Al’s been around and playing the neo-psych world for what seems like forever, and this LP is good to see and a slight departure. Most of it is rowdy country music, but there is some good country blues, and the rest is some plain rockin’ hot dogs. Good fun.
A hot, consistent album from this young Bay Area outfit, playing powerful metallic HC with smart lyrics. Sure to be a hit with the crossover crowd, and most others as well. This version of A.A. has now split into a new (original line-up) A.A. and into CONDEMNED ATTITUDE.
Short but sweet, one quick blast of the old A.A. Like it this way — short on metal damage solos, fast power and food lyrics. Subscription freebie for…
Poppy yet rhythmically driving, this release shows lots of power, but rarely really cuts loose. There are three guitars here, three women named Susan, and five songs that should have been shorter. Potential.
Slow to mid-tempo punk with interesting guitar work. Lyrics cover vivisection, patriotism, war, “the system”, and other subjects. Good sentiments but gets a bit tedious.
This split LP contains OI POLLOI from Scotland and BETRAYED. The latter play pretty unexciting but competent Oi with lyrics that range from the standard working class oppression themes to dubious calls for skinhead unity. OI POLLOI, on the other hand, rip like crazy and have lyrics that rise above the norm.
This has nothing to do with punk, thrash, or hardcore; rather, BRAVER NOISE springs from folksier roots, not unlike an American BLYTH POWER. What’s more, I tended to like this record’s melodic sense, well-structured compositions, and sung vocals. Very different; it’s unbelievable to me that this band contains three members from the original LAW & ORDER.
Varied punk with a number of influences from this East Coast all-girl outfit. Three songs, all pretty good.
Goofy humor is the appeal of this LP from CHAOTIC DISCHORD, who use a UK thrash style to cover topics like nasal sex, beer as a metaphor for life, random destruction, and nail bombs. No lyric sheet, but the music ranges from okay to very good, especially on “Vibrator Up Your Nose.”
Somewhere in between YOUNG MARBLE GIANTS and VELVET UNDERGROUND enters this band. There’s some really great intensity building, musicianship and twists, but is so subtle and quiet that unless you have a “mood” for soft music, this is a bit boring.
Musically, it’s a mixture of soft and harsher sounds. Lyrically, it’s all powerful, dealing with domination, revolution, and liberation. Inspiring.
Mostly garage-y punk with a melodic edge. The lyrics rise above the “garage band topics” covering capitol punishment, honesty, college radio stations, etc. Neat.
This powerful and interesting English band plays pounding, mid-tempo music with catchy riffs, loud drums, and a great combination of male/female vocals. All together, this record has a lot of the same qualities as Holland’s FUNERAL ORATION. Lyrically, it’s also right on cue.
Another new SoCal outfit with the “straightedge sound”: Fast, clean thrash with positive lyrics. A good band, but nothing that hasn’t been done before.
This Canadian band shows pop-punk roots in this good effort, though it seems a bit more power could have come out of these five songs. The lyrics deal with social/political feelings in a simple, clear manner.
A solid competent demo with a focused metallic punk/thrash sound comparable to RAW POWER. Lyrics shift from smart to silly. Excellent stuff.
As expected, melodic mid-tempo raw punk filled to the top with politically aware messages. This music has a hard edge and is enhanced by the high-pitched female vocals, making most of these 12 songs catchy and memorable. Only available through mail order.
Two slow, uninteresting post-punk ditties appear on the A-side of this release, but a clutch of eight energetic punkers charge away on the flip. A rudimentary sense of melody and nifty speed changeups make for accessible listening, but the material doesn’t stick to the ribs. Okay.
These guys have the clean, non-metallic SoCal punk sound down pat, even the vocals remind me of BAD RELIGION. Good lyrics in a neat booklet. Good job.
Dirty thrash with hoarse, shrieking vocals not unlike NEGAZIONE. Not too much metal damage, personal lyrics. A solid effort.
