Two different recording sessions are mixed together here — one done in DC in ’85 by Ian MacKaye, and one done by BYO in LA in ’86. The DC sessions rock hard while maintaining that 7 SECONDS melodic appeal, while the LA tunes are decidedly more commercial sounding, with a U2 influence. Fortunately, 7 SECONDS makes even these tunes sound great live.
These guys remind me of a really early FALL with a rhythm machine. Screaming to whispers vocal prowess, strong lyrics (I do wish they’d included a lyric sheet), noisy , stark and intense. I’d rather hear a real drummer, but this is definitely a refreshing release for lovers of early Brit post-punk.
Proving there’s more to NYC than street survival and “fuck you” lyrics. Fueled by strong female vocals, intelligent lyrics, and still powerful playing, there’s a PENETRATION/ POISON GIRLS influence, but also more going on here — funk influences, folk rocks aspects (cover of “Blowin’ in the Wind”) and classy production. 8 songs, worth mailing away for.
Sounding much like a rockin’ DOA, this particular live performance is AGGRESSION is decent, though a bit disjointed at times. Guess I’m not one for most live recordings unless incredibly magic moments are caught, and in this case it’s just an average performance.
Finally some new material, a limited edition release (to entice a big label?) that is indeed a bit “different” for Metal Mike, Greg Turner and Co. While the five originals still have the trash edge, they don’t have the thrash delivery. Harkening back to their 60’s punk roots, these tunes are not frantic but are “love gone bad” garage — snottiness fades to sadness. Includes folk-punk cover of “Somebody to Love”.
This posthumous release captures ASTA KASK in eleven songs recorded live just this year. Sound quality is good, the performance spirited, and songs up to that trademark quality. Can’t say it captures all the excitement but it will have to do won’t it? Get this record.
This French band has a knack for hard-edged post-punk with a good sense of energy, even if they uncharacteristically lag behind in the melodic sense. “Gom Jabbar” is a slow, tasteful dub, though the other three songs are more spirited.
Following their effective 7″ (included here with an additional track), BIG STICK pushes five guitar-oriented songs through a flanger, adds pounding drums, sprinkles demented vocals over the mix — and what results is funny, wild rock that many PERE UBU fans might find agreeable. Interesting.
An eight-song posthumous release. Recorded in 1983, this is standard NY thrash, though I’m not sure why this particular release came about so late or what particular historical significance it contains to NY HC. Decent.
Here’s a basic angry punk attack similar to S.F.’s SICK PLEASURE, with fed-up, hateful lyrics. Sounds great if you’re totally pissed off.
This promising EP features impassioned screaming vocals over a bunch of frenzied, almost-interesting thrashers. The lyrics cover the basic punk-rock subjects, but it strikes me that bands like the QUEERS and E-13 have done a much better job with this kind of music. Adequate.
Three more metallish hardcore tunes, the title track plus “10, 5 or a Dime” and “Gotta Get Out of Here”. The latter is the hottest except for the little guitar flourishes. Guess they’re good at what they do.
Fun, goofy psych outfit that has just a trace of the early ’79 punk rock sound. You can even hear a trace of JOHNNY THUNDERS hiding in the sneering of their singer.
Strong crash-and-bang stuff here, with lyrics in German and English. Impressive, with lots of drive and power, especially on “Weibt Du Est?”
Delightful raw production sets the atmosphere for this five-song EP. The music is set to a clean fast tempo and involves simple changeovers and stead beats. The vocals are shouted and represent an angry tone. Overall, this seems to have captured a strong DIY feel by bringing back some of punk’s basic nature.
An interesting mixture of musical influences and strong, simple lyric message. Side A features a mid-tempo guitar chant punk song and one polka poetry number, while Sid B lets out a dance/rap tune dominated by a repetitious horn off. Nothing that outstanding, but the ideas and effort shouldn’t be ignored.
Some great punk rock here. A 7-song release, lots of frantic power, great lyrics, and plenty of imagination. A punch in the face.
These guys ain’t no dorks, playing cool varied punk with an experimental edge. The lyrics are humorous and sarcastic, reminding me of the DKs or the CRUCIFUCKS. A totally great tape from the Iowan farmers.
