Jesus…who are these guys? B-side sounds awful, like a bad BLUE ÖYSTER CULT pop song. But “Bikers,” sheesh…in-your-face hard crunch fuzz, almost like having IGGY POP’s grandson doing STEPPENWOLF covers in the garage. Ow!
Full-on speedmetal now, losing most all previous distinctiveness. Lyrics remain angry but vague. Some are anti-state, or at least what it does to the individual, others are critical of those who oppose. Last time we talked, they said that they were getting away from the stupidity of what the skin scene became, yet here they cover the IRON CROSS anthem “Crucified.”
New material from these aging upstarts, and pretty decent stuff at that. As with most of their previous material, the tunes are slow-to-mid-tempo with the accent on lyrics and understated Oi-type songs. The interesting tune here is “I Don’t Wanna Fight the Soviet,” showing quite a bit of insight from a so-called “working class” outfit.
A skinhead band that’s not bald, praising the glory of being young and not too bright. Their claim is being “famous through slander”; pretty much of an overstatement for a decent sounding but uninteresting Oi band. No lyrics included. From Georgia.
Metallic HC without much to set it apart from the rest of the pack. The energy is here, they just have to forge out their own sound.
Actually a really good record from this S.F. band. While the metal influence is apparent, it’s not as dominating as when they play live, and on these five cuts, it’s the power and energy that rule. Also, the lyrics are excellent and serious, which is surprising considering singer Andy Aeroplane’s normally non-stop wise guy personality. No U.S. release planned.
A dark pop single with semi-industrial overtones. The A-side is upbeat and more poppish, yet still has keyboard gloom. The flip is the real moody one, not as fun as the other side.
Straightforward slow to mid-tempo punk with on-target political lyrics. Musically, this is nothing amazing, but the sentiments are appreciated.
Fairly strong punk & thrash without a lot of personality. Fun, but nothing amazing.
Excellent three-song self-produced (and undistributed) EP. Two songs are hot melodic/full sound thrash, and one is a tape loop job that holds interest. Mysterious.
This first punk-related vinyl I know of out of Portugal, this has more of a rockabilly influence and is fairly light in power. Three tunes, no real rockers.
Well, somebody had to cover “Mongoloid,” and these guys did it first. A mixed bag of punk styles, using some special effects. No new turf broken, decent lyrics and enthusiastic playing. Includes a free EP with the first 1000.
Pretty good garage punk but, damn it, these guys just don’t really sound too inspiring. Let’s hear some total frenzied insanity next time, OK?
Here, C.C. offers six powerful songs, most not really up to the standard of those on their split LP. Still, their crunching thrash is full of force, on clear vinyl.
On their second album CHILD SUPPORT have pared down to a three piece and left behind their garage/punk sound for a more mature sound. There’s a stamp of later-period BEATLES experimental pop all over this but It’s not obnoxious like some pop bands. Still a few hard guitar numbers but mostly it’s relaxed, well thought-out pop.
Rap from hell? No pseudo-offensive BEASTIE crap rap, but harsh industrial rap with an annoying feel to it, which sounds fuckin’ great to me right now.
This is a laugher—a leather-clad, mohawked, flat-topped, girl-crazed, bloodsucking punkabilly band. Well, I take back the laughing part. It’s buy now, cry later.
This fourth record is more esoteric musically by being thematic blues in “White Boy Blues,” metallish in “Satan’s Buddies” (great song!), and funky in “Song with a Message.” But the jokes are just as poignant lyrically and musically as they’ve ever been. I’m glad the rumors of this band breaking up weren’t true. Their classic humor and skilled playing are as great as ever.
Took a little bit but I’m convinced that this noise/sludge band from Minneapolis will take their place alongside such dignitaries as KILLDOZER, SCRATCH ACID and even the BUTTHOLES in the ugly-noise heaven. Wild, frenzied cover of “Koyanasquattsi.”
