Superior guitar-oriented post-punk with psychedelic overtones, sort of like the SCREAMING DEAD’s newer material (but not quite as good). This is really powerful stuff, and the eerie guitar effects add an additional touch of class. The vocals are a bit too restrained and calculating, but ACTIFED are also quite capable of cutting loose when they want to (as in “Exit”). Produced by ex-GEN Xer Tony James.
Another hot debut from New York with lots of fast, raw thrashers that compare to the best of MDC and CAUSE FOR ALARM. The songs are unpredictable, but the lyrics to “Foreign Job-Lot” are suspect, to say the least.
Good production and fascinating song structures distinguish this new release by ARKANSAW MAN. Post-punk influences are softened by lively tempos and the addition of a brass section, and there’s certainly more than enough originality on this record to make it a solid contender.
This is the obligatory slag review. Basically, this new BAD RELIGION album totally sucks, unless you like slickly produced early ’70s wimp rock. After playing it, I hurled it out the window, into the unknown.
Bizarre! Who is this? The METEORS? The liner notes create a mystery, stating that this is a genuine ’60s band that just happened to do songs later covered by the CRAMPS, but I doubt that. Whatever, this modern psychobilly release definitely outdoes the CRAMPS by presenting even more frantic renditions of “Love Me,” etc. Great!
A surprising follow-up to their great garage thrash debut. Here, these New York boys rap it up with lots of effects and a certain ethnic flavor, and also include a dub version. Punk should meet rap more often, but it may not be for everybody.
Norway’s BETONG HYSTERIA takes a base of gruff ’77 punk drive and overlays it with pulsating quasi-psychedelic guitar playing. The effect is both very appealing and somewhat unique, so look for this one.
BETTER LIVING’s vocals verge on the psychotic, and they’re enhanced by frantic, spastic instrumental outbreaks. I’ve got to say that this stuff is absolutely berserk and wonderful!
A bunch of 13- and 14-year-olds, bored with the beauty of the Monterey peninsula, crank out some primitive, amateurish thrash. The production on this homemade tape is so bad that it’s hard to decipher the songs, but there’s plenty of compensatory youthful spunk. For fans of recording in a breadbox.
Another Philly area band that provides evidence that a lot is going on in the City of Brotherly Hate. They offer somewhat unoriginal thrash, but perform it well for a young band. The music here isn’t nearly as goofy as their picture in MRR #8.
These guys are pretty catchy in the INSTANT AGONY or DEAD WRETCHED mold, but their new single is missing the fast hooks that characterized their debut. “Stand and Fight” is a good track; the flip is pretty boring.
There’s some genuine sickness here, kids. Some of it’s slow, some fast, some jazzy, some thrashy, but all of it combines BEEFHEART-type weirdness (with slide guitar, even) and twisted punk humor to produce classics like “The Shah Sleeps in Lee Harvey’s Grave.”
CAPITOL PUNISHMENT finally raised enough money to put out an EP, and it’s well worth the wait. Musically, there’s three strong thrashers and one slow, measured mood piece (“Jody Is My Bloody Love”), all distinguished by Ralph’s amazingly raspy singing; the lyrics alternate between personal introspection (“Wrong Direction”) and the kind of straightforward political critiques that invariably drive the apolitical wimps into a frenzy. Hooray!
Blistering thrash with positive, idealistic lyrics. This is one of the best new bands I’ve heard since DRI. CAUSE FOR ALARM have the type of intense, committed attack that leaps out of the speakers and slaps you in the face to get your attention; then they get you thinking. You can’t expect any more from a punk band, so don’t ignore this EP.
Totally crude and psychotic garage stuff here. They’ve got amazingly primitive drumming, raw guitars, and lots of super-short outbursts of madness called songs. A delight for NEOS and early HALF JAPANESE fanatics.
Spunky teenage hardcore from Connecticut. CHRONIC DISORDER blast out fast semi-thrash punk which is infused with a garage aesthetic, youthful Rotten-esque vocals, and common sense. A real appealing limited edition debut.
