16 Blåsare Utan Hjärna Från Det Ena Till Det Andra cassette
Hot, powerful thrash and punk with neat guitar gits from this Swedish act. Comes with a rad lyric book, but it’s in Swedish. Check this out.
MAXIMUM ROCKNROLL
Hot, powerful thrash and punk with neat guitar gits from this Swedish act. Comes with a rad lyric book, but it’s in Swedish. Check this out.
Pretty hot stuff here from this NY bunch: slow to fast HC with what sounds like good lyrics. Rather original, also worth looking into.
Good diverse punk that could use some tightening up. Lyrically, they stress intelligent themes while keeping a fun approach. Should turn into something good.
The package this band’s record comes in is actually a 36-page booklet, written in German, full of information on nukes, racism, censorship, etc. The songs are all mid-tempo punkers, most holding my interest. Obviously a committed band, definitely into it.
Simple pop punk with female vocals and sung in English and Italian. Amateurish and charming, like KLEENEX or something. Fun.
As with their previous release, this one has some really excellent lyrics, but again fails to rise above the early 80’s UK plodpunk sound. Not that it doesn’t have power or guts, but if current bands are gonna play older styles, they should really present them with an approach that makes them sound fresh and exciting. Decent.
Hot metallic HC with topical lyrics covering apathy, self-indulgence, and oppression. Not much guitar wanking, just full-on power, a great tape.
Straightforward thrash energy from these CT kids. Lyrics seem to fall in the “positive” category. Purdy good.
Great cover on this 45, with a CHEAP TRICK rip off tune/sleeve on one side and KRAFTWERK on the other. Musically, it’s crunching pop, whatever that is.
Trendy title. And there is a song about fucking. (Plus a few anti-live ones too.) Meaning and trendiness…Oooh. Although they don’t instantly wow me this time, this LP is as demented, crunchy, and interesting as always. And the end. The end.
This is a document of one of two BIG STICK members’ tragic family separation, daughter’s death and is as anti-poverty, drug, and racism as conceivable. Musically rap, scratch, noise-a-rama (a la “Cookie Puss”) and great in its repetitiveness. But it is one of the most lyrically powerful pieces witnessed in a long time. Real and frightening.
Sounds like an American influenced skate/slam band. Mostly quick, forceful stuff, with some “heavy” sounds thrown in. Good stuff.
Not as much metal damage as I had expected, and though some of the songs are horror-oriented, the band says they’re phasing out of that towards political lyrics, which already show a strong anti-sexist, anti-fascist strain.
They’re from Venice. Guess what they sound like? Right, metal/HC with not too much happening lyrically. Not the worst thing I’ve heard and not the best. Mediocre.
Hmm, “Ghost Riders in the Sky”-type “western” instrumental, pulsing fuzz-guitar industrial punk, 77-type dumbo punk, and yet another instrumental—all on one slab. The styles clash, but the music hangs.
Musically, this is a big change from their first LP. Their sound is now in a crunching METALLICA vein, heavy on the power, while still maintaining their intelligent lyrical outlook. Although I like this album, I was expecting a little more creativity from these guys and girl, rather than the pedestrian speedmetal fare.
A four-song release with one ’77-type song, an upbeat pop punk tune, and two pop clunkers, not especially gripping.
Well-done and powerful, this EP has two speed tracks and two medium-paced punk tracks. Lots of oomph and good production make it stand out.
Fun rock n roll, evolving out of paisley rockers THE MARSUPIALS. Not really too rocking, but jaunty garage stuff.
They exaggerated straight edge to an absurd extreme, and it’s amazing how many people took them seriously, both pro and con. With songs against littering, in favor of rewinding video cassettes, and a “positive dental outlook”, all done in imitation of Ian, Kevin, Pat and Ray, you’ve gotta lighten up. Lots of fun.
DAN is actually a four-piece band, and a good one at that. They play good mid-tempo pop punk with female vocals and a peace-punk edge. Well worth checking out.
