have been three CHADBOURNE/SHOCKABILLY LPs within a month. Here, you can hear him perform your favorite spazz country/psycho/experimental ditties that he recorded on his trip to all of the finest prisons in Australia. Really.
Ferocious carpet-dragging speedcore. This is classic Japanese vinyl meltdown in the aggro tradition of GISM and the EXECUTE. It never backs off with quick, metallic whines, and solid face-punched production, too. Burn, this is fire.
Firmly rooted in an older punk sound, but it doesn’t stay there. Traces of the DAMNED, post-punk; and even the ROUTERS. Not crazed, but interesting while rockin’.
From Seattle, where heavy metal is a big force to reckon with, comes this debut. I’m not really sure about this record yet, but they stray a line very close to mid-period BLACK FLAG while tending to go for a more infernal, personal side to their lyrics.
A collection of the best and worst from one of Oxnard’s finest. Consisting of one track from every release that this band has ever been involved with, only two new songs appear, both of them live and the outstanding tracks of the release. Typical rough Mystic production doesn’t really help, but overall this is a good sampler of one of the once classic SoCal thrash outfits.
“On the Warpath” is the title translated (as are all the lyrics on a poster insert), and an accurate one it is—raging from beginning to end. Stylistically, they cover a lot of bases from straight thrash, metal thrash, country thrash, punk…all done really well. Lots of power, great lyrics, female shouter are characteristics here, so I have no problem recommending it.
Reformed, recorded this one, gigged twice, and split up again. Worth it? Largely. Two of the four tracks really kick, with driving early punk laced with subtle post-punk touches: powerful. The other two cuts are more ballady/post-punky, not unlike some aspects of the STALIN. Well done.
Translates as “Muscle Little Girl Group” (I really owe Roger for all the translations on Japanese reviews). Don’t ask me? Musically they’re crazed, jazzy, avant garde, post-punk loonies. Vocals are pretty punky, and the music usually has bite, but boy, it’s weird.
A four-song rock release that’s in the post-HENDRIX tradition—”heavy” guitar, slow blues/rock tunes, long songs. Not too crazy about it.
Quite a pleasant surprise. This tape contains seven pop/thrash tunes of high-quality tunemanship, playing, and production. Very sarcastic lyrics bite to the “core.” Worth checking out.
An average pop-punk release by this Boston outfit. At times reminiscent of STIFF LITTLE FINGERS, but in many ways is no comparison. LAST STAND takes a more American, roots-rock approach with a repetitious beat in the simplest and most basic form.
A six-song tape that’s really well done. There’s plenty of controlled mania on the fast tunes as well as good melody on the poppier tracks. Overall: rips like crazy.
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.
Sad but true, a once great band has drifted towards the wimp side. Ten glamor-pop-punk songs are drastically different from any of the band’s previous material. I hate to say it, but this album is a real let-down!! It would be interesting to see how the band would pull these cheesy songs off live. No longer “Music In Action”—now it’s music in limbo!
Excellently spirited punk and thrash with well-thought out and biting lyrics. Although the playing is garagish, it’s not really a drawback because this release is about honesty. Rips.
Experimental hardcore that’s most appealing. While maintaining their edge and aggression, this band breaks rules with percussion and structure without getting too jazzy or arty.
This has a really full and smooth feel to it, just like some of the music released in England around ’78-’79. The vocalist manages to sound a little like GRAHAM PARKER while the band churns out a sleepy, dreamy sound similar to the tunes by the HOODOO GURUS.
From the opening riff rip-off of the UNDERTONES’ “It’s Going to Happen,” to a strange but cool mix of the KINKS and X, this single has all the best of those mysterious singles that pop up now and again from Texas. Great shitty production.
Thirteen previously unreleased tracks including first time on vinyl or different versions of prior releases. Among the classic MISFITS songs that even stretch musical boundaries for the band, “American Nightmare” shows some country and folk roots. If you’re an avid MISFITS fiend or just looking for a sampler, this is your disc.
This one’s a quiet, creepy psych band with some real cool, icy vocals. They seem to change easily from slower songs to charging fuzz-driven noisefests like the CRAMPS without too much difficulty.
A mid-tempo, pounding, angry, rebellious sound comes from this Chicago-based band. No direct thrash influences, but these songs support some of the same qualities. Like the PROLETARIAT with smooth power that creates catchy riffs and flowing vocals. Very enjoyable tape.
Taking his tunes from his former band, NO SYSTEM, Al Quint (MRR reporter, Suburban Voice editor) teams up with PTL KLUB for six totally ripping tunes. Hot thrash, great lyrics, and strong beliefs back this baby up. Shoulda been a record.
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.