A very interesting record. Musically, it’s mostly well-done thrash, with some slower, lighter touches thrown in. It sounds good. Lyrically, it’s an odd combination. There are progressive anti-capitalist (unite against the rich man and his power, manipulation) and anti-racist (don’t let them divide us by color) sentiments. But then there are some glaring contradictions too, such as religious fervor—the blaming of man’s evil (including homosexuality) on Satan, the apocalypse as predicted in the Bible, our need to accept “Him.” Anyone for the People’s Temple?
This is a raw ’77-style punk EP characterized by teenage vocals and an overall naive quality. At first, it seems laughably amateur, but after awhile, it really begins to grow on you, especially the cool title song. I like it, but listen for yourself.
Throngs of grinding guitar intensity, distinctive disorderly grates echoing subcutaneous rips of emergent power. CRUDE SS defiantly blaze impetuous rawness, a sonic inferno of chaotic crunchers bolting forth storming drum booms and menacing guttural vocals. A brutal untamed force, unrestrained outrageous wailings of frantic guitar cavortion highlight this fierce arrangement that exhilarates to the maximum with a strong character of stimulating popularity. From Sweden this is rapidly delicious.
I was about to term this drum and vocal combination as a real innovation in punk till I remembered SF’s NOH MERCY, who did it years ago. Actually, I think the latter’s approach was more exciting than this, because D&V’s drumming tends to be quite repetitive, and the vocals are too poetic and even in their delivery. Still, it’s refreshing because it’s different.
DEAD HIPPIE present highly produced punk in a variety of styles familiar to Angelenos. Some of their material approximates thrash, some is metallish, and some falls into the horrific death cult genre. I suspect that these people have been around for a while, because there’s more here than can be found on a typical vinyl debut from a previously unknown band.
By now, everyone should be aware that the DESTRUCTORS generally combine thrash speed with some metallic twin guitar action. Their new album features live versions of many of their earlier hits and, unlike most live efforts, is actually more hard-hitting than some of their studio releases. It’s too bad they disbanded, but at least they’ve gone out with something of a bang instead of a whimper.
Hardcore that reminds me a bit of early SOCIAL DISTORTION, CH3, or YOUTH BRIGADE, while still retaining its distinctiveness. The DETONATORS use harmonies and what appears to be an acoustic-sounding guitar in their medium-to-fast-tempo songs, yet they have a lot of power and a certain edge. This album contains the classic “Do You Understand.” Great lyrics, too.
The title song here is a minor classic, and it sets the pace for a very high-speed record. Most of it is pretty good, although the drummer can’t quite seem to keep up with it all.
More 24-track mundanity from DISCHARGE. They’re getting slower and more metallish these days; “Anger Burning” is hardly more than a standard rock song. It’s OK for a band to change styles, but why follow the same boring route that so many others select? Give me DISORDER any day.
The proceeds from the sale of this 45 are going into the Vancouver Five’s defense fund, so that’s enough reason to buy it. Still, it’s a mixed bag musically. “Burn It Down” is a slow, boring rock song that I prefer to ignore, but their version of the SUBHUMANS’ “Fuck You” (written by Hannah, one of the Five) has spunk and power, which makes this a worthwhile audio investment.
It’s not always fair to make comparisons with well-known bands, but in this case the sound is just too close to let it slide. The fast tempos, metallic guitars, lyrics, and vocal delivery all add up to… GBH, so decide on that basis.
This is basic meat-and-potatoes ’77 punk from Spain. Although ESKORBUTO sound slike dozens of older bands, the vocalist is exceptionally belligerent and the songs contain more highly memorable choruses.
Piledriving Swedish thrash in the SHITLICKERS tradition. This is the kind of record that makes you want to bash your head repeatedly into a wall. Brutal and uncompromising—one of the year’s best.
