One of the best EPs I’ve heard in awhile. Raging and enraged UK political thrash on one side, like CRASS meets old DISORDER and DRI. Side one consists of about a half-dozen rippers and rants, while the flip is one long song that goes through many changes/styles. Comes with insert and record want list!
Yet another positive/straight-edge act from the SoCal area. You’ve probably heard something like this before, but it still sounds darn good, even to jaded ol’ me.
Around since 82, this is AGEN’s first solo vinyl, and their sound harkens back to pre-hardcore days while there’s plenty of power here, there are plenty of tempo changes, hard post-punk sounds interspersed between the punkier parts.
Fairly decent thrash, though a bit herky jerky at times. It’s tight, but the construction and lack of tunefulness make it seem fairly generic. One tune, though, “Self Destruct,” does stand out in its forcefulness.
I don’t know if it’s due to premature senility, living in Berkeley, or just plain spitefulness, but the older I get the more I find myself agreeing with Mykel Board’s views. Maybe it’s because the world sucks, and nothing the namby pamby peace punks do is going to change it. Anyway, here we have 6 raunchy but structurally diverse punkers and thrashers dealing with some of Mykel’s favorite themes, including self-righteous vegetarians and radfemme thought police. I almost died laughing when I first heard “Sisterhood is Powerful,” so I’d have to say this is a great mean-spirited record.
A pretty bleak picture painted here. On one hand, BL’AST demands we not be led, that we awaken and fight, yet on the other hand they inform us they’re withdrawing into solely self-oriented gratification. Hmmm. The music is in the FLAG-rhythm hardcore we’ve come to know, tight and powerful lurching stuff.
Side A is a quick, short thrasher with undecipherable screaming, while side B is an enjoyable mid-tempo basher. Not bad, but nothing overwhelming.
The pop-punk on this 45 shows more of a vocal orientation in the melodies and background choruses, but the guitar sound is sharp and interesting. “Där Tiden Inte Stämmer,” a commentary on South Africa, is especially bracing. Fine record.
Their second LP, this one moving away from more generic hardcore into experimentation with funk, rock, pop, but all with an edge, as well as more standard punk fare. Lyrics are again above average, a good effort.
Fucking brutal! Totally aggro cutthroat NYHC with some metallic licks thrown in. Lyrics are in the pissed off/fed up vein. Ferocious shit!
A seven song slab, very powerful sound, metalcore, etc. Can’t tell what they’re singing about and no lyric sheet. Professional hardcore, leaving little room for fun or humanity.
Trash-a-mundo punk from CT. 23 tunes of good sound quality include “San Diego McMassacre,” “Shemp Conquered the World,” and “Get off the Stage.”
DRI-ish approach, though sloppier and with trashier production. Little in the way of melody, long on raging noise and bitter political lyrics. French speakers by birth, the lyrics are in English. From Montreal, Canada.
Weird. After four obscure garage singles in the late 70s, these guys resurface with a video movie soundtrack LP. They do punk, garage, funk, blues, disco — one of those wonder mysteries.
The fast HC on this six track EP has all the energy, gruff vocals, and power you’d want. It’s also very repetitive and just on the verge of genericness — especially when those guitar leads kick in. “Lie & Truth” is hot, though.
A very bassy instrumental sound with the occasional intrusion of synth underpins melodic female vocals on this three track flexi. One song is slow, moody, and long; the others completely forgettable.
With their scary/humorous moniker, I was expecting metal, but these dudes play some cool straightforward mid-tempo to slow punk tunes. Strong material.
A really powerful mid-tempo cruncher on the A-side, heavy guitar and bass, a no-letup job. The flip is a slow droner that failed to hold my attention despite its occasional outbursts.
Four rather ferocious tunes here, fast angry punk with spastic high pitched vocals. Pretty hot twisted material.
Some pretty hot stuff here, about half thrash, half slower melodic punk with rich guitar work. Lyrical sentiments are mostly in the “peace and freedom” category. This is AOK.
