Attack and Decay Lunchbox demo cassette
Pretty hot straightforward HC which reminds me a little of early DRI. Quick catchy tunes and a distorted guitar sound makes this one an attention-getter.
MAXIMUM ROCKNROLL
Pretty hot straightforward HC which reminds me a little of early DRI. Quick catchy tunes and a distorted guitar sound makes this one an attention-getter.
Musically, pretty good sounding mid-fast tempo punk and HC, but when the vocals kick in, it’s a whole new thing. Unless you’re into the latter day TSOL “singing,” these voices may really bother you. Different? Yes. Annoying? Yes.
Just when I thought the world didn’t need anymore WIRE covers, here comes a great one. BB meets WIRE is a great combo and the two on the flip are great as well. These three aren’t on the new 12″, either. BB fans won’t be disappointed.
The warning label states that it’s “not as good as Atomizer“ and that pretty much sums it up. They still do the best hammering sludgy rhythms but it seems like they’re not really challenging themselves to come up with something new.
I’ve always liked BL’AST for doggedly keeping the BLACK FLAG sound alive, but unfortunately, their first release is one of the wimpiest, lamest covers I’ve heard in quite some time — like some stupid rock band down the street covering the ALICE COOPER classic. The two songs on the flip capture that classic My War grunge mix of blues and thrash.
Their second 7″ and a good one at that. Both songs are real punch punk, with sharp drumming, crisp bass playing and good tunes to boot. Catchy, and on the nose.
Speedy HC emphasizing a gritty, nasty, almost grainy sound which is quite effectively used on all four cuts. Lyrics are personal and rather chilling, making for a powerful slab of aggro.
A bit livelier than their debut 12″, but the accent is still on drastic lyrics, throbbing and abrasive music, and a post-punk overall feel. Very good punk indeed, a sound that harkens back but remains modern.
There hasn’t been as wholesome a release in SF since BLACK HUMOR did their Love One Another LP in’82. What we’re talking here is hand made box sets” with presents in each and, well, the record. CAROLINER are one of a kind noise. Hearing is believing, love it or leave it, trash and bake, or is it hear and fry? This is for all voyeurs, acid heads, or collectors of rare species. Don’t rent…own.
CCM finally achieves their musical peak with this album, which often approaches the intensity of early GERMS — both musically and vocally. A few songs lack that total punch, but chilling numbers like “Feel Like” and the excellent title track make up for occasional weak points. Very, very good Italian HC.
Argentine Oi music, with a decided anti-capitalist bent. But there is the all-too-typical skinhead cry for “fighting” here, and too often that emotional response is poorly aimed. Musically, very credible and catchy.
I guess these guys are here to give Wattie a run for his money in the dumb lyrics department, with “Up Yours,” “Boots Go Marching,” “Kick Down the Doors,” etc. I think you get the picture.
Frantic noise here — very abrasive and chaotic with frenzied vocals. Nothing too original, but it’s urgent and crazy stuff.
This comp features material from CRAZY’s out of print LP and 12″, and from the sound quality I’d guess this was recorded directly off those records. Good ’77-’79 style rocking punk with political lyrics.
A good example of this band’s punk/ska/reggae sound, the material ranges from slow dub-mixes to upbeat tunes filtered with a wide range of tempo changes, all of which are backed up by great lyrics. The three best songs were originally on their first demo, and the remainder lack a certain catchiness.
A pretty hot collection of garage-y speedcore material here, but no Satanic crap. Lyrics are about conformity, South Africa, and “the scene” predominate. Good job.
Hot punk and thrash which reminds me of the 1981 East Coast sound: hard, fast, with a searing guitar sound. Lyrically, not much is happening, but this still jams.
Well, my grandma lives in Concord, but she wouldn’t like these guys. Their hot, clean thrash would hurt her ears. She wouldn’t appreciate their lyrics, either, which criticize social and political problems.
Ultra-gruff vocals and engaging (?) mid-tempo post-punk thrash. No wait, this makes no sense, but there’s both a negative feel and yet something uplifting too in the tuneage. Interesting.
Hot clean trash with some metallic smudges. A rad female screamer, anti-system lyrics, good job. Keep it up!
Lightweight punk with surf and pop influences, sounding like the frat party-band they are. Could appeal to fans of Midwestern pop and garage bands, but they lack any real punch or zaniness.
Akin to TALKIN’ TO THE TOILET (see review this ish), but more on the industrial side and not as goofy. Joe Raimond and friends turn out rhythm machine slow punk with layers of noise and guitar.