A blistering thrash attack, matched by very intelligent lyrics. These guys really shred, and their material belies the current clichés about “mindless anti-government” punk rock that are bandied about in some circles.
Well, Yrsa’s going to be irritated again, but I think this EP is exceptionally cool. It’s a fine example of fast ’60s garage psychedelia with that distinctive squeaky organ and a modern punk guitar attack. Like their countrymen the GATECRASHERS, FRESHLY RIOTS successfully evokes the rawest and most chaotic elements of the mid-’60s. Fuckin’ A!
This GEPÁ˜PEL tape is a one-man production. Niels de Wid played all the instruments on these eight songs, and also made the booklet. It’s interesting high-speed thrash (not unlike CRASS), interspersed with all sorts of weirdness and effects. Now, he’s found more band members, so the next GEPÁ˜PEL release should be even more solid.
Damn, those HÜSKERS sure can play! Their new EP elevates the musical brilliance of their last album to dizzying new heights. Not only are these songs loud, powerful, and creative, but Bob manages to produce the most extraordinary guitar sound—it actually shimmers. Buy this and keep yourself entertained for months.
Although the production here isn’t as guitar-heavy as it was on their Disinfection EP, this is another stellar HEADCLEANERS (HUVUDTVÄTT) release. They play thrash that’s manic and brash, but also very catchy and full of weird, searing guitar parts. “No Sense” is awesome.
It’s a bit alienating for a woman to review an album pronounced “Oi! The Boys,” and it doesn’t help that I can’t decipher the lyrics. Musically, the HERBÄRDS have a sound derivative of British Oi. Most of it is rather unexceptional, but “BMW” and “Schweinbach” are rousing tracks. Listen before buying.
A very well-recorded and interesting release. Some of it is thrashed-out, but it mutates into several styles—heavy metal, jazz, power pop—without falling apart at the seems. The title song is a real standout.
The INOCENTES present brutal ’77 punk on the A-side of their first solo effort, while the flip contains three very powerful thrashers. All the cuts feature a roaring instrumental attack, and “Apenas…” also contains some quick bursts of searing lead guitar. Excellent.
This new IRON CROSS EP represents a step forward for the band. For one thing, the lyrics are vastly better, especially in “Wolf Pack,” where a stand is taken against mindless violence. For another, the songwriting is more developed. Finally, the production is much improved from a technical standpoint, though I personally prefer the gravelly guitar sound on their debut. “You’re a Rebel” is an amazingly catchy Oi chant.
This geek probably wishes he could be David Lee Roth, but he ends up sounding more like GG ALLIN due to sheer ineptitude. “Beer” is dumb old American garage punk , which is somewhat marred by a tacky synth solo; the rock ’n’ roll flip is too horrible to contemplate for more than two seconds.
This German release dates from ’81 and mainly features ’77-style medium-to-fast-tempo punk. However, it also has elements of post-punk (“Heil Satan”), reggae (“Verboten”), garage rock (“Ersatz”), and funny commercial intros (“In der Nacht”). It’s well produced, engaging, and—in all seriousness—lots of fun. We’d like to hear more.
Standard ’77 punk. Spain’s LA UVI offer unexciting yet listenable material. Some of the lead breaks are cool, but overall this band needs a lot more energy to make in impression in 1983.
’60s-influenced garage punkedelia from Canada. “Getting in the Groove” has that ’68 sound, with its raw, distorted guitars and arching vocals; “Oh No” is slower, “heavier,” and more rock ’n’ rolly, but features a terrific psychedelic lead break. A hip debut with a handmade cover.
This is weird but ultimately unsatisfying. The A-side consists of a medley of old soul songs done in a neo-psychedelic style, but these LOVE CIRCUS versions pale before the great originals (“My Girl,” “Car Wash,” and “Sex Machine”). The flip, which starts out slow and druggy, then snaps into a jangly overdrive, is considerably better.
