Fully expected this to be terrible from the dumb-looking cover, but I was surprised by the flexibility of this band. Somewhat similar to the MINUTEMEN, they have good song ideas and interesting melodies. A good embryonic start and I’d be interested to hear what they sound like in a year.
This Norwegian outfit displays their political commitment in a highly distinctive HC style: gruff vocals bark over a mid-tempo series of smoky minor-chord progressions, with a very occasional hook to sustain interest. This album tends toward unpleasantness, though the band’s desire to communicate makes this an effort well worth supporting.
This four-song slab has a sound very similar to STIFF LITTLE FINGERS due to the melodic, raw mid-tempo music and harsh gravel vocals. The lyrics on the other hand stress political awareness and action like England’s CONFLICT. Combined, these influences blended with originality makes an entertaining and inspiring record.
Rockin’ garage punk with slight pop influences, but great unrefined sound. The lyrics are rebellious and presented in a good-hearted, humorous manner. A close comparison might be an early garage version of the DICKS. Watch for vinyl because these guys rock!
Hard-driving thrash and punk with metalish guitarwork. Strong production and lots of energy, so will appeal to both speeds and cores.
Eclectic hardcore that combines power with offbeat influences, changes of pace, funky bass playing, SoCal-sounding punk vocals, and the eccentricities usually associated with Sun Belt bands. Should establish them with fringe-freaks everywhere.
Second LP by these goofy garage greats. These trashy tunes are cool all right, but there’s something different about them. They’re just a little bit off-kilter. Fits real nice between the BEEFHEART and LEGENDARY STARDUST COWBOY records.
Finally, the long-awaited second piece of vinyl by the Connecticut trio gets released. For the most part, the tunes rip but don’t have as many magic moments as their debut EP. However, the band does put their all into this record, creating a strong, tight, melodic 15-song punk LP.
Ten fast, aggressively raw guitar thrash songs combined with a deep, pounding drum beat. Each is constructed of speedy chaotic riffs which are interspliced with slower tempos. A young band, but they have the ability to punch it out. Good first effort.
I was warned that this would be “too metal” for me, but far from it. While there’s a slight bit of metal guitar action (no obnoxious leads though), for the most part this is speedy thrash. Though generic at times, there are a few touches, overdubs, etc., that break it up. Five songs, good lyrics.
Really cool raging five-song EP from this Belgian four-piece. The music can closely compare to early DISCHARGE minus the poor production and adding a lot more American thrash influence. For the most part, all the songs rip and have enough power to blow out any pair of speakers. Good stuff!
Ya think it’s gonna be ’60s? How’d ya know? Anyway, three of the four tracks are pretty decent at that, the best one (“Renée”) sounding like an outtake from the VELVETS’ first LP.
A split 7″ by England’s CHUMBAWAMBA and America’s A STATE OF MIND. The latter’s two tunes vary between melodic parts and punk rushes, all in an English anarchist vein with heartfelt political lyrics. CHUMBAWAMBA, too, deals with subjects of war/fear and state control, and musically, similarly, rave yet intersperse with “pretty” aspects. Comes with an incredible amount of info/opinion. Get this!
A live “benefit” LP, this one to help various centers aiding in riot defense zones. The target here is unnamed (a band who “sold out” to EMI), but should’ve been since it’s not obvious to most people I’ve asked. Recorded at the Olympic in LA, the sound is appropriately live, and quite energetic with 22 songs. Anyway, CONFLICT, after you get done ranting about other rip-offs, why not send MRR the $30 you owe us for your ad of last year?
A cool garage sound with ’60s fuzz punk influences. Decent power, lots of guitar, and solid production make this quite listenable.
Now we’re talking—hot Japanese speed thrash with an American singer, and 16 tracks of wailing madness has you ripping your hair out. Great classic intensity in that frenzied vein of DIE KREUZEN and C.O.C., with fast guitar work and slashing drum action, while the vocal has the definite Japanese appeal still spitting at ya. Fab, so find it.