The first original-sounding thing from JOHNNY THUNDERS in ages, with singing back-up by ex-SNATCH Patti and instrumental help from ex-HEARTBREAKERS Jerry Nolan and Billy Rath. Sounds promising? Nope, you get a countryish slick R’n’B tune, and two versions of the title tune, a sultry bluesy number that’s pretty unmoving. Oh, well, you can’t put your arm around a memory.
Fun-loving hardcore from SoCal. The lyrics are all satirical, the sound is pretty trashy, and the general feel is rambunctious and adolescent. Some of the instrumental work collapses in upon itself, but the smooth vocals and throbbing bass push them into the credit column.
Hot! A very politically motivated record that also socks you in the jaw with its music. Gruff-as-hell vocals, great thrash, and inspiring lyrics and package all add up to a winner.
The A-side is just so-so folk rock, nothing too memorable. And while the flip isn’t awesome, it’s got more interesting structure and more punchy instrumentation, especially with the raw, jangly guitar. Better.
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.
Good raw punk, strong and political from South Africa. Comes with a sharp info sheet with addresses in SA. A variety of styles on this four-song EP, from fast to slow. Not what you would have expected, but worth your interest.
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.
Stop-and-go thrash at its finest. Nine tight tunes blast forward with such a strong amount of energy, your ears will be left in amazement. In many ways, the music might come off as very basic, but if you’re a crash and bang fan, this tape will not leave you disappointed.
Fun mid-tempo thrash joined together with silly lyrics resulting in a sound much like a raw version of the VANDALS. Seven tight, rockin’ songs with clever hooks and catchy choruses, so good that it would seem more appropriate for this material to be on vinyl rather than tape.
From Rhode Island, if I remember correctly, comes a punk rockish pair of tunes. Neither is particularly overwhelming, though both are easily competent and well-produced. Just OK.
This tape is hardly audible, but the smashings and rantings thrown rapidly at you, with extreme lyrics, give proof that if this band released an EP of quality recording, it would be intense. Don’t let the name fool you—it’s not demonic, but intelligent, especially toward animal rights.
Famed for their super-short, incoherent noise blasts, these guys have changed their “musical direction, attitude, and bass player” after getting “fed up with those short songs.” Trying now to write “decent tunes,” they sound only slightly tighter (if that), still thrashing away frantically and raving about the ills of the world. In other words, they’re still a charming garage mess.
Solid, hard driving thrash from the depths of New Orleans. Somewhat reminiscent of early US thrash due to the band’s loud, energetic, ringing sound. Rough vocals complement all eleven songs on a tape that is strong overall, but not earth-shattering.
Still cranking it out, as morose, apocalyptic, and truly psychedelic as always. Superb production with some covers, some of Chadbourne’s demented ballads, and lots of over-the-edge wildness. God damn, these guys are godhead, and Heaven is as great if not better than ever.
More French skunk from SNIX. The guitars could profitably be rawer, but the tunes are generally good (especially “Madou”) and the overall effect is quite appealing. The big question here is one of values: SNIX may not be supporters of M. LePen, but some of the song titles and dedications don’t reflect much that is positive. Who knows?
These garage thrashers have been putting out tapes for years now. And while this one’s as energetic, blazing, noisy, and politically sharp as ever, I think it’s high time for some vinyl. In the meantime, get this—sounds like a modern-day PAGANS.
Perfect. Just perfect. This is exactly what I wanted this band to sound like when they released their first EP; here, they’ve tightened up the sound with engaging melodies wrapped around a ripping Midwestern Bob Mould production.
Now that the REPLACEMENTS have wimped out, where do you go for that great, snotty, teenage garage music? Louisville, KY, apparently, the home of these young’uns who not only manage to capture the snarling adolescent howl but also have a sense of structure and melody in all their songs. Highly recommended.
You know right from the start that this will blast a hole in your heart. A raver, full of high quality straight-ahead hardcore with nary a trace of metal. Powerful as hell!
Take a variety of musical approaches (yet still the style the SUBHUMANS have established for themselves), push it all together into 12 new songs and one instrumental, and the third LP release brings this band even higher in growth, creativity, and continuous stamina. Multitudes of paces and Dick experimenting with different vocal approaches has the SUBS into another serious exceptional effort.
Instead of the wild trashiness, this band has a murky, melodic charm to them very similar to SALEM 66 or even the GO-BETWEENS. The flip moves more towards a psychedelic nature, but more in the area of, say…DONOVAN? Not too shabby.
Four medium-paced, somewhat ploddy punk tunes with Oi/rock/metal currents. Powerfully recorded, but not very stimulating, lacking any real verve. Decent tunes, though.
Pretty rockin’ pop punk that takes me back a few years. There’s a good beat with pretty complex songs, moddish at times psych at times, and despite the special effects, high production, etc., the overall impact is fairly punky and powerful. Interesting.