Strap yourself into the old time machine and set the controls for 1977/NYC/Lower East Side. Zap! Now you’re at a CONTORTIONS and TEENAGE JESUS gig. Lots of saxes, jazz punk, screeching vocals and funky bass. If this is ’87, it must be Scotland.
All the songs on this EP start out quiet and pretty and quickly move into speedy but highly melodic thrash. Don’t be fooled by the “Wavish” sleeve, this one’s got punch while maintaining its tune.
Making no bones about their infatuation with melodic 60s style psych, this band blends smooth ZOMBIES type vocals with witty intricate music like ROBYN HITCHCOCK. Might be able to give off the MOFFS and DIED PRETTY a run for their money with pretty and complex pop-psych music.
A lot more “rock’n’roll” than their ancient debut, this one has your metal/rock feel to it, and despite the usual dumbo lyrics, the music don’t cut it (the West Coast MEATMEN?). Amazingly, they do one “punk” tune, a cover of…BAD POSTURE’s “GDMFSOB.” Not worth the wait.
Dumber than the STUPIDS? No surprise, since some of the same suspects appear here, delivering like DOGGY STYLE. Melodic, frantic thrash to go. Do they have drive-ins in England?
Previously released excellent Aussie stuff, this time released for European consumption.
This band is still a mix of styles on this second 12″. Although there’s no apparent “hit” here, each song has a different signature; gloomy, rock’n’roll, metalish ballads, etc. And each is powerful in its own right. It’s a little hard to get hooked on these buys, but they’re good.
This album is a bit lighter than the previous, though it contains the same early punk mix of pop-punk and ska punk, Reminds a lot of middle-period CLASH. Pretty slick.
Jolting, mind-blowing HC in the great Italian tradition which will bowl you over. Tempo changes galore, amazingly great production, and impassioned “us vs. them” lyrics. Brain-shattering music from the heart, get it!
The American release of the hot TVOR album. Different (but equally as bad) cover, but it’s what’s inside that counts, right?
Tight but relatively indistinct hardcore. All the ingredients are there, but nothing really sticks in my mind afterwards. More tuneage!
This pleasant surprise has four rockin’ pop punk tunes, with topics like Reagan, rednecks, organized religion, love, hate, and “Mental Gangreen.” This is great, so buy it now, okay?
With titles like “Stagedive to Hell,” guess what kind of music this is? Yep, fuckingspeedcoreandsmetalmentalityandIbitit’llsell.
It’s rare when a HC band can sound tighter and better on their faster material than on the slower tunes, but that’s the case here. While 50% of this LP is average, the other half is definitely a cut above, showing real snappiness. Lots of promise.
Grungy punk and thrash with lyrics that cover apathy, vegetarianism, and lighter topics. “Satan In My Drain” stands out as a total crack-up! Comes with booklet.
Straightforward, potent thrash not unlike Boston’s JERRY’S KIDS. The production is clean but powerful and the lyrics tackle war and rebellion. Searing stuff here, definitely check this out.
Christian hard rock not unlike STRYP…oops, wrong tape! No way, these loonies play the more urgent, frantic thrash, it’s insane. 72 songs in 60 minutes. DRI, eat your heart out.
This is a Steve Spinali kinda record, boppin’ pop-punk, back-up choruses, etc. Half the tunes rock, half are a teeny bit too light (especially in the vocal department), but not bad overall.
Fairly rockin’ pop-punk with a RAMONES feel to it. Nothing really amazing, but somehow catchy and pretty tight.
Super-aggressive thrash with ultra-throaty vocals which makes me think of NEGATIVE APPROACH. Pretty ferocious stuff for all you rug cutters.
Charging off the line full speed like the best of TOXIC REASONS or ZERO BOYS, this release has a brawny, mid-tempo punk sound complete with YOUTH BRIGADE style singalongs. Excellent new release.
This double LP chronicles ten years of work by LUNCH through her infamous work with TEENAGE JESUS, BEIRUT SLUMP, and the highly influential EIGHT EYED SPY. Also, a complete side is devoted to a few of her many collaborations, making a good sample of LYDIA LUNCH and the underground No Wave scene.
Pretty driving post-punk that gets lost in the blur. While well done, there’s no special spark of energy, hooks, or imagination to make it memorable.