Heard they rip live, but this debut LP is heavier than livelier, and the weight takes its toll. Lyrics fall into the “life sucks” category with little glimmer of imagination or hope beyond mere survival. They live up to their name.
Alcoholic sickness infects every one of the songs on this loose, funny, disjointed, and original album. One first-rate thrasher, “Wandertag in der DDR”, leads off an assortment of predominantly medium — to slow-tempo sing-alongs that have primitive production, and sound like the band is drunk. And yes, it’s just as engaging as past DURSTIGE MANN releases.
From the masters of sex-starved geek rock comes a new 10 song LP filed with silly fast goof songs and power pop love songs. When I listen to this record I get a mental picture of a high school teen love problem movie for which I think this LP would be an appropriate soundtrack.
Though DR FEELGOOD didn’t really use too much of the electric organ in their bluesy pub rock sounds. Only trouble here is that their tribute to the FLAMIN’ GROOVIES on the flip is just pedestrian at best. Classy but not a classic.
Slow tempo but rough as hell garage punk. Definitely in the STOOGES school of grunge, a 5-song raw assault. Hear this is WHITE PRIDE minus the singer.
The cover pic (of the space shuttle explosion) is only the beginning of the offbeat, twisted message. The music has thundering drums and the great combination of rockin’ and experimental guitar work. The vocals are angry and slide toward an expected demented nature, but are demanding at the same time. A great documentation of how bad taste can be used for creative communication.
Really good mid-fast paced hardcore, a good variety of tempos, lots of oomph, that SoCal melodic thrash sound, and really tight playing all make for good listening. Mystic’s new recording studio is way better than their Hollywood set-up, and this (along with a whole slew of new 7″ers) is proof.
A respectable start by this Italian neo-psych combo that leans heavily on harmonies and organ-based melodies. A nice little change, as most garage bands tend to be heavy on the guitar — that has a feeling more like QUESTION MARK & THE MYSTERIANS mixed with early SALVATION ARMY. Bears up to repeated listening.
Although the band has reformed and has had some line-up changes, their patented power sound comes across as strong as ever with the release of these four songs. Combined melodies and loud thrash come forth with harmonizing vocals and straight-forwards lyrics, all making up this band’s creative sound.
This all-female band from Australia forces out a tough, grungy guitar sound and some nasty vocals — and I admired the lyrics concerns, too. It’s too bad that the melodies follow the same minor-third guitar professions song after song. Extreme repetition, which is too bad, because I was hopeful about this band.
Waging warfare of rampant guitar wails with deep barking vocals, that has a pace quickly grabbing your attention with sharp intent. Sheer exertion to keep attention with sharp intent. Sheer exertion to keep an upfront attack of blacking instrumentation with the proper noise of the wicked voice to sink his chompers in your brain.
This band covers typical MENTORS lyric territory with less satiric justification, and plays excruciating guitar rock with flailing leads that bored me to the point of wanting to make this sucker into an ashtray. But then I realized that I may be able to trade it to my local record store…
Ultra-fast thrash similar to DRI or CAUSE FOR ALARM with personal and political words. The sound quality detracts a little, but with time, these guys could develop into an awesome force.
Combining tracks from their LP and 12″ (released in Europe), this domestic LP introduces their pop-punk sound to American audiences. From Switzerland (originally in a 70’s punk band SOZZ), these guys combine power and great tunes into an early CLASH-like sound. Excellent.
Blues, thrash, HC thrash, fast punk, pop punk, jazz, speedcore… you name it, they do it. For such a variety of influences, KINA seems to pull it off, lending their “sound” to all styles, providing a continuity. Eclectic and yet maintaining an edge.
I liked their single a whole lot, especially the way it mixed the hoodoo-based blues into a hybrid of both the CRAMPS and the BLASTERS. And even though all the songs here are the same straight-up bullshit, I get the feeling this sound is better on a 7″, where on the LP it seems just to go on too long.
A studio/live tape of speedy driving HC, comparable to AOD with sing-along vocals and catch guitar work. Lots of power, clean production, a great first effort.
