Five songs from some of the former FARTZ. They still maintain the mania of the past line up, but combine it with a slightly more metal sound that sometimes reminds me of BLACK FLAG, sometimes of DISCHARGE. Excellent.
This band has a style that works well enough in a 7″ format, but is too unimaginative to sustain an entire album’s worth of material. There’s nothing really wrong with the ABRASIVE WHEELS. They have a fast, powerful, well produced sound and some good songs—it’s just that their music doesn’t normally reach out and grab you. Here, the possible exceptions are “Danger, Danger,” “Voice of Youth,” and a couple of the cuts from previous 45s.
Tedious metal-punk with annoying double-tracked female vocals. To put it another way, mundane muzak for punk people. I’ll take GIRLSCHOOL any day, and that’s not saying a helluva lot.
Despite the dumb heavy metal graphics on the pic sleeve, I think this is easily peculiar enough to transcend this month’s crop of standard Britpunk. It’s a weird mixture of common elements—real gravelly Oi vocals, staccato CRASS-like choruses, slow/fast guitar-heavy music—anchored by a distinctive fuzz bass. Description won’t suffice; you’ve got to hear this one for yourself. I love it.
Nowadays, one opens a single on the Crass label with a little skepticism. Does the classic sleeve conceal another ANDY T? Well, you don’t have to worry about ALTERNATIVE, because they rip. The title cut is an excellent show song that may not appeal to the unrelenting hardcore type. The others are dynamite and should be played over and over, as loudly as possible. Great record.
The AMEBIX are currently sounding very much like early KILLING JOKE. Both of these songs are characterized by ultra-heavy bass-lines, echoing drums, and the sort of agonized singing that Jaz is famous for. Now that KILLING JOKE has wimped out, there’s more than enough room for cool cats like the AMEBIX. The cover unfolds into a nice poster.
This is sort of a poor man’s MINOR THREAT/MDC. Actually with a bit more fine-tuning and imagination, they could be right up there, because they have great lyrics and spirit, and aren’t musical slouches, either.
I’m not sure if the Small Wonder label is here to stay, but it’s real good to see this new record. ANTHRAX definitely has that CRASS-family sound, with its orchestrated highs and lows. This EP is musically and lyrically powerful, so watch for another soon on the Crass label.
Good basic Britskunk with no real surprises. I mean, the chorus on “New Punks” actually has “Oi, Oi, Oi” in the background. ANTISOCIAL show off some drive and a nice dense guitar attack, but nary an original idea.
ANTISOCIAL sound more like an American outfit on their second single. One side is stop-and-go thrash, less DISCHARGE-like than most English thrash. The other side is slow, but also excellent.
Not quite as manic as the RIISTETYT album, but every bit as good. Although APPENDIX has a very powerful hardcore sound, their material is more varied and distinctive than the norm. As a result, the songs stick in your head after only a couple of listens, whether they’re thrashers like “Paniikkia,” mid-tempo punkers like “Kuitenkin Kuolemme,” slow noisemakers like “Nöyrät Nuolee,” or combinations of the above like “Ai?” If you like DC’s SCREAM, you’ll get a rush out of APPENDIX. And dig that psychedelic cover!
A totally hot, well-produced tape from this previously unknown bunch of kids from SF’s suburbs. It features very tight stop-and-go thrash, sort of like early CIRCLE JERKS.
This band must be the Finnish equivalent of DISCHARGE—metal meets thrash at 120 mph. There can be no winners of a nuclear war at that speed. Seriously, one side of this tape is studio and one side is live, but both are excellently recorded. Propaganda strikes again.
Good second pop-punk effort from BEEX. “Butch” is a snazzy uptempo song featuring female lead vocals, one heavy guitar, one folk-rock guitar, and a nice overall drive. The flip is a more conventional rocker. The guitar interaction is what catches your ear; the gross cover catches your eye.
Heavy metal punk with superficial Satanic overtones, only vaguely related to the the type of thing popularized by such LA groups as 45 GRAVE, VOX POP, CHRISTIAN DEATH, etc. Not my cup of tea at the best of times, but BLACK EASTER are far more turgid than most. Useless really.
The best thing about this new BLITZ 45 is that it will piss off the more narrow-minded Oi-sters. It really breaks the standard “skunk” mold with a schizoid musical approach combining NEW ORDER (squeaky clean production, a dance-oriented beat, a tinkling piano) and GARY GLITTER (superheavy drums and repetitive sing-along choruses) influences. I long for the crunching guitars of their All Out Attack EP, but I’m thankful that they’re not just recycling their more derivative recent material.
Haunting guitar progressions and an impressive wall of noise distinguish both sides of this debut single by BUTCHER. While “Grow Up” wins points for its breakneck, amphetamine-paced instrumental attack, the flip maintains more dramatic power and distinctiveness. Good, rowdy hardcore energy throughout.
Strong (and occasionally annoying) heavy metal influences punctuate both sides of this hardcore offering by SF’s own CODE OF HONOR. “What Are…” grapples with the important issue of passivity in the current punk scene, while the somewhat slower B-side addresses a variety of societal ills. Highly credible and articulate lyrics.
A very well produced record by a band heavily influenced by CRASS. The punk herein is sometimes slow, sometimes frantic, but always political. Most of the songs have that well-known militaristic sound, but a few are downright melodic. The multi-colored sleeve is unusual for a Crass-related label, and there are some real musical moments here. Don’t miss out.
Chunky Texas garage punk. Dorky singing and muscular guitars propel these basic rockers. The themes are typically inane, with “Toxic Shock” and “Secretary Spread” generating the heartiest guffaws. Tesco’ll be able to relate to these jokers.