Obnoxious grunged out garage punk with even more obnoxious lyrics. With titles like “Dumpster Babies,” “Shelly Winter’s Thighs,” and “Crib Death,” you know what you’re in for.
A pretty good debut release by this new L.A. outfit (originally out of Hawaii), alternating between quick thrash tunes and melodic punk numbers with interesting guitar work, all with thoughtful, caring lyrics. Nice job.
Some grunge-y thrash from this Portuguese act. Eighteen live tunes with pretty good sound, rebellious lyrics, and loads of spirit. Cool stuff.
Mediocre punk of all speeds. A couple catchy choruses here and there, but not much to set it apart from the rest. Not to be confused with the U.S. CRUCIFIX.
Quirky, jangly hard pop meets the DC sound. Arrangements are complex and broken up in a way that makes it difficult to find the groove, and given the medium-pacing of most tunes, it’s a challenge.
This four song EP sung half in German and half in English leaves me wanting a translation, and the two English ones, “Remember Soweto,” and “Man vs Nature,” have simple but admirable lyrics. There’s one mid-tempo punk song, one slower ballad, and a couple catchy, crunchy songs with gnarly vocals and a stab at originality. Pretty good.
Bouncy pop with silly words about binging, Bedrock, teepees, and such. A little too cute, but it’s fairly enjoyable, especially their cover of “The Blob” theme.
Four tunes here, three thrashers & one ’77-ish song. The speedy ones are moderately catchy, as is the slower tune. Pretty good.
Well-produced punk & thrash with metal influence. Lyrics are in the “fuck you, eat shit” vein. Pretty hot stuff within.
Now that 7 SECONDS has gone on to “other things,” these guys may be able to take their place, judging by their solid thrash energy with singalong choruses and words stressing equality and social change. Really good—now watch for vinyl. P.S. Some profits go to No More Censorship Defense Fund.
A shitload of short, raging garage thrash songs. There’s no danger of too much professionalism here, just plain ol’ retardo raves. Totally fun.
Relatively solid metallic punk with intelligent anti-system words. Strong material and good sentiments. I dig it.
Run-of-the-mill speedmetal without anything to set it apart from the pack. Lyrics seem to be good, but, overall, this is pretty lackluster.
Great, great, great catchy punk tunes, with an accent on energy and momentum. Cool youthful vocals, too. Damn good stuff.
What a change—they’ve gone from a CLASH-type pop punk political band to an AEROSMITH/SPINAL TAP rock’n’roll band. Pure radio shit.
Rough and tumble old style punk rock here, very spirited, similar to the VANDALS, LOVE CANAL, etc. Slap in the face lyrics deal with religion, society’s problems, and some very backwards lyrics on “SLUT,” the title tells the story.
A more powerful remix of their domestic release, with the addition of another track and color cover. South Carolinan/Alaskan metalish hardcore from Wally and co.
Mid-tempo punk without too much to set it apart from the pack, save their sing-along choruses. “Bell and Dagger” is the standout.
Hot punk and thrash with sing-along choruses. Words cover personal and social issues. Good straightforward stuff.
First off, these guys have the best logo—a rubber with a mohawk. Musically, they play thrashy punk with dumb but moderately humorous lyrics. Fun in a retarded way.
Humorous chunky punk with metal influences (solos) which don’t fit with the music. Lots of “fuck you” attitude and lyrics, as shown by the song title of the month, “I Hate Everything.”
Sounds like early TELEVISION meets JONATHAN RICHMAN. Understated garage music with smart but twisted lyrics—like “Little Johnny Jewel”.
ABOLISH AUTHORITY has a powerful sound comparable to a metal-influenced early DISCHARGE, and GENERALI continues the mania, but not as metal. Live and studio, strong material.
What a cool guy, huh. He rapes girls, shits on the audience, does drugs and pukes all over himself—anything he wants. He plays grungy-ass rock’n’roll—really punk. But I’m still disappointed. G.G. let me down. If he was really the heir to Jerry Lee and Iggy, he’d have made this a scratch’n’sniff record.