From the same folks that released the insane Mexican Rumble compilation, a collection of all-Mexican 60s garage bands. Now this slice of life — basically Nudelman is touted as a genius or a madman, probably a combination of the two, and has this suburban garage band backing his ranting. Try imagining WILDMAN FISHER trying to front the LYRES while both parties are out of their skulls on PCP. A stone gas.
This album of gruff, terse hardcore contains more than a few moments of gritty diversity where DISTORTION X has a chance to demonstrate its wrenching, discordant style. Compositionally, this record lacks the good cuts it needs, but there’s good power and aggression here.
This live at CBGB’s album will appeal to MISFITS fans, fans of melodic punk, and malevolent folks everywhere. Non-stop power, lots of tunes, and sarcasm galore. VERBAL ABUSE, move over.
Rockabilly meets the RAMONES, meaning ultra-fast rockabilly with powerful as hell drive and retardo lyrics. Fast as thrash, raging stuff that only a corpse like Elvis himself couldn’t get caught up in. Hot platter!
77 style punk that only on two or three songs rises into a musically inspiring pitch. Lyrically caustic appraisals of both world politics and poser-punk problems. With a bit more cutting loose, this would make a real dent.
Produced by Giorgio Gomelsky (of YARDBIRDS fame), and “produced” it is. Horns, lots of very laid back instrumentation that serves as a backdrop for Stephan’s ravings, as well as lots of musical styles running into each other, lurching into punk and back out. I think too much of the power is sacrificed in the name of variety, but other’s less influenced by stylistic purity might buy it.
Pretty good garage-y punk but what rules here are the straightforward thoughtful lyrics which conquer war, religion, homophobia, and more. Good sentiments.
Despite their hilarious name, this one is just mid-tempo pop-punk served up with solid guitars and rockish edges in the occasional lead breaks. “Cocky Rock Boys,” with its catchy vocal chorus, is the standout; the other two songs just sit there. Okay, but not mandatory.
Lots more variety than usual on this release. There are some songs reminiscent of the GBH of yore, but they’ve slowed down their thrash on others, added a lot more melody, and even have a couple of non-thrash tunes. Can’t say if it makes for a better overall record, but they’re at least opening up.
Messy, fast, gruff, loose, riffy HC thrash abounds on this highly energetic EP — it’s really a non-stop, high-velocity assault with gritty instrumentals and raw vocals. It’s also quite distinctive and very, very hot.
God these guys are great. After two 7″s and this, their second album, they’ve moved from blissed-out thrashers into a harder, less definable full bodied sound. Some of the structures here remind me an awful lot like some SST or Touch and Go band like KILLDOZER, SCRATCH ACID or DINOSAUR.
Sounding like COCKNEY REJECTS to some extent, this band’s second EP delivers 79 UK punk with spirited beat, choruses, and lots of spunk. Above par.
Rockin’ pop in an English mode, but made palatable by the guitar predominance and a novel sense of melody. The chorus on “True Blue” is wonderfully catchy, and the other two tracks hold their own with a mid-tempo, bouncy style; an obscure comparison, but the sound is very much like Australia’s KELPIES. Good.
HEIMATLOS delivers in many punk styles, all of which are done with a special “cut above” feel — whether thrash, classic, short or long, they attack. KROMOZOM 4 are also a tight, aggressive unit whose combination of wicked thrash and goofy stuff between tracks gives them a TOY DOLLS feel. Hot record!
A varied EP with four songs on the pop punk side. Three are pretty decent ’77-pop style, and one is a bit like a folk tune set to a beat. Not exhilarating, but okay.
A five pointed star on the front cover, costs ¥666, released June 6 — hey wait! — this must be satanic rock! This is one of those cases when I’m glad I don’t understand Japanese; one side is a god awful drone with some woman screaming, the other side has three tracks in HC, pop-punk, and post-punk styles respectively. Poo poo.
50s and 60s influences here ranging from rockabilly and R’n’B, but with a 70s rock’n’roll delivery like LITTLE BOB STORY or something. Dated, but it raves.
The best of the lot — the best name and the best music. The “Goat” manages to make a hideous, noisy rumble that can make you hum along. Really weird, very much inspired by the BUTTHOLE SURFERS and the RESIDENTS. They go from harsh and painful to strange and fun but it keeps you listening throughout.
