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Please send vinyl (preferred), CD, or cassette releases to MRR, PO Box 3852, Oakland, CA 94609, USA. Maximum Rocknroll wants to review everything that comes out in the world of underground punk rock, hardcore, garage, post-punk, thrash, etc.—no major labels or labels exclusively distributed by major-owned distributors, no reviews of test pressings or promo CDs without final artwork. Please include contact information and let us know where your band is from!
Insistent, kinetic fuzzed-out punk pop. Itchy repetitive guitar riffs serve as foil to the just-this-side-of-annoying keyboard melodies that drive the songs. The vocalist’s delivery is snotty yet deadpan, detached yet sneering: little escapes their disdain. PRIORS pound their way through fourteen songs here, most of which come in around the two-minute mark, save for the epic title track, which despite its five-minute-plus is no slow burner.
We got us a ripper right here. No shortage of driving riffs, barking vocals and straight up nassssty bass tone. I would call it D-beat leaning hardcore, with plenty of moshy parts, but nothing too derivative. The band would definitely fit well on a bill with the UK’s ARMS RACE. Clear influence from GBH, VARUKERS, DISCHARGE, etc., and even reminded me a bit of BLOODKROW BUTCHER. There’s also a pretty rocking cover of “No Hay Futuro” by Spain’s RIP. The band is based out of Dublin, but comprised of immigrants from all over the world.
The first PARSNIP 45 was a total moment of mind loss for me: a true and total encapsulation of C86/TVP, ’60s and ’80s Mod Girl Dreams, umm, DOLLY MIXTURE if they were way punker…and here with the second we have more of the same! The first song is a perfect DAN TREACY meets DOLLY MIXTURE dreamscape! My mind was a plastic bag before the song was over!!! It sounds almost like the song is sort of writing itself as it goes along in a totally pop freedom manner, like listening to a SWELL MAPS 7″ you dreamed of. Flip the disc over and there’s this fucking perfect BANGS/PANDORAS pop garage song about the tyranny and delights of winter, what more would you want out of a 7’?! PARSNIP are a true and total delight, and I want fifty more 45s like this immediately, OK punkers?
Local garage punk of the swing-swang-swingin’ variety. Real piss- in-yer-icetray stuff: foolish boppin’, elder juvenile delinquency. The title track attempts to link Trump and Caligula via their penchant for grope violations and it only gets brainier from there (just kidding, it doesn’t!). “I fucked a devil and I made her cum!“ Ahem, well, OK, cool?
German anti-oppression powerviolence and grindcore that sounds like the industrial soundtrack to Brazil meets HIS HERO IS GONE, COMBATWOUNDEDVETERAN and the most downtrodden riffs from the CURE. Neo-crust breakdowns, blistering grindcore attacks, and open intermittent D-beat sections that are so brief you can’t ignore their ingenuity. Gnarly charred vocals spew out lyrics in both German and English. Lyrical themes decry the ugly existence of fascism, racism, nationalism, sexism, and homophobia. ORGANA, lay down six brutal tracks through shattering noise and fury. Production is super heavy—well done. This is a one-sided LP with a circle of barbed wire etched on the other.
Exactly what you would expect from NO STATIK. Fast, heavy- hitting, punchy hardcore. Mysterious to Ourselves doesn’t really lack anything that is hardcore, as it has all the tropes of a hardcore record: the blast, the fast, the chug, the breakdown. What has always stood out to me the most about NO STATIK is the cadence of frontperson Ruby. The way that anger, anxiety, and depression seem to just exude from the mic. They do get weird by adding some instrumental tracks to the end that serve as some soundscapes and noise, but in my opinion they could have gotten weirder. This record feels urgent and intense, the production is crystal clear, and the art is really fucking dope. I am assuming this is the last record from NO STATIK since they are billed as playing 1-2-3-4 Go! in Oakland with the tagline “say goodbye.”
