One of Connecticut’s finest thrash bands pops up LP #2 full of whirling hardcore that packs an introspective message. Both celebrating the positive notion of the underground and also pointing a finger at its failures. Musically, it’s a little more melodic this time, something like the catchiness of the DESCENDENTS. A must.
Tony (ex-ADOLESCENTS) adds his great vocals to a more metal band (ADOLESCENTS meet STOOGES?). Nothing lyrics, but the sound is OK.
There’s quite a variety of nasty sounds on this fine-sounding studio LP—lots of drive, dirty guitar varying tempos, and power. Much better than I had expected; a pleasant surprise.
Good, snotty early punk, basic no-frills smart-ass stuff. Five tunes, all fun.
A three-song job that combines neat vocal harmonies and simple pop songs with an edge. Sounds like mid-’70s pre-punk rock’n’roll like the REAL KIDS. Nothing frantic but enjoyable.
A split tape by two Colorado Springs bands that will be out touring this summer. WILLIE THE DISK have a powerful pop-punk sound and can thrash on a dime. ANTE BELLUM have a “heavy” sound more often than not. Sound quality is decent.
This new one from ASTA KASK has that brisk, melodic, and powerful style, but with an added emphasis on power. This sacrifices a bit of accessibility, but makes for some great moments, especially on the steamroller, “Sexkomplex.” Another great one from these guys.
Fast-paced basic thrash, Swedish style. Ten songs come forth with a good, steady beat and loud guitars. The vocals are harsh, but hard and heavy at the same time. Overall, the production is pretty good for a live recording and gives a healthy taste of what this intense band is all about.
Well-rounded musical influences play an important role in this German band’s sound which is a nice mixture of early punk, thrash, and pop. They switch off, and the combination of male and female vocals adds an interesting diversity to the arrangements and blends well with the mid-tempo, offbeat tunes.
Heavy garage influences prove very good on this tape, which has female vocals rough and loud over songs with a slow, grungy, pounding beat. Production is raw, making the tape one powerful, hard-hitting package.
Energetic pop/punk/thrash with chirpy female vocals. Good power, though the pop tunes get a bit too pop at moments. Overall: better than average.
Expect the same abrasive uncompromising thrash you enjoyed on their debut 12″, but with an additional grunginess—almost a looseness—on their latest. The band is hot, no question about it, and I still enjoy their offbeat humor and personal commentaries represented in the lyrics.
The masters of Dutch political thrash strike the match and burn wildly with this new line-up. Tony’s gone over to guitar and he rips the pace to bleedin’ shreds as the drums smash over and over again with Rene’s forceful thrusted vocals. If you liked the first, the second will drive you mad with quickness, tight harmonies, and action-packed thrills.
This fine band seems to have lost some of their steam and distinction from their previous two sparkling LPs—the songs here tend to run into each other without much differentiation, and the lack of real punch is a disappointment. Maybe I’m missing the subtleties, but I miss their power and speed.
Impassioned singing and raw punk and thrash. Anger and hope are expressed lyrically and musically, and this EP, however basic, is enjoyable at times though tends to degenerate into self-indulgent wanking occasionally. Decent power.
A distinct improvement over their debut 7″, this one contains better material, better production, and more power. Good, driving hardcore with sharp drumming and cutting guitar. Cool.
I’ve thought the BUTTHOLES’ records frankly variable in quality to this point, but I am really enthusiastic about this one. More subdued than usual, at times boasting a pounding backbeat, this is their first attempt at “acid pop”—and it’s a real breakthrough. Absolutely fascinating from song to song. Get it.
A split tape of England’s AD NAUSEAM and Holland’s CKN. Both bands rip, though both the sound quality and depth in power and proficiency of AD NAUSEAM is superior. Good listening.
Good but undistinguished melodic thrash. Lots of stop-and-go stuff, good playing, appropriate lyrics. Decent.
This powerful album combines some metallic touches with an urgent, dramatic compositional style. All of this results in memorable songs which really clear the air, and there’s a distinctiveness here that should be recognized, too. Very strongly recommended.
Really well done charging thrash. Good lyrics, lots of anger, some metal guitar damage and tough vocals. Check it out.