Rather odd. If songs were sentences, these guys are spitting out fragments because their short electronic bursts come across as unfinished. Not bad, just out of the ordinary.
An anti-Christian rage here, sort of like the first CRASS 7″ but set to a more post-punk mood. Nevertheless, it’s as biting and pointed. Both male and female vocals, nice harmonies on the flipside, though the dance beat on one cut and the “prettiness” on another make them difficult to handle until the guitar and drums kick in.
Pop-punk with good drums and guitars, sappy vocals that detract quite a bit. Add a different vocal track and you’d have the strength of a good JESUS AND MARY CHAIN release.
Hey, if you absolutely hate tunes in your music and vocals you can’t understand at all, this album’s for you. Very fast, very metal-influenced, very gruff and very political. Sorta like old DISCHARGE meets every modern speedmetal band.
Clean powerful thrash from this new Bay Area band. Can’t comment on the lyrics (none provided) but they do rip, shred, and all that.
Full-on, straightforward power chord punk very similar to the RAMONES, who seem to be a big influence. Catchy and driving stuff, so pinheads (and Steve Spinali) should take note. [I did. It’s on my Top 15 — Ed.]
Very calm peace punk sounds, to the point of sounding like the CAPTAIN AND TENNILLE or 7 SECONDS (slight exaggeration, Kevin). A couple of tunes have some verve, but overall this is snooze material. From Scotland.
C.M. are from New Zealand, play fast punk a la 78 on three tunes, all of which are socio-political attacks. You probably are aware that POWERAGE comes from South Africa (4 EPs out), and play highly political punk. The new drummer here wasn’t broken in when the recording took place, and it shows painfully.
Some basic garage thrash with socially relevant lyrics here. Punk “musicians” won’t be blown away by the talent and originality, but this is very energetic and fun.
After releasing one of the neatest garage singles of last year, “Saw My Name Written on a Tombstone” (included here), the PRIMEVILS went to record this album which showcases both sides of their musical styles. You get some fantastic, catchy instant-garage-classic songs as well as some slower, dirge-y drone songs. Great record.
Primitive production and an almost terrifying rawness make the highly distorted thrash on this one actually connect in a distinctive way — much in the way that TERVEET KÄDET did it years ago. The more experimental tracks, with lyrics over drums, are less effective, this is one unusual, interesting record. I like it.
Like their last EP, this one is not manic at all. One punk tune, one pop tune, and a disco tune. Maybe this is wacky in Sweden, but I don’t get it.
Here’s another Northern California act you should know about, cuz these jokers blast out a hot punk and thrash sound with honest positive lyrics and a lot of energy. Check this out.
RANCID DECAY plays tight, raging speedcore with power and complex structures, while MR. BUNGLE serves a buffet of sounds from reggae to metal to funk, etc., which totally rocks. Cool stuff here.
Their sound lurks somewhere near the STOOGES with a dash of early SAINTS to spice it up. Songs do go on and on, but I guess on the right drugs you can hang with it.
These New Yorkers sound like New Yorkers — a vicious, angry, aggressive powerful HC assault with “fed up” words. Some metallic bits but not overbearing, just forceful NYHC.
Blistering innovative metal punk from San Jose. Includes a cover of a cover (“Psycho Chicken”) and I like it.
This band’s sound here is rockin’, but their punk sound is pretty muted by smooth production, which limits the power and accents the pop. A bit too polished.
A hilarious sleeve introduces four HC numbers along fairly predictable lines: mid-to-fast tempo, shouted vocals, messy guitars, mosh intros, and no melody whatsoever. The energy’s cool, but more originality is needed here. From South Africa.
A four-song release, doing very bouncy and catchy 77 punk. Distinguishing features are a really fuzzed guitar and good snarly vocals. Cool.
Terse, speedcore riffing energizes this fast, to-the-point trio of songs. The abrasive vocals are quite good, and the guitar work aims for original reworkings of the basic core figures we’ve come to expect from this genre. Verdict: a top-notch example of the style, though not exactly my cup of tea.
