Fuckin’ kick-ass English thrash with blatant early DC hardcore influences; they even do a great cover of MINOR THREAT’s “In My Eyes.” Great emotional personal/political lyrics that shed new light for a lot of English bands. Powerful as hell! Simply one hell of a record.
Dark punk with rock overtones, reminding me a bit of some ROKY ERICKSON. At times, it’s too “rock” for me, but there are some songs with late-STOOGES influences (“Agents of Faith”) that make up for it.
Pretty decent older punk styles, both live and studio. Lots of melody, raw rhythm guitar, choruses, etc. Good music to file records to.
Originally planned as a live flexi (rejected by Eva-tone, monopolist flexi-pressers in the US, because of language), this limited edition comes out as a 7″ with no pic cover. The A.O.D. stuff shreds as always, including a thrash version of “We Will Rock You.” BEDLAM’s side is rawer, but still rips. Well worth sending for.
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.
This Connecticut band sometimes sounds like one of those tedious UK post-punk outfits, then they turn around and produce rockin’ 60s-tinged guitar-heavy numbers. The best of the latter is probably “Prey for Me,” but the lack of slickness on the production makes this debut pretty enjoyable in an early MISSION OF BURMA-type way.
From Chicago, high-production post-punk with good power, occasionally delivering straightforward punches, but like the robot boxers on the cover, there isn’t an overwhelming sense of identity or heart. Maybe I’m just OD-ing on all these major “indie” releases that rely on major-type production, making them sound homogenized to me.
A live tape that has its pluses and minuses. The drumming is really strong, the guitar raw, and the vocalist rivals CAPITOL PUNISHMENT’s for lowest range around. Drawbacks include the mix and the somewhat “heavy” aspects of many tunes. Still, it’s crude and powerful.
The debut vinyl from this German band has eleven hard, tight, melodic thrashers, and a good, steady fast beat with several speed changes that give the music a memorable identity. There are some serious metal-edged guitar leads, but the songs are structured well so they’re not overpowering. Excellent production creates the impression of the music being in 3-D! Worth looking into.
Fans of early NO TREND will appreciate this rockin’ noise. With funk, jazz, and experimental leanings, this screamin’ combo raucously slashes their way onto vinyl. Angry yet absurd.
This French band has put together an impressive package with photo cards and cover booklet. The single is right in the JOY DIVISION, early NEW ORDER, experimental vein, although “Santa Maria” is a little more rockin’. I know this doesn’t sound great, but they’re not bad. Needs more edge to make me happy, though.
A seven-song release from this up-and-coming SF band, most of which are thrash. There’s a heaviness to their sound, which becomes even more apparent on the two slower numbers, powerful post-punk dirges. Dave (ex-JERRY’S KIDZ from Albuquerque) sounds good, and the band is tight and strong, though I think the super-clean production here detracts a bit from their normally noise-intense live performance standard. A band to watch.
A wonderful noisy and crude assault on your ears. While the musicianship is basic and loud, there are structure, changes, and thought behind it all. Good and intense, political as well.
Simply great. Classic SoCal pop thrash with hot Agnew guitar and Casey vocals. Hot production, too. Rips completely.
Great! Who are these guys? Awesomely powerful English-style thrash meets almost a DC-like hardcore approach meets DOA at their best! Great lyrics to boot.
Maniac accelerated speedcore and the bites are intense. Their third release has head-choppin’ activity which never backs off, their best yet. Laced with metallic thrash and abrasive vocals and produced with a booming sound, this crossover ignites to drive you mad. Take off this buckled jacket, I want to flail.
A four-song “death metal core band” that zips along at a frantic pace, isn’t as metal as it is thrash, and avoids lame lyrics and sticks to political/social subjects. A pretty hot debut.
DRUNK INJUNS—the greatest enigma of our times. Can you afford to miss the classic, rockin’ SF garage band who, apart from a hard-to-find cassette and a few comp tracks, are treating us to decent (not great) live recording which includes their greatest energy and material? There’s only 1000. Get it!