A timely reissue of CRISIS’s first two 7-inchers. This band’s trademark is superb melodic punk powered by two guitars, one fuzzed-out, one cleaner. The melodies and hooks are irresistibly catchy, and the political messages have never been more relevant. If you missed out the first time around, don’t be stupid and ignore CRISIS now. They exemplify all of the qualities that made earlier English punk so great, so demand this record at your local store.
The second 7″ from this lot. Both tracks are in the medium-paced Britpunk style, but “Blitz” is a really superb song. The combination of a great sing-along chorus, drill-press guitar, and interesting lyrics make it a mini-classic. The flip is faster, less memorable, and rather dumb.
A bit of a letdown after their first intriguing 7″. Here, only “Maladie d’Esprit” has as much subdued aggression. There’s a sinister undercurrent to DEMENTIA PRECOX, and they demonstrate that synths and drum machines can be used to intimidate rather than hypnotize, but they currently seem to be moving in an artier direction. Too bad.
These jokers have been around for a while, and they’re still peddling the same unprofessional funnypunk that they began with. The main difference is that now they’ve incorporated diverse influences like “Oi-Oi-Oi” background vocals (in the title song), rockabilly beats (“Gratissex”), a quasi-funk bass (“Regardez-Moi”), and even some artiness (“Nachts scheint die Sonne”). It’s kind of fun to listen to this album, but it won’t exactly etch itself in your memory.
This LP’s got some punch. The music is faster and snappier than the UK norm, and some tracks really roar (“Born Too Late,” “Hillside Strangler,” etc.). Inexplicably, there are good anti-drug and anti-violence lyrics standing side-by-side with others having an unfortunate fixation on sex and violence. The guitars could be a little louder vis-Á -vis the snare drum, but on the whole the DESTRUCTORS album moves along at a brisk pace and keeps your attention, so give it a chance.
Idiotic garage punk from New Jersey. The A-side has some of the funniest lyrics I’ve heard recently, while the flip features an absolutely atrocious bar-band guitar solo. These guys are so awful that I actually like them. Maybe they’ll tickle your funnybone, too.
An excellent release with varying punk styles and tempos, all the way up to thrash. It’s very tight and features good choruses, but the real strengths here are a great drummer and a guitarist who really cuts loose with some unusual licks and great, swooping chords.
Well, I liked DIE KREUZEN’s earlier cassette a lot, but even it didn’t quite prepare me for this outstanding slab of vinyl. All the noteworthy aspects of the former have been preserved, most notably the freneticism, but the band is tighter now and the recording is better. There’s a hint of the MEAT PUPPETS and CODE OF HONOR herein, but these Wisconsin guys are clearly originals.
This falls into a pop-punk category. There’s poppy back-up vocals and hand claps, cut the basics are all solid older-style punk. I like it a lot.
Jello says that DISORDER has a live sound not unlike the pet-rock of FLIPPER. Maybe, but on record they continue to be a rip-roaring thrash band. The only trace of “pet” is in the screaming choruses and periodic yells. Cool.
Another new Houston band slugging and thrashing its way up. This is a five-song release with the kind of intensity and drive that epitomizes Texas hardcore. A good one.
Mix together the early CIRCLE JERKS, early BLACK FLAG, MDC, MINOR THREAT, SSD, TERVEET KÄDET, and GANG GREEN, and you have something approximating these DIRTY ROTTEN IMBECILES (so-called by their parents). What can I say—this is manic, intense, tight thrash with great lyrics, and I can’t wait till these Houston boys unleash themselves upon the rest of us deprived people. 22 songs.
Two hilarious novelty tracks from the “Egg Lady” in John Waters’ cult film, Pink Flamingos. The music on this picture disc is basic hard rock with dumb guitar solos, but the arrangements and lyrics are a laugh a minute. “Punks” is addressed to all the punks who are going nowhere fast, and the 300 lb. Edie’s version of the old FOUR SEASONS hit takes on an entirely new meaning here.
This live EP renews some of my faith in ERAZERHEAD. They’ve recaptured their earlier snappiness and guitar power here, which suggests that bad production was mainly to blame for their recent vinyl failures. Check it out if you like(d) the LURKERS, and have a good laugh during “Get Pissed Again,” a punky rewrite of CHUBBY CHECKER’s big hit, “Let’s Twist Again.”
An admirable new release out of DC, with ten tracks, two bands on one 7″ EP. The EXILED have improved a lot since their recent tape. They do both thrashers and slow, grinding numbers with interesting effects that show versatility and imagination. They sound young but have potential—”Artificial Friend” is great. What ARTIFICIAL PEACE lack in production values, they make up for with some good lyrics and classic thrash in between the slower bridges and haunting background vocals. Hats off to “Think For Yourself.”
The six short compositions on this EP suffer from badly mixed, garage-style production values, with the guitars pushed way into the back. Too bad, because the subjects covered on this record demonstrated a high level of political astuteness and credibility. “Conscription” and “Laughable Attack” are especially topical.
This group hails from down near Monterey, and the music is fairly standard NorCal stop-and-go thrash. Pretty energetic, but not really original. The words are similar in all fifteen songs, expressing a desperation and emptiness that must make the writer a real joy to be stuck in an elevator with.
A seven-song effort from this new Philly group. They play very fast thrash with pizazz, similar in some ways to the NEOS. It sounds real good, but I can’t tell what the hell they’re singing about.
I have a hard time finding fault with this album. Once again, if you don’t like your punk political, steer clear, because FLUX is dynamite. The whole LP is a marvelously orchestrated opera of poetic condemnations of our nuclear world that builds up to a climactic musical explosion. The production is superb, and a booklet is included. My copy’s grooves are already worn down.