These guys claim to be inspired by DRI, but this is mostly mid-tempo metalpunk with so-so lyrics and lotsa guitar tweedling. Yeah, it’s powerful, but they should stop listening to crossover and put on early DRI for some spark.
SM-70, hailing from W. Germany, opt for short, fast songs in a messy thrash mode. It’s a style that’s familiar, and you can bet there’s loads of aggro and a pummeling sound from track to track — it’s also, despite its effectiveness, a trifle too common to make a major impression. Still, it’s good.
Three straight powerful thrashers and two pounding metalchord numbers with “jugga-jugga” guitars galore. Hot shit…and a great band name, too.
Fast energetic tuneful punk from the Aloha State, reminds me a bit of the FREEZE. Not sure about the lyrics, includes a tune called “Pussywhipped.” Hmmm.
Two years after the Hayseed Hardcore EP and some lineup changes, the Canadian SONS return. This is a great album of sociopolitical thrash and the lyrics are right on target. And yes, the cover of “Stairway to Heaven” is priceless.
The rambunctious pop-punk on this record has a pleasantly tough power chord instrumental sound (abetted by sloppy, but good arrangements), and screamed vocals over the whole thing. The two songs on the A-side rock, while the one on the flip is less special.
Insanity. 39 loony thrash tunes which would make the most serious hard-ass punker crack a smile, and at 5.1025641 cents a song, it’s a real bargain. Song title of the month: “Skinheads Move to Hungary.”
Echoes of ASTA KASK and 6-10 REDLOS reverberate through the eight tracks on this fourth release from this Swedish band. Melodic, driving pop-punk is the order of the day, and it’s handled with style and verve. Nice choruses, powerful instrumentals—a good showing.
Great creative punk with loans of innovation and unique twists and turns. Angry personal and political words topped with tight instrumentation. Not generic by any means.
Metal damage, leads, and metal structures overwhelm whatever non-cliche aspects remain. Pretty driving, but hard to take or sift through to get any fun out of.
Hot straight thrash with personal lyrics. Tight, competent stuff with a good sense of melody and clean production. Good tape.
Crossover stuff which leans a little more to the metal side. Powerful, hoarse vocals, can’t decipher the words, but “Punk Virgin” sounds a bit suspicious…
Mixed with the gore tunes, there’s a surprising amount of thoughtful tunes, though the onslaught of music doesn’t seem incongruous with sensitivity. Subjects include anti-pope, nuclear power, child abuse, religion. Musically, it’s standard Combat fare, tuneless speedmetal.
A bit disappointing. The singer has Jagger down to a tee, and the band has a mellow STONES bluesy sound like outtakes from the Rolling Stones Now LP. Live, they really rave, but here it’s pretty laid back. Roll over CHUCK BERRY.
A one sided single, this track is sort of a mid-tempo garage-y rock tune, sounding like how a 1976 midwest pre-punk might do it, but it’s new and a rarity.
Their name is meant to reflect their music (not their political) views, meaning a basic guitar rock band. The tempo is mid, a bit of pop and country meets an early punk sound. More often than not, they sound too clean for me. If they were really contra, they’d be today’s RAMONES, not the REPLACEMENTS.
For years, after they evolved into RANK AND FILE, the DILS disavowed their punk roots as vehemently as they had previously espoused punk ideals. Either they’ve mellowed a lot, or times are hard for R&F, but in either case Chip and Tony Kinman have allowed these recordings to see the light of day. Most of this LP is circa 1980, and shows their country sound creeping into the raw punk. The remaining tracks are from 77, but the sound quality here is really bad. This is a collector’s package more than a listenable selection, harkening back to 330 Grove, Barrington Hall, and the Mab. Try to find the singles.
Highly produced power pop that’s got a good beat, interesting lyrics, and a homogenized sound that removes any real guts.
You gotta hand it to Wattie and co., they do keep the faith. Same old hooks, still pissed-off political lyrics, and still driving punk tunes. Lotsa thrash, some pretty repetitive, but they continue to add some variety as they have over the last several releases. On the other hand, he’s gotta keep doing this — I mean, can you imagine Wattie with a skate punk look?