Switzerland produces some very mundane punk and some quite interesting experimental punk (such as the MANISCH DEPRESSIV 7″), and this release falls into the latter category. One side is indeed a politically biting rap song set to rhythm machine, while the other is a highly persuasive punk song. Interesting.
Swedish neo-psych band that relies heavily on dark guitar passages and gloomy percussion. Nice cover of ZAPPA s “Trouble Everyday.” Less psych here than just plain old guitar pop.
Tough young aggression hurling the handballs of power with that all-too-familiar Boston sound deliverance. Kicks into gear with a forceful driving beat that plunges into chunky thrash, as vocals scream and shout over the chaotic pace. Combine a mixture of DYS and SSD in their early prime, thrust the clutch down, and CRIPPLED YOUTH grind down hard and delightful.
Although this band was involved in the DC scene in the classic years of ’81-’83, they do not follow along the same musical line as many of the other bands. This band resorts to raw, good ol’ sloppy rockin’ punk, much in the vein of the GERMS, especially the vocal style. All seven songs do a good job of documenting this needlessly ignored outfit.
Buzzsaw guitar burns its way through 14 songs, all set to a classic, crazed, thrashed-out tempo. It’s produced by machine gun drumming, but the vocals are lost in the background and seem to be merely muffles. Nevertheless, the music makes up for it—fast and hot!
Really snappy thrash with hooks and choruses. Lots of stop-and-go action, cool singing, and rapid-fire tunes with little waste. Neat entry from this German band.
Adie’s vox have a character that brings the great speedcore compositions of the ENGLISH DOGS to a thundering proportion, raw, uncompromising, and shouting. They blurt well with this crazed line-up. The DOGS really work the musical structure with award-winning appeal. A bit of work goes into these songs. Bang.
Seems to be recorded somewhere between 33 and 45 RPM, cuz it seems plausible at both speeds. This is driving, bass-heavy guitar noise stuff, sometimes quietly mad, and at other times blatantly insane. Grunge with conscious intent but really well executed.
This snappy slice of upbeat pop-punk presents its wares with verve and intelligence. A cut below the best in this genre, I still enjoyed the four tracks here—and found their amalgam of thrash and poppier punk bracing. Very good.
A one-sided job; two studio and two live cuts; two fast and two medium; all good punk. Hot guitar and drumming, energy and fun.
Oh my, GASTUNK scalps the senses with another super release. This band is one of Japan’s best and scorches it out with this Indian-themed release. Excellent packaging opens you to intense echoing shrills. What you’d expect from this band that deserves, ’cause they perform well.
Raw-edged straightforward thrash with gravel-laden vocals continuing the excitement on this second LP. Japan’s answer to non-stop chaotic destruction, finely tuned and well-mixed with great back-up choruses, throwing chunks of havoc everywhere. The first LP was good, this is a great one and melts my brain at every listen.
Diverse influences crop up on this four-track EP. The less urgent numbers on the “9” side didn’t capture my attention, owing more to a loose rock approach. Side “FF”, however, contains two dynamic, mid-tempo punkers which represent this band at their best. Not altogether catchy, but still respectable.
JFA present two lackluster instrumentals on one side of this EP, but the showcase for this band’s talents, “Desert Jewel,” demonstrates adeptness at a diverse punk approach: a haunting intro, bright guitars, and impassioned vocals make for their best track in a long time. Very good.
A six-song release, this is punk rock with a distinguishing guitar sound. For the most part, the band has a SUBHUMANS-type English sound, but the guitar has a post-punky tone, a combination that comes off well. Good thoughtful lyrics to boot.
Good first effort from this Virginia band, who whips out six blazing melodic thrashers spliced with vocals that don’t rely on shouting, but on a harmonizing approach to communicate. The speed is kept to a moderate pace and catchy musical riffs and sing-alongs only add to the power.
Harkening back to punk’s melodic power days (and to punk’s less political lyrics), this band is in reaction to the metal direction many HC bands have gone—it’s done decently, thought the singing doesn’t really cut it (OK for thrash, but punk demands more in this department). Like the direction, though this beginning leaves room for growth.