Remixed versions of two songs from the FORGOTTEN REBELS’ LP mentioned in MRR #3. The guitars are mixed a lot louder this time around, and it sounds really hot. “Tell Me You Love Me” is an exceptional punky-pop cut with background vocals and a chorus that’ll stick in your head for days, maybe months. More of the same, please.
Hardcore from Denver. The FRANTIX have a nice chunky guitar attack which sounds very PISTOL-ian on their mid-tempo songs especially “Sharin’ Sharon.” The semi-thrashers have an awkward feel to them, as if the band just started playing real fast, but the grungy guitar cuts through all the confusion. A nifty record in the ’77-’78 punk tradition.
A real dumb garage punk record by a geeky rock band from SF. “Racin’ for the Pink” has lots of sleazy power chords, some supercool but over-long lead solos, and background soundtracks of hot rods or cycles accelerating. Great for crusin’ with the top down! The flip combines raunch and self-explanatory grammar school sentiments. For G.G. ALLIN fans.
I don’t have much good to say about this. The GENOCIDES sound like a bunch of headbanging rockers that decided to go punk in an effort to gain an audience somewhere. The A-side is every bit as stupid as it sounds, and the HEARTBREAKERS cover tries hard to make up in speed what it lacks in interest. The only saving grace is that they managed to get a searing treble sound out of the guitars.
Hey, this is even better than G.G.’s usual garage punk offerings, being faster, tighter, and minus sexism. Amazing! The background choruses turn “No Rules” into a classic, but this guy still serves as a constant reminder of how absurd people can be. That’s a recommendation.
Somewhere in between CHAOS-Z and DAILY TERROR we got HARNRÖHRER. They are a German garage band with heavy guitar sound similar to that of early U.K. punk. The production may not be great and the songs are rather monotone, but they are charming. Is this the real German underground?
This band has been around for a long time—that’s the good part of this review. This EP isn’t as bad as their last 7″—that’s the so-so part of this review. This records isn’t as good as their earlier releases—that’s the bad part. The pop-punk sound and almost falsetto vocals here are too close to new wave, but there are some good lyrics and a couple of cuts that rock out pretty hard (“Punk 1301″ and “What Am I Living For?”).
HONKAS are a very raw punk band from Germany, and the production on this record only accentuates their primitivity. Some of the songs here almost degenerate into an undefined mass of guitar distortion, but others (like the title track) have more focus and drive. Pretty sharp.
They picked up the pace a bit since their debut 7″. Although the riffs sound alike on all three of these songs, they’ve tightened up enough now that it’s not much of a hindrance. Good English punk ’ere, lads.
This slice of American Oi drags a lot but the drill press guitar sound is hot. The lyrics are about fighting and at face value seem confused if not downright reactionary. Vocalist Sab told me that aside from ex-bassist Wendel’s “Psycho Skin”—a retarded homophobic diatribe—most of the other songs are based on specific incidents and advocate self-defense not mindless violence. Unfortunately that isn’t at all clear from the enclosed lyric sheet. When dealing with sensitive subject matter, it would be helpful if bands included more information on what it is they’re trying to say. After all isn’t the object of music to communicate feelings and ideas?
A potent mixture of ’77-style powerchord punk and more contemporary thrashers can be found on this excellent debut album by KRAUT. It is far more riveting than their two EPs, and should serve to silence many of their critics once and for all. Solid production, loads of tight guitar power, abundant energy, and huge hooklines are all showcased here. I don’t really accept Tim Sommer’s suggestion that KRAUT are the punk group of the ’80s, and for all I know, they might actually be the would-be rockstars that their enemies contend, but they sure as hell won’t need ex-PISTOL Steve Jones to give them credibility next time around. Highly recommended.
The thing I like most about both cuts are the vocals, which are eerie but not pretentious. The A-side is the song I like musically; it sort of reminds me of the more upbeat, listenable side of PERE UBU. Great bass runs.
OK post-punk from Boston. A loud, clean guitar combines with a heavy bass/drum sound and fine singalong choruses in the engaging “Down and Backwards,” but the lead vocals are too pretentious and the saxy B-side is weak.
LIXOMANIA sound a bit like some of the better new English bands, but with an edge and vocal rawness more reminiscent of Finnish groups. There’s one thrasher and a bunch of mid-tempo punk songs covering themes like punk not dying, massacres of innocent people, etc. The lyrics are in Portuguese, the language of Brazil.
TSOL may have mutated into something barely recognizable, but their great original punk sound lives on in the material of many current SoCal bands, including the VANDALS, NO CRISIS, and, as this record indicates, LOST CAUSE. That’s certainly not a bad thing, except that here the material lacks the punch of LOST CAUSE’s 7″ debut. There are a few hot moments in “Living in Hell” and “Firing Line,” but somehow I was expecting more from these guys.
If you enjoyed the classic 12″ by GRANDMASTER FLASH, chances are that you’ll favor this scratch version of “Buffalo Gals” by SEX PISTOLS creator and music entrepreneur Malcolm McLaren. Demented, confusing, and very funny, this collage of tape loops and dubs definitely hits the mark.
Once again, the MEATMEN have managed to provoke “orgasms” of laughter. The same scrungy guitar and chaotic garage approach that stood out on their classic debut serve to propel these here garish songs about a variety of sexual hang-ups. It might be offensive if it weren’t so damn funny, and even though Tesco’s member shrivels up every time he thinks about “human rights” punks at MRR, we still like the silly savage.