A six-song speedmetal release that is very well done. Will appeal to bangers, skaters, and crazy haircut freaks everywhere.
He’s Dee Dee Ramone and he’s soundin’ funky, havin’ some fun but he’s still bein’ punky, rappin’ down his philosophy, out right now on this maxi EP, don’t know if you dig it cuz it ain’t fast, but that DD man he had a blast.
With a title like that, no review is necessary. It’s all true, and live.
The long awaited album by this now defunct band and after listening to this record it’s a sad fact the band was so short-lived. They strike a lot of mid-tempo similarities with a clean, complex RITES OF SPRING sound and when combined with the diversely intense vocals, a lot of interesting sincere music is created. The lyrics are thoughtful, critical, concerned and right on! Overall, a great record that has a lot to offer!
Finally, the long-awaited album by this Venice band. Basically, this hot LP showcases EXCEL’s intense HC/metal sound in a good light: very powerful tunes with personal/anti-conformity themes. A really intense album from perhaps the only Venice act who reveals some intelligence.
Driving mid-tempo punk crossed with that later period BLACK FLAG psychotic sound. Lyrics are mostly in the twisted personal vein. Overall, a rather interesting combination, pretty good.
Reworkings of their songs off the Why March When You Can Riot?! comp LP. The A-side rages, a powerful fast punk tune, while the flip is a mid-slow tempo tune with a sax that failed to move me.
This new one, with a new guitar player, has a rich, pop-ish feel that the last few missed. But this polish and melody doesn’t mask the catchy hooks and rhythms these guys are capable of. Maybe it is the vocalist, but this reminds me a little of early GANG OF FOUR.
Horrible metal with hardly any punk influences left. Comes with poster and plastic record-carrying bag – give me a fucking break.
Pop punk, but at least there’s flair here (as compared to most of the Japanese pop punk I’ve heard recently). There’s an edge, a bit of punch in the delivery, and nice changes. Not awesome, but fun.
The A-side is a cool James Bond-ish-type instrumental, while the flip is a foot-stompin’, CRAMPS-like rocker. A good second effort.
The A-side has a slight ’60s feel, while the flip is more in a ’77 vein, both with a straightahead pounding beat, pop singing, upfront guitar. Decent, but not a rave.
HALF JAPANESE meets BUTTHOLES? Quirky post-something-or-other? The FALL on DMT? It’s hell being a cow.
Hank and Co. pound out a half dozen bone-breakers, and then Holland’s GORE return the compliments with their monotonous post-metal instrumental sound. Lots of crunch on both sides, but there’s an oppressive feel to the whole slab, a tedium to the non-melodic attack.
These HICKS belch out their country roots, and though only on one track (a cover of “Take it Easy”) do they hit it punk style musically, they manage to mangle the genre lyrically on all four cuts. For cowpunks.
Hard to say exactly what this band is, but there’s a picture of a bedraggled IGGY-like character on the back cover, and in many ways the six songs here relate back to early ’70s rock as well as ’76-’77 type garage. Basic.
Japan is notorious for husky-voiced yellers, so it had to happen…a band with a name like this – who don’t have a husky-voiced singer. What they do have is a tight, melodic hardcore band with a slight metal guitar. OK.
Very speedy yet noisy California thrash, recorded in a way that leaves the rough edges but the charm as well. Nothing original, but lotsa fun.
Pretty inspired and raging hardcore here. Lots of different tempos, all delivered with an edge that makes you take notice, tunes that are distinct, and lyrics that usually hit home. Very good effort.
Catchy, driving midtempo punk tunes with memorable choruses is what you’ll find here. Lyrics cover vivisection, freedom, and the mundanity of the “working life.” Pretty good stuff here.