77 punk, both musically and lyrically. I mean it’s fun stuff, retarded lyrics, old punk format, but there’s not an overwhelming power behind it or special wit. Decent regressive venture.
A schizophrenic album with a melodic “then” punk side that includes material from their previous 7″ releases, and a semi-commercial “now” side with recent post-punky material. I much prefer the former, though there’s not a total separation. This is a decent record with some good lyrics, but only “No Leaders” is really irresistible.
Slow, screeching noise guitar and pounding drums become the background for chanting vocals, together there are a lot of similarities to the WITCH TRIALS and CRASS-type bands. There are 51 songs on this cassette which really shows the growth of this band, but the muffled production takes away a lot and can become the main concern when listening.
The first comparison that comes to mind is early SSD or NECROS. The music is a power-punching concrete wall-of-sound strengthened by gravelly vocals. The speed is kept under control, which creates an echoing, pounding effect on your body. Cool stuff!
Basic funny rockin’ punk thrash that blends a lot of diversity and metal leads with satirical humor resulting in an entertaining collection of songs. The recording is live, and the cover of “Wild Thing” breaks new ground for that song alone.
Sounding a lot like the FLAMIN’ GROOVIES in both their early ’70s “Slow Death” sound and their later jangly guitar stage, this single is pretty rockin’. While they don’t flip out totally, it’s good, powerful R’n’B rockin’, especially the B-side.
Both sides are typically rockin’ Aussie stuff, with a DOLLS sound updated by Motor-City-type late-’60s rock. Rock’n’roll, dudes.
Rock punk with crooning female vocals, metalish rock guitar, and overall late-PENETRATION sound. Singer bugs me a lot with her “sweet” singing.
GIRLS AGAINST SEXIST HYPE aren’t fuckin’ around at all! Great smashing hardcore, sharp lyrics, powerful production—too much. Imagine a POISON GIRLS approach with thrash power, and you got it. Get it.
In reality, just two songs, both highlighted by melodic punk Á la PENETRATION, complete with a clear singing female vocalist. Quite good, actually, with excellent production and simple but well-done mid-tempo instrumentation.
Somewhat garagy and loose, but more than made up for by the sheer zest and crunch. Cool guitar and good drumming center this ripper. Lots of thrash and a good cover of “I Wanna Be Your Dog,” all done with lots of power. Good punk lyrics as well.
This pretty cool collection of songs contains all their hits, all of which were recorded live though 1982-85. The production varies from song to song but does a good job of re-creating the experience that this band brings across live. Worth looking into.
Containing both live and studio material, this tape demonstrates HEX’s powerful anti-state message as well. There isn’t as much bass as I’d like to hear, the sound quality is good and there’s plenty of powerful music, as well as chants, rants, interspersed sound effects, and literature. Concerns are predictable: bomb, anti-vivisection, politicians. Good chaps.
Both A-side tunes are slick, mainstream punk (if that’s not a contradiction in terms), and are to be played at 33 RPM. The flip is a 45-er, though, and is thrashy, making it hard to believe this is the same band. That song rips, and the cover is also a grabber.
Melodic early British punk influence. Two songs, both with upbeat tempos and sing-along chorus. The vocals are done with a perfected slurring technique which gives this record a lowdown party punk feeling. Good.
Both sides are rockabilly-influenced punk, decently done but pretty country-fried. Definite CARL PERKINS influence.
A three-song one-sided effort, this bands’ name translates as “A Whole Family Suicide.” Fans of fast-paced UK thrash will like this one, as it’s well-produced and crunches. Good debut.
This Swedish four-song EP is more than a little influenced by new speed-metal bands. However, the rough, crunchy production helps to overcome that avenue.
Very well-produced power thrash. This is hard-hitting, head-on, stop-and-go hardcore. No frills, no innovations, and lots of tight meat-cleaver stuff. Good lyrics, too.
Great psych cover, but the music is more of that quasi-folky LA-style ’60s pop than the trashy punk or the mindbending sound. “Camp 9-0-9″ is faster, rawer, and by far the best song on this EP. Personally, I’ll take the STOMACH MOUTHS or MORLOCKS any day.