Their first major label release shows their usual pop flair and basic beat, though both tunes are more blues-based than previous releases. Catchy, but I wish they cut loose a bit more with that ever-cool guitar.
Poppy punk with some rockin’ power and kinda annoying vocals. Watch for an upcoming LP with Bob Mould producing.
More guitar raunch garage punk here, though it’s a bit more eclectic than in the past. Side one rocks hard with that “just a little off” quality that makes it special. Side Two is a bit too disjointed for me, but it’s still hot.
Considerably better than the average “positive” act, these guys play mostly straight HC, but it’s got a good sense of personality. Honest, optimistic lyrics, also worth checking out.
Yeah! Straightforward punk tuneage with great lyrics that show a good perspective on human relations. Hell, these guys are “harder” than most other acts who claim to be “hardcore.” Thumbs up!
Better production and a little control and seasoning give more definition to this release than their debut. Fans of mid-tempo, smoldering HC will enjoy this a lot. In the vein of EMBRACE.
Pretty grunged out noise from this young act, who crank it out sloppy, loud, and aggressive. A pretty good start.
Extremely aggro thrash with slight metallic tinges. The guitars are fuzzed out, the lyrics are mainly social, the emphasis seems to be on the overwhelming power, which is a little squelched by the noisy production.
An audiovisual introduction to El Sobrante and “Sobcore;” an hour’s worth of catchy spastic punk tunes with surprisingly serious lyrics, plus plenty of zaniness and personality. Includes a lyric booklet and miscellaneous objects from El Sobrante. You’ve heard the name, you’ve seen the pictures, now get the tape—all for the very low price of…
With the exception of one song, this record is comprised of five slow/medium tempo melodies and, when mixed with the sappy vocals, it becomes obvious that power was compromised for a very clean mainstream sound. It seems the riffs and emotions were made secondary to production. I can’t help but compare this band to a tame, underground version of the SMITHS. I would “reach out,” but there is simply nothing for my ears to hold on to.
Because of its producer, roommate and all-around good guy Ian MacKaye, I expected a later period Dischord “sound” like DAG NASTY or RITES OF SPRING. But I was really surprised to hear a very modern blend of rock and blues and some real classy harmonica playing. Not thrash but it rocks like a mofo.
More fun from this bunch of East Bay bozos. Chunky garage tunes about stinky feet and their punk rock lifestyle. Funny stuff.
Great grunge, Batman! This sixteen-song tape features raving neo-’60s punk at its fuzzed-out best. Varied but good to great overall production, also check out their only single, “I Love You,” available from…
A collection of live radio broadcasts, featuring this organ-dominated garage/frat party neo-’60s band. Out of Boston and having roots in the early punk band DMZ, these guys do lots of covers as well as a few tasty originals. Basic rock’n’roll.
Screaming thrash with shitloads of energy. With all their hyperness, things go a bit sloppy, but this blazes fairly well.
Tuneful punk and thrash with personal words. A little cleaner and more melodic than their last tape, but their drive remains. Good, enjoyable stuff.
A new metallic HC trio with a BULIMIA BANQUET-eer on bass. Vicious, powerful musicianship and mostly personal words add up to a darn hot tape.
These cats can’t decide if they’re ’60s pop stars or country boppers. They do both genres (two tunes of each), though neither break any new ground. OK.
Sort of a whiter BAD BRAINS (newer material), utilizing rock, metal and reggae influences. Most songs are slow-to-medium paced, with only one straightforward thrasher. This is somehow a skate band, whatever that means.
With a name and title like this, I thought this would be humorcore, but this is garage-y punk and thrash with serious words covering apathy, ignorance, and exploitation. Pretty good.
Pretty scorching, forceful HC with metallic tinges. Can’t comment on lyrics, but a couple titles (“My Bitch,” “Cops are Gay”) seem a little odd. Hmm…
Very infectious pop punk, especially the A-side which is a raver. Memorable.