Snarls of garage hardcore rawness with tinny guitar distortion over blasted by growling vocals. Hoarse, rough, yet still kicking it out, this Japanese band runs for that total, graunch sound, and do it well.
This live tape shows New York’s LUDICHRIST at their best, with wailing guitars, jarring tempo changes, and mind blowing power. Get some of this screaming intensity on vinyl.
These 12 songs from this veteran German band pound out the melodies and harmonies, combining them with a nice raw edge. The vocals carry politically concerned lyrics smoothly and stand aside while several Oi rooted chants step in. Catch and rockin’.
JAN AND DEAN meets the RAMONES? Yup. Since I’m a fan of 50’s music, and that NY quartet’s ’77-ish sound, I enjoyed this, especially the silly lyrics. A whole lotta fun.
Psychedelic tinges weave their way through these two songs, which have strong female vocals and an agreeable sense of melody. These racks don’t really take off into orbit, but the A-side rocks solidly and the flip boasts a pleasant, up-tempo ballad. I liked this.
Okay CRAMPS-type psychobilly. Nothing new, but decently don’t. Not much else to say — oh yea, six songs.
Basically this is a one man show by a guy named Mark Edwards who had drummed with a number of Cleveland punk and garage bands. Normally I tend to hate these one-man solo albums but this is a kicker. If you’ve ever heard bootlegs of very early JOY DIVISION before they discovered the recording studio, then you have an idea of what this sounds like. Rough, murky guitar sounds with great shitty production.
Largely juvenile lyrics (except one song “Distracted from the Truth,” which shows some subtlety and thought) set to older garage and punk tempos. Well produced though with such a trashy aesthetic, perhaps it could have been cruder.
I’m sure there are plenty of die-hard fans out there that’ll think this is cool but as far as I’m concerned this is amore like HUMPERDINCK or BELAFONTE, string section and all, rather than his down and dirty self. Oh well.
A very hot mix, and sound (I know, I know… “but they’re on Mystic”… It’s still hot), and eight really ripping thrashers, no metal, lots of power. Good record.
On this great Scottish release, AOA sport seven songs centered around a fast thrash sound that is well defined by all the instrumentals; the vocals are shouted and keep up to the music’s pounding pace. OI POLLOI shred out all six songs, all of which are no less than enthusiastically executed — clear, melodic, hard-hitting music. Raging!
This band with their off-tune brand of brisk, almost catchy punk, shows the touch of ERIC HYSTERIC in the demented, almost drunken production. Has an aggressive spirit, some personality and very little else.
The title track is the only studio cut, and takes up the entire A-side. It’s very long. Its not very interesting. It would be just passable if it were a quarter as long. The B-side contains four live tracks, largely uninspirational save for “Vicars Wank Too” which shows the most pep on the slab.
Decent melodic punk a la ’78-’79 vocals way out front with good back-up singing, okay power, simple beat (through variable) and good lyrics. Fancy bass playing at times.
A three songs Oi job, with only the title track showing some spark and originality. I’ve heard that Italy is the only European country where it’s not safe to assume skinheads are fascists, so let’s not make that assumption here.
At long last it’s out, and well worth it. Proving that life exists after metal (or at least hardcore does), this is a power-paced assault without a tinge of dinosaur damage. Very pro package by Pushead, though there’s no lyric sheet included, and Tom Roberts has got to be seen to be believed. A powerful punch. Now.. if they’d only tour.
A highly political release, but sadly missing a lyric sheet. Contains some reworkings of their debut EP, as well as lots of new material. While ample competent, there’s something a bit lacking in the overall sound — perhaps a thin mix. Otherwise strong but unimaginative thrash.
An early CLASH sound on both sides, though it’s not just limited to that early punk derivation. Good tunes, good playing, not too nostalgic.
Because some people can’t really appreciate the fine act of sarcasm and irony, the PREVARICATORS have been too easily dismissed as a joke band or maybe just jerks. Too bad, because this is one band that consistently gets better with each new release. With both their sharp, pointed lyrics that attach stupidity and their full-charged guitar thrust, I keep getting reminded of NAKED RAYGUN at their best.