Schmaltzy ’50s R’n’R meets DOORS meets simple punk—and I don’t think I like the results very much. Total noise it ain’t.
Actually, this is a 45. Both are fast punk with fuzzy guitar, a bit experimental sounding at times, but by no means groundbreaking. Decent.
Both of these EP’s are fairly crazed post-punk meets ’60s junk meets NAKED RAYGUN meets BUTTHOLE SURFERS meets BIRTHDAY PARTY etc., etc. I made the mistake of playing one record at 45 RPM instead of 33, and it sounded even better. Incredible production doesn’t hurt a bit either. Find these.
An interesting four-song effort, featuring an almost folk pop-punk sound like the NEWTOWN NEUROTICS. And; as with that band, you’ll find thoughtful lyrics and punchy delivery. Subjects covered are skinheads, glue, and standing up for your dignity. Fine-spirited punk.
Classic mid/late-’70s Midwest garage punk, one side studio and one live. Full of grunge and satire, Les Black and Co. do covers (“Ring of Fire”) and plenty of originals. Raunch and roll.
Fans of eclectic hard punk should appreciate this release. Combining funk, rock, and jazz influences. LES GNOMES have a punchy and herky-jerky sound which could have been too distracting had they not delivered it with such force.
A-side sounds like ANIMALS meets LEMON PIPERS, while the flip is less bluesy and more poppy. OK bandwagon stuff.
An excellent political thrash/metal crossover that’s a mixture of polished riffs, leads, and speed changes resulting in a sound like early DISCHARGE, yet still original. The production has a slightly tinny sound to it, but thoughtful lyrics give this one quality. Recommended.
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!
This is the most blatant, consciously political effort yet by the MINUTEMEN. From the painting on the cover to their choice of covers (CCR’s “Have You Ever Seen the Rain”), they attack war, Central American repression, and political apathy—and all the while still pumping out, fast and furious, the thrash/pop/jazz/rock sound they’ve honed to an edge.
Around for a while but finally out with vinyl, this highly eclectic band debuts their sounds: post-punk, industrial, folk-punk, and more. Following in the footsteps of TOILING MIDGETS, SLEEPERS and even FLIPPER, you’ll find musicianship and intelligence at work here. Comes with booklet.
Heavy rockin’ Aussie stuff with plenty of late-’60s and mid-’70s influences, and since the Detroit sound seems permanently ensconced Down Under, it should come as no surprise. OK.
More of the muscle/hair punk rock that they approached on the Flipside comp. Doesn’t really bother me, but those who are rebelling against the NUGENT guitar riffs might want to stay clear. PINK FLOYD cover on the flip…hmmm.
Eccentric hardcore, ranging from FLIPPER-like dirges to weirdness that I thought only comes from Arizona or Texas. Pretty garage at times, too, on this five-song job.
Fusing punk, metal, rock, and other forms, this second release by NOMEANSNO is delivered with lots of power and punch. Their experimentation hangs together pretty well too, sort of like what BLACK FLAG could do with a bit more imagination.
Most of the songs by the Arizona-based band are in the medium-paced punk vein, with a few slower or more rapid-fire. The production sound is thick here and, combined with their rock influences, makes for a lot of listening. Not awesome, but well done. Question remains though why they chose this label often accused by German punks of pro-Nazi connections.
Slow- to mid-tempo post-punk. Haunting and flowing mood music bordering on gothic, but not as trite. Weaving but simple melodies. The title-track is the star by far. If you’ve been following the bountiful post-punk bands from the East Coast, you’ll love these Brits.
The recording is pretty rough, but that won’t stop you from enjoying this. Intelligent lyrics are propelled by tough and loud thrash. Noisy but controlled, with plenty of energy and determination. Good start.
This is a 12″ reissue of PERDITION’s earlier release. Obviously, the catchy Britpunk musical style hasn’t changed, but the sound quality is a whole lot better.