A fuzzed-out bass and guitar are the musical hallmarks here, along with real echoey drumming. These guys unfortunately seem to have it in for hippies, who are the targets of three of the five songs on this EP, including a retarded racist diatribe against Yoko Ono (“Oh No”). Pathetic in the thematic department.
As most of our readers already know, the MINUTEMEN have a very innovative sound that combines funk, jazziness, and disjointed semi-thrash. On this new EP, they add some atmospheric psychedelic guitar and other forms of weirdness. I like some of it a lot, especially “Cut,” but most of it is too experimental for my tastes.
Solid medium-to-fast-paced punk. The song titles are also in the older idiot punk mold—”She Won’t Cum,” “Jerk Off,” “Bust Yer Face,” etc. Hmmm.
The MORAL MAJORITY DANCE BAND present raunchy slow-to-mid-tempo garage punk on their debut EP. The vocalist sounds demented, the production is nice and raw, and the lyrics to the title song are very provocative: “There’s a little bit of a Nazi / In all of us.” Unfortunately, that’s all too true, in the sense that everyone has occasional attacks of righteous intolerance. A pretty damn good record.
The long-awaited NAKED RAYGUN EP has finally been released, and musically it’s a beauty. The songwriting is extremely imaginative, the vocals are unbelievably catchy, and the unique fuzzed-out guitar work sounds wonderful. The only problems here are one klunky track (“Swingo”) and some suspect lyrics in “Tojo.”
A whole LP’s worth of this veteran group’s pop-punk style. It’s got very melodic singing, classic early punk power-chording, and incredibly incisive lyrics, all of which add up to a refreshing change of pace. I can’t help but like them.
Even though I don’t always agree with their opinions, the NIHILISTICS provide more food for thought than 90% of today’s hardcore bands. And their music is as brutal, uncompromising, and cacophonous as their lyrical assault. This great album is jam-packed with raw, intense blasts of a furor borne of futility. It certainly doesn’t make for easy listening, but it rivets your attention and makes for provocative listening, which is ultimately a hell of a lot more important. A mandatory purchase.
Well-done—but fairly standard—thrash. NO DIRECTION’s lyrics cover a wide range of subjects and, compared to what’s generally available in America’s stifling heartland, they’re a breath of crisp, cool air.
Pretty intelligent stuff from this Modesto, CA band (no relation to North Carolina’s NO LABELS). Their music is bass-heavy, slower, and fuzzed-out. Interesting.
NONCENS offer a relatively full spectrum of punk styles, ranging from a ’77ish approach (the title song) to blistering thrash (“Istid,” “Don’t Give Up,” etc.) to slower contemporary Britskunk (“Afghanistan”). It’s pretty uneven in terms of quality, but it does have its shining moments (“Nattsvart,” for example).
Powerful slow-to-medium-tempo punk. Some of the music almost ranges into rock, but OMEGA TRIBE always retain their distinctive guitar riffing and overall impact. Lyrically, they are in the “Peace and Freedom” school of punk, constantly stating their amazement at mankind’s total idiocy. The great “Man Made” exemplifies that logical standpoint.
Slow-to-medium-tempo stuff with no special spunk. “State Control” has a great memorable chorus, but the sluggish drumming holds ONSLAUGHT back.
Genuine garage punk from north of the US border. Most of it is basic, raunchy, and medium in terms of tempo, though there are also spurts of thrash (in “How High?” and “Gleaning Ground”) and some rather disjointed pieces (“Q”). The lyrics are critical, and you can even hear a famous religious retard’s voice at the beginning of “That Number Again, Folks.”
Another release from South Africa! Like their fellow citizens RIOT SQUAD, POWER AGE plays mid-tempo older-style punk rock. They have a real chunky, bass-heavy attack and snarling vocals, but the most unusual thing about them is their appearance in the land controlled by the super-secret neo-fascist Broederbond.
This band has joined WHITE CROSS on the Zero Degree label. They play straight-ahead punk with some flair. The production is rather thin, and the themes are a bit silly, but I think these guys will develop further with time. For now, this is a pretty good effort.
