Second 7Inch by Les Standards, a four piece from Bordeaux and the first line-up in 1978 consisted of Philippe (vocals/keys/harmonica), François (guitar), Jonathan (bass), Jeff (drums) and were one of the most original French-speaking groups of the Eighties and stand for straight rock with passion, talent and a keen sense of melody. It's not surprising that they took part in numerous festivals and performed a few titles on the TV sets of Antenne 2 & FR3. On vinyl they released two 7Inches (self-released) and 1984 one mini-album called Celluloid with six alternate rock numbers and more intimate ballads with mythical characters; the name of the group is forgotten on the cover, stickers stuck on in an emergency but didn't change much in the fate of the record. Sales suffer, causing the separation of the combo and a deep scar in the history of Bordeaux's Rockmusic. So much that in 2005 Les Standards returned to the stage and did some local gigs! Philippe had the bad idea to leave us in 2010 at the age of 52. - Now enjoy their rocking spirit and find them on some compilations as well.
Now we become louder and wilder with the following slab; Evil Empire is the lone album by Portland Punks the S.L.F. and it was released 1985 on their own Eat Me Records label and apart from a few Compilation appearances, I can't tell much about this five piece but I can give you a short review: "A really intense album, both musically and thematically. The S.L.A. have growling vocals à la Fartz, and a very raw instrumental attack; the songs range from careening thrashers to more complex but less hard-hitting cuts. The lyrics are unabashedly radical, whether dealing with wage slavery, national chauvinism, or media sensationalism, but the choice of the band name leaves something to be desired since there is some evidence suggesting that the real Symbionese Liberation Army were police provocateurs rather than genuine and very stupid militants." (Jeff Bale, MRR #32 • January 1986)
- Great Thx to Fredrik -
Some time ago I brought you closer to the debut of the PowerTrashMetal band Perzonal War and today I give you their third album which was released via AFM Records. You can clearly see their development and their songs captivate with hard, powerful, catchy rhythms and melodies. The reviews of this album are mixed and the band is largely unknown, although they work at a high level and don't have to hide behind any big bands from overseas but they had their chance and blew it (some opinions). Of course, there are also weak tracks among them, but overall you can listen to the album, even as non-Metaller, without hesitation and you don't have to become a fan of them, but listen to goes always, right!
Now an interesting record which made for their Brazilian tour 2019, originally released on tape and a year later released on vinyl in a small edition (50 copies) by the Norwegian label Byllepest. Both versions sold out quickly, so it was time to press the whole thing as a larger edition (Kink Records, 500 copies). It starts with Vidro from Stockholm and the band consisted of Vendela (vocals), Lucas (guitars), Melody (bass), Staffan (drums) and they give us six angry mid-tempo numbers with a slightly melancholic undertone with splendid pissed-off vocals of Vendela. On the other side then Cankro (Costa (vocals/guitars), Coca (bass), Renatinho (drums) from São Paulo with their vinyl debut and they shine with four rough Hardcore attacks, combines with great enriched guitar solis. Both combos do an excellent job and show us once again that this world needs such aggressive inferno. TOP!
- Great Thx to Fredrik -
Kick off March and to a record which is still fresh after more than thirty years and revitalizes the Punk in you when it's a little rusty. Well, when I bought the album in Hamburg back then, I was of course very excited and wanted to know if Jello Biafra, who had two years before jammed with D.O.A. and conjured up a superb album, would top this with his second trip to Canada, this time to Victoria where NoMeansNo was at home back then. And the result is one more musical and optical highlight in all respects. Eight energetic songs plus Jello's cynically apocalyptic words, that sums up this brilliant record. I would particularly like to mention the artwork, which was again designed by Winston Smith and connects the history with reality and let us see that not much has changed and mankind is stagnating in its actions and thinking, profit-oriented and without regard for losses, especially nature and minorities suffer vehemently and all the generations that will follow can be happy. When man entered this planet, the earth was doomed. Nevertheless, I want to close with an apt review from my favorite site for this, because they can do that:
"After working with Canada's D.O.A. on his previous collaboration album, Jello hooked up with fellow Canucks and Alternative Tentacles signees NoMeansNo for an abrasive, brilliantly skewed thrash of a record, The Sky Is Falling & I Want My Mommy. NoMeansNo, with their angular art aggression, makes for a more distinct vehicle for Jello than D.O.A., bursting with power and screwy inventiveness both. The title track alone is worth the price of admission; Jello's rant about nuclear satellites and paranoia perfectly is matched by the music, and in ways the track serves as the missing link between an older style of Punk and the work of underground '90s acts like Unwound. White-hot guitar lines scrape and snarl over the stuttering rhythm while Jello rages through as only he can. "Chew" starts with minimal guitar snarls and whines floating around a low-key rhythm before fully springing to life, alternating between epic explosions and low-key tension over the song's length. Other tracks have a more straightforward, thrash feeling but still kick along very nicely, often throwing in odd solos or other touches to prevent sound-alike disease. Jello's pithy way around any number of subjects doesn't fail him here, with everything from recontextualized religion ("Jesus Was A Terrorist") to the joys of white-knuckle trips down mountain rivers ("Ride The Flume" with its lyrics "forget log rides in amusement parks, this one's 50 miles long!"). NoMeansNo's Ramones-worshipping alter egos, the Hanson Brothers, sneak in for the song "Bad," which is delivered in appropriately quick time, though Jello avoids sounding like Joey Ramone. The album wraps up with two great stormers, "Sharks In The Gene Pool", which constantly shifts tempos and feels over its length, and "The Myth Is Real-Let's Eat", with a wickedly snarling bassline that helps carry it along. Jello lets go in full effect over both, with all of the energy that fans would come to expect." (Ned Raggett)
One note before you ask, my copy doesn't have a lyric sheet for some fucking reason... well, I think more words aren't needed. In the same year, one more short group therapy convened, Tumor Circus, and is one more pleasure at own risk.