Funnypunk, ’60s garage style. This original Bay Area group, which encompasses the acoustically oriented Koel Brothers and Metal Mike (ex-ANGRY SAMOANS, etc.) offers 20 songs satirizing American mores from “Floridah” to “Davenport, Iowa.” The lyrics are hilarious and some of the songs really kick ass.
Sort of ’70s rock’n’roll meets early punk. Simple drive and beat, chunky guitar, and cool vocals. Decent.
This group sticks to their early punk roots, relying on pop melodies, heavy on the high production vocals and mix (a bit too much so), and simple, catchy tunes. It can wear thin, but is an OK change of pace. Especially liked “Broken Generation.”
This outfit is a French equivalent of DER DURSTIGE MAN—a punk band whose material is most likely to appeal to those whose musical sensibilities have already been clouded by massive amounts of alcohol. Mid-tempo punk with shouted group choruses, and aggressively delivered; typically, the title track is translated, “Beer.”
This French outfit specializes in pop-punk with the traditional choruses, but emphasizing a more rootsy rock influence. “Allez Danser!” is an especially invigorating melodic track, while the flip connects with more energy. Basically good and solid.
This is the second album by this group and again pushes for the UK punk sound similar to the DAMNED. Clean production shows how they opt for more melody than sweat in their sound. It’s OK, but it could move a little bit more.
They’ve gone way pop since their PISTOLS-like debut LP, and would go over really well with nightclub punk acts, those “professional punk” bands. There’s still a spark of guts here and there, but mainly it’s power-pop music.
Some really cool, driving punk rock—like a more melodic early TOXIC REASONS. Two originals as well as a punky cover of the STONES’ “Mother’s Little Helper.” Good.
At breakneck speed or mid-tempo, this band turns out well-crafted, powerful punk and thrash. They have an almost SoCal sound, full of melody and hooks, lots of guitar, and neat vocals. An excellent tape, well worth picking up.
More pop than JESUS AND THE MARY CHAIN, but utilizing their noise guitar. The singing isn’t well done or enigmatic, and the overly subdued nature of the playing leaves leaves a lot to be desired. One track (“No Place to Go”) has enough energy to overcome this, but a .250 average doesn’t make it.
A decent little record that sounds like it’s straight out of ’79. While not too exciting or raucous, it’s got that simple punk beat and attitude, a garagy pop sound.
One one side, it’s NICK TOCZEK backed up by a simple punk band (the BURIAL, who look more skin than punk), while on the flip he’s backed by a ska/reggae outfit called the SPECTRE. NICK’s bitter social commentary comes across well despite (or enhanced by) the music.
Decent but commercial-sounding punk. This pop punk style is not surprising, considering OS REPLICANTES are out on RCA Brazil, but what is unusual are the lyrics—attacking censorship, banks, and other problems common not only to the Third World, but the West as well. Interesting.
A big punk/thrash sound here. Their wall-of-sound production and punk power are pretty overwhelming, but not to the point where it all gets homogenized. Some real rockers here.
A really well-done seven-song release. Whether doing thrash or impassioned poetry set to ominous noise, this band executes with verve, tightness, and lots of power. Intelligence and musical expression are A-1.
A “…Youth” band that’s not hardcore? Yep, pure psych/punk here, and though they’re hardly “psychotic,” they do rock pretty good. Do an ELEVATORS cover, as well as the FE-FI-FOUR PLUS 2’s “I Wanna Come Back From the World of LSD” and two originals. Not remarkable, but decent.
CAPITOL PUNISHMENT crossed over with early STRETCH MARKS makes a good comparison of what this Canadian band has to offer. Eight songs that rage through your speakers at hyper speed. Catchy chords and high-pitch tapping beat.
Good driving punk but without much distinct personality. While the music’s plenty punk and there’s good power and vocals, they lack that special something which becomes evident on LPs more than EPs. Still, it’s not bad at all.
Alas, the RAMONES, on their latest release, are heading back to their overproduced period of a few years back. Too many instruments (synth, horns, extraneous shlock and vocals) clutter it all up, absorb the power, and detract from their simple raw pop power. Disappointing three tunes.