Eleven more great songs from this Canadian unit. With their wicked delivery and tight, imaginative arrangements, these guys constitute one of the more talented young bands around today. Most of the songs are thrashers, but there’s some real weirdness in the vocals.
These two Seattle bands have a side each to get across their points. Live, the REJECTORS are the stronger band, but on this record they lack a certain explosiveness and come off a bit generic. On the other hand, the ACCUSED seem to have more snarl, zip, and variety here. Oh yeah, you’ll also learn why all Seattle punks say “do the Frog.”
Trad punk bands like this are best taken in small doses on 7″er instead of entire albums. “In the Future” is weak, “Society’s Fodder” really picks up the pace, and “Friday Night Hero” tops it off with great power. All the songs express progressive and hopeful sentiments, though.
Side 1 of this compilation EP features RIVOLTA DELL’ODIO, who are sort of a sparser version of CRASS; the flip presents CRACKED HIRN, who have a fuller sound which is nevertheless extremely raw. Both bands share an anarchist/pacifist outlook, as have all the other bands on this label’s two earlier releases.
This band contains some former members of Y.I.A. The vocals and lyrics are the most noteworthy qualities, as the music tends to lack a certain zip. “Sid Is Dead” is a classic cut, though.
A brilliant mixture of modern punk and psychedelia. Despite SCREAMING DEAD’s trendy horror rock trappings, they manage to deliver highly distinctive songs with clever arrangements, strong hooks, and plenty of overall power. The frequent inclusion of mind-expanding organ runs adds personality, and the guitar playing is extraordinarily fine. One of this issue’s best.
Although this here album resides spiritually in the glorious British funnypunk tradition (which includes such diverse luminaries as the ALBERTOS, JILTED JOHN, the TV PERSONALITIES, JOHN COOPER CLARKE, the NOTSENSIBLES, the GONADS, JOHNNY MOPED, etc.), it’s more in the goofy ska vein from a musical standpoint. There’s too little raucous punkish stuff to appeal to the bash brigade, but anyone with a bemused sense of the ironic should enjoy SERIOUS DRINKING’s understated English wit.
A weird juxtaposition of thrash and post-punk styles can be found within individual songs here. Sometimes it works well; at other times, it seems a bit awkward, especially when they lapse into an almost folk-rock style. Still, SILENT MAJORITY comes up with a new angle, and that’s what makes them interesting.
An excellent skatepunk band from Sweden. SLAM delivers solidly produced medium/fast thrash with bone-crunching guitars. Real cool.
The mid-to-fast-tempo punks on this, SLIME’s third album to date, range from melodic ’77ish material with catchy choruses to hardcore thrash. Most of it is quite good, but I particularly enjoyed the title track and “Junge Junge” (a cover of BUDDY HOLLY’s “Oh Boy”). As you might have expected, it’s another superior release from SLIME.
Not as dumb as the title might indicate. Most of the lyrics are typically “hardcore,” as is the music, most likely due to the fact that this is a brand new band (featuring Orlando on vocals). There’s one hilarious song here called “Maggots,” which is a real horror show.
These L.A. STAINS have been around for quite awhile, but they’ve only now gotten around to putting out vinyl of their own. It’s hard-hitting thrash with a lot of metal influences, including sledgehammer rhythms and lead solos. I was expecting more of the slower metal-type songs, but this record kicks ass. Not to be confused with the Texas STAINS (now MDC).
It shouldn’t be necessary to describe the UK SUBHUMANS’ basic approach. Once again, their combination of semi-thrash tempos, peculiar guitar embellishments, and radical lyrics hits home, and in a 12″ format, the production accentuates their power. There’s a couple of turkeys on this record, but the roaring “Get Out of My Way” and the psychedelic “People Are Scared” really stand out; “I Don’t Wanna Die” is an OK Yank-style thrasher.