DEATH OF SAMANTHA opts for a discordant and somewhat arty approach to mid-tempo DIY rock. That may be the problem; in presenting a style rather than ace songs, this band evades any real appeal for me. Good, hard guitar sound, though.
A split LP by two savage Italian bands, NEGAZIONE and the late DECLINO, this originally appeared as a split tape in ’84. Highly energetic thrash with charged political lyrics. Dynamite stuff, and COR’s done a service by releasing it.
A great blend of high energy, thought-provoking lyrics, and hyper-power thrash. Five songs blaze forth some intense 100-MPH thrash in the vein of much American hardcore. Good loud stuff!!
Raw wall-of-sound aggression from out of New Zealand which harbors a power-packing punch in its medium-paced drive. Both bands deliver similarities with catchy harmonies and flowing chord melodies, capturing a good sing-along energy. Two fine bands on this promising debut.
Hard-driving punk and thrash with an accent on singing and melody. Could’ve done without their DEEP PURPLE cover, but the other tunes on this six-song demo are powerful, guitar-heavy rippers. Contains ex-MALIGANT TUMOR members.
If there is such a thing as a “Vancouver vocal sound” (D.O.A., DEATH SENTENCE) then this band has it. With former members of BILL OF RIGHTS and HOUSE OF COMMONS, you’ll find four largely mid-tempo punk songs, lots of guitar, and plenty of drive. It rocks.
Offbeat, mid-tempo punk from the hot sands of Vegas. Awkward, distorted leads cut loose every so often and high-pitched trebly bass make six strong, catchy tunes—but they for the most part take the back seat when the raspy vocals come into the light and question stereotypical, political actions. Good first effort.
Recorded in prison, this seemingly professionally produced cassette proves without a doubt that this Vancouver Five member can really sing the blues. I don’t doubt any word of this acoustic folk endeavor. Mellow, pretty, and not punk…but I like it anyway.
Back, with a new band (CEDAR ST. SLUTS), who are listed as, and sound like all-female (but probably aren’t). Real garagy rock’n’roll here, so bad it’s good at times—the DOLLS on a typically bad night… and then some.
Some former SID PRESLEY EXPERIENCE members come up with a powerful, catchy three-song release. The title track has great guitar hooks, fine drumming, and tough singing. Wish it wouldn’t end. On the flip, we get more of a rock’n’roll song and a tribute to John Barry’s James Bond-type theme songs.
Excellent fast punk that slows down, thrashes, lurches into reggae. Hot playing, political lyrics, and great melodies. Male and female vocals add to the potpourri. Powerful debut, quite recommended.
The HÜSKERS’ premier major label effort finds them displaying some of the most depressing/unsure lyrics yet. Musically, this album is no departure from their pop direction, some delivered with power, some not. There’s a 12″ out now, too, containing one track from this LP, as well as another studio track and a live (but unsensational) “Helter Skelter.”
The new gods of speedcore thrash on a double-sided flexi, pushing six choice tracks into your lungs, but not letting you exhale. Rapid chaos gone berserk with thousand-MPH riffs and lightning-fast exertion. To say it all, this boils to the brink. And for $1.
This band covers familiar territory—mid-tempo hardcore with dark, sarcastic lyrics—without much in the way of originality. Still, this record boasts good production, full guitars, and solid lyric concerns. I just can’t get excited over it.
PISTOLS-type punk rock here, well done though a bit on the quieter side. Good pounding stuff.
Non-stop intensity comes from this longtime Italian outfit. The powerful music is complex and at times awkward due to the band’s capacity in integrating leads and riffs that create some great, hard-hitting melodies. BAD BRAINS-type vocals add to this tight, original, impassioned release. This puppy shreds!
Mr. Pie continues to annoy everyone again while he shows us how stupid we are. I would have liked a few more songs, but basically the good songs are crunchy, ugly, and actually have a message, and therefore make up for the stupid backwards version of “Sugar Magnolia.”
Political speedcore. Vocals like RAW POWER, and musically they shred, although the drummer seems a bit pressed to keep up at times. Pretty hot.