The pretentious artsters will like this one: neo-no-wave music, down atmosphere, nihilistic lyrics. Too “cool” for me.
A five-song ripper—great powerhouse punk/thrash that doesn’t let up. This is more like quality Swedish thrash, replete with hooks, melodies, and plenty of zip. Cool.
Very fast-paced stop-and-go melodic thrash that’s pretty basic and unoriginal. There’s no real spark here, though it is quite competent.
I like this record a lot, with its straightforward powerful punk/thrash and teeny-nasty vocals. Nothing really unusual here, but its simple punch and power are really enjoyable. A no-frills treat from this now-defunct band.
Twelve songs of a garage/art nature. No wave meets early HALF JAPANESE meets early MINUTEMEN.
An Aussie version of the MILKSHAKES, drawing upon ’60s styles of R’n’B, blues, and pop rock’n’roll genres. Decently done, simple fun.
DOLLS meet Death with six HEARTBREAKERS-ish tunes. Other influences thrown in, such as metal rock.
This Belgian band relates commendable lyric concerns in a simple, riffy punk style that’s a mixed bag for me. I enjoyed the hard, stinging guitar sound, but the compositions seemed a bit “simple” and uninvolving. With better songwriting, this band could be a contender.
A lengthy but enjoyable tape of real good pop-punk thrash. Good production as well as way clear vocals makes this even more enjoyable. Good lyrics and neat back-up singing as well.
Thrash for the most part, but broken up with changes that are a bit jazz-rocky. Several Italian HC bands seem to have these varied influences, some of which I find distracting, however eclectic and broad their tastes. Others may appreciate the variety. When they rely on power, they really wail.
A live recording from Germany in 1985, this one captures the power and spirit of the SUBHUMANS really well, as the sound quality is top-notch as is the performance. Worth picking up.
The A-side is a long, LOU REED-ish tune that dirges into occasional mile weirdouts. The flip has a ’60s pop girl-group sound that’s way simpy.
You missed last time, so don’t miss this chance, ’cause this firebomb rips with that kind of crazed ferocity of speed, lightning-paced and raw deliverance that cranks the rug out from your feet. The dentist rips teeth from your jaw as Blaine tugs at his frenzied vocals in a passionate form of chaos, and the band giggles with nerve-smashing thrash. The original plus eight new tracks to light up your neighborhood.
TEARS FOR FEARS meets the ALARM meets the CURE meets FRANK SINATRA. This new band, formerly called YOUTH BRIGADE, has a new sound which will take most by surprise. The classic YOUTH BRIGADE sing-alongs in a different character and well-executed lyrics are combined with very complex creative music that in my book spells—CHEESY! The slick production and studio trickery will play an important part in helping this record be a major radio hit. What’s next, an MTV video? Progress, growth, or change…you decide for yourself.
Lots of covers (ELECTRIC PRUNES WAILERS, CONNIE FRANCIS [?]) and a few originals in another neo-’60s fun-filled extravaganza. It’s fun OK, but wearing thin.
Hallowed be the return of the COMES and orgasms does it create with splash ’n’ bash mayhem as the female singer twists buzzbomb of a sensation. Six tightly knit songs to grab down and charge up for an earful in flailing delight. Hot stuff that mixes well for both crowds.
The title is off their latest LP, and the other two tracks are nothing to rave about. “Get Off the Road” and “Give Me a Woman” are very simple tunes, but lack any special character or zip. Like the RAMONES’ new 12″, a poor follow-up to their recent LP.
The gut-crunching antics of this bizarre combo will take you on an insane journey into thrash, metallic mayhem, raw energy, and odd effects. Definitely a band with their own style, DEHUMANIZERS approach some new ground which works well sometimes. The vocals are heavy and growling, and the pace changes frequently, from speed to quaking riffs.
Mod, early punk, R’n’B pop influences here. Not especially powerful, but could develop their own sound yet.
Six pop-punk tunes from out of the garage but well produced. They rock good, have lots of guitar and drums, snotty singing, a tinge of REDD KROSS meets ’60s UK R’n’B.
