Although their compositions are longer than those of most contemporary thrash outfits, ARTICLES OF FAITH employ a fine sense of drama to create extraordinary tension within their songs. A screaming guitar sound, impassioned vocals, and their sheer velocity make for some great moments of noise and music, particularly on the pile-driver “American Dreams.” Of course, this is mandatory.
This four-track effort presents thrash of screaming intensity and instrumental punch, addressing themes of teenage angst and rebellion. FINAL CONFLICT is particularly adept at compositions with dramatic yet subtle changes of pace, like the title song and the clever steamroller, “Self-Defeated.” Heartfelt, riveting, and therefore highly recommended.
Sounds like ’70s Irish rock cum folk. Cum whatever, this is lightweight, jaunty stuff that we wouldn’t ordinarily review, cept it’s on the HÜSKERS label. But not even Bob Mould’s magic can bolster this one.
A strange, endearing record. They’ve got a heavy-rock garage sound, but the vocals have a cracked, psychotic bent. Musically on par with SOUL ASYLUM, the REPLACEMENTS, MEAT PUPPETS, and GREEN ON RED. I give up; you try to figure them out.
This is it! The HÜSKERS have finally come up with a great studio album, and if it doesn’t put them right up there with the top bands, then everyone’s lost their hearing listening to too much FLIPPER. The LP has got the power of their live performances, combined with a clean, crisp recording quality. Even if they can’t play Risk too well, they sure can play music.
These guys hit you with power and drive that falls somewhere between HÜSKER DÜ and NAKED RAYGUN. Their sound is continually driven like fellow Minnesotans the HÜSKERS, but their rhythmic pulse is more akin to N.R.
This one is pretty simple. Boon and the boys cut loose in the studio with four covers recorded “live” in front of maybe 15 people. These are the songs that floated in and out of their set on their last tour. You get so-so versions of VAN HALEN and BLUE ÖYSTER CULT, but real good versions of CCR’s “Green River” and the MEAT PUPPETS’ “Lost.”
The MINUTEMEN are a superb live band, but the undistinguished recording values here detract from some fine songs performed with finesse. “The Red and the Black” is hot, though I’d prefer to hear an ace production of this outfit instead of the one we have here.
The new OTTO’S 7″ substitutes a much harder, almost punky attack for their earlier art-damaged approach. Here, the guitars are psychedelicized and a lot louder, and the song structures are basic and consistent enough to allow the listener to adjust to them. In sum, an interesting experimental punk release with some psych and funk qualities, not to mention a charged HENDRIX cover.
The GANG OF FOUR is the obvious reference point, but these guys add a more powerful and raw guitar sound to the funk rhythms, and occasionally break into more thrashy structures. The recording is excellent.
A potpourri of Minneapolis-St. Paul bands, all on the punk side to varying degrees. My faves are GROUND ZERO and WILLFUL NEGLECT. Thank HÜSKER DÜ, who also appear here, for this project. Unfortunately, the tape is already out-of-print.