Great concept, two split LPs packaged together with lotsa info, enclosures, and fine music. VERNON WALTERS play a highly political and intelligent form of pop punk, sung in English. INDIREKT hit back in Dutch with many punk forms, though there’s less really uptempo stuff then in the past. All in all, an excellent example of cooperation and DIY spirit, and good music to boot.
Musically, these guys totally blaze: intense, ripping thrash and speedcore. Lyrically they are hurtin’, lots of sexist bullshit, etc. Does the band outweigh the good? You decide.
Decent but relatively unvaried hardcore here. The songs do indeed have melody to them, but the overriding impact is from the metal-heavy rhythms, the similarity of tempos, the gruff vocals. This LP is much like their previous EP, though not quite as clear in production.
Although I love stupid humor, these guys go a bit too far with their anal/penile humor which gets annoying and, at times, insulting to certain people. Hey, they said it was shit, not me.
Like all spoken word records, it may be hard to listen more than once, but a good listen it will be. Jello’s in great form here, doing his satirical Lenny Bruce approach to politics, punk, culture, etc. A very scathing attack causes thought and quite a bit of laughter, and gives a really good insight into how the DK’s former guiding light views the world. A wealth of information on most of today’s attacks on freedom.
The guitarist from GRONG GRONG has a new outlet for his noise, a crypto-blues outfit. I found it pretty monotonous and uninspirational, but I know that people who go in for Down Under rantings will like it.
The first East German punk band to release vinyl, and decent it is. Much of the material is typically German older-style punk, while there are a few thrashers as well. Lyrics are translated into four languages and give a good insight into life in East Berlin, showing differences and similarities. A brave band.
Strong punk and thrash with both melodic and metallic influences. Lyrically, they cover both personal and rebellious topics. Although the vocals get annoying at points, this is worth checking out.
Good rockin’ stuff, a ’77 R&B/punk sound. Hard drivin’ pop with no let up. A good debut.
BUTTHOLES-like in some ways, though mellower and artier at times.
Both bands here are metal influenced hardcore, gruff-vocaled, lots of guitar wanking, etc.
A one-sided, two-song pop punk release. One is punkier, one is busier, neither necessary.
A very well-rounded, powerful, humorous yet political release, much improved over the last one. Dave is really out there, and his character really comes across here, Experimentation usually works on this release, the lyrics are sharp, the cover art is a treat. Side Two lags at times, but I think the guts and sentiments come across really well. MDC is one of the few HC bands to really cut across time and cultures.
David Lester (guitar) and Jean Smith (vocals) team up for some neo-early PATTI SMITH rock’n’roll poetry. One track, “Strong White Male”, really stands out—very haunting.
A re-issue with a few extras thrown in. Ooh, it’s scary.
Quick thrashed out punk with lyrics which cover racism, nuclear weapons, and personal issues. Catchy tunes, well thought-out words, overall, a great job.
Fourth album by this very hard to describe East Bay group. Sound collection and sculpture at least gets you in the right neighborhood. Stellar line-up of guest stars includes the RESIDENTS, Garcia and Hart from the GRATEFUL DEAD and even JELLO BIAFRA. But the real stars are pieces which include an incredible punk tune, “Carbomb” and “Here.”
Sounds like BLONDIE or some other weak ’77 band with a “girl” singer. Get me outta here.
Some jangly pop-punk here, maybe sort of like the MONKEES. Real smooth and relaxing, but emotional. Pretty neat.
Some serious Oi! produced by this dedicated Scottish band. Twelve great hard-edged melodic anthems backed by strong sing-a-longs and power production. The lyrics stick to an anti-government/pro-“skin and punk unity” stance and don’t even come close to right-wing bullshit. A good record by a band that keeps on going.
A very solid album of thrash and speedcore sounds, similar to a cross between MOTORHEAD, a thrash metal band, and a contemporary HC act. Can’t say this hasn’t been done before, but these guys do it pretty well.