Exploding turbulence thrusts forth eight new MINOR THREAT proficient arrangements. Increase the velocity of their first two powerful releases, step Brian up to second guitar, add new bassist Steve, and still more potent lyrical blitzes, and this 12″’s non-hesitant progression outbursts into the blazing best Dischord yet. Don’t miss.
Boston really loves its rock ’n’ roll. MISSION OF BURMA aren’t hardcore or the typical Boston bar band. This first album is faster and louder than their other stuff, at least most of the time. The almost accidental meshing of the guitars is better than ever.
Two people from thrash band ANTI combine with two others to produce a more experimental effort. It’s a 50/50 proposition. Some of it sounds like the earlier LA punk sound with its classic female vocals; other songs are in a post-punk or arty vein. Good change of pace.
Much better than their earlier tape. The sound is fuller, there’s more attack, and the lyrics are every bit as good. NOTA remind me a bit of ARTICLES OF FAITH, so drop them a line and order this tape.
“Conquest for Death” is a raw uncontrollable rage of rambunctious combustion. A fast, forceful frantically paced flailing stormer against competitive nature. An outrageous single venture before they release the upcoming LP.
This offbeat record displays a good hand for social satire on the title track, which is basically a spoken poem over an acoustic backdrop. The flipside, however, compensates for a throwaway number with a vaguely wimpy, but nonetheless engaging pop-punk composition (“Nuclear Attack”). Interesting.
Oh no, the FLIPPER crud has spread to the heartland of straight-edge country. Actually, it’s more like FLIPPER meets early CABARET VOLTAIRE. The funniest song title is “Quincy Fights Punk Rock.”
The second LP from German punk veterans OHL is much hotter than their uneven debut. The production is crisper, the group has become a lot tighter, and the songs are much more memorable. Though not really a thrash band, OHL do produce some speedy slabs of guitar-heavy power that’ll strain your speakers at high volume (like “Schrei, Schrei” and “Warschauer Pakt”). I’ve heard rumors that these guys have right-wing proclivities, but they should lay the rumor-mongers to rest here with “Nie Wieder,” one of the most vitriolic anti-Nazi songs I’ve ever run across. Recommended.
This album contains at least one track from each of their three previous 7″s. ONE WAY SYSTEM focus on the more traditional punk styles, which they handle well, but they also play a few thrashers. A pretty good record, though not exceptional.
Infinitely better than their weak debut EP. OUT OF ORDER now have a much more powerful guitar sound, a tighter instrumental attack, a faster tempo, and decent production. There’s a real mixture of punk styles here, ranging from the ’76 numbers with Rottenesque vocals (“Royal Wedding”) to ’78-’79-era Britpunk (“Ministry Bureaucracy,” the title cut, and a cover of CRISIS’s “Holocaust”) to more modern “skunk” anthems (“Politicians” and “Wasted Youth”), to pop-punk (“Inside Out”), and their occasional use of an organ can be refreshing. All in all, this LP represents a sizable step forward for these German punks.
Totally! Great bass-drums-guitar-vocals. This is one time that I’ll use the term “shreds,” because it says it all. As they say on the lyric sheet, “Play loud in math class.”
’60s punk meets the GERMS meets thrash. It’s pretty fast stuff, but with an earlier punk feel to it, not unlike many current British bands. An excellent debut from this very young Dutch group.
The realm of death. Frenzied punk creative guitar feedback frightfully shrills terror and morose. Echoing drums pound shimmering insanity, evil. Haunting vocals taunt vivid lyrical descriptions of fear, anti-God, and anti-system. True music to reality’s horror show. Sullenly slower but poses the same brilliance as RUDIMENTARY PENI. Psychotic fold-out cover art is exceptional. Worth your interest.
I reviewed their demo tape two issues ago, and now I have a chance to rave again. This soon-to-be-released EP has thirteen thrashing songs that run into each other at breakneck speed. Keep your ears peeled.
Strong guitar pop with some superficial post-punk effects. This 12″ is somewhat overproduced, but the ringing guitars and overall catchiness make it more than worthwhile. PRESSURE’s sound reminds me of early FINGERPRINTZ, and that’s A-OK.
An uneven garage rock band from the hinterlands of Illinois. Their faster semi-punk cuts (“Tell Me Where” and especially “Too Easy”) have a loud and primitive drive that’s rather appealing, but the others are very boring songs in the traditional hard rock/heavy metal vein.
Really cool. This band does a cover of the SONICS’ classic, along with other tunes ranging from straight-on thrash to thrash meets power-pop (in the good sense of the term). Great hooks, sharply delivered, and more gas than a bowl of Boston beans can produce.
This 12″ sounds simultaneously over-produced and under-recorded, but the good music still makes it through. There are a couple of dragged-out mid-tempo numbers, but there’s a find dirge (“Holocaust”) and a few real kickers.
More explorations into the territory they’ve been staking out over the course of their last couple albums. Even without Phil Spector, they’re still aiming for that Spectorian Wall of Sound, and they manage to get it. The material ranges from great new guitar-heavy pop tunes to lame versions of earlier classics like “Little Bit o’ Soul” and “Time Has Come Today.” I think it sounds real good, but if you’re only interested in “Blitzkrieg Bop Part 75,” this LP isn’t for you (except maybe “Psycho Therapy”).
I’m getting tired of repeating myself, but this is another great Finnish thrash record. RATTUS are as fast and powerful as anybody, but not quite as chaotic or extreme in the vocals as some newer bands. There’s more musical control in evidence here, probably due to a longer period of musical apprenticeship. Still, it’s hard to find a more intense song than “Miesten Koulu,” so don’t overlook this Pus-covered baby.