This thoroughly enjoyable album showcases a blistering thrash attack with catchy power chord guitar progressions and solid melodies. Sixteen songs, each distinctive compositionally, with good lyrics to boot. My suggestion: purchase this terrific LP!
Driving, mid-tempo punk with melodic guitar work. Six songs, not overwhelming, but pretty good.
Gloomy punk but energetic, not weighted down by their “depression.” There’s definite commercial leanings a la SIOUXSIE, but this is still pretty enjoyable.
The second record by this group is a wonderful and curious mystery. A little bit of an early CURE guitar sound, a little GUN CLUB rhythm and a lot of weirdness. The singer has a tendency to gulp for air and lyrics at the same time like the singer for FEEDTIME. Strange MINUTEMEN style rockers that end very abruptly.
This influential band is captured here at their peak in early 79, and the classic “I Found That Essence Rare” and “At Home He’s A Tourist” are given an aggressive, raw treatment on this EP, along with two other numbers. Very good versions, and recommended.
Monochromatic metal-punk from this veteran Japanese band. The tempo is moderate, the instrumentals and vocals a decline from the distinctiveness of past efforts.
Well, not godlike, but a pretty god showing with garage-y energy and silliness. Good “Sesame Street Theme” cover. Fun.
Hot screaming thrash and slower mosh madness. But what I really dig are the positive lyrics that aren’t to criticize the “born again straight edge” movement. Too cool! Keep it up, guys.
This double-album set from the HUSKERS rates as a real disappointment. Aside from two catchy numbers, the compositional structures here meander through their mid-tempo territory without going anywhere; the typical “lyric – chorus – lyric” structure of past efforts having been largely abandoned. Too bad.
HENRY ROLLINS’ (ex-SOA/BLACK FLAG) first solo vinyl effort is not so solo. Backed on cuts by a hard-driving band (including ex-SOA/FAITH/EMBRACE member Mike Hampton), the musical tracks sound much better to my ear than anything the Four Towels did in recent years. Despite the cleanness of the production, there’s real structure and bite here, and Hank sounds in great form. Biggest surprise — no spoken word.
IDIOT IDOLATERS, on their debut, proceed in a punk vein with rock influences in the instrumentals and especially the vocals. A very good guitar sound only partly compensates for basically undistinguished melodies and power.
A varied and well done EP. Some tunes are older punk (with a flair), some more typically modern Japanese hardcore — but all have something special. A treat. Not sure when this came out, though.
These four songs, recorded live in Denmark early last year, are not only first-rate versions of their best material, but actually surpass what I remember of their good live show. “Free” is the clear stand-out here, although all the songs are pretty good.
Once again, the INSTIGATORS treat us to a live tape, this one recorded on their recent U.S. tour. Ten hard, melodic songs, most previously released. Good.
This sometimes self-consciously bizarre EP uses a funny variant on a rap style on “Gödel Escher Bach: The Eternal Golden Rap,” while the two songs on the flip use a trebly synth (played quickly and seemingly at random) to underscore some similarly humorous lyrics. Strange, and basically okay.
The long awaited release from this SoCal band proves to be, for the most part, a strong release that shows growth and change. Musically, the music contains powerful HC melodies at a mid-tempo pace, with chanting choruses and simple structures.
The rock/blues Australian style, but hey, they seem to be German (this is in a blank sleeve). Somewhat neo-’60s in style, especially the B-side, which rocks out. The flip is down and dirty blues. I wish I had more info.
Another metal meets punk band, though not of the speedcore variety. The sound is more early punk with metal tinges, and lyrically it’s a mix of punk self-destruction meets metal themes. Pretty hurtin’.
From the Basque region of Spain hails this pop-punk band. This is commercial punk in an early UK style, incorporating ska and other influences as well. There are funny songs as well as an overriding political bent. Okay, but slick.
This band covers the “Beverly Hillbillies Theme” and does a song called “Jordache Jeans Hurt My Balls.” Yup, it’s snotty, garage-y punk and thrash at its finest. Sarcastic lyrics, of course.