Driving blues-based stuff with a dance beat. Funky punky rock treads the fine line between obnoxious art and wavish vapidity, but maintains some power.
Pretty decent early punk sound with a mixture of rock influences. Reminds me a bit of some Midwestern ’76-’77 bands, though slicker. Easygoing, but maintains momentum.
Hot damn, this is a great record and the best yet from this band. They surely can’t be labelled and shelved as SONIC YOUTH clones again. Raving vocals with the most fulfilling melodies and arrangements I’ve heard from them while maintaining a powerful, steady rhythmic backbeat. Eclectic post-punk at its finest.
Snappy punk with good hooks with an unobnoxious UK influence. Two of the four tracks rip, while the other two are poppier, but all are enjoyable.
Too bad. Thought this might have a lot going for it since it came in with a batch of cool Swedish psych singles, but it turned out to be a pretty limp attempt. Not real annoying but just not too memorable.
A really good single, both sides having a lot of punch. There are early punk influences here (FALL, STRANGLERS) but this rocks better than either. Powerful.
Fairly derivative ’60s pop-punk with mostly originals. Snarly vocals, simple delivery, pretty forgettable.
Good power-pop with a punky edge, meaning good guitar and bass, driving beat, and good hooks and vocals. Six tunes, all decent.
Purveyors of a certain brand of high-energy rock’n’roll that very few bands today understand (the NOMADS being one of the few), this single has both a rocker and slower pounder. Roots: MC5.
Yet another SoCal band that’s got good power, hooks, tunes, and delivery. Sort of D.I.-ish…a good job.
This is a retrospective comprised of tracks from POP RIVETS’ two LPs from ’77-’79. This is garagy pop that’s plenty fun and basic rock’n’roll punk.
This band is back with a vengeance! Great, powerful punk that inspires, both musically and lyrically. A most welcome return, so get this hot 7″.
More CRAMPS-influenced stuff, though we get a SEEDS cover (“Girl I Want You”) as well. A long psych tune with guts (“Suzie Creamcheese”) is pretty cool.
Great combination of crisp, hard-hitting, fast punk and funny upbeat comedy tunes. All the music is produced by talented West German musicians who keep their musical roots present throughout every song. The clean, excellent production only helps this twelve-song LP’s attack become stronger. Good stuff!
These four tracks are toned down a bit from their earlier pair of 7″ers. More ballady, less neo-’60s, but still with some bite.
Though the recording is just a bit on the thin side, there’s lots to pick up on here—lots of energy and tight as hell, quick changes and blazing yet melodic thrash, and some positive lyrics. Like the singing and harmonizing, too. A good start.
Flat-out the best new band out of Germany, combining a hardcore mind with metal fingers, pushing the sonic disruption into a rambunctious speedcore assault with all-together lyrics. Totally a US feel of hardcore to this grinding fury, with speed, melody, wailing riffs, and a continual careening force. Lots of unique ideas that bolt across with power and enthusiasm.
Blazing, ear-shattering UK thrash attack. Four songs, all set to a hyper-organized hysteria. Clear vocals raging out against oppression and falsehood are combined with very well-produced powerful assaulting music. Short and sweet and well worth looking into!
A high-speed comp 7″ with such bands as LÄRM, PILLSBURY HARDCORE, STRAIGHT AHEAD, and ATTITUDE ADJUSTMENT. All of this material is raging thrash topped off by a positive message. Extreme power and aggressiveness.
A pretty cool comp featuring ten great Ohio HC bands, most of which have either been hiding or overlooked. Included are the talents of GUMBY’S REVENGE, PLASMA ALLIANCE, PPG, IDIOT HUMANS, NUMBSKULL, PLAGUE, and many more. Good Midwest sampler!
A US comp featuring SEIZURE, EMG, PSYCHODRAMA, CERTAIN DEATH, HELLHOUSE, STIKKY, and more. Largely garagy-sounding, with varying sound quality. OK.
All three bands here (two tracks each) are in older punk styles. Recordings vary in quality (some live, some studio), but there is a sameness to it all. Includes: BLANKER HOHN, KIE ERBEN, and R.Z. AMOK, all from Hamburg.