Noisy and somewhat annoying, this latest effort by RED ALERT fails to approach the standard set by themselves or most other “skunk” bands recording in Britain nowadays. Both compositions here are musically undistinctive and, surprisingly, quite messily produced.
If you had the good fortune to come upon their EP, you know what this new four-song “live” cassette is like. If not, it’s not too late to pick up on this bone-crunching attack. Note, as go the FARTZ (now 10 MINUTE WARNING), so go the REJECTORS. This means that there are some heavy metal guitar licks on this tape.
The biggest problem with RIISTETYT’s earlier EP was that the vocals didn’t quite mesh with the musical backing, a discomfiting effect that made it difficult to distinguish between the various 1000-mph songs. That problem has been largely, though not completely, overcome on this intense LP. The drummer gets an incredible workout, and sometimes you can’t keep up, but Valtion Vankina is a great record if you like uncompromising thrash with good political lyrics.
This album features two new Dutch bands, one punk (RIOT), the other skin (N.V. LE ANDEREN), but I can’t figure that out from the lyrics or music. Both play similarly fast punk or thrash, and both have intelligent songs about similar subjects. An excellent release, but I’m still confused. The beautiful cover doesn’t help matters.
Although their first EP was good, this new release shows progress. Two of the songs here are SUBHUMANS-type thrashers; the others are slow and steady. Sensitive lyrics and lots of commentary on the sleeve make this a must.
Classical-style punk from Florida. The songs are catchy and the recording is raw enough, but the lyrics are about as retarded as you can get, even though they’re meant as jokes. “Wetback” is chauvinistic if not actually racist, and then there are your typical misogynistic, anti-gay, and anti-hippy songs. “More Beer” is a gas, but I bet Anita Bryant would be proud of these “punkers.”
This is bound to be one of the best releases of ’83. Dischord has really got their production down—it’s the best in punk. An unrelentless record, musically and lyrically, containing powerhouse thrash with great hooks, choruses, and vicious guitars. I don’t care much for the few reggae-ish cuts, but otherwise I can’t say enough good about this one.
A primitive, garagey sound permeates this 6-song cassette by horror rockers SCREAMING DEAD. Perhaps not as stirring as their Valley of the Dead EP, this tape still contains abrasive standouts like “This Is the End of the World” and “God of Love.” It comes complete with a ghoulishly illustrated booklet and a SCREAMING DEAD button.
A lame garage rock record which might have seemed funny back in ’76, but now sounds pathetic and out of date. “Rock or Die” and “Chop Up Your Mother” are pretty entertaining, but on the whole this is too calculated to be good garage punk. It comes off more like crass in-joke commercialism.
A real potpourri of styles here, ranging from weird, disjointed, punked-out numbers (“Cuban Homo Farm” and “Plastic Rows”) to rhythmic African chants (“Jumping Through the Jungle”) to awful art-damaged shit (“Rats Tied to Trees”). You’d have to be schizoid to like everything on this EP. Maybe SILVER ABUSE ought to try playing at mental hospitals.
You’d never know that over five years had gone by from listening to these two skinhead anthem by reformed proto-Oi band SKREWDRIVER. They still sound the same, though perhaps a little less melodic in the guitar arrangements, and their seminal influence on the modern Oi groups is everywhere apparent. Singer Ian Stuart practically wrote the book on the sandpaper sneer that’s so omnipresent today; unfortunately, he also set the ideological tone for the more reactionary groups around now (the LAST RESORT, the 4-SKINS, SPECIAL DUTIES, etc.). I detest SKREWDRIVER’s values, but I can’t stop singing along with these damn songs. What a dilemma!
A raw garage punk album by a band out of New Orleans. The music is exceedingly primitive, with fuzzy two-chord guitar, nasty vocals, and a very fast tempo. I’d recommend it without hesitation on that basis, but the lyrics cross the fine line between scatological humor and gross ignorance on more than one occasion (especially the racist “Poor Blacks”). Still, how can you criticize a record with a song called “Mom’s Cunt” on it?
More value for your Deutschmark. This band is similar to many other German groups, but also has some standard Britpunk elements. Most of the songs are mid- to slow tempo numbers with good strong hooks. Take it for its musical value, because this record comes with an incomplete lyric sheet.
A Welsh band whose tastes run a whole gamut of punk styles, but seem to focus on the US hardcore approaches. The songs, which are much longer than the typical American ditty, are rather rough and have a charm all their own.
“Mouth” is one of SPLODGE’s typical novelties, in this case a goofy ska song with absurd lyrics. The B-side retains the goofy lyrics, but shifts into a fast funnypunk gear. Entertaining as usual.
The second full frontal assault of raw, rigorous rapidity from SSD. Seven more classic attacks of persistent manifestation. Springa’s harsh garroting vocals onslaught wild power as the band, now featuring a second guitarist, delivers some intense unrestrained material. The year’s best so far.
A four-song release by a young Dutch band. There’s a lot of different styles here, including a semi-post-punk track with a synth, a punk cut with a strong ’77 influence (“Heroin Child”), and a thrasher or two, “Crazy Sod” being the fastest. Pretty raw and catchy.
Some heavy metal licks laid over really powerful thrash. The songs are short and well punctuated, with strong drumming. I can’t hear many of the words, but if “Nuclear Threat” and “D.F.Y. (Drug Free Youth)” are indicative, they’re fine. Highly recommended.