Four alternate versions of previously released songs, rumored to be alternates off the “best of” compact disc. Excellent sound quality, cool multi-colored vinyl, and limited of course, start hunting.
Six fast live songs from their later period, the standouts being “Last Caress” and “All Hell Breaks Loose.” Good sound quality, nice package which includes a cool poster, make this a nice collector’s piece.
Varied sound quality and musical style, blues influenced folk rock to trashy punk. No less than 35 songs, not for the musically narrow minded.
This band has most of their shit together: a hot display of garage-y HC and punk with metallic guitar bits. Lyrics are in the personal/social view. Good effort.
A barrage of programmed synthesizer hardcore post punk intensity, seven songs that pack quite an interesting punch. Not for the musically timid or narrow-minded.
A powerful but very pop sound on Side A, one that should prove palatable to both punk and commercial audiences. The flip is a novelty number, a country-ish tune with vocals that sound like SLIM PICKENS on STP.
Driving mid-tempo punk dominated by very raw guitar and intense male and female shouters. It’s faster than FLIPPER, but has the same level of grunge and abrasiveness. One side’s studio, and the live side seems faster-paced. Both sound good.
A three-song release, all of which rage pretty good. Hard-driving thrash with tuneage, no let-up, pounding drums and lots of power. A good one.
Chunky garage punk with that charming raw quality. Lyrics run the gamut from personal stuff to silly sarcasm. Purdy good.
This latest ’77 re-release showcases Shane MacGowan’s (way pre-POGUES) early punk and punkabilly sound. Contains the NIPPLE ERECTORS first 45 and two excellent unreleased tracks, as well as the later NIPS’ two singles. Basic and fun.
Musically, this is hot Oi!-ish punk with loads of power. Lyrically, they appear confused. They seem to have a leftist/anarchist viewpoint, but also a sexist and homophobic attitude. No one rules? Duh.
Two of the four tunes are too far on the pop ballad side for me, but the cover of LOVE’s “7+7 Is” is decent (a bit too clean), as is the atmospheric but rockin’ “13th Floor.” From Australia.
Very fast, tuneless ultra thrash like the first DRI LP. The slow parts are catchy, the thrash stuff is pointless. Sure, it’s really fast, but so is a blender.
Yeah! Imagine early 7 SECONDS with a slight metallic tinge, add some well-thought-out positive and political words, and you got these guys: one fucking hot band!!
Unmistakably Ian MacKaye on vocals, teaming up with a member of industrial/dance band MINISTRY. Both tunes combine elements of each person’s forté, and it works. Post-EGG HUNT industrifunk punk. Lyrics seem interesting, but no sheet to clarify.
Some moderately powerful punk and thrash, nothing too out of the ordinary. Comes with a mini-lyric book. Words in German.
Jangling pop-punk, which is a little on the “smooth” side—acoustic guitars, etc. Not bad, but could use a bit more grit and grind.
A German two-man band (drums, guitar, mouth) bashing out some fun, garage-y, sing-along punk rock. Sounds like some rad drinkin’ tunes to me.
Not to be confused with the NY band of recent vinyl, this band’s 7″ comes in a 10″ sleeve. And now…wow! This is a hot-shit rager, sort of along the lines of CAPITOL PUNISHMENT. Highly recommended!
Retardo punk rock from SoCal. In the tradition of ROACH MOTEL, ANGRY SAMOANS, MENTALLY ILL and others with an “I don’t give a fuck” freewheeling attitude. Their second EP, no progress, and that’s good.
Thrash, punk and post-punk all rolled up in one band. Gruff female vocals are the unifying factor, as well as good production. Their third release.
Out of the Basque region comes this hot release. R.I.P. produce melodic thrash and punk with lots of catchiness, and, as might be expected from a band out of this controversial area, highly political lyrics. Comes with a huge foldout insert, translated lyrics, and lots of good music. Get this!