Bear with me y’all, this is one of those weird ones that came with very little info and required a bit of internet research that was mostly available in languages I don’t speak. So it seems like Sweden’s NO IDEA were around in the mid-’80s, only appearing on a relatively obscure cassette compilation during that time. This is brand new material, recorded some 32 years after their debut. It’s very much in line with what you’d expect from a bunch of dudes who haven’t been actively punk in three decades plus: awkward metal interludes, mediocre songs, and so forth. The vocals sound good at least. NOLLKOMPETENZ seem to be one of those admirable (but frustrating for an MRR reviewer) bands that don’t have any internet presence so I can’t tell you much about them but the tunes are pretty solid. They walk an interesting line, equal parts hardcore machismo, punk simplicity, and garage rock swagger, with some intentionally over the top guitar solos all held down by the super dirty bass and an extremely on-point drummer. NO IDEA are a write-off (though the ’86 material was recently reissued on an EP and may be worth looking up) but NOLLKOMPETENZ are intriguing and well worth a listen.
This band started in 1978, and played the Mabuhay during the club’s early punk heyday of the late ’70s. This a full-length of new songs which comes after a decades-long hiatus. A good mix of spunky punk and power pop songs. This reminds a lot of the BRIEFS, but there is a NEW YORK DOLLS quality at times as well. Good stuff.
Really obnoxious, generally speedy, one-man band type garbage can pop from the impressively—perhaps destructively—prolific NEO NEOS. Generally speaking, some songs are so purely conceived, they would sound great in any setting, with any kind of production value. These are not those songs. The joy (or anger) of this record comes from the fact it sounds like shit: a cacophony of useless punk made useful by sheer volume and repetition. It’s a feat of will and hubris that’s commendable. A good record.
Nothing fancy here, just eighteen bursts of utterly fantastic hardcore punk—and if Poland’s NEGATIVE VIBES are any indication, “fancy” is fukkn overrated. East Coast meets ACCÜSED vibe, these kids channel ’80s USHC brilliantly and their doses of unadulterated fury are a breath of fresh air.
The first song seemingly intentionally quotes directly from a DEVO song in the intro, then speeds into a birdcrash explosion of UKDIY Midwestern art school relentlessness. This definitely feels like a band that would have played with the EMBARRASSMENT in 1982. The second song is too funky for this hater, but I like the lyrics a lot: “Don’t ever trust your city to take care of you.” Watch out for that Michigan water, no one else is! The music is a total wash over sound: there’s no space, just a swathe of chants and sax and guitar tumble. Seems like the Midwest is alive with pleasure and here’s some audio to take you there?
Apparently, this band had a song played on an episode of Scrubs, or at least its singer did. I wouldn’t call this punk, maybe punky alternative? It reminds of early RED HOT CHILI PEPPERS before they became a household name on MTV. I was never into that CHILI PEPPERS or JANE’S ADDICTION “punk influenced” sound. Not bad but not my thing. Where’s Spin when you need it?
Copenhagen’s MELTING WALKMEN shift gears between energetic post-punk and somber lads staring at their shoes, but they mostly keep it upbeat. The dueling guitars work through varying degrees of dissonance that truly complement one another. The shouted vocals feel similar in each song, adding little dynamics, if any. In “Petrified” it sounds as if the singer is hearing the song for the first time and doesn’t quite know what to do, but not in a cool, fun way. Anyhow, it’s decent. The vocals bum me out, but the instrumentation is excellent.
Right off the bat with a FASTBACKS cover—that there is some bold shit. LISA MARR has a great voice, and I love the TRANZMITORS, but I’m not sure they really did much of anything with this song. In my mind, if you’re going to cover a great band like the FASTBACKS, you really need to do something with it. It kind of just sounds like a cover of “In the Summer.” They also cover two CUB songs. I honestly don’t know the originals, which might be better for me, as I have no reference point. My complaint about not doing anything with the A-cut aside, this is super poppy and catchy. It is right up my alley and I kind of love it. The one original is worthwhile and not at all dissimilar from the others. I can see myself listening to this over and over again. That voice!
This is a throwback. This is punk rock that is 100% rooted in rock’n’roll. The way it’s delivered reminds me of the DEAD BOYS. It’s faster-paced, it’s got a sense of urgency, it’s got lead guitar. The “Made in Canada” logo on the back cover doubles as a seal of approval, as Canadians are particularly good at power pop. As this one moves on, it definitely straddles that line between punk and power pop. There is absolutely nothing wrong with this. Outside of the quality of the recording, if someone told me this was from 1978, I’d totally believe that. Excellent.