A split live EP from these two European acts. POLITICAL ASYLUM has a catchy, melodic punk sound with thoughtful lyrics, while the PISSED BOYS have a quick, tuneful style. Good stuff.
“Attention young ladies. My favorite way of getting kicks—I go downtown, I hustle chicks. (Chorus) Beaver Patrol (Cruisin’ on my Beaver Patrol, I love that beaver). She’s trying to keep me happy with all her might – All you gotta do honey is make me feel alright. (Chorus) Beaver Patrol (Cruisin’ on my Beaver Patrol, I love that beaver).” Distributed by Rough Trade in the US, this is a four-song white rap/rock thing Á la BEASTIES. How embarrassing for them.
A very polished very pop “progressive” post-punk band. Definitely college radio material with little bite.
Pretty basic thrash without much distinctiveness. Lyrically, they seem to dwell on depressing themes, judging by “Wanna Die” and “Self-Destruct”. Psychotic? Not really…
Other than the title track, this is a pretty toned-down release, offering little in the way of excitement. One neo-’60s tune, one pop rocker, and one folk tune.
A non-stop barrage of HC thrash with some metallic riffs creeping around here and there. Really straightforward, ferocious, aggressive stuff, especially “Negative Man.”
I made the big mistake of listening to a lot of old Ramones recently, which put this new release into perspective—a bad one. The edge is gone, the wackiness wants, and the singing normal. Outside of “I Lost My Mind” and “I’m Not Jesus,” this is really inferior material, and one can only wish they were halfway to insanity.
This is what suburbia does to people…forces them to form utterly psychotic thrash bands with totally deranged vocals. One question: why does the tape cover smell so fucking weird? On second thought, I don’t want to know.
Mid-to-fast tempo German punk abounds here, with catchy choruses (especially on “Your Escape”) and a powerful power chord guitar sound. The songs are pleasant, but there are no particular revelations here. Just good, basic, loud punk.
Very basic hardcore that’s dominated by a crude, raw guitar. Everything else sits behind, setting forth short blasts of mayhem, not unlike the old NEOS. Enjoyable.
Turn up the volume on this baby, and you won’t be sorry. Great production brings out the best here, and though the pace isn’t as frantic as before, the power is well directed, the hooks are there, and the energy flows hot. A welcome surprise.
This Ellensburg, WA band’s second LP is an exciting moment. They get more indulgent here, proving themselves a real ’80s psyche band. Intricate swooning and meaty jams with a few melodic ’60s influenced songs. But ravers like “The Pathway” make it worth living for.
A really hot debut. Great pop hardcore, lots of punch, above average lyrics, memorable tunes. Kicks ass, so get this now.
Proving that skins anywhere are capable of making simple catchy songs and making the dumbest face poses ever. Four songs, three decent.
Really excellent lyrics addressing many of the problems within the whole scene, and doing it with insight and sensitivity. Musically, it’s older punk meets hardcore – very moshable.
These Aussie dudes come off with pretty good RAMONES-ish sound. Nothing happening lyrically, and not enough catchiness or power to push it over the top.
A six-song straightedge Y.O.T. type band that celebrates youth, innocence and hope. The songs are pretty short; the message loud, simple and progressive. Hope they can maintain their idealism as they grow. Hope they grow.
A two-song, one-sided flexi that has hardcore graphics but is decidedly pop punk. Not really too jumpin’, but OK.
Less sludgy this time out—more jazz riffs creeping into the act here but still good enough to recommend to fans of midwest-wump like the APPLIANCES-SFB, COUCH FLAMBEAU and a little KILLDOZER. Also elements of pop and funk seeping in to draw comparisons to earlier MEAT PUPPETS and the MINUTEMEN. You decide.
Quick, melodic thrash with sing-along choruses, comparable to early 7 SECONDS. Lyrics cover war, poverty, violence, etc. An act to watch, keep up the good work!