This record comes with a free condom to promote “safe listening,” and the material on this EP is fairly infectious, with some hard, up-front guitar work. The style, however, is distinctly ’79 flailin’, rockin’ new wave—the lead vocalist even has an English accent. Fairly good, I guess, but it definitely grows on you.
A pretty energetic release that ranges from CRAMPS-type trash to punkability to Robert Gordon/Jack Scott deep-throated ballads to classic punk. All songs are crazed in some way, be it by voice or instrument distortion, speed-crazed pacing, or just enthusiastic x 10 playing. Boss.
Sing-along thrash not unlike early 7 SECONDS. Good personal lyrics and lots of raw energy. A band to watch for.
Inside this very elaborate package (full color jacket and comic book) comes a very hot album. Cross BLACK FLAG with VICTIMS FAMILY and toss in some BEEFEATER for spice and you have an idea of what this is like. Very strong.
An OK tape by this band who mix a few different styles (post-punk, rap, thrash, etc). The tunes aren’t bad, the energy is there, but they need more personality.
Slow-to-medium-paced basic ’77 garage, one side studio and the other live. Nothing electrifying, but a simple, catchy debut. Good lyrics.
Gruff sing-along vocals backed up with well-produced, melodic rocking hardcore, similar to early INSTIGATORS, NO ALLEGIANCE, etc. Thirteen songs, two being live, as for lyrics…if you speak Norwegian you’re in there! This month’s value special!
I’m usually a sucker for a Midwestern group that blends ’60s psych with hard garage rock, but here they lean a little too heavy on the ’60s stuff. A bit too much CHOCOLATE WATCHBAND and BUFFALO SPRINGFIELD for my tastes.
The system robs us all of identity and power, and encourages us to fight amongst ourselves to maintain their grip. So, it’s always lovely to see working class people (oi, mate) take out their frustrations on people who are even more fucked over and vulnerable. What can you say about a singer who has his favorite footwear tattooed on his cheek?
Wonga. Six-song cassette from Melbourne by a young…uh…noise group. This is the sound, along with groups like THUG, LUBRICATED GOAT, and the god-like FEEDTIME, that will deliver the goods on a new Australian (or anywhere for that matter) music. Using the BUTTHOLE SURFERS/SONIC YOUTH sludge as a starting point this group slowly trudges into their own voice with a great sense of doom and humor. Shit—just get the goddamn thing as soon as possible.
Raw, jangly pop punk with fun garage-y sound and spirit. Catchy tunes, for sure.
A bone-crushing hybrid of metal, thrash, and the BLACK FLAG sound. Lyrically, they dwell on the horrors of modern day living. Totally mind-blowing material.
Twenty-seven “songs” here (most under ten seconds) of utterly tuneless hyper-fast chaotic thrash. Good novelty, little substance; NAPALM DEATH fans take note. All profits go to ALF Bust Fund of Toronto.
First heard from on the Seattle sludge-rock compilation Deep Six. This is a sound that’s growing in popularity every day—a big, full rock sound. Not slick enough to warrant major label attention but powerful enough to grab punkers. See also JANE’S ADDICTION, GREEN RIVER, and SKINYARD.
A seven-song guitar/beat record. Slow tunes, lots of raw guitar, straight beat, psych feel, but not enough rage in the vocals (a touch of SUICIDE would’ve appealed) or feedback noise in the guitar. Otherwise, decent.
Fairly enjoyable melodic pop punk from these French loonies. Contains live and studio material, a little stale in points, but pretty good otherwise.
Twenty grungy guitar fuzz thrashers here. Sound quality lags, but if early AOD, 7 SECONDS, and ILL REPUTE tickle your fancy, this might too.
This came out earlier this year, but we just now got wind of it. And I’m glad we did—this is raging US-type non-metallic thrashcore, dudes, and while not the tightest or best-produced record in the genre, it’s a totally enjoyable slab. Sparks of distinctiveness should develop with the next record.