The title-track is classic-sounding early R’n’B CRAMPS, while the two accompanying cuts are either Elvis-influenced or country-blues sounding and nothing too special. I’m glad they’re still at it, but this didn’t have me bouncin’ off the walls.
Punky yet metal, but not speedcore. Paced medium, this sounds more like early punk with metal guitar work at times. Same with the vocal approach, though the lyrics are pretty solidly punk.
This guy was old back in the ’60s during his second coming, so you know he’s ancient now. No matter, this sicko of the R’n B world can still wail, doing a credible version of his classic “I Put a Spell on You” and three others. While nothing to rise out of the grave for, fans of both he and the FUZZTONES will want to have this musical memoir.
This Saskatchewan group produces a boisterous pop sound and are at their best when the guitars and tempos are really cranked up. There is a definite ’60s influence on some songs, but most of their material has a more contemporary feel. Although good overall, “Why Should I Care” and “Gloria” are disposable.
Fun garage punk that at times reminds me of early MODERN LOVERS or HEARTBREAKERS with a bit of early ’60s garage/surf thrown in. Enjoyable.
Excellent! A really unusual approach here—punk-rocked-out folk rock in a way, but with more drive and noise. Lots of originals as well as gnarly covers of DYLAN, EVERLY BROS., STONES, VELVETS, STOOGES, MDC, SIMPLETONES, DOVELLS, ROSIE & ORIGINALS—but all rocked out. Get it.
Although I am not a big fan of the ’80s garage rehash scene, I must give credit to this band for capturing a very hard-edged, raw sound much like the classic ’60s punk sound. The screams and distortion put a lot of the pop garage bands to shame, but then again, this was recorded over a year ago; the band has gone through changes and has currently lost much of that rawness. The low point here is the neglect of giving credit on cover songs.
A three-song job featuring a cover of the LYRES’ “She Pays the Rent” (a hotter version than the original), a pounding “My Little Ruby,” and then a very atypical “Nitroglycerine Shrieks” (a crypto, unrelenting post-punk blaster like LINK WRAY on acid). Hot as always.
A really intense album, both musically and thematically. The SLA have growling vocals Á la FARTZ, and a very raw instrumental attack; the songs range from careening thrashers to more complex but less hard-hitting cuts. The lyrics are unabashedly radical, whether dealing with wage slavery, national chauvinism, or media sensationalism, but the choice of the band name leaves something to be desired since there is some evidence suggesting that the real Symbionese Liberation Army were police provocateurs rather than genuine and very stupid militants.
Admittedly unhappy with the sometimes tinny production, the SARCASTIC ASSHOLES have made the best of it nonetheless. Blasting forth with over a dozen tunes, their sound is pretty straightforward thrash/punk with lots of speed. The singer’s voice really gets gnarly at times, and lyrically they’re right on, with frequent attacks on racist/redneck mentality.
Decent moody pop neo-psych. Both sides have their ominous slower moments (almost like certain aspects of the DKs, including East Bay Ray-type guitar work), and then pick up at times. Just OK.
This, their second 7″, is pretty rockin’ ’60s fuzz punk, but doesn’t stand out too much from the crowd. Nonetheless, there’s great guitar, tight beat, and non-wimpy production.
A-side is a schizophrenic ditty combining acoustic guitar with ’60s snotty punk vocals with DYLAN-esque undertones, pop melodic instrumentation, and a folky BYRDS-like break. The flip is even weirder, with more cryptic changes Á la SOFT BOYS. Nuts.
Abrasive, grinding mayhem, crazy splats of distortion, crackling vocals, and the next Japanese cult fave. This CHAOS UK-type noise corrosion slapper growls with insanity, roaring feedback, and those raw barks like stormtrooping bombs.
“Never Say Die” is right, as Bobby Steele, originally a MISFIT and veteran of his UNDEAD, re-emerges with the umpteenth lineup. Glad he did it, too, because both sides are excellent rockin’ early punk, a sound that crunches, and you can hear the lyrics. Hot pop punk.
From Sweden, this combo plays pretty competent ’60s punk (an eerie aspect of said genre) and a bit of rockabilly. There are traces of CRAMPS and NOMADS in here, but little in the way of originality or special verve. OK.
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.
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.
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.
This comp put together by the fanzine of the same name features bands from the Milwaukee and Chicago area. It exposes some great new thrash/punk bands, most of which possess a lot of potential. Notables include SELF GRATIFUCKATION, POLITICAL JUSTICE, OUT OF ORDER, and CRUSTIES. Good diversity keeps the listener’s attention. Booklet included.