Frantic speedcore with the shrieking intensity of Italian HC. Although “Hot Rods To Hell” reveals intelligence, the rest is riddled with HM clichés: 2nd grade horror lyrics, self-indulgent musicianship, etc. Pass…
Fun, energetic, driving mid-tempo punk with an ultra-raw guitar sound and personal lyrics dealing with love, straight edge, metal, etc. Good shit from MOO.
Much more diverse than earlier efforts, this band’s powerful, driving punk sound still remains, but both melody and metallic influences are apparent, resulting in a catchy sound which is sometimes drawn-out.
How can I describe this? How bout manic mind music that pegs the needle on a seismograph. How bout punk rock, metal, thrash, dirge, post-punk, schizophrenia, depression, and happiness twisted into a music shrink’s worst possible nightmare. Excruciating yet so beautiful, this is amazing. P.S. Cute cover, Victor.
Very well done melodic HC with roots in ’77 punk and the DC sound, and they even do a T. REX cover. Tight, tuneful, and songs that can be remembered.
Ferocious punk and thrash from this new Canadian outfit. Lyrically, it’s mostly personal, but humor shines through on “Barbadeath” and “Punker Than Thou.” Blazing stuff!
Surprisingly rockin’ pop-punk/thrash. Based on their last 7″, I thought the OFFBEATS were wimping out, but on this LP, they deliver a lot of wallop as well as catchy songs. No lyric sheet is always a bad sign: either the band puts little stock in their message, or the label could care less.
This great new Philly band kicks out loud, raw, energized HC with noticeable roots in early melodic punk. There are several classics here that you can’t help but have stuck in your head. Hopefully more to come. Good stuff!
A reworking of the A-side by this reformed early punk outfit, and it’s got the guts and great bass riffs of the early version. The flip, a cover of the JOHNNY RIVERS classic, is as garage-y and raw as I’d hoped. Basic punk rock.
For most of this LP, we’re floating along in a very pleasant ’78-79 type of political punk with both male and female vocals. But then, just to show us they’re not completely stuck in the past, they lash out with a terrific thrasher. Very good release, and much more gripping than on their EP. From Ireland.
Aptly named, this is largely lightweight pop punk, a much-cleaner REVILLOS. The beat is there, but the insipid lyrics and too-sterile production keep this from really grabbing me. Main feature: Wolfie of the STUPIDS is the bass player.
With music like this, they’ll be back in the pubs: highly produced, including synth and keyboards (usually unobtrusive), slow-paced tunes (only a couple rock much at all). Definitely going for the college radio market.
These crazy Nevadans play poor white trashy punk with a grungy guitar sound and garage-y production. Basic but fun.
Very high-powered thrash, not without a decent dose of BAD BRAINS-like attack. Metal licks kept to a tolerable level, while the overall fury carries the day.
This band has spent altogether too much time listening to AEROSMITH. RAGING SLAB’s music shows a saturation in that most dreaded of all genres — rock —without the healthy self-parody that made the WILD, and early MENTORS and PLASMATICS so enjoyable. I’m surprised this is on…
Like the REDSKINS, these are leftwing skins, musically following in the footsteps of early punk a la CHELSEA, ANGELIC UPSTARTS, CLASH, etc. The music is fairly light though, more like current 7 SECONDS than the ’77 crew.
Yahoo! This is great! Very hot, energetic, innovative, multi-influenced punk with intelligent, realistic lyrics. Definitely put this on your Christmas list.
Four songs from this now-defunct D.C. outfit are slow-tempo, simplistically melodic and clear of any hard edge this band had in the past. What remains the same are the personal poetic lyrics and raw vocals. Overall, this band seems to be restraining the energy they had on their debut release.
OK grungy metal punk with varied lyrics: Most are ok, but there’s “Tim Sucks” (Not about Bobo Yohannan, I hope) and “Anarchy Bitch” which is totally moronic.
Metal tinged thrash in the COC/NEGAZIONE mold. Very political lyrics dealing with power, exploitation, racism, and even the “scene.” Strong beliefs and intense music.
Was expecting sloppy thrash, but got powerful mid-tempo punk with driving guitar work. Strong stuff here and lyric topics very good.
The CELIBATE RIFLES’ cut, “Merry Xmas Blues” (an Aussie rarity, re-released here), is an excellent punk raver, but the flip is about as exciting as the food Martin eats. Comes with the winter ’87 issue of Pulsebeat zine.
Mostly slow to mid-tempo grinding, crunching power punk with quite a few speed bursts. Best comparison would be a thrashed-out version of the AMEBIX.