Two punky tunes with experimental tinges and a real smooth instrumental. Pretty good lyrics and an interesting sound.
The record is dated 1982, but it was just sent to us as a new release. Hmmm. Anyway, catchy basic pop punk, rapid-paced and fun. Sounds like ’82. Hmmm.
Quite a variety of sounds here, from classical keyboard to punk noises, all with sung female vocals. Very diverse, I enjoyed some of this, but not all.
Great, mature guitar band in the tradition of TELEVISION and SLOVENLY. Lots of somber, tense, well-developed music here.
Pretty intense punk and thrash with varied lyrical topics ranging from “Blood Feast” to personal subjects. Good tunes, but the words seem pointless.
One of the UK’s ’77 crew turn up with 5 tunes here, and while not as trashy as the originals (very clean production here), they’re still fun. “Gary Gilmore’s Eyes” is still a classic.
Recorded in Australia in ’86, this latest incarnation of the GROOVIES contains originals (dating back to ’67) Cyril Jordan and George Alexander. Included are reworkings of “Kicks,” “I Can’t Hide,” “Shake Some Action,” “Slow Death,” etc., as well as some WHO and r’n’b covers—all inferior to either their own previous versions or the originals. While I admire their rock’n’roll dedication, there’s a real lack of spark or insanity here.
I get the feeling of potential greatness here. Like the very first recordings by HÜSKER DÜ, this has a rigid, almost experimental guitar atmosphere. Mostly instrumentals and some of the driving guitar sounds grab at that amphetamine push of early URINALS.
Metally HC, but often more metal than HC, with the cheesiest DEF LEPPARD/JUDAS PRIEST vocals I’ve heard in a while. Lyrically, “Nazi Baptist Commando” is good, but the rest blow. Lyric of the week: “I masturbate, ejaculate, and wipe it on the wall.”
A very ’77 sounding four-song release—classic punk, reggae punk, noise punk, etc. Nothing spectacular, but it’s definitely enjoyable, especially “1 August.”
The DYLAN cover is OK, a bit too rock but pretty powerful and done with spirit—the flip is way rock Á la WARREN ZEVON.
Their 4th vinyl outing, this German hardcore band employs a big sound that utilizes both metal and non-metallic influences. Hammering.
Rock and roll with a hard edge, pounding beat, sometimes self-indulgent breaks, and too-full production that takes the grit out. They don’t wear make-up, but their ’70s rock roots are showing in any case.
Very pop and dance oriented, definitely geared towards the upscale post-punk crowd. Their early material had an urgency to it, whether punk or semi-industrial, but this is just sad.
OK, what’s the deal? Lotsa rave about this band, but this sounds pretty so-so to me. A-side sounds like a Ringo song, and the flip is heavier on guitar but pretty average upbeat pop.
CRAMPS meets NOMADS meets VENTURES.
These S.F. homeboys are akin to the CAMPER school by using acoustic instruments and a soft approach. Each of these three songs is different. The title track is an eerie, partially acoustic, witch thing. Then there’s a beer barrel polka song, and a psychedelic T. REX imitation. Almost interesting.
Lame “deathrock” lyrics, but the music and female vocals work well on most of Side One. On the flip it’s pretty SIOUXSIE-ish, but on the A-side there’s plenty of punk power that cuts through the crap.
Spew number two for these…uh, Seattle “sound-sculptures.” Actually, this is some of the ugliest, noisiest, hairiest all-out garage wonk ever to see daylight. Three songs, but it might as well just be one. Along with the HELLCOWS and the U-MEN, these guys are making the great Northwest a pretty scary place. 600 pressed.
The mid-tempo punk style here is assisted by a good feeling for melody in their power chord structures, and the two songs on this 45 are undeniably good at what they do. The vocals are gravelly, with lyrics that seem to have a certain humor to them. Very good release.
