THE BOMBS - Live! 7'' 1979

So my dear friends, and before I turn to soccer, which starts again today, we come to a record from a band that hasn't much released. From Wisconsin came the Bombs and this is their lone record on their own label BombRecords with two live goodies which were recorded I think in the late Seventies but I have no further infos. This beauty is an example of the high-energy music of the era and features the rawness and lightheartedness of fast & powerful songs that reflect the heyday and rough style of Punk. The band was part of the emerging scene and may have played at various clubs and concerts that were important in promoting the rough sound during this era. However, infos about the Bombs and their music are rather limited compared to more popular bands of the era. Fact is they were part of the Bloodstains Across Wisconsin CD-R from 2012 and that is already a small tribute. Really sad as I said, bio or history about them are hardly available, as they aren't one of the most well-known representatives of scene. They were likely influenced by other well-known bands such as the Ramones, Sex Pistols or the Clash. While the Bombs may not have achieved the same level of fame as some of their contemporaries, they contributed to the diversity and development of Punkrock and their music could be appreciated by collectors today.

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MR.X - Never EP 1981

I was browsing through my hard drive again and came across the following slab and it is amazing what treasures lie dormant there. Mr.X were originally from Hobart but spent time based in Sydney and this is their first EP on EMI Custom Records with four solid tunes and 2000 copies were pressed and the band is best known for their music in the early 1980s. Their EP "Never" was released in 1981 and features a mix of Punk/New Wave elements that were popular at the time and they were part of the emerging underground scene in Australia and helped develop the genre. The slab is fairly unknown because the competition was very fierce at the time and they had a hard time competing with their wavy sound so they went largely unnoticed but the record did receive praise in their home country for its distinctive sound and catchy melodies. Unfortunately there isn't much comprehensive information about the band themselves as they didn't become as well known as some of their contemporaries. Nevertheless, the EP remains an interesting piece of music history that could appeal to fans of the genre. I like the female vocals, the decent mid-tempo sound and also lyrically they have something to say, amazingly professional and no scrap. A second 7Inch came in 1983 and after that Mr.X was history.

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THE DAMNED - Friday 13th EP 1981

Just the right time for an almost classic and it's difficult to say anything bad about the gents from London. At least I don't know of any bad albums, but I have to admit I haven't heard them all. I'm lazy today and will use a few lines from Wiki that sum up almost everything in a nutshell, here we go: This little four track beauty was issued by the Damned as the result of a one-off liaison with Nems Records and was released on 13.November 1981, which fell on a Friday. The lead-off track, "Disco Man", was featured on many Compilations, also becoming a live favourite. Two of the other three tracks, "Billy Bad Breaks" and "Limit Club", were composed by the band; the final track was a cover version of the Rolling Stones song "Citadel". Not tired at all and elegant sexy, who needs words when the music has everything? A very good phase of the band!

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FEHLFARBEN - Agenten In Raucherkinos 12'' 1983

The last attempt to tie in with the past was made by Fehlfarben (... emerged from the free-spirited Düsseldorf Pioneers Mittagspause, who had been attracting the attention of the scene and a few media people since their fantastic single "Herrenreiter". When they released Monarchie Und Alltag on EMI and weren't the ideologically firmly anchored band that some wanted to see them as, they were accused of selling out and betraying the underground cause. This ultimately didn't work out, because while, for example, the Clash signed with the then world's largest label CBS with an embarrassingly rambling revolutionary attitude, they didn't make any such claims. Art is free, otherwise it isn't art.) with their third album Glut Und Asche and these two songs were released in advance as 7inch & 12inch and it turned out rather weak. The steam has definitely gone and both pieces are extremely shady, shallow monotone pop songs and so the end had to come a year later. Lyrically still in a good mood but to blow me away it needs more spirit and rawness, too smooth all this... well, listen to it and you'll know what I mean.

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MALIBU KENS - Be My Barbie... 7'' 1981

"This is one of the first independent Punk 7Inches from Edmonton. Blank Generation might possibly have beaten them to the racks, but at this point Edmonton's best known Punk band, SNFU, didn't yet exist as such. The Malibu Kens formed in 1980 under the name Joey Did & The Necrophiliacs, and became the Malibu Kens by 1981. Shortly after the name change, the band's style changed from Punk to Pop. A very limited edition cassette of the early material was recorded after the name and stylistic change, released under the Joey Did & The Necrophiliacs name. The Malibu Kens were never very popular during their short lifetime, often relegated to being the unpaid opening act at most of their gigs, but they persevered and produced a number of recordings. In 1981 they released the Be My Barbie 7Inch which was recorded by Mike (vocals), Scott (guitars), Dennis (bass) and The Dobe (drums), co-produced by the band and Kim Uprigh of the Modern Minds, whose single was released in 1980. In 1982 they recorded the song Physical Poison for the Westwatch Compilation which was never released. A year later they recorded two songs for the It Came From InnerSpace Compi. In addition to these vinyl cuts, they also issued a number of basement demos & live recordings on cassette." (Steve Roby)

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THE TAXIS - No More Shit For The Kids 7'' 1978

Five piece from the dutchland and this is their only record on Polydor with two nice rockin' tunes which others like to call Punkrock but for me the boys are too harmless, too soft I would almost say. The lyrics don't seem bad to me and visually they also fulfill the clean Rock cliché. But that's it. Both songs are listenable (the flip takes some getting used to), no question about it, and certainly good for a hot fucking selfmade Compilation (i'm still waiting for your submissions), but apart from that they are unlikely to stick in your mind. - A perfect kiss for 2025.