One live side, on studio that is mainly outtakes from their first LP of years ago, as well as a cut with Paula Pandora. These are the San Diegans who went on to be the MORLOCKS, and they do your basic 60s punk stuff, all snarly and ultra-cool. OK music, very sharp cover.
I admit the thought of a RAMONES cover/tribute band sounds like a good idea, but this Australian configuration made up of some bigger bands there like the SAINTS and PAUL KELLY, doesn’t kick as hard as it should — so you end up with a limp shadow of the RAMONES.
A two song, one-sided flexi that mysteriously appeared in a NEW ROTEEKA EP. Pretty much rock punk, not too exciting folks.
Not quite as hard and loud as their other releases but because they’ve shifted their gears a little the sound here is less Detroit-styled rock and more slower, moodier that resembles the best of the FLESH EATERS and the GUN CLUB.
What a pleasant surprise! Instrumentally varied, kick-ass punk with personal lyrics, both tracks camping out in the same area as early material by the LEFT. What’s more, there are hooks, nifty guitar breaks, and more than a little arranging skill. Highly enjoyable, and recommended.
For the most part, this is mid-tempo English type punk, though every now and then a bit of thrash creeps in to remind you it’s not 1979. Decent, but not powerful or catchy enough to be really memorable.
Kicking off with a rad cover of the Sesame Street theme, these guys blaze out some driving melodic punk with buckets of energy present. Rad shit.
More of their BUZZCOCKS imitations, though it’s not any more rockin’ on this live recording than their studio material. They do indulge in a cover of “Purple Haze,” which is HENDRIX on white bread.
The BYGONE ERA sound is just that, 78 all the way, relying on a steady and fast punk beat. WARNERS too are a blast from the past, with gruffer vocals and more rock-type guitars. Two songs each.
Well, they’ve heard early PRETTY THINGS-type primitive R’n’B, especially the Jagger-like vocals, raw plunky guitar sound (though nowhere as grungy as the THINGS), etc. Out of Sweden.
A noisy and confusing blast of electrical air that throbs and throbs like a bad toothache. The only thing I could come close to comparing it to would be CABARET VOLTAIRE’s “Nag Nag Nag” era. Great.
TOTALITÄR, with a grinding HC guitar approach and a tasteful speedcore edge, pummel out five tracks on this one. The closest comparison I can think of is ANTI-CIMEX, and the vocals on this one manage to convey a real sense of urgency and power. Very strong release.
Really powerful garage rock’n’roll with lyrics that are unpretentious but not dumb. Sounds like 76 era pub rock’n’roll with some 77 hindsight. Title track is an apt anthem.
This is simple, three-chord punk with basic production and messy vocals — all played in a moderate tempo. The four songs here sound uninspired and rather monochromatic, though I did like the harmonica break in “Control U.”
This duo of Spanish bands demonstrate a remarkable similarity to Finnish bands from 82 or so. U.G., with their ultra-fast, messy thrash sound, is reminiscent of that first BASTARDS EP; R.D.R., with more extended song structures but the same general style, recalls the first EP by RIISTETYT. Altogether, rather like a blast from the past, and recommendable for the U.G. side.
An all-Japanese release for those who can’t locate the stuff. Contains a track or two from DEADLESS MUSS, SO WHAT, DETROIT, and FUCK GEEZ. Decent thrash material, nothing lame but little awesome from the current crop.
A pretty hot comp heavy on the HC and speedmetal with acts like SUBVERSE, DEATH SENTENCE, FRATRICIDE, and a slew of Canadian bands. Worth checking into.
This flexi comes with the first issue of Future-Now! UK zine and features one song each by HERESY, STUPIDS, and DEPRAVED (now called VISIONS OF CHANGE). All three songs are great, each with its own style of thrash, all backed by high energy and good intentions.
Don’t let the posi-punk title scare you, cuz this fucker rocks hard with acts like PLEDGE ALLEGIANCE, HALF OFF, and FALSE LIBERTY. This rocks your gizzard!
What a wicked cool comp featuring the likes of DESECRATION, SONS OF ISHMAEL, LIFE SENTENCE, and many more. Prime choice North American acts. Booklet enclosed.