I don’t understand why reputed anti-Nazis would adopt a name with SS in it, but TAMPERE SS’s EP lives up to the high expectations generated by their choice cuts on the Propaganda ’83 compilation album. The band members have DISORDER and CHAOS UK logos on their jackets, so you can easily surmise that they produce raging thrash in the respected Finnish tradition, except for an occasional slow number like “Taisteluhymai.”
A “Britskunk” record from Sweden. The BRISTLES combine Oi and thrash musical backings with English-style vocal phrasing, and the recording has a lot of abrasive power. The “Bristles Song” would make a classic Oi satire, but I think it’s meant to be serious! Loud and proud.
Mostly all mid-tempo punk (save two thrashers), this album contains several tracks off their 7″ers, and some new material. None of it immediately grabs me, perhaps because of the accent on production, leaving a sterile-sounding product devoid of real commitment and excitement.
Another FITS release with a mixture of fast and slow songs. I like the thrashed-out “Breaking Point” the best, but the slow, measured title cut manages to create quite a build-up of tension.
This British all-girl trio emerges from relative obscurity with a delightful album of hard pop reminiscent of early GIRLS AT OUR BEST. Songs like “Drunk Problem” and “Barbara Cartland” counterbalance a gutsy guitar sound with irresistible melodies, but even ballads like “Thinking of You” connect with a vengeance. Comes with a free four-track EP.
The newest 7″ from Sweden’s LEATHER NUN features two compositions mining an atmospheric post-punk vein. “Primemover” uses a basic metal riff to underline restrained, understated vocals, while the flip maintains a slower tempo and showcases more demented lyrics. No revelations here.
The second EP from this New York group, and it’s really quite powerful. There are only three songs, but each is delivered with strength and seeming conviction, with lyrics of a positive but militant nature. Dynamite.
The A-side reminds me a lot of something the SOFT BOYS might have put out. It’s almost the punk equivalent of folk rock, which is not to say it’s no good because it’s actually very catchy. The flip is sort of a poor man’s WIRE—stripped down post-punk with a bit of tension, but lacking enough build-up.
Despite the ponderous tempos and predictably narrow Oi themes, this release rises above the vast majority of its Oi-boy contemporaries by virtue of an exceptionally primitive guitar sound. “Run from You” is especially raw and appealing, except for the dumb lyrics.
At first, I couldn’t believe that this beautiful dance-oriented post-punk music was even produced by the OUTCASTS. However, once I got over the initial shock, I began to enjoy it tremendously. All three versions of the title song feature a hypnotic rhythm, extraordinarily evocative guitar frills, and a haunting overall effect heightened by chimes. The punked-out version of KENNY ROGERS’ “Ruby” is more pedestrian.
The PARTISANS are getting slower and slower with each new release. On this EP, there are two plodding numbers and one better mid-tempo ditty (“Change”). Aside from an occasional quirk, none of the songs are particularly memorable.
A lot of Boston bands sound great, but few—if any—have the political sophistication displayed by the PROLETARIAT on their debut album. I would liken them to the early GANG OF FOUR, both musically and ideologically, though the comparison shouldn’t be overdrawn. They create equally complex structures, but they replace GANG OF FOUR’s sparseness with a full-bodied sound and punky guitar power. In fact, they’ve mixed several straightforward punk blasts (like “Torn Curtain”) in with the other stuff. A fabulous record that renews my faith in Bosstown.
This self-produced debut album is a 50/50 proposition. Half of it consists of adolescent punky pop with a bit (like “Do to Me” and “Lady on the Radio”); the rest is made up of wimpier stuff, including ballads (“Something for a Friend”) and awful commercial rock (“Every Love Song Ever Written”). I sort of appreciate the SCORE’s blatant amateurishness and naïveté, but I’m not sure if you will.
Well, the SKEPTIX seem to have found a label in their own country, and this new release again displays their tasty thrash attack. “Born to Lose” is slow and metallic, but the others zip forward and feature some nice lead fills. Their level of sincerity remains impossible to discern, but I have my doubts.