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V/A - Electrocute Your Cock! Vol.2 2023

Welcome to the last day of 2024 and I want to end this year, which was mixed and had some highlights for me, in a worthy manner. Volume 1 was posted already three years ago and on the one hand, such Compilations are great, but on the other hand, the selection is rather modest, because many songs have already appeared on the relevant classics of the Nineties. So, the question is, why use this stuff again? Well, I think the old records are hard to find nowadays or are no longer available. Anyway, on the second installment we have seventeen rare obscure, snotty & moronic masterpieces from the US & UK, recorded 1979 to 1983 and it's a good release on MacDonald's Records, satisfaction guaranteed! Enjoy the little ecstasy of the good ole days and I wish you all a Happy New Year and take care of yourselves.

1.Slow Death - POLITICAL CRAP

2.Biplane - ANTI-BAND

3.The Russians Are Coming! - A.D. 1984

4.Uncircumcised Twin - PLASTIC IDOLS

5.GIGOLOS - This Generation - GIGOLOS

6.Fighting In The USA - THE SINS

7.Nothing - GROUND ZERO

8.In The Slot - ADAPTORS

9.Gypsy Lid - MEN IN BLACK

10.X Patriots - COUNT VERTIGO

11. Anti Vogue - SAIGON

12.TV Tantrum - SNOT PUPPIES

13.I Said Everybody - B PEOPLE

14.I'm A Square - ANOREXIA

15.Born Dead - LOST CAUSE

16.(Look So Easy) When Your Young - VICTIMS OF SOCIETY

17.Crazy Life - TERRORISTS

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VOMIT VISIONS - I Hate The World 7'' 1982

The grey holidays are finally over and has anything changed? No, humanity continues to destroy the planet, affection is a foreign word and love remains mysterious. These are the adventures that I was able to experience once again these days and maybe there comes a highlight tonight, we'll see. It doesn't seem surprising that this 7Inch with the nice title is smiling at me. Let's meet the Lo-Fi heroes Vomit Visions from Frankfurt and this is, I think, their last 7Inch of three on their own label Wasted Vinyl Records. On these recordings: Rola Rock (vocals), Eric Hysteric & Leigh Kendall (guitars), HansWurst (bass), Dieter (drums) and if you like amateurish garage punk in a restrained quality then is this the right slab. Two excellent examples are waiting for your interest and I am sure that not everyone will like them, but I am a fan of such simple recordings and it is not for nothing that they remain cult, at least here in my hometown almost everyone knows & love them. Meanwhile, three members have already died and their music remains undiscovered and is, I hope so, not only for the most die-hard connoisseurs.

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ILL REPUTE - Omelette 1985

We visit California today where the temperatures are generally more pleasant than here in fucking Germany (-4 degrees) and Ill Repute In the dazzling world of Californian Punk in the Eighties. Ill Repute stands out like a diamond in the rough with their Compilation Omelette. Released in 1985 via Mystic Records, this work is not only a musical manifesto, but also a sharp commentary on society, offering a mixture of wit, anger and a pinch of irony. From the first tone you will be catapulted into a raw and melodic soundscape. The guitar riffs are boisterous and energetic, while John's vocals convey an unmistakable urgency. Omelette is an album that not only takes up the typical Punk elements, but also combines them with an idiosyncratic humor. The lyrics are a prime example of the band's ability to transform everyday frustrations into compelling stories, mixed with such passion and wit that you inevitably recognize yourself in your own frustrations. The combination of catchy melodies and sharp, often sarcastic lyrics makes Omelette a timeless work that has lost none of its relevance even decades after its release. This album is a highlight and you were confronted with a musical rollercoaster ride that changes from fast, driving beats to melodic passages, perfectly capturing the essence of Punkrock. The band manages to create an atmosphere that inspires both singing along and reflection. The song selection is quite cool, but that is precisely what gives Omelette its authentic charm. It is not a polished product, but an honest reflection of the band and their time. The raw aesthetic underlines the messages of the songs and lets the listener feel the energy and spirit of the punk scene of the time. Ill Repute manages a remarkable balancing act between seriousness and humor with this one. At a time when many bands were trying to find their way in the music industry, Omelette remains an unconventional and genuine work that inspires listeners to think about the world around them - while nodding their heads and moving their feet. In summary, this fucking record is an indispensable piece of Punk history. It is an album that captures the anger and frustration of a generation while playing with a lightness and humor that make it a timeless classic. If you are looking for a work that both makes you think and provides unforgettable musical moments, then is just the thing for you A review: "A collection of the best and worst from one of Oxnard’s finest, coming out on Mystic Records. Consisting of one track from every release that this band has ever been involved with, only two new songs appear, both of them live and the outstanding tracks of the release. Typical rough Mystic production doesn’t really help, but overall this is a good sampler of one of the once classic SoCal thrash outfits." (Martin Sprouse, MRR #32 • January 1986)

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DEPRESSION - s/t LP 1985

Depression is a four piece from Melbourne and were formed 1982 and consisted of Spike (vocals), Smeer (guitars), Liddy (bass), Danny (drums) and this is their grandiose debut on Reactor Records with twenty-six fast and raw goodies and sometimes such a short and long song selection can get boring, that's how I feel sometimes, but here everything is just right: The production is very high, Spike's vocal is nice aggressive, the guitars are abrasive, incisive & attacking and the rest is on high level (check this soldid review for more words). I became aware of the band through the fantastic Compilation Welcome To 1984, which was released by MRR at the time and will soon be shown in this theater, and their song 'What A Strange World' really impressed me musically and lyrically; the powerful energy and the unmistakable lyrics, which are still relevant today, have stuck in my mind. Unfortunately, I didn't follow the four's way after that and by 2010 they had released four albums. I know I have to watch out for the other stuff, because Depression are first-class hardcoreler that shows the signs of the times in clear, unvarnished images. In 1989, Depression called it a day after mixed reactions to their later work and differences within the band. Fantastic Record Baby!

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