The second release by these guys before their debut album once again has a tough, hard-edge rock sound that recalls bands like the CELIBATE RIFLES, RADIO BIRDMAN, and early SAINTS. Nothing too earth-shattering, just heavy sounding guitars melded with layered melodies.
High quality live material from these two bands, thirteen songs with alternating tracks rather than sides. My faves are “She’s not a Girl” and “Communication Breakdown” by V.M.
A 50-50 ’77 type four-song job. No particular distinction here, decently energetic, passable hooks.
Fun, upbeat punk with a ’50s rock’n’roll feel to it. Lyrics are personally oriented. Hot rockin’ stuff.
Pretty cool melodic punk with a neat, rich guitar sound. Original tunes with unique twists and turns, gets a thumbs up from me.
A pretty darn good comp of acts like CIVILISED SOCIETY?, A.D.S., DEAD SILENCE, and more, giving their views on war, animal, and human rights. Booklet enclosed, nice job.
Kind of an after-thought tribute to a swell pool hall in Santa Cruz that experimented with live music for a while, and because of the location it’s leaning heavily towards SC bands like the WRESTLING WORMS, RAINING HOUSE, and the BARNACLE CHOIR, as well as related bands like CAMPER VAN BEETHOVEN, SPOT 1019, TEN FOOT FACES, and the HOLY SISTERS of the GAGA DADA. Also some neat tracks with the CATHEADS, VOMIT LAUNCH, and the DONNER PARTY.
A comp of up-and-coming German bands like ALPTRAUM GMBH, BLUTSTURZ, MONEYPULIERTE, JUGEND, etc. Most are on the raw, loose punk side of things. Comes with booklet.
A new one from BCT with CHALLENGER CREW, FEAR ITSELF, YOUTHQUAKE, SUBTERRANEAN KIDS, and other quality acts. A great tape and it helps this dedicated bunch to get out of debt. Buy now.
A pretty hot comp of Yugoslav acts who play it mostly hard and fast. Standouts are 2227 and GENEV DELRET. Worth looking into.
A pretty good buffet of tuneage here from experimental punk to scorching thrash. Standout acts include PSYCHO, BOURGEOIS DISEASE, and CANCEROUS GROWTH. Worth investigating.
Can’t help it—this stuff just slays me. Wild, obscure white trash rock and rockabilly tracks from the ’50s and early ’60s. Although they all sound fairly similar the first volume has plenty of “outer space” songs that should please fans of the LEGENDARY STARDUST COWBOY. Yowsa.
A Philly comp featuring a variety of mostly mid-tempo punk and some thrash. Standouts include DEADSPOT, PAGAN BABIES, TONS OF NUNS, BLUE, SHE MALES, ANTHROPHOBIA, HOMO PICNIC, MCRAD, DAS YAHOOS, and more.
An hour’s worth of East Coast HC and metalcore. Bands featured are PRONG, CHRONIC FEAR, PSYCHO, LETHAL AGGRESSION, and many more. Consistently hot powercore stuff, not for the timid.
A pretty good selection of English acts, from CHELSEA to CONFLICT to the STUPIDS. Sound quality varies, but the tuneage and production is good.
Sorry, no sperm here, but there is an okay comp with the WALLMEN, A.P.P.L.E., PSYCHIC VIOLENTS, and others. Moderately enjoyable, and a great title.
Big names are on this effort (7 SECONDS, ADOLESCENTS, CIRCLE JERKS, the BRIGADE, M.I.A., S.N.F.U., DOGGY STYLE, TESCO VEE & WHITE FLAG, C.O.C.) as well as medium names (LITTLE GENTLEMEN, VATICAN COMMANDOS, MAD PARADE, SLAPSHOT, 76% UNCERTAIN, LEMONHEADS, SHONEN KNIFE) and the newer names (BULIMIA BANQUET, PROBLEM CHILDREN, COPULATION). Tunes are both live and studio, of varying sound quality. Interesting notes: what does it mean when the BRIGADE rocks more than 7 SECONDS?