Alleged to have reactionary/stupid lyrics, this band has an older punk sound with Oi influences. Pretty up-tempo stuff, lots of choruses and melodies, etc.
Moody, atmospheric post-punk on most tracks, though one (“Bapteme”) breaks out into driving powerpunk, a welcome change. Helps to understand French, as the words are way up front.
Pretty good hardcore with OK hooks and power, though a bit short in the vocal department. Another Finnish one-sided wonder, six songs in all.
Holland’s version of a young DRI. This band whips out 16 simple generic thrashers on this one. Strong vocals are the center of the music, and an undistinctive guitar sound relies too much on distortion for the frantic riffs and stop-and-go songs.
This German combo has a strange amalgam of styles, most of it except for the vocalist who reminds me of early nu-wave vocalists.
Awesome! As with their incredible 7″, these eight songs combine the power and freshness of ’77 punk with the pop songwriting mastery of the VELVET UNDERGROUND, producing crunching, up-tempo, and harmonious ravers. They’ll knock your socks off.
A real split personality here—of the six songs, two are soft rock, two are hard rock, and two are punk. Since those are the only two I could stomach, I will only speak of them…and they’re quite good—real driving punk with good hooks and singing. Odd.
As expected, this slab rips most intensely with wild fast blasts of excited energy and raging ferocity. A classic choice speedcore howler with growing vocals and an overall explosion of musical power. One of the ten best bands to come out of Japan that rips with every riff and eats away at your brain. A+ OK.
What comes in a black and white and red sleeve, looks punk, has conscious lyrics, and sounds way metal? Now you know what you’re getting, and it’s decent, for the genre.
Atmospheric but energetic post-punk. Actually, at times they’re more punk than not, with a rockin’ beat, driving guitars, and somewhat crazed vocals.
M.B.P. is a noisy yet melodic thrash outfit who hit the spot—no complaints here, as they play an American style hardcore, energetic but tight. Turning the tape over for AMPACHEN we find a less frantic but nonetheless equally enjoyable and imaginative band. They too have wild vocals, great guitars, but are a bit more tuneful. Good buy.
Acoustic and sometimes electric guitar with MAUREN TUCKER-meets-YOKO-type vocals weaving around. I’ve always been fond of Vancouver’s Lester family and folk lovers could like this, but I’ve gotta take it off.
The A-side is a jaunty post-punk tune with punky vocals, somewhat reminiscent of early CURE, while the flip lags pretty much. I found the topside to be pretty catchy, though I imagine wimpiness is just around the corner.
Hard-driving hardcore with slight metalish influences, but largely straightforward. Good energy, good playing, decent sound quality. Pretty hot.
A four-song, one-sided release, this is decent but unexceptional thrash and driving punk, some of it which reminds me of a Finnish DOA.
Heavy on the melodic side which supports the band’s early SoCal punk influences. The music is held together by clean guitar work and a constant fuzz bass beat. The vocals at times are way overproduced, but nevertheless whip out classic harmonies while ranting about personal and social issues. Good first effort.
Grrrrrr, perhaps the hottest debut yet to smash yer face into the mirror with fast fast crazed rhythms and straightforward lyrics. Intense speedcore chunks of insanity rip this new Dutch ensemble into a stormfest of sonic mayhem. Four songs that slice at the jugular vein and suck all the blood out. This is the best dose in ages.
Fairly rockin’ folk rock with female vocals, like a less-slick (no pun intended) early JEFFERSON AIRPLANE. Part of the Milan underground scene of Leoncavallo and Virus, this band is dedicated to the autonomous movement, opposing commercialism and rockstarism.
Three songs in a CURE/PSYCHEDELIC FURS mold. Decent energy, but a bit too self-conscious.
A younger, thrashed-out version of MARGINAL MAN, with melodic rawness mixed with personal and social outbursts in the lyrics. Each of the seven songs are filled with simple, fast tempo power riffs and harmonizing vocals with choruses, resulting in a very impressive debut release for this Minneapolis band. Good stuff!