Very much in a CLASH vein without being directly imitative. They fuse early punk, pop, reggae and more into a 78 type lightweight sound. All songs in English, politically aware, comes with a free bonus single.
A self-released 45 from NJ’s BURNT. “Social Disease” is a great garage punker with raunchy guitar, gruff but plaintive lead vocals, catchy melodies and entertaining serio-comic lyrics. The flipside is a faster anti-gurl rant with much less overall appeal. Good primitive sound.
A very hard-hitting release from this Australian combo. Other than the occasional wah-wah guitar, their sound hearkens back to ’70s rock and early punk. Very basic rock and roll with straightforward power and decent lyrics.
You know what’s irresistible and charming about this record is that it reminds me of JOHN CALE during his best period, right down to the vocalist, and acoustic ballad and some of the crunchiest rock’n’roll with perceptive lyrics that I’ve heard since I bought Sabotage.
A one-song effort, a garage-y catchy punk/funk tune that goes on and on, but you won’t mind. Fun.
A generally energetic pop band, though not all the songs here are really revved up. At times it’s like the REPLACEMENTS meet DOA, meaning lots of bounce and guitar/rhythm crunch. Lyrically romantic, and with an unusual cover of the BEATLES’ “Norwegian Wood”. Recorded in 1985!
FOETUS is continuing the greatest blues/punk/industrial mania around.. Really crunch and powerful stuff as well as musically interesting and varied in influence. The title track is a demented big band number and the rest is big build-ups, and noise abounds. A really good one (no disco).
The English equivalent of the MENTORS?
Kind of a hard one to peg—their next record after this one will be on the CYNICS’ Get Hip label, which would give you the drift that they’re somewhat based in a tough garage sound. But actually there’s a more nice folk-rock influence with a touch of violin that reminds me in a good way of the MEKONS, VAN MORRISON and the POGUES.
Poor sound quality, not-so-hot performances, no liner notes, lyrics or info. Recorded in ’83, junked in ’87.
Pretty well crafted pop punk, though a bit too pop at times. Just when you say “no more”, they pull back from the edge and rock surprisingly.
Great young, eager group with energy and a very good sense of melody. Makes you pine for the days when “punk” wasn’t afraid to show a little melody in their songs. File this right along with the first of the REPLACEMENTS and GENERATION X and stuff like the TV PERSONALITIES, SWELL MAPS and the FRESHIES.
The A-side was too lightweight to cover, but the flip has a cool guitar sound, simple psych grunge Á la ’66. Fun from THE OUT.
Let me guess—pop punk? Yup, five slow-medium tunes, one uptempo number. I can’t believe how many Japanese bands are going back to ’77 punk, but are showing no imagination or hindsight in how they regurgitate it.
This Irish band has been cranking out the records. Lucky for us too as even though they are kind ’60s-ish, they really rock out with a garage-y touch. Strong and slick with crunch, catchy hooks, a little of the ol reverb, and some incredible jams. This LP (and in fact the band) are a must for all garage enthusiasts.
All the markings (long bowl-like hair, funny suits, fuzztone guitars) of a prime neo-’60s garage band. And here it’s less of the PLASTICLAND-type goofery more of slower CHOCOLATE WATCHBAND groove. No real “rave-ups,” but they’re rumoured to be a pretty hard-driving combo live so wise up, shorty.
Ah, finally a non-metal HC band out of Utah. Sounds like a great unknown band from ’82, but this is today and a welcome relief it is. Hot, inspired playing, tons of energy and hooks, catchy tunes and cool vocals. As you might guess, I like this a lot!
These guys had an extremely zany and attacking sound, deeply rooted in an early SEEDS mold, but rarely does that manic aspect surface anymore. Only one of the six tracks here really approaches that intensity. Instead, they settle for decent organ-dominated ’60s punk with no stinging guitar and no psychotic vocals. Too studied.
