Homomilitia biography examples
Reviews
For review and radio play consideration:
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!
The Exile The Real People EP reissue
Exposing a new generation to obscure Scottish first-wavers the EXILE’s second and final 7” from 1978, this reissue from the awesome Italian archivists at Breakout Records allows you to claim another forgotten fragment of punk history. The title track is tuff stuff, compounding a ’70s hard rock charge with a rhythm section that vaguely recalls RAMONES’ “Commando.” “Tomorrow Today” is standard UK pop punk of the era led by a slinky guitar line. Finally, we land on “Disaster Movie,” a snappy, STOOGES-lite affair that’s the most solid cut here by my estimation. The band’s debut EP has also been granted a new pressing, but if you had to grab only one of them, The Real People is by far the punker of the two records and the one I’d recommend.
Eyes and Flys All the Tigers in Texas / Seabird 7″
The two-song single can be the ultimate medium to tell potential listeners exactly what your band is about. There’s no world-building, no narratives attempting to be woven, just a single and its flip. The perfect format. And EYES AND FLYS definitely seem to feel similarly, as this single follows the given mold, but it’s only in theory. The A-side is the rocker, the B-side the more exploratory side. As soon as the needle drops, you get what this band is about. Nailed it Don't act so surprised, you could have seen this one coming from miles away. It was high time I dealt properly with the Swedish fury that came out of the 1990's and as a result, thanks to the utmost seriousness and humility that characterize me, I proved to be, as per usual, amazingly successful. But let's get to the customarily lengthy introduction first. It is true that I have already touched upon the 90's wave of Dis-inspired hardcore punk that swept across Sweden in the two classic series about D-beat and Discharge love, namely The Chronicles of Dis and Sonatas in D Major, and with the glorious compilation The Beat to End All Beats. Besides, Sweden's crustcore heroes like Warcollapse or 3-Way Cum have already been reviewed at length on Terminal Sound Nuisance and even invited to the famous Christmas celebration A Crustmas Carol. So what I mean to say is that there is little point in rephrasing what has been thoroughly developed before. However, the scope of Käng of the North (I mean, lol, right?) is quite different. Indeed, it aims at covering all the different branches of Dis-centric punk schools that bloomed vigorously in Sweden while the previous series about the specific conception and evolution of d-beat and crust had an international focus, although Swedish bands obviously played an important part in both. Therefore, the inclusion of Meanwhile or Warcollapse on Käng of the North has to be seen from the synchronic perspective of the national explosion of käng-inspired hardcore and crust music in the 90's. Even a well-meaning and open-minded individual untrained to the subtleties of the D-related subgenres would probably feel a little lost with this cryptic compilation and think that he or she has just been cruelly subjected to 75 minutes of the exact same song in a row played by 58 bands and, well, it cannot be denied that Käng of the North can turn into a rather confusing experience, albeit a potentially very plea ‘Kitchener’ (from Hulme, Manchester) were originally Tim H*** (guitar, vox), Pete Osmond (bass, vox), Pete Darlington (drums) and Steveland Minta (guitar, vox). In the beginning they were called ‘Body Bag’ and played fast thrashy hardcore-punk (some people compared them to ‘Born Against’ too…). Then came the name change to ‘Kitchener’ and they slimmed down to a 3-piece after Pete Osmond left to run Land Of Treason distro. Their 7” The Price Of Progression was released by Flat Earth with the help of Nabate & Refusenik in 93/94. Later Steve did a band called ‘Grover’ (together with his brother) and played a more melodic punky style… (Click here for some more info on ‘Kitchener’) Touring with them was ‘Health Hazard’ (Bradford; Mandy / Sned / Alec / Gazza)… Sned writes on his flatearthrecs.blogspot: “We toured in Europe together, I used to love watching the crowd watching Pete on the drums as the chaos ensued and the jaws dropped.”… It was their 2 time here after 93-09-18 and they would be back (2 weeks later 94-03-19, and 95-02-11). Seemed like those lads had a second home here in Europe… Their set in Toulouse (94-02-22) was recorded and Fred Jourdan (‘Ultimate Disorder’) put it out on a split-tape (with ‘Hiatus’). After this tour they recorded (with Bri ‘Doom’ Talbot behind the desk) for their 10” (released on Alec & Sned’s Flat Earth recs). For those who don’t know (?) or can’t remember: “abrasive, thrashing, overpowering blasts of hardcore fury with caustic female vocals”… ‘Ex Cathedra’ were/are an anarcho punk band from Glasgow, Scotland. Another band from Glasgow! But this one played ska-punk… The band consisted of Alex Aiken (guitar & vocals), Andy ‘Andi’ Chalmers (vocals), Isobel ‘Issy’ Craig (bass) and Jim (drums; nót the one who was ‘Fleas & Lice’). Around that time they had a 7” out (Stick Together; their first on their own label Tartan recs) which was rather eye-catching because of the fabric cover with a big ‘X’. More would follo
Most of the time, I focus on posting rare or obscure on Terminal Sound Nuisance. There are two reasons for this. First, I feel that the sharing of music and knowledge is what punk is all about. Although I alway try to give my own critical view of a band, a genre or a scene, I feel that it is our collective role to ensure that punk history doesn't get lost and that it is important to promote a sort of punk sensibility (for lack of a better term) through an accessible analysis of the punk-listening experience. Second, I am an opinionated bastard with an ego problem who likes to boast. But now is not the time for nerdy posturing, because today's post will be about one of the most crucial Latino anarchopunk bands ever: Desobediencia Civil.
In my (definitely not) humble opinion, DC is an unjustly underrated band that, had they not been from Mexico, would have its name on thousands of punk jackets across the world. I would even argue that they were easily one of the very best 90's anarcho bands worldwide. DC formed in Mexico City and started playing in 1993. From what I gathered, the people involved were all originally part of animal liberation and political collectives and felt the need to do something against the "chaos punk" apathy that prevailed then in the city. DC's discography is far from being massive as they only released one Ep and one album as well as a couple of live demos. I would venture that the band was more interested in getting their message across and touring than in recording twice a year and having coloured vinyls out. Although they weren't the first anarchist punk band in Mexico or indeed in Latin America, they may have been the first to call themselves anarchopunks (possibly along with Coprofilia, Empirismo and Regeneracion) and to merge the canonical anarchopunk sound and aesthetics with the aggression and the rabia of classical Mexican hardcore punk, thus creating a proper Mexican anarchopunk sound in the process. DC's first Ep, "Cuanto