Punk with rock influences, usually pretty up-tempo, a bit oversung, with lyrics in English. Decent words.
This band (includes some ex-SIN 34ers) seems to be moving away from their more explicit political origins towards a mix of politics and personal love/hate songs. Musically, it’s mid-tempo punkish stuff with early-’70s rock influences. Not yet well-formed personality-wise.
Another hard-rockin’ Swedish garage band, this one produced by Jerry Nolan of the NEW YORK DOLLS. Both songs have that loose, sloppy feel, kind of like an outtake from a JOHNNY THUNDERS record.
Sort of like early B-52’S, with LENE LOVICH on lead vocals. Decent, but borderline schlock.
This band is a hybrid of the Swedish outfits MOB 47 and FILTHY CHRISTIANS, and they pack in 32 songs on this 7″er. The ditties range in the under-30-second category, with ultra-raw production, not unlike the early NEOS, and I only wish I knew Swedish so I could understand the humorous lyrics. Real fun!
Very English-sounding dirge with some redeeming value in that they have a melodic tinge with a simple rhythm section up front. Kind catchy and kinda weird.
This is really weird. Here’s a really great debut from this Canadian punk band who is socially and politically aware, and they inject all that into their songs. The thing I can’t get used to is the vocalist, who sounds amazingly like a clear-headed Darby Crash. Weird but cool.
Featuring ex-members of CATATONICS and SUBURBAN REBELS (from upstate NY), this posthumous release features driving melodic guitar punk and thrash. While it doesn’t always sparkle, there’s lots of energy and potential…but alas they hung it up—Belvy moved to Reno, Bob to San Diego, etc. Another sad story, but that’s rock’n’roll.
As featured recently in MRR, this Icelandic band plays a somewhat energetic brand of post-punk, though it’s somewhat restrained. The sound quality here is decent though thin, but given the lack of availability of their native recordings, collectors of the unusual might want to check this out.
Much along the same lines as CRUCIFIX or the VARUKERS, this has loud smashing guitars topped off with metal-edged leads. Vocals are in the infamous gravel style and the lyrics possess political awareness. Speed is kept fast, making this a very tasty platter.
A sort-of reissue. Side B is the same as the original—speedcore wailing and frantic Pus vocals. The A-side, however, is another story: three tracks are from the original release, but have new guitar and vocals; three are completely new tunes; and three are songs that appeared on various comps, again redone. Beautiful packaging.
Quite a variety of styles apparent here—two of the five tracks are synth-oriented new wave, two are ripping thrash, and one is an upbeat R’n’B-based rocker. Cool vocals throughout, lots of power on the three, and a change of pace on the remainder. Interesting.
Decently powerful older punk sound, four songs in all. Good production, pop/punks, and upfront driving rhythm. OK guitar, too, though not really crunching.
This three-song EP starts off with a rough worldbeat reggae-influenced song that has similarities to some CLASH material. The flip cracks open two offbeat melodic punk tunes. Good musicianship helps this enjoyable, upbeat release.
A garage punk fan’s delight. The A.G.’s are really garagy sounding as well as their attitude/approach, while the STUKAS are better produced but come across just as goofy and funny. No one escapes the satire herein.
Incredibly cool and gnarly vocals set to frantic thrash, with a unique flair. Sound quality is decent, but does take away a hit of the impact. A band to watch for.
With song titles like “Punks Are Rad,” “Gov’t Sucks,” “Skate or Die,” etc., you gotta wonder if this is for real. I doubt it, but the world is full of surprises.
A basic four-song cassette enlivened by cool buzzsaw guitar and clean bomping bass licks, developing a cross between the VANDALS and JFA. The band has a good sense of humor and the enjoyable rough production only adds to the potential of this band’s material.
With vocals reminiscent of Ian MacKaye or Kevin Seconds, combined with an almost jazzy hardcore band makes for interesting listening. This band is big on intros that are slow and different then rip into a thrash song with changes throughout. BEEFEATER fans will relate to this. Lots of challenging/thoughtful lyrics to boot. Great effort here.