Atmospheric but driving post-punk with female vocals. Reminds at times of early SIOUXSIE, with the haunting/tortured vocals and the psycho-punk music.
Only three songs which are a blend of early 60s, ska and late 70s punk. I’d liken them to the SHOP ASSISTANTS or a mellower PRIMITIVES. Very nice job.
Metal punk with more originality than your average speedcore act. Lyrics range from abstract to topical subjects. A fairly impressive showing here.
A good showing by this West German act. The A side is a catchy mid tempo basher with good lyrics and powerful guitars, while the B side alternates between thrashy and reggae. Hot stuff.
Speedy hardcore with jazzy/metalish guitar riffs but otherwise straight-ahead thrash. Fans of non-melodic aggression will get into this — no let up, no distinction.
This French outfit has a great sound, combining a melodic early pop punk style with dominant guitars and politically oriented lyrics. Reminds me of the music that warped my mind back in my formative years, so check it out.
The KINGSMEN cover is good compared to the recent DEAD BOYS release, but pales when compared to the NOMADS version. The flip too is a tame soft rock tune. Not happening.
Six clean-sounding live tunes from this good upcoming band who have a fast melodic sound similar to early 7 SECONDS. Best cut: “Dicks Deli.”
Jazzy HC with metallish guitar on the A-side, and catchy straight-on HC on the flip. It’s like two different bands, but both sides are done with verve and class.
A “drinking” band, they must have gone over the edge cuz all the songs are radically different: thrash, Euro-pop, punk, country, and sometimes all of the above together. “Straight Edge Band” is a classic. Hilarious!
This band opts for an atmospheric approach not unlike the more moody UK outfits, with excellent production on both tracks. “Blue Army” has interesting filtered vocals, but the material here does not grip.
Fast punk and thrash with that grungy garage edge. But on one tune they ask “Who would ever think that a band like us would have all the pussy on a big bus?” Give it up, guys.
I don’t know who Terry Gibson is but I think he thinks he’s Dave Edmonds.
Twelve angry snarling thrash tunes crammed onto one 7″, this one has good sound quality and all of the lyrics in Finnish.
Very catchy, hard-driving psychedelic sounds in the vein of “Lucifer Sam”-era PINK FLOYD. Some pretty cool fuzzed out keyboards here, too.
A posthumous release dating back to five years ago, featuring early 60s Brit-type R’n’B. Nothing particularly awesome here to warrant such a belated release, except for pure collecting purposes.
Side One is “LSD,” a news story about the stuff set to a slow, psychedelic pulsing accompaniment. The flip, “Maggie,” is a slow, buzzsaw of a tune about Margaret Trudeau. Graphics insinuate Nazi b.s., but given the twisted nature of the music, I’d guess it’s just bad drugs at work.
The EX are a collective not unlike CRASS but their music is every bit as challenging as their message. This double LP takes intelligent topics and spreads them over SONIC YOUTH style drones into raw post-punk noises. With two exhaustive magazines.
A fairly somber neo-’60s-esque A-side. The flip is reminiscent of TELEVISION, especially the vocals.Even though it’s extremely sad and gloomy, it has some nice effects.
Cowpunkish Irish music? They cover KENNY LOGGINS, sound like the VANDALS at times, and do yet another song called “Gimme Gimme Gimme.” Blarmey, podner.
Their debut U.S. album, which includes all the tracks on the Aussie 12″ as well as the “Girl in the Sweater” 45. Fans of pop-punk should snap this baby up!
Maybe I haven’t been reading my NME and Sounds lately, but I could swear this is the FALL incarnate or a formula for coolness. No apology for the comparison here. The only difference is that the FALL didn’t get this type of production or push on their first singles. Too bad.
Garage, punk, garage ska, and just general garage, done with a flair—the lyrics are sharp, but not dogmatic. At a few points, there’s a dash of FEEDERZ here, but that’s not really what they’re about. Good debut.
Pretty standard mid-tempo punk with some pretty catchy choruses. Nothing too fancy or excessive, just good ol’ basic punk rock.
These guys used to be RED LORRY YELLOW LORRY. At least they figured out how stupid that was. This new one is “late 80s gloom disco” music. You’ll hear it at all the cool clubs. Heavy on the beat, rhythm, and somber BAUHAUS-ian vocals. If you go on for this kind of thing — it’s pretty damn good. Otherwise, beware.
Again, cleaned and prettied up. The tunes are still cool, but the bite and raunch just isn’t there, that extra spark of rock’n’roll that heads a band over the line into madness. Too reserved.