An awesome comp of international scope, though the majority comes from Japan. This tape was put together by Roger Armstrong for the joy of it, and he encourages people to duplicate it rather than purchase it. Includes too many to name.
You get a record, a tape, a booklet, stickers some punks, and some refreshing “We’ll never sell out” literature. The record and tape are packed with diverse goodies (no hardcore, though). Classic crash and burn from the EX and SONIC YOUTH, bluesy dirge from CARLETON MORGAN, great garage stuff from UT and ETON CROP, and a lot more I’m pleased to hear from again or for the first time.
This compilation of French pop-punk bands contains all that we expect from this kind of band: songs with choruses, catchy melodies, and moderate tempos. While there are respectable tunes by THUGS, OTH, PARFUM DE FEMME, and BABYLON FIGHTERS (cool reggae), no song really stands out in my mind. Interesting.
A really decent Germany comp. though the sound quality varies from band to band. Some of the included are: CRAPSCRAPPERS, CIRCLE OF SIG-TIU, EUTHANISIE, IM ZEICHEN DES KREUZES, and many more. An enjoyable slab.
Some good punk from RED LONDON and HAINE BRIGADE, some poetry from ATILA, some odds and ends, some poorly recorded live NEUROTICS. Mixed bag.
Two tapes, 44 bands, and a booklet—an amazing comp of some of Australia’s best of the last few years. Includes DEATH SENTENCE, CIVIL DISSIDENT, VICIOUS CIRCLE, and tons more. There are a lot of live tracks, most of decent sound quality, though not all.
A non-fascist skin (“street-punk” is what they call it) comp with the OPPRESSED, OI POLLOI, COMPLETE CONTROL, BARBED WIRE, and more. OI POLLOI and BARBED WIRE come off with the most energy and determination, while the rest sort of hang together undistinguishable.
A new European comp tape that stresses the need for original bands that don’t follow the latest metal trend. Such bands as L.A.W., the SECT, STALAG 17, DISTURBED, RED LETTER DAY, and so on are included, and most have a strong punk influence, making their songs raw and powerful. Sound is decent.
At last, the best of BCT’s cassettes. Quite a ripping collection of live and studio stuff, this LP includes European and North American bands. Some of the bands included are: RAW POWER, PSYCHO, RATTUS, TERVEET KÄDET, CCM, WRETCHED, DETENTION. A real testimony to Chris’s perseverance and dedication; I hope this will be the first of many vinyl efforts.
A really diverse two-song EP from this powerful Aussie band. Side A represents a hard-hitting, melodic tune filtered with acoustic guitar and a slow pleasant rhythmic beat. The flipside, on the other hand, sports a speed-metal/punk thrash guitar riff and harsh vocals, and is kept to high-power fast pace. Catchy.
Pop punk like the ROMANTICS at their early best. Boppin’ bozos.
An uneven new LP. There are some irresistible melodic punk numbers here, and from the moment the trebly out-of-tune guitar chimes in, one gets that great rush that only comes from independent records. The production is not as slick as it is on most French releases, which can be good, but the album is somewhat marred by slower, rockier numbers and a typical skankin’ cut.
More goofiness from the FLAG. Their satirical songs recorded live all over the country with special “guest” artists and lame in-between song banter. This is supposed to be all-live but side two has a special groove cut to make it a three-sided record.
A live (and hot one at that) recording of this power-pop band that feeds off both ’50s and ’60s roots, R’n’B, and pop and turns it into a rockin’ sound like early DR. FEELGOOD meets CHRIS SPEDDING.
WIMPY DICKS incant growled vocals over a tough, uncompromising hardcore style that has unquestionable bite and power. The songs tend to be repetitive, however, both within and between cuts; but those who can ignore this will find all of the basics on this one. Adequate.
Punk, thrash, early-’70s rock, and metal thrown into the old rock’n’roll blender, and you get 22 songs. Some cut it, some don’t (self-indulgence) from this all-male combo.
This record consists of six songs from each band; all are previously released from easy-to-find vinyl but serve as a good sampler of each band’s musical direction.