Melodic pop-punk is, of course, the approved sound of the ten approved cuts on this LP. Lyrics are committed, guitars up in front, but the standard for this punk style is much higher. LAST STAND should aim their sights to the likes of STRANGLEHOLD or MOVING TARGETS, and a bit more energy (as on “Scum Guns”) wouldn’t hurt.
On a major now, and the music is way pop. Decent rock’n’roll a la RAMONES, but not as pounding or catchy. Kinda disappointing.
Thirty-six songs, half-live/half-studio of this hard-hitting Dutch band. Very politically aware and idealistic, their beliefs translate into raging, noisy outbursts. We in the U.S. may get a chance to see them live this summer, so buy this slab and help em get over here.
Pop is the key word here — be it pop-punk, pop-reggae, pop-ska, pop-wave —it’s all a bit too pop and not enough of whatever else. Buy hey, if you like pop…
An interesting mixture of punk, hard rock, and reggae. MCRAD definitely has their act together, but the wanking leads go a bit overboard. Pretty good.
The thoroughly glammed-out band photos on the pic sleeve was fair warning on this one. Three songs in a metal-punkish vein, interrupted by dreary Japanese lead breaks and lame sung vocals– and close to zilch in the way of cool songs. Too bad.
While the sound is fairly decent (a bit thin on bass), the music is a mixed bag. Some tracks rage, while others are a bit languid. Lots of medium-to-fast punk, with a few ballads. Not overwhelming.
Fun, garage-y, varied punk with good, common sense lyrics. Good stuff, but “Terminal Dudes” and “Gay Rape Squad” stand out as prime cuts.
These guys put out as many records as BLACK FLAG used to, with about the same quality control. Boring, pretentious stuff, at least on vinyl. Guess that’s why they’re so popular.
This French band manages a mid-tempo punk style competently, yet without the passion of some of their countrymen (i.e., KIDNAP). “Ilot Amsterdam” is the clear standout due to its energy and melodic crunch; much of the other material just stands there.
Rockin’ garage-y pop punk with a fair amount of variation. Hilarious personal lyrics, too. Fun stuff here.
This four song effort presents mid- to fast-tempo punk/HC with some lead breaks that tax one’s attention, and frankly less in the way of memorable compositions than I’d hoped for. Good energy, but unmemorable.
Here’s a Scottish act who makes a variety of noises, all with intelligent words about war, pacifism, etc. Enjoyable stuff.
“Noise” is the operative word for PUSSY GALORE — and happily, noise is used in very inventively on most of the tracks here. The two songs on the A-side sound remarkably like riffy 60s garage punk put through the old blender, while the thrashy “Get Out” easily out-trebles the JESUS AND MARY CHAIN. Unusual, and good.
Some recent recordings by Finland’s RATTUS, showcasing a powerful hardcore sound with metallic guitar work and thoughtful lyrics. Contains live and studio material. Good job.
Mostly ferocious noisy thrash but a little more metal than their flexi released last year. Good lyrics, and contains both live and studio material.
Superfast hyperthrash with fierce roaring vocals. Nothing too original, just 15 minutes of total insanity.
SOB clearly take their nod from fellow Japanese thrashers the SWANKYS and CONFUSE; nine fast blasts here, exploiting an enormously energetic, basic HC style with loads of emotion and power. A total winner!
I don’t think fans of Southwest bizarro noise will be disappointed here. Six songs that loudly snake their way across your turntable, with a modern acid sickness in their trail. I guess this is art.
The A-side from this veteran DC band at its best has strong MC5 influences: with the structure, leads, vocals, and riffs, it has a bit of a 70s rock feel, but it’s catchy and powerful. The flip is a folk/acoustic song that lacks power but has good lyric impact.
Punk rock with a great obnoxious “punk rock” attitude. Lyrics range from rebellious to ridiculous. About 45 minutes worth of great tunes plus a funny interview. Too great for words.
In their latest effort, SEKAANNUS employs a mid-tempo HC approach that’s listenable, but fails to pick up enough energy or noise to make a definite impression. Three songs, all in a repetitious, riffy style.