First 7Inch on Sanguine Records by this five piece which consisted of William (vocals), Graham (guitars), Ian (bass), Pat (keys), Phil (drums) and what the gentlemen have recorded here can definitely be heard. Minimal synthpop grooves that features on the A-side the Kraftwerk classic in a cute version, while the flip has a little more steam in its blood and sounds very wavie. To that a deep voice and the whole thing is done. The following year their second and final 7inch The River Flows East came out, but this sucker doesn't turn me on that much, especially the B-side is disappointing. Anyway, I should mention their only compilation appearance on !!?!...A Taster from 1982 and I guess, the French became history in this year. I wish you a good start into the new week and stay tuned!
Somehow this is the mod month in this blog and I can't tell you why but the next goodie is the only 7Inch by this Mod-revival band from Worthing and this is the French version of the record which came there via Blueprint Records. The Same consisted of Steve (vocals/guitars), Brian (guitars), Peter (bass) and Tony (drums). Brian left early the band and the rest carried as three piece and recorded this great piece which was original released via Wessex Records in a limited edition of 1000 copies. The band had some compilation invites and in 2018 Detour Records released a CD totaling twenty three songs, to be mailed to me immediately.
Today I'm fulfilling a request and I know there were a few more, but I have to admit I forgot a lot. I always think I can remember them, so I don't write them down and then find that they're gone. Well, that's the way it is, so I need a reminder from those who have uttered one before. The following 7inch is the best-known song from Neue Heimat and I didn't know until now that it's a cover version, it was originally sung by Dutch Schlager singer Heintje in 1968 (watch). On the flip is with 'König Albert' a snappy non-album track in the typical rockin' band style. Definitely a solid record and I retire because I've got a little fucking cold and want to be fit for today's difficult away game in Leipzig in a few hours.
A new weekend has begun and new opportunities await you on this memorable day, a year of war on the edge of Europe and with no end in sight. Well, I don't want to waste another valuable thought on it; War Is Aways Fuck!, and if no one can't find another solution, then those people are incompetent and brain-damaged. A small personal opinion and please no political discussions, I just want to make it clear that mankind is not getting any smarter and that history always repeats itself, unfortunately only negatively. Well, let's leave the crap behind and get to the appropriate sound for such occasions.... Hardcore classic by Texas-based four piece Offenders, and their awesome debut came via R Radical Records (MDC frontman Dave's label) out. Only ten tracks but the band became known worldwide as one of the premiere Hardcore combos out of the Lone Star state. This album has been highly regarded for decades. Rightfully so. It’s a perfect record: fast, loud, raw, perfect! A review: "The spirited thrash attack on this album recalls the work of the very best Texas bands, and reveals lyric concerns which mine a blend of youthful outrage and rebellion. “Fight Back” and the LP’s title song rate as my favorites, but the entire record demonstrates remarkable consistency, a factor in no small part due to the wild, raucous production. An exciting and distinctive release." (Steve Spinalli, MRR #11 • January/February 1984) - The record is so hot, it has been reissued three times, first in 1989 on Bitzcore with five bonus songs, the CD even has the tracks from the Fight Back EP on it. Enough words, enjoy fifteen heart attacks in hearty relaxation!
A highlight of German Punk music was released by Hörsturzproduktion and Rotten Totten Records and these are always worthwhile because they are lovingly and handsomely produced, sometimes on colored vinyl, and these attributes also stand for the following record: twenty-four songs by Berlin legend Deutsche Trinkerjugend (DTJ) from the 80s! The a-side with twelve studio songs (Scheißegal EP from 1984 and Compilation songs) and twelve on the b-side with goodies from the "Live Im Flöz" tape from 1982. The band was founded by Jenne (vocals), Max (guitars), Bertel (bass), Uwe (drums) and they had their active phase in the alternative and lively scene in West Berlin in the early Eighties and were part of the "unruly youth culture", those years that confused and repelled the bourgeois milieus of West Berlin and contributed to the half-city appearing as an adventure playground for the abandoned, excluded and loafers. The content of the four is about excessive alcohol consumption and refusal to work. The DTJ first became known regionally through live performances, which often took place in squats. In 1982 the first recordings were released as a split-tape Live Im Flöz, together with Frau Suurbier. Most of these recordings were made during the live recording of a concert by both bands at the Etablissement Flöz in Wilmersdorf on August 13, 1982 and is only available on cassette and were mainly distributed regionally. The aforementioned sampler contributions followed, finally their EP on Love & Pils Records (a classic) and within two years, the Deutsche Trinkerjugend had achieved cult status in the scene. In 1984 the band broke up for undocumented reasons; however, its members continued to work together on various projects in the years that followed. After German reunification, the four came together again for a few gigs in the new federal states. Uwe died in 1996, Jenne in 2010. This is their legacy, short funny songs that may not be to everyone's taste but have left their mark on a new genre.