Finally, their first LP (after five 7″ers), and they continue with their scaringly personal and honest lyrics and liner notes, but the music itself (offbeat as ever) has toned down considerably, to the point of being almost folk. With this band, though, it’s their wordage and politics that matter, so…
The A-side is a ballad, and gets tired in a hurry. The flip is an organ-dominated instrumental, a more crazed R’n’B-based tune. Though it rocks, I’d sure like to have heard some guitar on that baby, especially as this band’s name evokes the SHADOWS OF KNIGHT and rockin’ R’n’B.
Much more rockin’ than their previous releases, the BRIGADES cut loose with powerful pop-punk. Their style is a cross between mid-period CLASH and ’80s Brit-punk, while their lyrics are unabashedly political. Driving, well-recorded punk rock.
I can’t claim to be impartial about this band, but predominantly raw live tracks are mixed in with a few early demos on this one. New versions of all of your fave DICKIES songs will make fans delirious with joy, though this tape is not the ideal introduction to this great band.
Great-sounding classic punk—heavy on guitar power, riff drumming, and tough vocals. Love it.
A record that sounds like ’60s pop-punk infused with surf and folk rock tinges, knocked out with verve. Catchy fun.
This rather original Swedish outfit balances just a tinge of metal influences in some of the vocals and riffing with a definite punk sensibility everywhere else. The result: crunching, powerful punk delivered with HC energy. Another cool Swedish punk release…
Primitive 60’s punk that relies heavily on rhythms simple drumming, maracas, tambourines, etc.). Basic R&B punk with classic garage meets Mersey tones. They can fuzz punk as well, though, and that wimp Jeff (who was supposed to have done this review!) really likes this one.
Their sound is somewhere between the LYRES (more evident on A-side) and ? AND THE MYSTERIANS (cover on B-side). Pretty rockin’.
’60s-influenced yet not derivative pop-rock. Good beat on two of the three tracks, owing more to bluesy rock with punk tinges (like GUN CLUB) than anything else, only cleaner sounding.
A three-song job—one slow punker, one medium punker, and one fast punker. All are fine sounding, hot vocals, and lots of power. Good stuff, and neat guitar.
Can you dig a title derived of a stupid English punker’s desire to keep up with the hip MRR scene reports, but just being trendy? Yep, the STUPIDS stop at nothing to be bonkers, while the three-piece light the house on fire, then tell the firemen it was BRUCE SPRINGSTEEN who went thrash. Fast, fast, faster, the STUPIDS punch it all through the wall with that superb sound.
Pop-punk and melodic post-punk, cleanly produced and played. The pop aspects aren’t overemphasized and keep this trio away from heavy rock influences, which is much to their credit.
On ZOLGE’s third release, that unique wall of sound is gone, replaced with a catchy pop-punk flavoring, still not losing any potent harmonies. Strong instrumentation with tight vocals and good production make for a very sharp delivery. Has a current ’77-punk feel to it. Crafty stuff.
This must be thee latest by THEE MILKSHAKES. It’s got that trebly guitar, it’s got the names of Childish and Hampshire on the songwriting credits, and it’s got thee overall sound of thee early KINKS in a dank basement. What this EP lacks is inspiration and the only song that came close to grabbing me was the title track—the rest sound like outtakes.
A variety of punk styles (punk, thrash, post-punk), all done with spunk and power. Definitely leans toward an older punk style, albeit fast. Pretty decent.
This sampler resents diverse sounds from some familiar (MICRONOTZ, BUM KON, IGUANAS) and mostly relatively unknown bands. While side one is composed of adequate alternative pop tracks, the flip really lets loose with hard-edged punky tunes spanning most of the punk/HC spectrum. Interesting comp—and worth your attention.