A fabulous cover design on the ADICTS’ second album doesn’t help an affable, yet insignificant, collection of pop-rock ditties reminiscent of a cross between the early ADICTS and ADAM & THE ANTS. The single (“Chinese Takeaway”) is catchy enough but most of the songs have a cloying style and no thematic depth or personality. It’s OK for parties, I suppose.
The second strong pop single from the ALARM. Their main claim to fame lies in an inventive, jangling guitar sound, though decent hooks and an unprepossessing organ also add distinction. Not up to the best ’60s standards, but much better than the TEARDROP EXPLODES and their ilk.
A few people I know rave about the BANGLES, but I just don’t understand why. Some of their originals do have a ’60s feel (“Want You” and “Mary Street” on this EP), but most are examples of overproduced new wave pablum Á la GO-GO’S. Even their LA-DE-DA’S cover (“How Is the Air Up There?”) is lame.
Here, a former member of Reno’s party band, the THRUSTING SQUIRTERS, joins with members of 7 SECONDS and SECTION 8 to put out a rockin’ rolly four-song tape with scatological lyrics that would make Tesco Vee wince. The classic here is “There’s a Scientific Name for Your Dick.” Retarded to the max.
I’m not sure at what point brilliant evocation becomes slavish imitation, and I don’t think the CHESTERFIELD KINGS have figured it out, either. Ultimately, such semantic or philosophical questions are begged by one’s emotional responses, and this album connects with me because of its authentic ’60s punk feel, even down to the production. My one complaint is that these tracks are all covers. Even though some of them are better than the originals—”Outside Chance” leaps immediately to mind—I wish they’d apply that ultra-belligerent ’60s style to new compositions. Eminently cool.
Here is more proof that the Midwest is where things will be really happening in the near future. The CLITBOYS have the lyrical strength and commitment of the TOXIC REASONS, but are more thrashed-out. Watch for an EP soon.
Not as bad as one might have expected after hearing their two dismal 7″ releases. The DEFECTS’ lyrics are generic at best, and their material certainly isn’t innovative, but the production is excellent and some of the songs on side one have catchy guitar parts or choruses (especially “Dance” and the title track). This album’s neither an upper nor a narcotic.
I must confess that I like the new EJECTED EP, just as I liked their debut. It’s bouncy, catchy, loud, an all-around enjoyable. Nothing original, mind you, but boisterous and entertaining Britpunk.
Uncontrolled DISCHARGE-like thrash from Italy. This EP has loads of raw spirit, a chaotic instrumental attack, and really weird garage production—right in the middle of a song, the vocals or guitar will suddenly get louder and softer without rhyme or reason. It must be that world-famous MANIAX influence.
This is the second release on the X-Claim! label, and it’s no letdown. Some of the songs here are reminiscent of the super-fast sound associated with Boston; the others are slower, more distinct or melodic, but still rough, raw, and tight. Snap it up.
More “Boston-paced” music from this Cape Cod outfit, no letdown from their previous material. The playing is solid, tight, and inspired, with good hooks all around. As the liner notes say, “this record has been inspired by warmongers, social pressures, police oppression, and rednecks… their necks are getting redder.”
“Ignore Me” is a hopping guitar-heavy pop song with a chorus you just can’t get out of your head. It sounds a lot like a much louder JAM from the All Mod Cons period. The flip is OK, but not up to the same standard. The GAS may be one-hit wonders, but this here A-side is it.
Despite Dig’s valuable warning that the GONADS are a phony Bushell non-band, I can’t help liking this ridiculous funnypunk offering, with its soccer choruses, punky guitar, and cocktail-party piano. All Bushell is good for is a few laughs over a beer, but this is clearly the best medium for his antics. A knee-slapper from a double-dealing rip-off artist; it should be taped, not purchased.
An unanticipated mixture of styles on this, the JONESES’ first 7″ effort. “Jonestown” is an instrumental with a slight tinge of disco bass and reggae guitar; the flip is a garagy slice of mid-tempo SoCal punk that kind of reminds me of REDD KROSS in the verse and RADIO BIRDMAN in the chorus. Not at all generic.
Wow! The LAST have finally reverted to their earlier fast and raw form on 2/3 of this EP. “Up in the Air” is a super cut with great ’60s organ swills and a short but sweet psychedelic guitar break. “Wrong Turn” is almost as good, but “Leper Colony” has an awful, pretentious chorus. Still, it’s good to see the LAST get back a bit closer to the roots.
If you ever wondered what would happen if Pete Stride’s punky-pop compositions were recorded in a 24-track studio, this single provides the answer. The result is good snappy tunes driven by DISCHARGE-like power, a hot combination. The lyrics on the A-side are well taken. ERAZERHEAD, make a note of the change.
The A-side is from ’81 and is post-punk similar to that of their former sister band GANG OF FOUR, minus the funk. The ’77-period flip is a trashy, amateur treat which makes this 45 worthwhile.
Northern Ireland’s OUTCASTS have been carrying the punk standard since ’78, and I’ve always been a big fan of theirs. So it really hurts to say that their second album is something of a letdown. Their earlier punky pop sound has gradually mutated into a churning, militaristic, metallic juggernaut with lots of hooks and inherent power, but little humanity. Moreover, eight of these twelve tracks have already been releases, their new versions of old classics like “Frustration” really pale in comparison, and “Sex and Glory” is the only newer song that really stands out. The OUTCASTS have lost their innocence, and the results are at best mixed.
Both consistent and powerful, this debut album by the PARTISANS contains a bevy of fine composition exploring themes of social protest and youth rebellion. An exciting version of “17 Years of Hell” accompanies new streamrollers like “No U-Turns” and “I Never Needed You”—possibly the best material this band has ever committed to vinyl. A lyric sheet would have been appreciated, but it’s more than made up for by the twelve straightforward, unpretentious punk anthems here.