This is an example of creative guitar-oriented post-punk with real drive. It’s forceful and engaging in its own right, and it marks a welcome change from today’s standard punk formats. ECHO & THE BUNNYMEN should sound so good. Recommended.
The high-velocity insanity of this debut album by the TOY DOLLS brings to mind the work of great funnypunk bands like the DICKIES and the NOTSENSIBLES. Virtuoso guitar work, unforgettable melodies, and patently hilarious lyrics raise Dig That Groove, Baby to instant classic status, especially clever ditties like “Spiders in the Dressing Room,” the title track, and “Glenda and the Test Tube Baby.” Spirited and (s)punky.
Slowish punk in a CRASS-like style, done exceedingly well. Their sound is minimal and cleanly produced, and there’s some great moody guitar work. For more info on TRIAL, see the report under “Northern California” in this issue.
There’s a little bit of everything here. First, there’s a little punk, some acoustic “pretty” music interspersed throughout, and some moodier post-punk stuff too. Some of it reminds me of pre-punk rock groups like the STRAWBS. In any case, the punk material here is mostly mid-to-slow-tempo, rhythm-oriented, and not very fiery.
This is the most contemporary sounding release that we received from Spain. ULTIMO RESORTE blast out raw thrash with a garage-y sensibility and rough female vocals, along with an occasional post-punky number (“Johnny Mofeta”). “Cementerio Caliente,” with its irresistible “Hey, Ho” chorus, is especially hot. Recommended.
The psychedelic sixties, maaan. These guys are from the slightly goofy school, mostly in the SIR DOUGLAS QUINTET/SYNDICATE OF SOUND mold. They have Americanized Jagger vocals, psych guitar, and then lots of bubbly percussion, which gives the record a lighter sound than the punkier stuff I love.
Although the sound quality varies, this is one of those must-have regional compilations. There are plenty of keen tracks here from the likes of DIE KREUZEN, SACRED ORDER, the TAR BABIES, NO, MECHT MENSCH, the CLITBOYS, S.U.M., the CRUSTIES, and many more.
In general, this is much stronger than the first Eastern Front compilation album, especially in the production department. There are good performances by WASTED YOUTH, JFA, CH3, the FARTZ, CIRCLE ONE, BATTALION OF SAINTS, FREE BEER, the LEWD, and England’s CHRON GEN. The only drawback (again!) is the lack of an info sheet on the bands.
Nine bands from all over the US are featured on this compilation tape from a new alternative label. Most of them are in the thrash vein—the CLITBOYS, VIOLATION, the VATICAN COMMANDOS, POISON CENTER, the SKOUNDRELZ, EAT THE RICH, and CULTURAL BREAKTHROUGH—but MR. EPP appears to provide some humor and variation. Good show.
The Pax label is doing some valuable work with the best of intentions. They’ve gone international on this, the follow-up to their Punk Dead? Nah Mate compilation. This time around, they include four uropean, eight English, and one American band (SAVAGE CIRCLE). Most of them are real strong, but CRUDE SS (Sweden), PSA (Italy), ANTI SYSTEM (UK), and the MAU MAUS (UK) really tear it up. There’s a total of thirty tracks, so don’t miss it.
Another compilation tape from Italy. This one includes material by I REFUSE IT, the CHEETAH CHROME MOTHERFUCKERS, PUTRID FEVER, INDIGESTI, CHELSEA HOTEL, PSA, NABAT, and RAW POWER. Tape compilations seem to be the rage over there, presumably due to the high price of pressing records. Not surprisingly, the quality varies considerably.
This tape has some wicked shit from seven hot Italian bands, including PRAVDA, SOGLIA DEL DOLORE, I REFUSE IT, WARFARE, IMPACT, OBSESSIONE, and the WRONG BOYS. Truly excellent.