This is an ambitious overview of the lifespan of PERE UBU. From the early acid garage sound of their early singles, to the final, more jazz-influenced release, this labor of love contains extensive liner notes about each phase of the hand and each recording.
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.
An English release that mixes bits of thrash with the sound similarities of GBH and ENGLISH DOGS, but with not the same amount of punch. Musically, it has a lot going for it, but nothing that makes it shine past the stack. Enjoyable and better than some UK releases, but needs that unique gusto to kick the brain around.
Thirteen mayhem raging tunes surface from the basement of this West German band. Vicious stop-and-go thrash compounded with several mid-tempo speed changeovers. The harsh bash/smash parts have a hard time keeping time, but the more melodic parts are quite enjoyable.
For the most part this is good rockin’ thrash which reminds me of the ZERO BOYS combined with the efforts of a mid-tempo AOD. Out of these eight songs, a couple don’t seem to make it, but the remaining ones hold this tape together. Good effort.
With all the skill of an early GERMS record, these guys will punk rock their way into your twisted little heart. Aptly titled, this EP is goofy and enjoyable. Playable at any speed.
Combining garage, noise, punk, and spoken word, this crude trio will not appeal to most in their simplicity, but their commitment to the original punk aesthetic should. “HC Rebellion” has some important criticisms to hear, which you can also do live (see tour ad this issue).
If you’re a fan of that raw, early PISTOLS punk, as well as fast, well-done punk, you’ll want to locate this. Although it’s a live recording (good sound, though), there’s plenty of power and clarity, as well as excitement. Great guitar.
A novelty record, to be sure. Side one features a flute and rhythm machine backing a ridiculous monologue about middle class guilt on starving Third World peoples. The flip is a satire on sex-oriented rock songs set to a grinding guitar and a beat. Twisted.
This Austrian band mines the same territory that the NOMADS do, and well-thought-out originals, but they do it on a less frantic level. There’s an overall enthusiasm that helps with the sound, but it might come over a little bit better if they’d work up a sweat.
Grungy thrash with hints of Oi, Oi, Oi choruses but not falling into the sometimes wimpy character of a lot of Oi music. The good mixture of abrasive, distorted guitar and fast speed keep this record flowing smooth. Grade “A” thrash—good stuff!
As you might have guessed from the song titles, this isn’t the Long Island outfit of the same name. Far from it, both sides are instrumentals borrowing from the YARDBIRDS and ELECTRIC PRUNES, but doing pretty toned-down semi-psych stuff. Nothing to rave (up) about.
Medium/slow-paced but powerful, combining some of the better aspects of post-punk with the raw power of PISTOLS-type punk. Lyrically, the three songs deal poetically and philosophically with alienation, religion, etc. Good sound.
This live recording dates back two years (SEPTIC DEATH haven’t played live in well over a year, but will regroup this summer, according to Pushead) and features a whole slew of songs, including some not on their studio LP. The sound quality is definitely lacking on the bass end, but gives a good representation of their breakneck stop-and-go thrash interspersed with metalish breaks. The first of a whole series of 10″ live discs on this label.
These crazed noise-makers were caught live at Miami’s Cameo Theatre in late ’85, and this tape brings it all back. Obnoxious distorted guitar and echoing vocals amount to just about all of this entire cassette. Sound quality is poor, but in many ways this adds to the character and helps the listener get a feel for what this band is all about.
A ten-song follow-up to their cassette (released in the US), continuing with ultra-simple and basic (primitive?) pop ditties. Well, the music is at least…but with song titles like “Banana Leaf,” “Chinese Song,” “Flying Jelly Attack,” and “Insect Collector,” I have a feeling these girls are not at all as sweet and innocent as they sound.
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.
Good atmospheric production makes the noise hang together better than on a lot of their releases. “Fuck” is bleeped throughout the A-side, which really grates more than the music. Flip is the A-side backwards, and no bleeps.
This second LP is in many respects a disappointment. Simple generic thrash with Jello-like vocals, ranting and raving about social rebellion. The music doesn’t rage and the vocals become old very quickly. A big step down from their first release.