Four new tracks, all sung in Japanese, from these long-standing Parisian pop punk techno ravers. While lyrically they’re proudly in the CRASS anarcho-punk camp, at least on this effort, there’s mercifully little of the ATARI TEENAGE RIOT electronica, and much more of the straight ahead speedy pop punk. Kinda like J CHURCH on 45 (as opposed to 33), albeit with a Parisian female chanteuse, singing in Japanese (though the whoa- oh-ohs manage to comfortably span the linguistic divide). Fantastic stuff. Self-released, so snap it up from the band.
Has it really been fourteen years since the first TH’ LOSIN STREAKS LP? Well, that certainly is too long to wait for a second album. During those lost years they may have discovered a time machine and gone to London to play some gigs at the Railway Hotel. This Band Will Self-Destruct in T-Minus has a mod-y garage rock feeling reminding me of a more restrained, early period the WHO. The songs are catchy. The guitar playing is punchy and crisp. Great album.
A compilation of all the LEGIONAIRES DISEASE recordings: the eight-song 1978 studio recording that the “Rather See You Dead (Than With Wool On Your Head)” 7″ would come from, the four-song 1985 studio recording, and a thirteen-song live set from 1980 at Hurrah’s in New York City. The tracks are rough and primitive, but with that compelling rawness of a punk band just having a great time. The CD booklet is really nice too. It starts out with an intro from U-Ron of REALLY RED describing LEGIONAIRES DISEASE’s singer Jerry Anomie getting released from jail, going to see the SEX PISTOLS in San Antonio, and then coming back to Houston inspired and starting the band. The booklet is filled with photos, fliers, interviews, and remembrances. It is really nice collection of this wild first wave punk band.
Unpopular opinion in 4, 3, 2, 1…LEFTÖVER CRACK are great. LEFTÖVER CRACK are important. LEFTÖVER CRACK still, in 2019, deserve so much more than the mall-meets-the-gutter status that the self-righteous punks bestow upon them, because context be damned, LEFTÖVER CRACK are fukkn great. A 30-track collection of EPs, splits and outtakes sequenced brilliantly—catchy punk, infectious ska-punk, anti-cop, anti-authority, anti-racist, pro-punk melodic punk. I don’t know what else think you want from this subculture we all claim, but MINOR THREAT is a starter band too, you dig? You don’t ditch your Pay To Cum EP just ’cause the suburban punk twerp rocks a BAD BRAINS shirt, do you? Just saying. Important punk is still important, and even though the kids like ’em, LEFTÖVER CRACK are still great.
This is street punk / Oi! from Poland with vocals in English. These guys have been around for about five years. This is decent and certainly anthemic in the vein of RANCID or the COCKNEY REJECTS, with a bit of MOTÖRHEAD-style rock. Although certainly not on those bands’ level, this is pretty solid for crowded genre.
This comes with issue #10 of Trust zine and has one song each by three of Germany’s current crop of HC hopefuls. The EMILS play an ultra-fast tune, CROWD OF ISOLATED have a slightly slower but very powerful sound that rips, and JINGO DE LUNCH come on with a late-period AVENGERS sound.
Half central California acts like ASSAULT, WIMPY DICKS, AK47, and more. The other half is world punk acts. Not bad ‘tall. Half the profits go to the No More Censorship Defense Fund.
By golly, this sure is a good one! 23 bands performing 37 songs, all being in the realm of punk/HC. Varied but good quality, some examples of talent being FINAL WARNING, ACCUSED, CRUCIAL YOUTH, ANATHEMA. Great sampler!
A mostly Mexican comp with MASSACRE 68, SOLUCION MORTAL, PAZUZU, HISTERIA, and DESECRATION. Sound quality is OK, material is energetic HC. Comes with booklet (all in Spanish).
Hot tunes from acts all across the globe, featuring DIRECT ACTION, SUBVERSE, OPINION ZERO, and more. Good sound quality and 60 minutes of non-stop action makes this a righteous comp.
A really fun comp of Detroit-area garage bands. Lots of grunge and great rock’n’roll beats. Features ELVIS HITLER, LOST PATROL, GORIES, ARTPHAG, ZOMBIE SURFERS, and others.
High quality melodic thrash here. Three of the tunes just rip, showing tight playing and lots of energy. The last is a speedy surf number that rocks too. Good debut.
Chunk punk here, with a garage-y edge. Lyrics cover vegetable soup, dumb stories, and more fun!