Another blazing international comp featuring 35 bands from 17 countries. SOLUCIÁ”N MORTAL, NEGAZIONE, NO LIP, DEATH SENTENCE, MOB 47, FINAL BLAST, and INDIREKT are just some of the fine thrash bands that you will find on this recommendable cassette. A very tasty sampler.
All manner of “death” rock here, from metal to SIOUXSIE-style dreariness to TSOL-type moodiness, from a host of bands known and unknown. Includes ILL REPUTE, SUBTERFUGE, WHITE PIGS, MESS, AWOL, FALSE CONFESSION, and more. This is where I usually stick in a bad pun, but in this case I’m scared to try.
A US/German sampler containing the likes of MANIACS, LOVE CANAL, CHRIST ON PARADE, VOMIT VISIONS, NRK, INFERNO, and many more. Sound quality is largely excellent, as well as the material.
Another Phoenix compilation with JFA, MIGHTY SPHINCTER, and the SUN CITY GIRLS, but better than that are tracks from the new bands like BOOTBEAST CARNIVAL, HARVEST, HELLFIRE, and the very raunchy DIRT CLODS. Lots of instrumentals, strange industrial stuff, and best of all, raspy garage sounds.
A raw dosage of noise thrash fronted by eight Florida bands. Speeding, blaring, and clashing seem to be the common themes among the musical styles, and some bands are tight while others are sloppy, which only adds to the character of this comp. The ear-catcher here has to be the songs by JEHOVAH’S SICKNESS.
Side one is largely “cheesy” (as Martin’s wont to say) pop, lightweight neo-’60s stuff (the kind that gave the ’60s a bad name back then), with only one passable track (MOD FUN). Side two of this all-New Jersey comp comes on with A.O.D., then back to cheese (psych and blues), then some rockin’ PLEASED YOUTH and SACRED DENIAL, a bit of garage, some STOOGES-like stuff from DAS DAMEN (pretty decent, Lyle), DOLLS-like material from SKULLS, and some jive fun from the PUNSTERS.
Yet another Mystic sampler of previously released material from the label’s former projects. Included are DR. KNOW, INSOLENTS, DOGGY STYLE, and more. Is this really necessary?
A four-band comp, featuring CRISMA KAOS (melodic thrash), SLAM (metal-laden), PAST (straight-on melodic thrash), and BIZARR (melodic thrash, with the most bite here). All in all, OK, but not awesome.
This hot Brazilian HC comp features ten bands and a variety of styles from supercharged thrash (RATOS DE PORÁO, LOBOTOMIA) to Oi (VÁRUS 27, GAROTOS PODRES—dig that harp!—and AUSCHWITZ) to folkish punk, classical punk, and even skate punk. The trebly Brazilian production adds to the appeal, and most of the lyrics are concerned with political issues like oppression, nuclear war, and corruption. Cool gatefold cover.
An hour tape containing nineteen Polish punk bands recorded live at the Jarocin music festival. With this compilation, the average music enthusiast can get ahold of the kind of punk Poland has to offer. The production and sound quality are really good considering the situation and conditions. Recommended.
An intense power-thrash compilation which features OI POLLOI, H.D.Q., CRIMINAL JUSTICE, DEPRAVED—all who blast out incredibly loud, ranting, politically conscious songs. A powerful comp in which all the songs shred and will have a satisfying effect with each listening. My only complaint—no lyrics sheet.
A comp that features all Yugoslavian bands (PVJS, CZD, MASAKER, and MARZIDOVSHEK). There’s a bunch of experimental thrash, which while wandering into the unknown, always comes back with power. Sound is decent.
An excellent comp which features some of the more popular politically conscious bands involved in the scene such as CONFLICT, OI POLLOI, ANTI-SYSTEM, STALAG 17, ICONS OF FILTH, and the list goes on. All the songs were recorded live at England’s infamous Station Club. Good sound quality. Recommended.
A compilation of nine pop-punk/thrash bands from France. The music is split in half. 50% is average background, entertaining pop that at times becomes annoying. The remaining music consists of some really hard thrash, French style. For the most part, enjoyable and well worth looking into.
This is a sampler of little known, or even unknown “psychedelic” English bands. MAGIC MUSHROOM BAND and SLEEP & THE CREATURE VAMPIRES have something going, but the rest of these bands play uninspired marshmallow music. To top it off, most of these bands don’t even exist anymore. Consumer beware.
Good driving, pounding early punk sound that kicks both musically and lyrically (anti-war). Interesting divergences are thrown in here and there, but don’t detract at all. Cool vocals, too.
This special German pressing features six new tracks and thirteen previously released on their Third Strike LP. If you haven’t heard the band, the closest comparison would be a punk version of KISS influenced by the GERMS! I’ll leave it at that but I must comment on the cover…what a “unique” concept.