Somewhat garagy thrash, coming out of the ruins of ARSENAL (not the NY/SF combo) and is pretty decent, though the bulk is live recordings. Actually, the playing is pretty tight, and hey, how can you go wrong with titles like “Republican Children,” “Team Gilligan,” “When Mom Find Out I Drink,” “Conceptual Realizations of a Life as Applied to the Oakland Coliseum,” and “Reagan Is a Poseur!”?
The A-side is decent but uninspiring ’77 punk, but the flip is a thrash ripper with cool choruses, though the lead singer doesn’t quite grab me—too clean sounding.
Another great package from IPR. Mid-tempo with ’60s pop and surf influences, punchiness, and a little goofiness. Not a standout, but they definitely have merit. I especially like the instrumental “Dangerous Visions.” There’s only 1500, so collectors beware.
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 EXPLOITED of Japan, believe it or not. The music has a simple marching, pounding beat and the vocals have a nice gravely flavor to them. Some of the song titles include “Insanity,” “Sex,” and “Barmy Rat.” Get the picture? Nothing too exciting that already hasn’t been done.
Both tracks are from previous LPs, and while both are OK punk, they certainly aren’t so superior to warrant separate release. “H-Bomb” captures live energy, though.
This year’s Original Packaging Award winner, this single comes in a cardboard X-mas stocking. Is the music as zany? No, but it’s rockin’ R’n’B-type ’60s stuff, especially on the B-side. Fun.
If it were 1966, this record would be cool. But alas… Anyway, most of the tunes here are originals (and decent at that, including the classic “She Told Me” from their last 45), breaking away from their cover syndrome which spans back many years. Now if they could only break into the ’80s thematically…
A combination of new studio and live tracks keeping with a basic, medium-paced thrash sound. The lyrics have a warped sense of humor and a predictable satirical flavor. The new vocalist adds more power, but the music could use a little more development. The covers are fun.
The A-side sounds like the SAINTS (second LP) meets ’60s pop-punk—OK. B-side is way rad, a snarling ’60s punker with SKY SAXON-ish vocals and nasty instrumentation. Once again, Sweden leads the way in this genre.
One of the best sounding tapes I’ve heard in a while; these guys utilize ’60s punk, surf, and old punk, but weld it into a very modern, hard-driving punk sound, not unlike AGENT ORANGE running headlong into NAKED RAYGUN. Very tight, very powerful, intelligent, and not cliché at all. Plus there are tons of tunes. Dynamite.
Their first album contains three previously released tracks and eleven newies. And like their other recent material, this new stuff contains numbers that melt perfect simple pop melodies with a wall of guitar noise—a sublime combination only approached before by the VELVETS.
While I’ve liked a lot of their earlier releases, this one didn’t grab me. It’s really rock-heavy punk and post-punk that rarely cuts loose. On some of the slower stuff they do mount good power (“Lollipop”), but it’s not enough.
The stick-on label says “Iggy-esque post-punk.” Forget that shit, this is full-on punk. While the vocals do remind me of IGGY, the music is raving punk stuff, not unlike early SAINTS. Excellent.
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.
On the NILS’ debut solo release, their music is distinguished in that they can easily shift from all-out ripping hardcore to a more poppy song with cool harmonies and nifty melodies. A very good record from a band that doesn’t sound like anybody else.
An above average neo-’60s disc that mixes Lux-type CRAMPS vocals with slightly more tight ’60s punk instrumentation. Maybe it’s the hot production, but the five songs here really stick out, including a cool cover of “Wild Man” and RED CRAYOLA’s classic “Hurricane Fighter Plane” (another CRAMPS rediscovery).
While the A-side is more on the slow metal side of punk, the flip rocks more, has challenging lyrics (see article this issue), and reminds me of good early RUNAWAYS. Raunchy indeed.
A change of pace from the typical thrash syndrome with the new 12-song demo from this Grand Rapids outfit. Overall, a PROLETARIAT comparison comes to my mind, but this band keeps a stronger guitar-oriented sound. The vocals sing right along with every beat, which after a couple of songs becomes annoying. The speed is fast but still falls short of a lasting impression.