I like this smooth mix of pop and garage sounds but again, I think it’s a case of not really working up a sweat. I know this band can do better as evident on the track they released as a single, “Love for Everyone” — complete with stinging guitar lines and an effortlessly smooth melody. I’m still on their side but we’ll have to see after the next one.
“Crummy Stuff” is the draw here, though not really a knockout with tinges of synth here and there. “Something to Believe in” rears its ugly head again, and the painfully slow rock number, “And I Don’t Wanna Live this Life” is the finale.
Too totally insane! Rapid polished of tight, well matched speedcore that charms with a quick, powerful shine. Reminiscent of GASTUNK with a hauling fury, this Japanese three-piece have combined all the right elements for the ultimate punch. Metallic bites whine as the music charged forth with a shrilling vocalist hurling lyrics outward.
Out of Texas blazes this eight song ripper. Owing some of their sound to fellow Texans DRI and the OFFENDERS, I think you can form an idea of how they rock. Hot!
Great power-packed Japanese pulsations with charismatic melodies. Medium paced with metallic guitar bits, crazed to one end, drums continually smashing the beat together. Has the right punched to grab your attention and hold it. Fun and pleasurable.
After all these years, SACRED ORDER finally get their own vinyl out. Sounding very little like their tapes of yore, the thrash is gone and is replaced by a heavy rock/punk sound. On some of the songs, that makes it work as an early punk sound emerges predominant. But on many tunes, the old rock blues-based riffs just don’t cut it. Enough with this early 70’s rehash.
SAND IN THE FACE have a hard-sounding DOA structure to begin with but they’re not afraid of diversity and melody. They seem to mix both HC and thrash with mid-tempo early punk sounds that recall the best of the ALLEYCATS and X.
A split cassette featuring SIC BOY FEDERATION on the A-side, basically trashy noise punk from Britain with a few catchy sound effects thrown in. The B-side features the relentless GG ALLIN and the SCUMFUCS, get the picture?
Grungy marching thrash with hoarse vocals similar to NEGATIVE APPROACH. This tape contains six speedy blasts plus a slow grinder which stands out from the rest.
While metallic in the beat (and perhaps the growling vocals), the overwhelming feel of both tracks is power punk a la ’77. Hard heat, powerful but non-metal guitar, and decent lyrics.
Sadly, I didn’t really pay attention in my high school German class otherwise I would be able to figure out just exactly what these punters are singing about. Still, the music and the feel, a strong early sing-song oi feel — like SHAM 69 are both driving and passionate. Most of the stuff marches along at a good clip, both the harder thrash tunes and the slower bigger punk sounds.
This debut LP comes across with a good measure of honesty and credibility — and that would be enough, but there are some catchy melodies mixed in with the fine lyrics to make this album a winner. This is punk in the best sense of the word: aggressive, original and committed. Most of the songs are nifty, too. A strong release.
A hot nine-song release of hard thrash and 77-ish punk with lyrics concerning war, oppression, animal rights, etc. The standout cut is “Apathetic Reaction”, a biting critique of that scene. Cool.
Pages of turbulent thrash jamming into a quick dose for a fiery combustion. Full speed ahead split-second blisterings hit hard with the total effect as the vocals spits out the speed lines. Maniac drums pace the rabid guitar work to keep the storm a-thundering.
This Greek band is able to perform various styles, paces and moods very well. There are early punk — hook laden — rockers, psychedelic punk tunes and slower melodic crooning. And all of it has strength of arrangement and intensity. Quite eclectic and all in all an absorbing record that has some great moments.
Sounds like a more inaccessible version of the SUBHUMANS UK, combining different sounds and thoughtful lyrics. Personally, I liked the words better than the music.
Good ol’ punk with a good amount of spunk. Four songs, RAMONES-ish vocals… a swell job overall.
Could this be the coolest all-female psych band from Minneapolis? Maybe the only? I like this mixture of the LYRES, FUZZTONES, and even SALEM 66 just fine. I just wish they’d kick up more of a ruckus — I get the feeling they may be holding back a little here.
