Excellent standard thrash from Jersey. The mischievous lyrics and ultra-dense guitar whoosh really set this EP apart. “Status Symbol” is all-around great, and “Trans Am” is a hilarious put-down of the spoiled rich brats who go cruisin’ in their shitty gas guzzlers. I’m definitely looking forward to their next barbeque.
The funniest thrash band from New Jersey have cooked up a sheer fireball of a second LP. Some of these tunes rip so fast I thought I was listening to some foreign release — couldn’t really make out the words, y’see. My only trouble is deciding which is funnier, the “traditional” song “Surfin’ Jew” or the blazin’ cover of the Masterpiece Theatre theme.
These little imps from west of the swamplands have come up with a really dense, “live” two-guitar sound here. Recorded while the band was in their underwear, they still manage to thrash wildly, humorously, and sarcastically. In the process, they prove without a doubt that there are more great items than pizza in the Garden State.
The A-side will bring a smile to your face—a great, ripping punk song, more melodic than their previous material yet still powerful. The flip builds from power crunch to absolutely raging thrash. Great.
A totally fucking excellent release on A.O.D.’s label. BEDLAM display lots of energy and excitement here, with buzzsaw guitars blazing the way, and gruff vocals to boot. The lyrics are both serious and hilarious. Buy their records!
Expect the same abrasive uncompromising thrash you enjoyed on their debut 12″, but with an additional grunginess—almost a looseness—on their latest. The band is hot, no question about it, and I still enjoy their offbeat humor and personal commentaries represented in the lyrics.
Originally planned as a live flexi (rejected by Eva-tone, monopolist flexi-pressers in the US, because of language), this limited edition comes out as a 7″ with no pic cover. The A.O.D. stuff shreds as always, including a thrash version of “We Will Rock You.” BEDLAM’s side is rawer, but still rips. Well worth sending for.
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.
What it is is good NJ thrash ’n’ roll. They rock hard and tight, with lots of stop-and-go songs, neat guitar sounds, etc. I say NJ because they have a lyrical fascination with guts, gore, and death, as many other local bands do. Quite a few anti-war songs, too. Good buy.
Fans of early NO TREND will appreciate this rockin’ noise. With funk, jazz, and experimental leanings, this screamin’ combo raucously slashes their way onto vinyl. Angry yet absurd.
This thoroughly enjoyable album showcases a blistering thrash attack with catchy power chord guitar progressions and solid melodies. Sixteen songs, each distinctive compositionally, with good lyrics to boot. My suggestion: purchase this terrific LP!
MENTAL DECAY specializes in a raucous, somewhat raunchy hardcore attack reminiscent of A.O.D. and BEDLAM. The themes here are alternately humorous and rebellious, but I found clever numbers like “You Suck” and the near-classic “Love Story” the highlights of this entertaining disc. Fans of aggressive, stop-and-go thrash should snap this one up pronto.
MY 3 SONS is a young experimental band from New Jersey. “Starving Artist” is a droning metallic cut Á la FLIPPER, and it’s quite good if you like that sort of thing; the flip is an overlong mood piece with chimes and stream-of-consciousness lyrics that I find unlistenable. Not really my cup of tea.
A.O.D.’s drummer, members of NEW JERSEY’S FINEST, and other point some fingers at various outrages perpetrated on us all, ranging from New York’s “Lunkheads” to the corporatization of a town (Johnson & Johnson’s takeover of New Brunswick). Thrash that’s not generic, and delivered with oomph and wit. Excellent recording, too.
A big punk/thrash sound here. Their wall-of-sound production and punk power are pretty overwhelming, but not to the point where it all gets homogenized. Some real rockers here.
This is an all-girl metal band from New York, featuring a zillion guitar solos and a screeching vocalist trying to sound like Satan. If this sort of thing is your cup of tea, then this record fills the bill, though it sometimes tends to sound a bit mainstream. Lyrics range from slightly dogmatic political/social commentary to “Midnight Rambler”-type axe-murderer nightstalker “gonna getcha” biker-style tunes.
“Noise” is the operative word for PUSSY GALORE — and happily, noise is used in very inventively on most of the tracks here. The two songs on the A-side sound remarkably like riffy 60s garage punk put through the old blender, while the thrashy “Get Out” easily out-trebles the JESUS AND MARY CHAIN. Unusual, and good.
This band has spent altogether too much time listening to AEROSMITH. RAGING SLAB’s music shows a saturation in that most dreaded of all genres — rock —without the healthy self-parody that made the WILD, and early MENTORS and PLASMATICS so enjoyable. I’m surprised this is on…
DOLLS meet Death with six HEARTBREAKERS-ish tunes. Other influences thrown in, such as metal rock.
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!
Nine Garden State beauties (A.O.D., STETZ, CHILDREN IN ADULT JAILS, SACRED DENIAL, MY 3 SONGS, CYANAMID, PLEASED YOUTH, BODIES IN PANIC, BEDLAM) blossom forth in a well-cultivated comp. No rotten tomatoes here—just plump pickins. Jersey’s finest.