Pretty cool and raw ’60s-type punk. Tight and powerful, with an obvious NOMADS influence, they rock hard and have a gnarly singer. Hot rock’n’roll.
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.
I think maybe I could handle this super-produced punk-derived rock if it weren’t for the singer. He plays it totally straight vocally, sounding real mainstream, and that puts me over the edge. Maybe LOU REED or DAMNED fans could get by, though. Comes with a three-song flexi.
Thee MIGHTY CAESARS sound a lot like the MILKSHAKES on the A-side instrumental and a lot like ’62 UK R’n’B on their cover of JIMMY REED’s classic. Beat/surf/R’n’B stuff with a cool but simple trebly guitar lead. Basic crude and lightly produced rock’n’roll.
An interesting hardcore sampler put together by the folks at Ax/ction records. Every branch of the thrash family is represented: metal thrash, generic thrash, speed thrash, good thrash, and bad thrash. Most of the material comes from demo tapes and offers something for everyone. Some the standouts include: VERBAL ASSAULT, STUPIDS, DEATH SENTENCE, and PTL KLUB.
This excellent Northern sampler has something for everyone. You expect great tracks from SNFU, STRETCHMARKS, and NOMEANSNO, but this LP showcases other positive young bands like MY DOG POPPER, S.C.U.M., SUDDEN IMPACT, and the RUGGEDY ANNES. Entirely recommended.
An all-female band comp put out as a non-profit project by two women in Canada. The music itself is all pretty hot, ranging in punk styles from thrash to classic punk to garage to pop/punk. Some bands included are: ICONOCLASTS, A.S.F., RAUNCHETTES, UNWARRANTED TRUST, INDUSTRIAL WASTE BAND, RUGGEDY ANNES, BARELY HUMAN, and PRE-METAL SYNDROME (among others). Good job, and comes with a booklet.
Mostly SoCal bands like ENTROPY, ILL REPUTE, SCARED STRAIGHT, STUKAS OVER BEDROCK, DOGGY STYLE, DON’T NO, as well as DRILLS, and AMATEUR GYNECOLOGISTS. Sound quality varies, but everything rips… good listening. This label has also just released in the US the INSTIGATORS live tape.
Mr. Beautiful must have his head up his butt, cuz outside of the FREEZE’s “Warped Confessional,” OYSTER’s “Headhunter,” and GANG GREEN’s “Let’s Drink Some Beer” (previously unreleased), you get mostly MTV-quality rock from a slew of groups. Occasionally OK moments, but overall it’s hurtin’.
Crazed thrash attack, compliments of this 15-band international compilation. With the likes of CONCRETE SOX, SACRILEGE, WAR OF DESTRUCTION, and CRYPTIC SLAUGHTER, you might have guessed that a majority of the material is in the hard-hitting speed metal style. But also there are several great thrash moments brought to you by STUPIDS, ENTROPY, and LÄRM. If this sounds like your bag of tricks, then play it loud and I assure you that your ears will smile.
This excellent 90-minute tape will strike the fancies of the thrash speed metal, post-punk, and alternative music fanatic. The majority of the material comes from demo tapes and exposes several new bands, which makes it worth looking into. Book included.
First NorCal comp in a while, this one features some East Bay bands (SPECIAL FORCES, BONELESS ONES, FANG), Sacto’s TALES OF TERROR, Santa Cruz’s BL’AST, and SF’s VERBAL ABUSE. Lots of metal or “heavy” punk, some thrash, and lots of power. Good recording brings out the best in these bands.
A Cleveland-area comp of varied underground bands. There’s hot punk/HC from SPIKE IN VAIN, OFFBEATS, DARK, GUNS, IDIOT HUMANS, as well as moodier post-punk from SHADOW OF FEAR, FAITH ACADEMY, DEATH OF SAMANTHA, and others. Outside of just a couple of tedious cuts, this record is fine listening.