The SAINTS’ current album is bound to be a disappointment to some and a surprise to all. The mid-to-slow-tempo numbers use acoustic guitars and even brass section at times, and the slick recording actually does justice to solid compositions like “Follow the Leader” and “Curtains.” Quite frankly, though, Out in the Jungle qualifies as nothing more than competent light rock—nowhere near past triumphs like “I’m Stranded.”
Fast blistering doses of savage chaotic mayhem from Sweden. Raw cranking power with screeching guitar leads in brutal similarities to DISCHARGE, DISORDER, TERVEET KÄDET. An intense barrage of clamorous fury!
This sounds like earlier-style British punk and, although Dutch, has English lyrics. It’s funny how stuff that sounded so great three years ago now sounds so restrained, but “Electric Chair Execution” is fairly effective.
Psychedelic pop without the acid flashbacks. While I prefer the guitar-heavy sound of earlier vintage SALVATION ARMY/THREE O’CLOCK, infectious songs like “With a Cantaloupe Girlfriend” and “I’m Wild” stand out as peaks on this EP of comparatively spare, vocal-oriented melodies. Some might find this record cloying, but it’s still recommendable.
A surefire hit. On this album, all the VIBES’ old trademarks—precise staccato drum rolls, classic riffing guitars, and excellent songwriting—are embellished by elements absorbed from other rock genres, often in unusual, effective ways. For examples, note the psychedelic guitar segments in “Sleeping” and “Kick It,” the combination of thrashed-out music and Jaggerish vocals on “Watch Out Baby,” the exaggerated Oi sing-along on the rap-style “We Name the Guilty,” etc. Only “A Dot Ain’t a Lot” is truly lame, so give this a listen if you can accept that there are many fine groups around who don’t sound like DISCHARGE or GANG GREEN.
For some reason, this New York punk group sounds more English than American. Maybe it’s the somewhat restrained drumming, or the deeper guitar hum. In any event, the YOUNG & USELESS aren’t too tight yet, which gives them a certain charm. The lyrics are very questionable, but hopefully age will bring more wisdom—these guys are real young.
This young band was pissed when they were described last issue as FLIPPER-like. They do have some similarity in the distorted, raunchy bass lines and vocals echoes, but they are much more spirited and furious in tempo. Sort of like the CHURCH POLICE (just kidding, guys).
Despite their antics and posturing on stage, the SUBS are a good band. But not a great band by any means. All three songs here are solid rockers and represent some of the best aspects of ’77 Britpunk. A tip of the hat to Charlie Harper for keeping the faith (energetic), but so much has since changed.
Now down to a three-piece, this outfit has tightened up considerably, producing a classic guitar-highlighted tape with good hooks, a thick sound, and plenty of tension. Not as funny but better produced, the Unaware sound good at slower paces and thrash speed.
Four bass-heavy songs that combine elements of earlier metal-punk and thrash. A couple of them are real good, and the lyrics are surprisingly decent. The production is chunky, but a bit inconsistent. Not to be confused with the defunct band from South Lake Tahoe which appeared on the Not So Quiet compilation.
The second URBAN DOGS 45 is a lot like the first—boring rock ’n’ roll with a punky tinge. Knox’s guitar tone on the A-side almost saves the day, but he and Chas Harper are certainly capable of better things. Why rehash old riffs and songs?
Eight groups from the Berkeley area, all very young and in various states of existence or non-existence. The tape quality is very garagey, and the material includes some thrash and some pet rock or “mind rot.” The whole thing was recorded by Aaron and Jesse, those two youngsters who put out Tedium fanzine, and all other teeny zines that you literally need a microscope to read.
There’s quite a conglomeration of styles and sound quality on this South Bay compilation. It’s got thrash, heavy metal punk, garage punk, pop-punk, old punk, etc. The eight bands featured are FACTION, GRIM REALITY, RIBZY, EXECUTIONER, the BRUCES, WHIPPING BOY, the UNAWARE, and LOS OLVIDADOS.
This Albany, NY compilation is like the ones that used to come out two or three years ago. It’s got a bunch of local bands playing diverse styles of music—’77 punk, punky pop, punkabilly, post-punk, etc. There’s a lot of so-so stuff, some quality stuff, and one thrash outfit (CAPITLE). A sampler in the truest sense of the term.
Just when I thought SoCal was getting a bit stale, along comes this great 4-song EP with one cut each from KENT STATE, MODERN INDUSTRY, MOSLEM BIRTH, and MANSON YOUTH. All four present intense, unusual, and diverse styles of contemporary punk, tinged with deep cynicism. This isn’t LA schlock horror rock, but the real thing—the horrors of living today. Buy and die.
A compilation with most of the Seattle area’s great bands, past and present. Some of it is pretty garaged-out, but it’s all worthwhile, a necessary addition to anybody’s collection. Includes the FARTZ, the REJECTORS, SOLGER, the ACCUSED, POISON IDEA, FIRING SQUAD, etc.
Another LA compilation with a lot of unrecorded bands and a few who’ve already released vinyl (like NO CRISIS, MAD SOCIETY, and the CONSERVATIVES). The first efforts by F-TROOP, RED BERET, the CREWD, SECRET HATE, NUCLEAR BABY FOOD, and New York’s EVEN WORSE are good. Most of them play unique thrash, and a number of the songs are quite memorable. The production is also decent, even on the live tracks. A fine effort off of the LA mainstream.