Mostly mid-tempo, driving punk with occasional ventures into SEPTIC DEATH-ish thrash. Lyrics have a desperate personal edge to them. Cool.
This band does a dark, rolling sound and also has a lot of instrumental finesse. Some of the guitar…uh..”hoodling” sounds a lot like GONE and the vocalist has a touch of NICK CAVE without being obnoxious about it.
Resurrected from the depths of the early San Diego scene, these guys belt out 11 classic raw punk tunes plus three great covers. The demo side is clean with good production, but the live side gets berserk! Look out for vinyl soon.
This release contains engaging change of pace thrash with solid performance and production, along with some very strange lyrics. Meets all the requirements for slamming along with it in your own bedroom. Nine songs, very good.
Another one of those strange post-punk releases that instantly reminds you of a thousand bands. Their taut, murky music and oblique lyrics reminded me of the MINUTEMEN, PHANTOM TOLLBOOTH, even the BLOODY MANNEQUIN ORCHESTRA.
Powerhouse thrash with some cool melodic breaks. Only four songs, but a neat tape.
If you feel the HÜSKERs have gone too far overboard into pop lately, then try this baby out. Same melodic din, but delivered with crunch. Poetic lyrics that don’t do much for me, though.
STATIONS OF THE CROSS are a new NC band who play punk and thrash with metallic tinges. Eleven songs, clean production, personal lyrics. Good job.
A hot live set from the SUBHUMANS’ last show, with mucho songs including a great live version of “From the Cradle to the Grave.” Opening act STEVE L. plays melodic acoustic punk with smart lyrics. An excellent tape.
Pretty pedestrian thrash with a considerable amount of gusto. Lyrically, these guys possess a heavy anti-drug and alcohol slant. Pretty good.
Mostly melodic punk and thrash with intricate guitar work here, save their MOTORHEAD cover. Neat lyrics book with intelligent lyrics. Swell job.
Cool mid-tempo singalong stuff with a variety of influences. Six good songs from this Florida band (not the San Diego FRONT).
Powerful thrash and HC from this Indiana outfit. Straightforward, but innovation is present. Lyrics seem to be in the spooky/horror vein.
Decent blues based pop with okay guitar sound and pounding beat, but with lamentably lame romantic lyrics.
Heavy on the sludge from this now-defunct Australian garage band. You get a lot of nasty, crusty guitar riffs that pound insistently over and over in your head with just a touch of psychedelic melodies to mix things up.
A-side is pretty icky pop, but the flip has a lot more zip and a slight edge and okay guitar sound. Decent power pop.
The A-side is a decent driving post-punk tune with a YARDBIRDS’ “For Your Love” vocal harmony. The flip is an early 70’s type ballad — yecchh!
A new release from the new version of the NIKOTEENS. Mostly energetic HC with slight metal influences. Good job.
Basically, this sounds like the STOOGES trying to do a cover of a JESUS AND MARY CHAIN song they just can’t get a handle on, so they make up for it by laying out a full-out aggressive noisefest ending. Truly inspiring.
I’ve always dismissed this band as a wimpy neo-’60s band, but not after listening to this. Anyone could be impressed with the hard-edged guitar sounds while maintaining a melodic pop charm. Sounds like a long-lost LP from the era that brought us the YARDBIRDS, ZOMBIES, and THEM.
This has all the components of a great Aussie garage record. There’s a great underlying melody that never gets in the way, some tough guitar slashing, and everything moves along at a pace reminiscent of the FLAMIN’ GROOVIES and SCIENTISTS.
One of the greatest of all UK bands is given another long-shot chance to become the next BEATLES on this 12″, which contains disciplined but enjoyable versions of four of their terrific songs. UNDERTONES fans (and I know there are lots of them) should snap this one up, and fast.
Metalcore with songs like “Motor Maiden,” “I Hate the Bitch,” and “Kill em All,” etc. Draw your own conclusion.