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.
A compilation that features some well-established names in European punk and HC. With bands like the VARUKERS, NO CHOICE, RATTUS, and ENGLISH DOGS, you would think this would be a very powerful piece of vinyl. Well, it’s not, and most of the tracks are at the most average and leave no lasting impression. Nothing outstanding.
Some new Aussie bands show their stuff on this new comp. Excellent effort courtesy of: GASH, FILTHY TRASH, MIMOSA TRIBE, LONERS OF STENCH, and DEPRESSION. This is one diverse thrash compilation that will keep you on the edge of your seat! Recommended.
Spit out that raging energy with 38 bands delivering a wad of good slugs. This two-LP French comp also features a few international acts. This collection will separate the spine into sections with the likes of S.O.D., PSYCHO, HEIMAT-LOS, SOLUCIÁ”N MORTAL, MELAKKA, BUTCHER, and more. For thrash-mongers and punk-harbours.
A good German HC sampler featuring many under-exposed bands like MOTTEK, CERESIT, DIE RUSSEN, INTERSCHROTT, and many more. Sound quality varies but still the music is listenable and enjoyable.
A new compilation made up of Finnish and English bands. The Finnish side has the likes of RATS, SANCTUARY, and DORIAN GRAY, doing mostly raw, pre-released material. On the flip, we hear a ballet-type rant by ATTILA THE STOCKBROKER, and ten great melodic thrashing cuts by the UK ICONOCLASTS, who with their catchy riffs and vocals are the standouts here.
This next We Won’t/Don’t… LP is an international blow-out with the likes of D.O.A., SACRILEGE, VIRUS, DIATRIBE, OI POLLOI, DEATH SENTENCE, NIC TOCZEK, STONE THE CROWZ, POST MORTEM, A.O.A., CONFLICT, TOXIC REASONS, and tons more. Sound quality makes for a Bullshit Detector varied effect. Scant info included.
An all-European comp LP with the bulk of the bands hailing from Germany. There’s quite a range of punk/hardcore styles evident, though the thrash from Holland’s PANDEMONIUM and Germany’s CIRCLE OF SIG TIU stand out for me. Other bands include ENOLA GAY, TIN CAN ARMY, WUT, A.N.A.L., EKLATANT, and France’s VERDUN. Comes with a thick magazine that leads me to believe that most of the songs are politically oriented.
A good mixture of high-power HC, speed-metal, and melodic mid-tempo garage thrash bands. The majority of tracks are unreleased and a few are recorded live. Standouts include: DER RISS, RAYMEN, IDIOTS, DIE MÄNNER. Something for everybody on this sampler.
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!).
Interesting schizo release. Simultaneously rough garage and well-done moody post-punk, and lyrically both sensitive and crude. Female vocals (with echo or harmony?) sound cool. Sounds like LOU REED meets SIOUXSIE meets GIRLS AT OUR BEST.
A change from this band’s earlier HC thrash release. This time, the band leans toward a very melodic, underground big-beat sound much along the same lines as KILLING JOKE. Two of five songs are instrumentals and really show the band’s musical ability.
Not metal at all, but a sort of psychedelicized heavy punk sound. Very well-produced, this eleven-song tape is both “different” and yet still powerful. Most of the lyrics are a cut above, too. Worth checking out.
Well-produced eccentric pop punk. The B-side is a bit pop for me, but most of the A-side is interesting (save for some of the breaks, which get a bit “wavy”). Not run-of-the-mill at all.
Raw punk guitar and almost UNDERTONES-like pop-punk add up to enjoyable listening. Both tunes are very straightforward and it’s the simplicity and the power that are so catchy. Weird as shit language, though.
Imagine mixing FRANK ZAPPA, CAPT. BEEFHEART, TESCO VEE, EUGENE CHADBOURNE, DOC DART, and SACCHARINE TRUST down to one demented guy and his musician buddies. Jazzy, discordant, pun-filled, at times melodic and/or rockin’ with horns, various percussion and tape effects. Original and weird enough to be recommended.