A variety-pack of US punk hands from these zine makers: POETIC JUSTICE, LOOKOUTS, GROUP OF INDIVIDUALS, NASAL WASTE, DEAD SILENCE, YOUR FORM OF GOVERNMENT, and even the HATES. Most of the bands have this in common—you can hear the lyrics, meaning they’re more punk than thrash.
Such names as CHiPS PATROL, CAUSTIC DEFIANCE, HATE, and UNACCEPTED show what they are all about through the two-to-three songs each on this Peoria scene benefit comp. As a bonus, there are live tracks by bigger acts that have passed through this town, making for 26 songs. Raw production, of course.
A four-band effort from Japan hitting on a wide scope of tunes with the maniac punk from GAUZE, PiL-type goodies from ISOLATION and RADICAL, and dreamy stuff from NURSERY RHYME. Great collection to sit back and enjoy when the speed zoomfest is dry. Each band works at their best.
As good a neo-’60s compilation as you’ll find, this one covers the international scene with the likes of the STOMACH MOUTHS, BOYS FROM NOWHERE, MIRACLE WORKERS, CRIMSON SHADOWS, CORNFLAKE ZOO, and many, many more. High quality recordings, largely enjoyable punk and psych/punk.
Hold Up Omnibus 2 is a speedcore delivery of grinding guitars and heavy power. Metallic licks and turbulent chords make this puppy hard. With the likes of LIP CREAM, GHOUL, UNITED, CITY INDIAN, and SAVER TIGER, the energy is ferocious and grits the teeth. Burly banzai beefcakes to smash at.
Well, it had to happen, an Oi LP out of Japan, and it carries all those classic poundings from the English Oi hey-day. Chunky beats with sing-along chants and some wackiness, too. A wide variety of styles to choose from, with BAD VULTURES, COCKNEY COCKS, WANDERERS, BULL THE DOGS, and more. Fun and crazed.
A pretty good world sampler featuring mostly previously released material that falls under the ranks of punk, hardcore, and post-punk. Some of the talents in the limelight are BOSKOPS, VARUKERS, TOXIC REASONS, RATTUS, WHITE FLAG, BRISTLES, and many others. Comes with a free six-song EP.
Along the lines of Bullshit Detector, this LP is a collection of mainly English bands (with German and French representatives), a benefit for hunt saboteurs. It’s quite good, and introduces some relative unknowns like AXE THRASHER, DEATH ZONE, REVULSION, etc. as well as the likes of DISRUPTORS, HAINE BRIGADE, and NICK TOCZEK.
A very good-sounding demo, these five songs are classic mid-tempo SoCal melodic punk tunes, with tough guitar and great vocals and lyrics. Hope they get to vinyl, but in the meantime check this out.
An above-average noise thrash release, rife with buzzsaw guitar, raging beat, and gnarly vocals. All nine songs are sung in English, the intelligent lyrics driven home with passion and power. Hot.
This is stylistically not unlike a spacey KILLDOZER 85 vocally and in compositional structure; the thing I found continually annoying was the endless guitar wanking that attenuated all of this LP’s intensity and power. More discipline next time, guys. Boring.
This project is up-tempo rockin’, heavy on the industrial rhythms and hooks. What a find! Ranting poetic words that discuss a wide variety of relevant topics. Yer SPK-type deformation pics. I’d love to see ’em live.
One of the best and roughest of the Swedish neo-psych bands gives the NOMADS a run for their money. Both tunes are sung in Swedish, but that doesn’t lessen any of the power, and like their previous records, there is a wild harmonica that matches the fury of the band.
Lots of metal damage here, which maybe would be decent sounding in the studio, but on this live recording (ten tunes) doesn’t come off that slickly. The power is evident (especially on the drums). Studio should produce better results.
Wild, fast, art-damned craziness that’s endless and tireless. SONIC YOUTH on speed…Yow! The B-side slows down the turns into what’s closer to an emotional ballad and not as inspired.
Seven politically motivated experimental noise songs held together by a rhythmic beat. The vocals are distorted and have a rough feel to them. The music has the ability to bring across a strong, powerful sound, but fails somewhat due to the production. Potential does exist.