Start by reading Featherby’s tirade on the back cover, a great intro full of optimism about the achievements of punk. Then move on to the great music. The MAU MAUS appear with one new track, and ANTI-SYSTEM and XTRACT both debut some powerful songs. The rest of this varied LP contains material by the XPOZEZ, MANIA, and the SEPTIC PSYCHOS, some of which is fiercely melodic, some which is quiet and calculated, and some which is thrashed-out. All in all, it’s a pretty intelligent compilation.
Four punky bands from Wessex participate on this strong compilation EP. The SUBHUMANS connect with “No Thanks,” their vitriolic commentary on “making it” in the music biz, while the PAGANS’ track (“Wave Goodbye to Your Dreams”) provides the high-velocity excitement here. Even the A-HEADS mix a satisfying melodic approach with their anti-government tirade. A very fine effort.
A new English compilation tape featuring a couple of bands with vinyl out (AD NAUSEUM and RIOT/CLONE) and a bunch of young hopefuls. The HIDEOUS MUSHROOMS tickle feet with some neat-o funnythrash, the GLIMPO SAUCERS provoke laughs with demented funnypunk, APF BRIGADE intrigue with drum-machine Britskunk, REBELLIOUS YOUTH annoy with overlong post-punk dubs, and HEALTH HAZZARD kick ass with some raw garage thrash. The rest produce more traditional stuff—thrash (LOST CHERREES, X-CRETAS), ’77 punk (PANIK, TOTAL CONTROL), and modern mid-tempo UK punk (WARNING). Pretty varied sampler.
Another uneven punk compilation, this time from Switzerland. The contents cover most recent punk styles, from the CRASS-like assault of SURPRISE ATTACK (in “Banzai Attack”) to LAST EXIT’s basic Oi to PÖBEL’s slow punk with shimmering guitars to the sloppy thrash of R.A.K. to CHAOS’s ’77 punk with faster parts to ?X’s ska-punk fusion (“New York”). My personal faves are MICKEY UND DIE MÄUSE’s funnypunk with gravelly singing and NULL KOMMA NICHT’s cuts on side one, which highlight disjointed thrash with weird vocals that sound like a cross between THEATRE OF HATE’s Kirk Branden and Jello. It’s always nice to get a sampler of bands from another part of the world.
In-fucking-credible! This is a totally great hardcore compilation from Brazil. Three groups appear on this album: OLHO SECO is an awesome thrash band with a raw guitar that sounds like a pesky fly buzzing around your head; the INOCENTES have a more English-style punk approach; and CÁ”LERA play very fast hardcore with irresistible sing-along choruses. There’s not one boring musical moment here, and the mix really exaggerates the piercing guitars. I don’t know how they get away with the overtly anti-fascist lyrics in a repressive right-wing dictatorship like the one in Brazil. An absolute must for enthusiasts of gut-level music.
Not quite what I’ve come to expect from Finland. On this one, several Finnish hardcore bands develop a more individual style, and the results are very good indeed. MAHO NEITSYT perform another great medium-speed gravel-throated number; APPENDIX have cleaned up their noisy act and put together a couple of good hook-filled cuts; the ETUALA rely on a solid riffing guitar attack; ANTIKEHO provide a slice of nice standard thrash; and NATO do a ’77 punk number. Diversity without wimpiness.
The best international sampler cassette available, with bands from Brazil, Canada, Finland, Holland, Italy, Norway, and UK. Features TERVEET KÄDET, NEOS, OLHO SECO, INDIGESTI, RATTUS and more! A lot of jarring explosive doses of chaos from the world of punk.
A 12″ with all the songs on one side. Once again, I’m forced to rave about Finnish thrash. This is one of the many bands from that country which inspire amazement. I hadn’t heard of these guys before, but they’ve obviously been practicing to achieve such power.
VIRUS’s debut is hardly noticeable. “Salute” is a reggaefied pop-punk song with a passable melody, but the B-side might be the most tedious punk version of “Stepping Stone” ever recorded.
More heavy-metallish horror rock from LA. Not as bad as some, and the title cut is pretty good, but still…
I don’t know how astute these guys are, but they sure do play some mean thrash punk. Personally, I think WHITE CROSS blow away many better-known groups. They’ve got that extra intensity which separates great thrash from the increasingly common generic variety. Definitely get this one.
More hot Italian thrash on a DIY EP. INDIGESTI are fast, tight, and powerful. They’ve got one slow-fast number with heavy metal guitar parts (“Mai”) amid the thrashers, and a good snotty vocalist. The WRETCHED are faster, sloppier, and right out of the garage, production-wise. The Red Brigades could have made General Dozier’s ears bleed with music by these two bands.
According to the lyric sheet, Youth In Asia recorded this after one rehearsal. I can tell, but it’s still OK. The lyrics are excellent, especially in “Used” and “No More Middle Class.” Keep working at it!
Goofy California beach nerds put out an absurd amateur record. “Surf” is a mildly entertaining “rap” rip-off, but it’s the flip that makes this one worthwhile. “Boyfriend Girlfriend” is a chunky, bass-heavy rocker with stuttering speeded-up background vocals and a pronounced echo, similar to “Criminal Mind (Duddle)” by Chicago’s MEATY BUYS. I hope that’s helpful.
“Twist” is mid-tempo post-punk with a quasi-psychedelic feel, but it’s neither atmospheric nor punchy enough to satisfy me. The flip remedies the latter problem with a ringing ’60s guitar, and consequently comes off better. Still, I’d wait till their next release before coming to any definite conclusions.
Six songs from this sparsely recorded Dutch thrash band, combining some English sounds with U.S. and Finnish influences. The great insert has a weird picture of about 40 guys with mohawks sitting around in army clothes.