A fine release from a new BRISTLES lineup. On this EP, there are two catchy ’77-style punkers and one good thrasher. All the songs have power and definite sing-along potential Another winner from Rosa Honung.
This is the second LP by this Australian band and it contains some remixes on certain songs. Very different from the LP (their third) reviewed last issue. Anyway, this band follows all the great traditions set down by bands like the MC5, STOOGES, RADIO BIRDMAN, and the SAINTS. Some outstanding, hard-hitting rock with even some soft ballads thrown in.
Positively lives up to its title. This is a must for any fan of Swedish garage, or any garage music. This swirling, howling mess of psych/R&B power has all the elements of a classic. I can hear the best bits of the YARDBIRDS, VAN MORRISON, and THEM, even the ZOMBIES, but these are all brought up to date to make a sound that should have the NOMADS looking over their shoulder for a long time to come. Essential.
Actually much more than two 7″ records, there is a full-fledged several hundred page, highly produced book sandwiched between them. The theme is obvious, covered from an anarchist post of view, printed in both English and Dutch. Musically, there are traditional Spanish songs updated in a CRASS-like manner — really vital. GREAT package.
A posthumous release, six songs in all including a cover of GENERATION X’s “Your Generation” and MAMAS AND THE PAPAS’s “California Dreamin”. The originals mix the FACTION’s pop/surf punk style with a DOA-type hardcore sound, while the covers are credible. Good power.
This is the second record by the IGUANAS who were also on the Fresh Sounds Compilation #3. And again they bring out the heavy sound of the early STOOGES into the eighties. Sometimes the singer slips into a SISTERS OF MERCY tone, but that can be forgiven for the simple grunge that’s accomplished. One of the neatest records I’ve heard this year.
This has a much fuller sound than most Swedish garage bands. But the thing that impressed me the most about this record is the fact that this band doesn’t try to sound like they live in the United States. This is the one neo-psych band from Sweden, besides WILMER X, that doesn’t mind having an accent. And musically it’s a little more hard-edged, like WILMER X or the NOMADS.
One hot little smoker from Sweden’s neo-psychedelic side. There’s an angry, gruff vocalist who can keep his own over the hard fuzz charging garage anthem. He does this because he can sound like both the singer from the PRETTY THINGS and even VAN MORRISON rough rhythm and blues side. Just great.
Insanely silly! This is rockin punk with lyrics about religious surfers, urinating, vanilla ice cream, and other topical subjects. Also memorable are the hilarious elements between songs. A total crackup!
More 60s retro from Sweden — actually pretty cool stuff here, with rave-up vocals, trashy sound and even… a Farfisa organ that doesn’t sound nu-wave. “Eegah” is fully charged instrumental that has the sound of going right over the edge. Very cool and on blue vinyl.
Full speed ahead metalcore, with a couple straight HC numbers as well. Lots of power and tempo changes make this a hot tape from these Bay Area bangers.
TOŽIBABE straddles the line between riffy punk and hardcore energy with their sheer enthusiasm, and I found these four simple songs even more engaging on multiple listenings. Good female vocals and a distinctive instrumental sound make this a fine debut release.
Two tracks from their LP (the title track and “Idle Gossip”), the former sounding like early 999 (according to Lydia), and the latter is a classic TOY DOLLS rave. Then there’s the onus track, the title track again, but sung in Japanese. I’ve heard it all now.
The second LP by the group led by ex-PERE UBU guitarist Tom Herman. The trick here is a sharp, clear mix of the early UBU paranoia and the driving punk/funk edge of the MINUTEMEN. All the hooks and melodies are feinted and stick with you long after the music’s over. Tasty.
Two hard-driving tunes in a tough early punk style but with HC’s zip. There’s subtlety as well as power, making this not just collectable because it’s from Poland. Not only that, it’s out on the official state label, with a picture sleeve.
A Buffalo area comp, featuring punk and garage trash. Thoroughly enjoyable, raging madness, a must for all indie collectors. Features, PAINKILLERS, PEOPLE’S FRONT, POKACON, TEMPLE OF CHUD.