A plethora of ’60s styles can be found on this new FOURGIVEN release. Although there’s an occasional fast punker (“Call Me Animal”), most of the material is in the atmospheric mid-tempo vein. Nothing is really wrong with the songs, but in general they lack sufficient wild abandon, guitar power, or hooks to really hold my attention. Note: the MIRACLE WORKERS represent the definitive ’60s punk standard nowadays.
Very blatantly SIOUXSIE influenced material and sound. Well done for what it is, and will appear to fans of pop, wave, early punk, mood music, etc.
Containing members and ex-members of WARZONE, PSYCHOS, and ULTRAVIOLENCE, these boys churn out some raw HC with a distorted guitar sound and lyrics which analyze personal and social problems. Pretty good.
A pretty good showing by the ol’ SUBS, playing mostly energetic material with a clunker here and there. Good live recording, too.
Rully? OK, 7 SECONDS, AOD, WHITE FLAG and F come up with 4 or 5 tunes each, oddities, versions, live takes, etc. Pretty fun selection, plus bits of goofiness and experimentation.
Quite an accomplishment. An excellent sampler of mostly not-famous bands, but bands that really put out. Lots of differing punk styles, fine choice cuts, lots of listening and most all are invigorating. Bands from Czechoslovakia, Peru, South Africa, Hungary, and just about everywhere else. Hot.
A mega-thrashola comp with CHRIST ON A CRUTCH, BFD, THE HATES, and more. Lots of quick stuff here, and includes booklet.
A hot comp with NO FRAUD, ANOTHER DESTRUCTIVE SYSTEM, ARM THE INSANE, and lots more. All the proceeds go to the Toronto ALF Bust Fund.
A pretty damn good comp here featuring hot stuff from CORRUPTED MORALS, STIKKY, PINK LINCOLNS and more. Great selection of punk and thrash energy.
Heaven (or hell?) is here if you’re a speedcore maniac, because those “jugga jugga” axes are here in full force. Acts include NO REBATE, BLOODCUM, GENERATION WASTE, and more.
FORETHOUGHT, BLUTSTURZ, RAPED TEENAGERS and LEBERWOHLSTAND are just a few of the acts featured on this above average world comp. Lots of spirit and spark here.
A weirdly conceived LP, because other than a hot and previously unreleased LAW & ORDER track, a so-so version of SCREAM’s “Solidarity,” and a live G.I. track, the rest is very commercial wave stuff. Given all the DC bands whom we haven’t seen on vinyl yet, I was disappointed with this selection.
Ninety minutes of righteous tuneage, the standouts being CANCEROUS GROWTH, SCREECHING WEASEL, and DEAD SILENCE. Well worth the moolah. Comes with booklet.
A statewide comp of varying alternative musics. There isn’t any hardcore, but most of the pop stuff here has an edge, and bands like CLAUDE PATE, HOUSE OF LARGE SIZES and SHELLGAME do have quite a bite.
A 14 band benefit compilation where all profits go to the Hunt Saboteurs Association. There is a wide range of music here, which becomes obvious when you realize the contributing bands include CHUMBAWAMBA, ELECTRO HIPPIES, RUBELLA BALLET, MEKONS, STEVE LAKE, etc. Of course, all lyrical content is directed towards animal rights but the record itself lacks information concerning the topic, in fact there are only lyrics to five of the songs.
A pretty good sampling of A.P.P.L.E., SEIZURE, THE SARCASTIC ASSHOLES, and more. All profits go to the No More Censorship Defense Fund, which is still heavily in debt.
Don’t be put off by the cheesy cover, this LP don’t smell. Bands like FEAR ITSELF, DEPRESSION, A.P.P.L.E. TH’ INBRED, ATTITUDE, DEAD SILENCE, G.A.S.H., LIFE SENTENCE, PSYCHO and lots more add both live and studio tracks. A good selection of many punk styles.