A live recording of what must have been an incredible show. The bands that appeared were the WRETCHED, TOXICAL WARFARE, PLASTIC SURGERY, UPSET NOISE, EU’S ARSE, ISOLATION, 5° BRACCIO, and IMPACT. The sound quality is predictably spotty, but the excitement comes through.
39 ferocious tracks of initiative and unlimited distinction. A delicious meal that needs no silverware to swallow this spectacular cranium-crunching ensemble of unrestrained activity. Featuring bands the globe over… Australia, South Africa, Italy, France, Sweden, Poland, Denmark, Germany, UK, USA, and more with batter-ram assaults by POISON IDEA, RAZAR BLADES, UPRIGHT CITIZENS, POWERAGE, DESTRUCTORS, 5° BRACCIO, and the intensity continues. Pick this one up quick.
Four thrash bands at various levels of proficiency, recorded live at Ljubljana’s first-ever hardcore gig (see the Yugoslav report for more details). STRES D.A. are particularly awesome. A collector’s item, to say the least.
Though released by an American label, this tape features some of Italy’s most awesome bands. There are plenty of cuts each by 5° BRACCIO, RAW POWER, the WRETCHED, INDIGESTI, STAZIONE SUICIDA, RAPPRESAGLIA, and CRASH BOX. A great introduction to a lot of hard-to-get material at a cheap price.
A Spanish compilation album that mainly features the better-known, commercially oriented punk bands, according to our sources. Old-fashioned ’77 punk rules supreme here; the best examples of this genre are songs by KGB (“Maroto”—dig that ROTTEN-esque sneer!), URGENTE (the first half of “Dispuestos a Matar”), NO (“Chalado”), and the ESPASMODICOS (“1943″), whose singer sounds rather like Biafra. N.634’s thrashers provide the only evidence of a transition to musical modernity. Still, it’s a good sampler from another corner of the world.
Another Italian compilation on vinyl. It contains a few great thrash tracks by the WOPS, RAW POWER, UART PUNK, and the WRONG BOYS; DRULL, the U.D.S., PETROLIO, and LAST CALL provide some less interesting older-style punk. All in all, it’s pretty good, and it’s worth buying just for RAW POWER’s songs.
Fourteen different bands demonstrate that Sweden has become one of the most intense centers for hardcore music in Europe, along with Finland, Holland, and Italy. There’s some killer thrash here from the likes of HUVUDTVÄTT (the HEADCLEANERS), DNA, MISSBRUKARNA, ANTI-CIMEX, and others. It’s also got a neat folding sleeve, so order it today.
The title is stupid, but the music is definitely worthwhile. This album demonstrates that Germany has several ripe thrash bands, though it’s not quite up to the standard of Waterkant Hits. Here the NORMAHL offer slower, less distinctive songs; the HERBÄRDS do some funny Oi tunes; and INFERNO, CHAOS Z, and BLUTTAT produce some ripping thrash. A good value.
Anyone who promotes this hokey, moronic heavy metal shit has no fucking business criticizing any punk bands for their supposed “6th-grade naïveté.” Know what I mean? The sad part is that these assholes have more energy than a lot of current British punk groups.
A fine example of raw ’77 stuff with dense, growling guitars and female vocals. The A-side is a take-off on the STOOGES’ “I Wanna Be Your Dog,” and it’s modified title—”I Wanna Be a Prostitute”—and iconoclastic lyrics apparently cause quite a stir among conservative Catholics in Spain. Musically speaking, I find the original composition on the flipside even more appealing.
Three bands and a garagy production here. UPSIDE are so-so, NO JAP somewhat better, but the WRONG BOYS really come on with an aggressive thrash attack which I like a lot. 32 songs in all.
Two bands with pervious tapes of their own team up to share this one. VIOLATION offers standard thrash, rather thinly produced; ZERO MENTALITY stands out more, thanks to better production, more imaginative arrangements, and a great bass player. Definitely worth the investment.