I wish there was more info on the bands included on this Irish comp, ’cause they’re largely excellent. Lots of pop punk, garage, psycho surf, etc. Fans of UNDERTONES, CRAMPS, REVILLOS, etc. will enjoy the CANNIBALS, PARALISED PURPLE RAYS, PARANOID VISIONS, GOREHOUNDS, BARRACUDAS, etc. Rocks.
A damn ferocious comp featuring IMPULSE MANSLAUGHTER, SHATTERED SILENCE, the UPRISE, and other fierce acts. Lotsa scorching thrash within.
A benefit LP for a youth center in Germany, featuring German and Italian bands such as SPERMBIRDS, DUNKLE TAGE, SKEEZICKS, DIOXINS, JUMP FOR JOY, DISPERAZIONE, RESISTANCE, and more. Green vinyl.
An above-average comp featuring acts from around the globe such as POWERAGE, SCREECHING WEASEL, POLITICAL ASYLUM, and more. Quite nice.
Some pretty enjoyable sounds from Yugoslavia, ranging from ’77-ish tunes to all-out thrash. Includes QUOD MASSACRE, SOLUNSKI FRONT, and many, many more.
A pretty good comp here with DISORDER, QUOD MASSACRE, BARN AV REGNBUEN, FOLLOW FASHION MONKEYS, and more. Lotsa cool tuneage from around the globe. Booklet included.
A relatively solid comp featuring UK SUBS, GBH, and smaller acts like IRSTAS and BAD DRESS SENSE. Not bad, but did you have to include “Big Women”?
A pretty hot east coast comp featuring CHEMICAL WASTE, AWARE, CRUCIAL YOUTH, and other quality acts, blasting out punk tuneage. Booklet enclosed.
An above average world comp featuring QUOD MASSACRE, DISARM, the WRETCHED, and more. Lots of scorching thrash and all profits go to various humanitarian groups. Booklet included.
A comp of Yugoslavian punk acts, both past and present. Featured are KAOS, BLITZKRIEG, CRIST, and more. Most seem to have an energetic early punk sound. Booklet included.
A limited edition colored vinyl comp EP with AMQA, CONDEMNED, IMPULSE MANSLAUGHTER, SEA MONKEYS, and PSYCHO. Lots of gonzo thrash with slight metal bits. Not bad.
A good consistent compilation of HC and speedcore tuneage. Almost all U.S. acts; standouts include FEAR ITSELF, ATTITUDE, IMPULSE MANSLAUGHTER, and more. Mostly unreleased stuff, with a couple live cuts. Thumbs up.
Jersey kooks will go nuts over these thirteen Garden State acts, featuring CRUCIAL YOUTH, CHRONIC FEAR, and more. Righteous punk tuneage from these loonies.
Catchy hardcore with a definite admiration for the DC sound. Buildups, tempo changes, breaks and heartfelt, seemingly sincere lyrics for all the “positive,” “unity,” and emo aware. Pretty refreshing in an attitude sense.
Pretty lackluster stuff here: fast punk with sing-along choruses and not too much distinction. Slightly MISFITS-ish, but not as catchy. Average.
England’s raging noise rockers, sort of in a BIG BLACK vein. Lots of distortion on vocals and the music itself, which is usually churning and powerful and eccentric.
A lot more pop than in the past (at times even power pop), this release puts the accent on harmony and melody. Sounds like the BEATLES meet early punk with some thrashy energy. Lots of short, goofing around tracks, as well as their usual good production sound. Guess this signals the end of this label as an indie.
Pretty hot straightforward punk from this Bay Area act that no one hears about much. Includes some neat covers and nine originals. Fun stuff.
Pretty good mid-tempo punk with positive, optimistic words. A little similar to early DAG NASTY, but not as catchy. Worth a listen.
This second release heads more in the direction of BIRTHDAY PARTY blues. Both songs are okay, but fail to deliver anything memorable.