A really great garage compilation featuring all Midwestern contemporary bands. Sounds range from 60s punk, surf, mid-70’s punk, psychobilly, and beyond. Hot stuff from MANGOS, ELVIS HITLER, MYSTERY BLUES, 3-D INVISIBLES, and lots, lots more.
Apparently Mystic does still consider these samplers necessary. This one includes tracks from other recent Mystic released by GOVERNMENT ISSUE, WHITE FLAG, PTL KLUB, ILL REPUTE, MENTORS, FACTION, AGRESSION and several samplers. Me, I’m unconvinced.
A comp LP taken from the various tapes being released by CBGB as well, Lots of pop/new wave/trendy stuff, and the only redeeming cuts are by LUDICHRIST.
Here comes a good, concise comp. from Yugoslavia, featuring six acts who favor the straight forward hard and fast approach. Honorable mention goes to MRGUDI and YUGOSLAV SUN.
Four bands here: HONEY DEEP WET, NO LIP, REAL, and MERRYGOROUND. Average of a couple of tunes each, and I found none of this material truly outstanding, though none is really boring or incompetent, either. Accent is on the message in lyrics, though, which won’t do much for most of us.
A consistently good sampler of some of Europe’s best acts, including RATTUS, SCAPEGOATS, ICONOCLASTS, BRISTLES, and RUNNING RIOT. The energy here is kept at a feverish pace, so check out this hour long thrashathon.
What a tape! 1-1/2 hours of bands like DIATRIBE, UPRIGHT CITIZENS, INSTIGATORS, PERDITION, RAZZIA, and a zillion more. Of course there are a few clunkers, but this still gets a thumbs up.
Many of the tracks on this garage/psychobilly comp are previously unreleased, many are covers , and most all rock. You get the likes of PURPLE THINGS, X-MEN, TALL BOYS, MILKSHAKES, CANNIBALS, STING RAYS, and more.
A sharp little 7″ with some hot Japanese bands. A mixture of gargling vocals, wild feedback, distorted guitar riffs, good melodies, and straight forward thrash. Crazed action all grooved into a slashing sampler.
A collection of Swiss acts from ’77 — ’79. As expected, most acts possess an older punk sound, but TNT’s “Razzia” stands out as an uptempo rocker.
WDM (Finland) clock in with a hot DISCHARGE-like ripper, III KATEGORIJA (Yugoslavia) have a “heavy” thrash sound on their three short blasts, MARITAL LAW (England) have a long, slow-tempo punk tune, and I REFUSE IT (Italy) finish it off with their jazzy HC sound. An indie international effort.
This New Zealand comp pretty much consists of dark and somber guitar bands. It’s also pretty obvious that more than a few have used the VELVET UNDERGROUND as a starting point, but that’s not a complaint. Some of the tracks by the CLEAN, VERLAINES, CHILLS, and GORDONS are beautiful progressions from both VU and the Scottish Postcard label. Good stuff.
Musically, a close relation to early MINOR THREAT crossed with that of a younger DAG NASTY. If you groove with this string melodic HC sound and personal lyrics, then there’s a good chance you will enjoy this new 7-song release. An energetic and sincere effort.
Good sounding punk/Oi with some lyrics that are as stupid as they come. Glorified ignorance.
Found this in LA with no pic cover, saw it had eight really short songs, and took a chance. Glad I did. While not spectacular these songs are rapid-fire blasts with gnarly vocals, and lots of energy. Inscription on B-side vinyl: “Skinheads sing in nuke rain”.
Sounds like SSD in their “Get it Away” days: pile driving thrash and slower bulldozing noise with personal/positive lyrics. It rocks, and the price is right too!
Solid strength with harmonious riffs that has a total MOTORHEAD feel to it. Vocalist has a rough edged style and spitting punk feel with metallic influences, smashing drums and drooling guitar piercings. Tight, well played songs in a totally different Japanese style.
This is too obvious. What we have here is the same people who’ve listened to a lot of the BIRTHDAY PARTY. But hey — that’s not all bad, because some of these tunes get way down, in a good way. I like “Ex” the best and the rest are okay, but tend to be a little tired.
