Old Concert Reviews from Flipside Zine: July/August 1990

Another sonic snapshot at the dawn of the alternative era

Sep 07, 2024

Bad Religion’s color photo appears on the cover of Flipside July/August 1990, but a ton of other bands get covered inside: Coffin Break, Warlock Pinchers, Surgery, Fuel, The Jack Brewer Experience, Acid House, TVTV$, When Kids Are Alone, Pop Defect, Mad Daddy’s, Psychic TV, Jackson Saints, Tender Fury, and Sandy Duncan’s Eye.

In this issue, Flipside staph writer KRK, aka Kirk “Junkwood,” keeps busy penning reviews of new releases, bringing his highly critical and suspicious ears.

As KRK had written in a previous issue, the emerging alternative era was perplexing: “You wonder what the fuck it is ’bout the whole “alternative” radio shit, college pop schmuk, that makes it... so liked by people, boring people. Kinda like your uncle or older brother... I decided to get a front row glance at this type of music.”

Here, he invites bands to mail music for review. He had a PO Box in Cypress, California, northeast of Long Beach. But if you’re going to mail him bribe money, make sure to spell his name correctly!

“Press people for RYKO DISC are bitches. Yeah, I said bitch, sue me. Pretending to do me a favor by giving me a photo pass, she said in her educated voice, “Fax us your request.” I called about 10 times too many and the tight ass got loose and called ME the day of the gig... leaving me a message. “Mr. Krak Domineqe”. Idiot went to school 3/4’s of her life and she can’t say a fucking Mexican’s name right.
I called to make sure it wasn’t some kind of a joke. It turned out to be the Ryko Press Prissy, ’cept it was also a joke. She said I had to arrive at the Dodger Stadium at 5:00 PM (Bowie didn’t play until 11:00 or something). I could only snap during the first 3 songs, after that who knows what... she couldn’t give me a seat! Forget taking a guest (so much for getting laid tonight!). I said “this is stupid. David Bowie is playing two nights in a row in front of thousands (millions!) and you can’t spare two tickets?!’’ She said in a happily disguised voice “Sorry”. I said “Fuck you” and hung up.”

And staph Joy Aoki keeps very busy again, going show to show to bring back written accounts of each. She also bids farewell. After working here 6 1/2 years, she was exhausted, and she wanted to return to art school. In her editorial note, she wrote:

Dear Readers,
Welcome to yet another issue of Flipside and here I am to announce some changes coming up in the future. With the addage “In-with-the-new, out-with-the-old”, I’d like to take the opportunity to say my goodbyes and thank-yous because this will be the last Flipside fanzine I will be working on. KRK will expand his duties from Photo Editor to Photo/Art Director so in the future, please send all your graphic hate-mail and love letters in care of him. The reasons behind my leaving are numerous, both public and personal, the dominant being 1.) I will be returning to the Art Center College of Design this fall (a recent scholarship has enabled me to overcome the titanic tuition fees) 2.) I’m really bone tired of working 40 hours a week at Flipside then having to go to my ‘real’ job to pay my rent and 3.) I want to work independently on several projects, such as promoting shows and putting out records. Time to move on...
Speaking of records, I'm working on two compilations right now; the first being a one-sided picture disc featuring Bad Religion, L7, Motorcycle Boy, Trash Can School, The Creamers and others and a second, full-length LP slated for release in November. The latter is a full-on, title bout match pitting the best of LA against the best of SF; Big Drill Car vs. Green Day, The Creamers vs. The Mr. T Experience,
L7 vs. Helios Creed, SDEYE vs. Steel Pole Bathtub etc... Both will be out on Flipside Records so keep your ears and eyes open!
It’s been a lot fun working on Flipside (even after the 61/2 year tenure) and I’d like to thank all the people and bands that have made the alternative music scene a continually viable place to be seen and heard, and to all the people out there who have personally supported me in multiple creative endeavors over the years. Those people are much too numerous to mention in this small space but you know who you are, anyway...
Big, big, supersize, sloppy-wet-kiss-thank yous to the FS staff; Al, Gus, Pooch, KRK and stf as well as contributors and former staffers I’ve worked with; Hudley-Holly, Biyan Davis, Joe Henderson, Gary Indiana, Steve Alper, Brian Trudell and Thomas of Ink Disease Fanzine. Always Be More Than a Witness. See ya.

She is a badass.

Reviews

In this issue, staph review tons of albums with memorable band names like Marshmallow Overcoat, Leatherface, False Face, Meatfly, Corporate Deathburger, (Ex) Catheads, I Am the Hamster, and F.U.C.T.

I collected highlights here which, together, paint a nice picture of this part of 1990. It’s interesting to read these reviews from 2024 and see how these early impressions of bands that became synonymous with the ’90s square with hindsight, free from the haze of hype and youth.