The Florida-based KML label has come out with yet another great punk rock record. Eight short, fast, energetic, catchy tunes from this Mississippi band, all delivered with tough crunchy guitars and super gravelly vocals.
Demented. “Lunkhead” is sorta normal, “Get in the Car” is spooky and scary, and “I Forgot the Hay” is amusing. I think psychotherapy is in order here.
These guys have a tune called “Positive Hardcore” which pretty much tells the story: clean punk and thrash with optimistic words about unity and the evils of drugs and alcohol. Pretty good.
A self-avowed “foodcore” release, these eight songs dwell on the ridiculous, dealing with burgers, being too hot, beer quests, bugs, and other important topics. Goofcore from WHOPPERS TASTE GOOD.
Four tunes from early ’78, in well-done (but a bit toned-down versions) from their studio releases. Still, this material (especially “I Am the Fly” and “106 Beats That”) is mandatory for those who can’t find their first three 12” releases.
The OPERATION IVY of Japan? These guys utilize a slightly ska approach to their punk and HC, a ragged but enjoyable edge. Four tunes.
More hot Japanese stuff. This month’s batch has been largely exciting, really raging, cut-loose HC and this one’s right up there. A four-song, one-sided red 8” flexi that contains this warning: “This is disgusting music.”
Pretty run-of-the-mill Oi! No real spark, just basic rock‘n’roll music and attitudes.
A long LP by this Aussie band, who have a pretty well-developed sound, mixing different influences into their punk tunes without losing sight of their roots. Most noticeable is the guitar work, which really holds things together. Lyrically, they deal with both personal and political subjects in an intelligent, well thought-out manner. Good.
A mixed bag of psych pop and pop punk, most of which is culled from previously released LP tracks. Includes SMARTIES, TRASHING GROOVE, CRETINS, FURY IN THE SLAUGHTERHOUSE, and more.
Out of Massachusetts come the CREEPS and ANGRY KIDS. The CREEPS rip it up on four songs, all done in a raw and energetic style that harkens back to punk’s early days—a treat. ANGRY KIDS have a more modern HC sound with a bit of DC influence on their two longish tunes. Pick it up.
A real variety pack of differing rock’n’roll styles. JOT reminds me a bit of BEEFEATER; MODERN VENDING will appeal to Minneapolis pop fans; SCRAMBLE GRIT has a DC-ish sound; DATURA SEEDS is Paul Mahern’s (ZERO BOY and producer of this LP) current band; SLOPPY SECONDS turn in three more punk classics; RIGHT TO LEFT is a GIZMOS spinoff; and MIKE’S HOUSE is rocking folk.
Eighteen bands, most of whom are in the non-melodic thrash vein, contribute tracks to the theme of the world’s ongoing warfare mentality. Included: CIVILISED SOCIETY?, ATAVISTIC, CHUMBAWUMBA, REVULSION, REST IN PAIN, DAWN OF LIBERTY, and lots more—a veritable who’s who of modern UK hardcore.
Not a bad comp here featuring acts like A.P.P.L.E., AFFIRMATIVE ACTION, SFA, and more. Includes a variety of sounds and even some poetry. Pretty cool.
Yeah, this is another bloody noisy punk comp, including acts from all around the globe, the standouts being SICK OF IT ALL, DROWNING ROSES, and the INSTIGATORS. Good.
No title on this international release. The cover only indicates the bands: COLERA (Brazil), CIRCLE OF SIG-TIU and DUNKEL TAGE (Germany) and W.D.M. (Finland). One song each on this blue vinyl slab, all good, powerful studio tracks.
Great upbeat pop punk that’s comparable to WILMER X’s good stuff. All-Swedish vocals, excellent sound quality, sing-along choruses, and melodic tunes.
Regulation mid-tempo English punk with hoarse screamed vocals and football-chant choruses. Not earth-shattering, but competent.
A garage hell recording, which probably helps in this case. Very crude garage punk, just blasting out five tunes into the most basic recording device imaginable.
Non-generic punk and HC with on-target political and social words, heavy on innovation and intensity make this a hot one.
For the speedcore types out there, a non-stop barrage of tuneless thrash. Lots of it!
These prolific guys strike again, this time with four driving songs. Distinctive vocal style sets them apart, and as usual, their powerful classic punk kicks ass.