A six (Canadian) band comp benefit for Aid To Nicaragua. Standouts include SONS OF ISHMAEL, M.S.I., and GUILT PARADE’s trashing of “Heartbreak Hotel.” A good record and an effort worth supporting. Cool.
All right! This is the most manic group I’ve heard in ages, featuring acts from W. Germany, Peru, UK, US, and Finland, the standouts being DESECRATION, THE ELECTRO HIPPIES, LAST OPTION, 7 IRSTAS. Amazing!!
This edition covers Australian neo-’60s garage bands, and there’s quite a bit of psych/gloom stuff as well (too much). But bands like LIZ DEALEY & THE TWENTY SECOND SECT. CONEHEADS and ASSASSINS do kick ass, making it worthwhile.
This compilation covers a side of the greater DC scene that we rarely hear about. Other than MADHOUSE, PHLEGM, SARCASTIC ORGASM and ASBESTOS ROCKPYLE, most of these bands are new to vinyl, and deliver a variety of garage punk, thrash and grunge. Featured are MOTOR MORONS, PLATINUM SLUGS, BAD VIBES, SYBIL PURE EVIL and many others. Only problem is no insert/no info on the bands.
DOOM are terrible metal, SHELL SHOCK are decent metallic hardcore, X are enjoyable thrash, JURASSIC JADE are as bad as they sound, GROUND ZONE is boring metal, and ROSE ROSE make powerful thrash noise. And they all look like a punk version of KISS.
Yet another mega-righteous comp from the Flush folks – this one featuring NO FRAUD, SUBVERSE, SCREECHING WEASEL, and 5 more gonzo acts. Rad tuneage to the max.
Wow! Just about every country is represented on this world comp featuring VICIOUS CIRCLE, WRETCHED, SUBHUMANS, INFERNO and tons more. Great stuff, and comes with a book!
This package is a dedication to the spirit of the Gilman Street Project. Featuring 12 groups that participate regularly at Gilman (both as bands and individuals), there is plenty of music as well as a 14 page booklet. Bands include ISOCRACY, CORRUPTED MORALS, STIKKY, YEASTIE GIRLZ, NASAL SEX, SWEET BABY JESUS, RABID LASSIE, OPERATION IVY, CRIMPSHRINE, NO USE FOR A NAME, SEWER TROUT and BUGGERALL. My prejudiced view: hot!
This tape features super hot stuff from STIKKY, ELECTRO HIPPIES, DESECRATION, RIPCORD & more, but the tape has completely atrocious sound quality: recorded too low with a loud hiss throughout the whole thing.
Good question, don’t know if this will find the answer, but with righteous tuneage from DEVIATED INSTINCT, FRATRICIDE, LARM, & more, it certainly can’t hurt. Rad. All the proceeds go to the Toronto ALF Bust Fund.
A high quality DIY demo tape here, great recording quality, nice printed package, etc. Musical style varies which keeps the interest level up, I hear BUZZCOCKS, DAMNED, UK SUBHUMANS. Very listenable, good job!
Quick melodic punk with a bit of distortion to roughen things up a bit. Not bad, but the vocals and the commercial flavor kinda turns me off.
A rough recording but still varied enough to be interesting. Early punk, later punk, pop, a little psychoticness and some humor add up to potential that should be followed through later on. Enough good moments to be worthwhile.
A new line-up for this Boston band. Though there are fits of rage here and there, and glimpses of real power and acceleration, too often the “corporate pop” sound predominates, an overproduction that homogenizes any eccentricities. Still, the tracks that do demonstrate genuine emotion are really good, just with that shone through more.
A pretty appropriate band name, considering their fuzzed-out guitar tone. Good, driving punk tunes with catchy hummable melodies, and guitar leads which seem out of place. Good stuff.
What can you say? You take one of the best all-time hardcore records, add 6 extra tracks (from previous comps and tapes) of equal quality, and you’ve got an awesome fucking record. Initially released in 1982, the singing and playing still outdoes most anything that’s happened since. Killer.