This rockin’ all-female foursome kicks out five songs, nearly all with a chunky guitar sound and plaintive vocals. This band really connects when their humor and personality comes through (as on “What? Scuz Me?”), but this is still an enjoyable slab.
What the SOUP DRAGONS are to the BUZZCOCKS, these guys may be to early SAINTS, with a dash of 60s punk and perhaps Belgium’s KIDS thrown in. Really rockin’ pop punk with great guitar and good snarly voice. We’ll know better after their next release.
Pop-punk meets surfing sounds in Buffalo? The three tracks are not hokey, musically, but are pretty passe. Lyrically “nothin’”.
I think this is a reissue of the STALIN’s first two 7″ records, as well as the track they put on MRR’s international comp LP. This is nice to have as a collector, although this relatively primitive punk doesn’t hold a candle to their subsequent material, which raged.
This Aussie garage psych effort comes with the new German zine Splendid, which exposes new and old bands alike. The two tracks by the STEMS aren’t exactly incredible but should satisfy followers of tough Aussie psych.
Well, the little skate geeks are back with another dose of U.S. hardcore a la U.K. Fueled on pure root beer, Tommy and company indulge in a few longer tunes this time, including a hilarious scratch song. Why go to L.A. when you can have the VANDALS meets D.I. in the UK?
A novelty here, as Tesco of the MEATMEN indulges in a little punk rock nostalgia. While his covers of the AVENGERS and FLESH EATERS are nothing special, this is the kind of one-off thing I wish there was more of. Credit for persistence goes to Jimmy Johnson for getting this out, a freebie for subscribers of…
Three-quarters of the old WILLFUL NEGLECT play metal-riff rock on side one, almost too much to take. On the flip, the metallish aspect is still there, but the basic tune is good, as well as the singing. Lyrics aren’t very important here, and the guitar is a pain.
…and pretty soothing vibes these guys are! Distorted melodic stuff here with a relaxing, hypnotizing effect. Very nice. I like this.
Professional punk that just barely maintains its roots after all the production and arrangements. Kind of like the Japanese equivalent of the DAMNED. Slightly better tunes appear on the 12″ of “Catholic Day.”
A textured guitar sound fronts the four mid-tempo songs on this EP, which opt for a pop-punkish approach — paradoxically without much in the way of hooks. The slower “Everything Turns Grey” is the best track here, but this band has to eventually decide whether it wants power or melody.
This postmortem release brings us previously unreleased material from this early Swiss band. Twelve great punk tunes with female vocals of the same caliber as the AVENGERS, BAGS, early SIOUXSIE, etc. Good stuff!
These jokers play a variety of styles with punk energy. Six fun, varied tunes, all with good production and spark.
Fun juvenile pop-punk with humorous lyrics slagging the cops, the government, and Ted Night (who does totally suck). Catchy stuff within.
Total commercial rock, and the worst thing I’ve heard in a long time.
A 4-song debut that shows promise. Outside of the occasional wanking guitar leads, I like the mixture of fast and slow hardcore and the straight-ahead attack. Watch for more Orange County releases on this label.
Short fast angry songs from this Spanish act. Production is a bit muffled, but the energy, power, and emotion is there.
A femme Japanese RAMONES trio? They sound like it, and although the tunes all sound a bit familiar, it’s still enjoyable. Catchy stuff.
Straightforward HC that’s tight and everything, though there’s little in the way of distinction except on a couple of tracks (like “Gutgekotz”).
The ZETTLERS, TRAPPERS and RINGO & MAINERS all deliver two songs each of instantly disposable R’n’B and Mersey stuff dating from the mid-’60s.
DRILL, EXIT, 16 TONS, and T.D.F. present eccentric pop, punk, and industrial. Odd record, odd format.
Another international comp from this Swiss label, this being a 90-minute barrage of HC. With such powerhouses as DEPRESSION, GISM, etc, it’s recommended for the thrashers out there!
I’ve never heard any of these cool, trash 50s bands featured here, but I’m sold on the fact that this is definitely a keeper in the tradition of other great oldies comps like the Back From The Grave samplers. Not so much heavy grunge guitar, but more swaggering, twangy rock’n’roll tunes. Loud, noisy, and fun.
This EP contains one good punk track each from FREEBORN, CRIMINAL SEX, BLOOD AND THUNDER, and NICK TOCZEK (the ranting poet backed by a rocking band). Nice to hear decent stuff from relative unknowns, and…bring back more 7″ers!