Seven highly moshable tunes here, all showing some kind of searching attitudes. While there are still traces of the NY “hard” attitude, there’s much more of a human quality that’s replacing the naive “unity for unity’s sake” approach. Bands include YOUTH OF TODAY, SICK OF IT ALL, SIDE BY SIDE, BOLD, WARZONE, SUPERTOUCH, and GORILLA BISCUITS. Pick it up, and hope that as these bands mature they will prove less mercenary and display more emotional depth than the previous wave of NYHC.
A six band comp which features the catch punk of ALLIGATOR PARADE, HALF OFF’s powerhouse thrash, and GOV’T THRASHER’s hot noise. A hot consistent tape.
NEW DRUGS, the 5.6.7.8’s, SHUFFLE, and another band whose name is in Japanese present cowpunk, SHIRELLES/DOLLS-style early 60s stuff, and 77 punk. Weird mix to say the least, though the SHUFFLES’s “Working Class” has SHAM catchiness.
This selection of neo-’60s bands covers Germany. Bands like LEGENDARY GOLDEN VAMPIRES, the CHUD, BEATITUDES, SHINY GNOMES, and more drop all over the turntable for your delight. Nothing too raving here, just fifty mike doses.
A damn good comp of Icelandic acts ranging from straightforward punk to more conventional rock sounds. SOGBLETTIR, GULT AD INNAN, and the DAISY HILL PUPPY FARM stand out as the best.
Three bands share this tape: BACK TO BACK (CA) who have a hot clean thrash sound, YOUTH UNDER CONTROL (AZ) playing positive HC with energy, and LAST OPTION (AZ) dishing out fierce thrash with personal lyrics. Live records with booklet, great stuff!
A very on-target U.S. comp featuring tuneage by INSTED, SCREECHING WEASEL, FRONT, DIDDLY SQUAT, and more. Another righteous rad tape from this cool label.
A grand collection of Australian sludge/noise bands. Great names too — BUSH OYSTERS, PURPLE VULTURE SHIT, LUBRICATED GOAT. Also includes the last track ever by the now defunct GRONG GRONG.
One track each from thirteen primal Aussie punk bands, most being off 77 era singles and most being hot! VICTIMS, RADIO BIRDMAN, ROCKS, NEWS, PSYCHO SURGEONS, RAZAR, LEFTOVERS, X, THOUGHT CRIMINALS, SCIENTISTS, and more. As many U.S. bootlegs claim Australian addresses, this release claims a U.S., but don’t be surprised if no one’s home.
Three songs, all good garage/’77 punk with good production. Pretty decent lyrics, too, highly caustic towards retardo-punk attitudes. Cool.
Old fashioned punk both in musical style and lyrical content, mainly dealing with getting fucked (take that any way you want).
First off, you get 70 minutes of MOTO STILL BIRTH recorded live at Jake’s last show. They’ve been around forever and yet no one seems to know who they are. They mix thrash, metal, punk, and even a little reggae and remain politically aware and totally incoherent at the same time. Plus 20 minutes of VICTIMS FAMILY, including three non-LP tracks.
VIKTIMZ pride themselves on their highly sarcastic, “fuck-you” lyrics and high-velocity thrash attack. A variety of topics, from abortion and nuclear war to martians, is covered with adequate musical punch and fair production — but the attitude is the main attraction here.
Totally enjoyable stuff from the crooks, catchy rockin’ mid-tempo punk with oodles of energy and drive. Way bitchin’.
Some good original singalong straightedge thrash from AZ. They mix it up well, plenty of hooks and positive lyrics you can relate to. If you like STALAG 13, UNIFORM CHOICE, etc. check em out!
One of my favorite young, unknown Australian bands. They have the same kick and drive of a group like the HARD-ONS but they’re not as goofy. More somber in the style of the GUN CLUB or DREAM SYNDICATE.
Great thrash cover of the KINKS’ “Dandy”, a couple of slower tunes with a good snotty-sounding vocalist, and a recitation of the Gettysburg Address set to ominous sounds. Enjoyable.