I was pleasantly surprised to see this witty group making just good standard trash rock with funny and biting lyrics that ring a little bit like old DELTA 5 or TV PERSONALITIES. A lotta fun, but certainly not wimpy.
This is actually the domestic pressing of their latest EP. The import, reviewed in a previous issue, contained some tracks from the American release “Kill by Remote Control,” so they’ve replaced those tracks with the import 7″ “God Bless America.” If you don’t have the import EP or 7″, snap this up.
The metal-punk on this release crosses the Offensive Barrier, at least for me. Basic speedcore riffs, crunching lead breaks, and sub-par songwriting combine to make for four songs distinguished only by their relative speed and energy.
Garage-y punk and thrash from these USELESS PIECES OF SHIT. Lots of songs, grungy production, stupid punk at its best, or is that worst?
Current garage sleaze from both the U.S. and Europe featuring LES THUGS, CANNIBALS, LEGENDARY GOLDEN VAMPIRES, SICK ROSE and much more. One of the best neo-60s series going.
While this label put out the great Surfin’ in the Midwest compilation, this sampler suffers from a little too much of the “folk rock” sound and not enough of the great 60s garage fuzz. Still, some respectable tracks from UNCLE AND THE ANTEATERS and DAYBREAKERS.
This 90-minute sampler of HC and noise punk from Wisconsin contains no less than 30 songs from the likes of CHARMING DEVIANTS, IDK, 10-96, U.S. DISTRESS, and JOHN ADRIAN. Lyric booklet included.
A four-band project. LES GNOMES have a hard-hitting but quirky thrash/punk sound that’s distinctive without getting pretentious. DAMES are an all-femme band that have an English pop-punk sound with a slight post-punk flair. BARON ROUGE has a ’79 English arty punk sound that still has power. ZOI are a mid-temp band that occasionally lurch into thrash, all with SIOUXSIE-like vocals. Good variety on all tracks.
A regional comp featuring S.O.B., BRUTUS, OUTO, DITHER, RIOT, and DORORO. Mainly hardcore, with some pop-thrash and a bit of slower music. S.O.B., OUTO and RIOT are my faves.
An international comp featuring BLUT+EISEN, ANGRY SAMOANS, SUBHUMANS, KTMK, COC, FANG, I SPIT ON YOUR GRAVY, and lots more. Hot tracks from the DEPRAVED, NEUROTIC ARSEHOLES, FALLOUT. Many tracks previously released, but now largely unavailable.
A sampler in the true sense of the word, with 19 NJ/NY outfits playing everything from psych to speedcore to melodic pop to 77-ish punk to comedy skits! For the diverse.
A solid comp of recent Hungarian material: punk of all speeds with varied production and intensity. Good, but not amazing.
An hour’s worth of blazing punk and thrash from the likes of FALSE LIBERTY, GUILT PARADE, and many others. Another great, consistent comp from this label.
A really cool release with garage, punk and noise cuts by BIRDHOUSE, ULTIMA THULE, and SILVER CHAPTER. All three cuts have guts and character. Comes with issue #3 of…
A solid comp of mid-tempo garage-y punk, many with a pop influence. Twenty-five acts, all from Delaware. Pretty good.
Ninety minutes of acts like MDC, STATE OF MIND, A.P.P.L.E., FINAL CONFLICT, etc. all spewing out their strong lyrical sentiments. Informative booklet enclosed. Cool stuff.
A good follow-up to their 7″ featuring the same quirky yet melodic thrashers, funky moments, some good material, and lots of the ol’ saxophone. Their slower moments get dull and gothic sounding, but the fast ones are really fun.
This album incorporates a variety of influences (punk, BIRTHDAY PARTY post-punk, and even industrial tinges), spreads its invention too thin over the ten tracks here. What results is a punk sound with wanky edges; I only wish the whole LP sounded like the terse, disciplined title track.
A very high energy release — this is metal-heavy hardcore without the excesses and with intelligence. Though riffs do get repetitious, the overall power is intense enough to hold your attention. Should be popular.