The Captain musta been drunk when he chose these, because it’s one weird combo of eccentric pop and a dollop of HC to top it off. On the punk side, there’s GOD, WILLARD, CONTINENTAL KIDS, LOODS, and LIP CREAM.
A benefit tape for the Lincoln Park Peace Festival which will occur on August 1 & 2 in Chicago. This consists of 9 Chicago-area punk acts and is an effort well worth supporting.
Interesting title for a varied comp of mostly European acts. Music ranges from ’77-ish stuff to thrash and spacey punk. Relatively enjoyable.
An hour international comp featuring the likes of FALLOUT, 8TH ROUTE ARMY, RUDOLF’s RACHE, and many more!
YO LA TENGO, BIG BLACK, and KILSLUG present one track each for pretentious and depressed pseudo-intellectuals, and MOVING TARGETS kill ass as usual in their allotted space. Comes with issue #5 of…
A nice mixture of garage punk from APPLE, SCAB, etc., and ranting poetry from Donny the Punk, David Hiberman and more. Pretty enjoyable.
A mega swell comp featuring a slew of hot upcoming Bay Area bands such as STIKKY, FORETHOUGHT, SHORT DOGS GROW, ISOCRACY, and mucho more. Great sound quality, a first class effort. GOOOOO!
Some good old style pop punk from HUNGRY FOR WHAT, KDP, MOTHER’S RUIN, and three other Swiss acts. Enjoyable shit, dudes.
A great, diverse benefit comp for the Leeds Hunt Saboteurs. Music ranges from punk to folk, most of which is powerful and backed up with good meaning. Included are UPRISING, CHUMBAWAMBA, AUTONOMY, ELECTRO HIPPIES, and CIVILISED SOCIETY?. Worth looking into.
A five-band comp that features one song each from groups that span the length of this island nation. ACID REIGN, HOLOCAUST, DEFIANCE, and MINDFUCKERS all have a ’77 UK sound, and all the recordings are amateurish, though the latter has a most interesting track. NAZGUL is in the thrash vein, and attacks! Good cut!
An OK European comp with THE UNACCEPTED, UNION CARBIDE, and more. Music is mostly hard and fast and comes with a booklet. Nothing special.
About seven years after the trend, along comes a sampler of NY area ska bands. Varying calibre, mostly rocking.
Four Holland acts on this disc: LAITZ, BTD, KIKKERSPUUG, and LOUD WARNING. All take the hard and fast approach, with a bit of variation. Not too much originality shines through, but the intensity is present, especially on BTD’s material.
Hot, hot, hot stuff here by UNSEEN FORCE, IMPACT, INFERNO, ELECTRO HIPPIES, and more. Informative booklet enclosed and this is a benefit for Animal Liberation Front. No excuses, get this!
Every one of these German bands (CHALLENGER CREW, UNWANTED YOUTH, SPERMBIRDS, JUMP FOR JOY, SKEEZICKS, PMA, and ANTITOXIN) deliver one song each, and great ones they are. It’s rare to find a comp that’s really consistently sold, but this one is. Put out by Trust fanzine.
Mid-tempo punk with female vocals. While the lyrics are on the mark (anti-racism and anti-state abuse), the music is a bit repetitive. This is not to say it’s limp, but just that the tempo and structures are very similar on all 3 tracks, and given their length, a bit more change might’ve livened it up. Decent.
Stop-on-a-dime thrash and punk with strange quirky hits interspersed. The personal lyrics are pretty “punk”. Tight and hot.
Yeee…Ouch! Clean, vicious, scorching thrash with shitloads of power and energy. Lyrics cover personal and political sentiments. Buy this tape, you fuddy-duddy!
A very enjoyable punk/thrash debut. 5 songs in all, most are catchy and rip as well, featuring inane but creative lyrics. Check it out! A rarity: no pic sleeve!
The only thing likable about NY bands aside from SONIC YOUTH or even TEENAGE JESUS/LYDIA LUNCH was that their first few records sounded like this. A clean crunchy grind with raunchy vocals, dirty lyrics, and no noise — just garage-y and trashy psychoticness. Hope they stay this way.
Rather uninspiring mid-tempo punk without many memorable qualities. Not bad, but it just didn’t keep my attention.
Much of this material’s been out in the States before, but this is a good overall sampler for Europeans (or anyone who doesn’t already have their prior releases). Energetic 60s oriented punk.
This band has gone totally metal, both musically and in mentality. Lame isn’t good enough to describe this.