Primus, Frizzle Fry (Caroline)

“I really wanted to like this record, but man the Chili Peppers doit right and no one is going to dethrone them. Sure, the bass player would probably make Flea take notice but it does not make this a great record. I find it mediocre and poorly produced. Don’t let me burst your bubble, if you like them then you’ll probably dig this record. Me, I think I’ll pass on this bandwagon.” —Sick Boy

Pavement, Demolition Plot J-7 (Drag City)

“Sonic rock ’n roll in your Grandfather’s garage with all his tools rattling in the background, your eyes roll back, his dentures hit the cold cement, it’s a disaster.” —KRK

Afghan Whigs, Up In It (Sub Pop)

“A ‘wah wah’ cross between Dinosaur Jr. and the ‘expected Subpop thing’. The Whigs do have a ton of howl ’n snarl, a rocker’s cream. Side two let’s go and ends up in some kind of homemade lemonade Bound to do well on the college circuit, dunno if it’s that good, though.” —KRK

Dinosaur Jr., The Wagon (Sub Pop)

“They probably will have another alternative college radio hit with this. It has all the hooks and melody of a classic Dinosaur Jr. or Husker Du record. The B-side is OK, but ‘The Wagon’ is a great song. They seem to have the smash hit formula wired.” —Sick Boy

Courtney Love, Courtney Love (K Records)

“Not the Courtney Love of LA’s ‘HOLE’. Weird Huh? 4 folkish pop, acoustic songs. Very much what you would expect from the ‘K’, International Pop Underground. Nice, slightly rehearsed, just straight forward sunny day/ rainy night songs.” —KRK

Hole, Retard Girl (Sympathy for the Record Industry)

“Hole... the band, the concept the force. It won’t be long before you are drawn in, and there’s no escape. Hole punch out two powerful tunes, with driving guitar and truly inspired vocals, a lot along the lines of Babes In Toy land both in vocals and overall dirge overdrive, and that’s no surprize since singer Cornee was once a member of that band. Hole excel in their own uniqueness, however, a style that is truly filtered thru the L.A. club smog. Aggressive and in yer face, I like it.” —Al

Smashing Pumpkins, I Am One/Not Worth Asking (Limited Potential POB)

A super anticipated cross between sound garden and Das Damen. Not even a good combination mind you.” —KRK

Mono Men, I Don’t Care/Jezabel (Estrus)

“Not too impressed with the 8 page promo kit, or cover. Loud, garage blues rock, with ail the ‘Hip’ influences over stuffing the edges.” —KRK

Rancid Hell Spawn, Gas Mask Love (Wrench BCM)

“Ouch, Rancid Hell Spawn are back. That’s right, the strangers on acid never sounded this fucked up. Industrial pop, fuzz dusted post-punk doodoo. It’s actually beginning to grow on me, but man is it painful.” —KRK

Pounding Serfs, Pounding Serfs (K Records)

“Pretty little songs about getting tangles in your boy-ish long hair, walkin’ into your favorite bohemian cafe, and missing that politically correct ivory girl you probably left behind at college before your scored your accounting job. Indigo girl fans will spunk a load for this one.”)

Beat Happening, Nancy Sin/Dreamy (K Records)

“After finally getting to see Beat Happening couple months ago... everything seems to fall into place. I no longer wonder what drives this trio to produce such minimal pop. There’s really no more questions that need to be asked once you see Brett, Heather, and Calvin on stage, in some kinda neither world trance stumbling from song to song. Not only in their own world musically but mentally as well. Beat Happening are the best band I’ve had the pleasure to see live this year and this record is a welcome addition to there now even more so important discography. Get hip or get the fuck out.” —KRK

Electric Love Muffin, Second Third Time Around (Buy Our Records)

“If I remember correctly, ELM’s last LP remained within formula but was quite clean and limp?! What ever the case, I am somehow able to muster up some kind of affection for this 8 song, wanna be 3-D cover, 12 incher. Sounds like an electric/ noisy cross between the Hickoids n’ (yes) the Replacements. (Fuck, are you sick of that band or what?) Not sure how, but, I meant it as a compliment. Don’t buy, but borrow it from your grandmother and tape it.” —KRK

Enemy Mind Feel, Halflife 10,000 Years (Raging)

“The worst ghoul rock, horror shit ever. Limp as a jellyfish outta water and as useful too. God, give me patience.” —KRK

Railway Children, Native Place (Virgin)

Just in case you destroyed all the pictures of that neat new-wave haircut you got after-hearing your first Flock of Seagulls album this’ll take ya’ back to those days. Easy listening for new-wavers, there’s more of this shit in my record collection than I’d like to admit. For sensitive Brit-types only.” —Martin McMartian

Live Shows

Three Nights of Fugazi

May 15, 16, & 17, 1990

Review by Sickboy

I saw all three of the Southern California Fugazi shows so I thought I would put my feelings down. First night. Fishwife and Pitchfork both played great sets and may one day be in the lead role. Fugazi played a great set of non-stop energy which at one point almost seriously hurt Ian when he and Guy got tangled up. One of the best shows from the San Diego area in a long time. Next night at the Country Club: Hunger Farm and Beat Happening both played good sets, and I really don’t see why people had a problem with Beat Happening, but more on that later. Before Fugazi went on some jerkoff on a power crusade calling himself a Fire Marshall made everyone standing find a seat. Ian handled this very well although their set time did suffer a little. This self glorifying moron who m reality probably couldn’t give two shits about our safety finally left! It turned outto be a great set and everyone got their moneys worth. Final night Reason to Believe started slow, but fired the crowd up with the singer's continuous high flying stage dives. Tonight the problems really began to surface, with Beat Happening as some lame ass coward chucked an ashtray and hit the singer in the nose, they continued undaunted and finished their set with the singer walking right out into the middle of the crowd untouched. This crowd was particularly ugly in a lot of ways, and I don’t mean everyone, but Fugazi is not Minor Threat and never will be, so quit fucking yelling songs you know they’re not going to play by a broken up piece of history. Anyone who can’t accept Fugazi for what they are, probably wouldn’t have accepted Minor Threat in their day and the sooner you get on with your life, the better we will all be. Fugazi has more overall integrity, conviction and sincere honesty than Brian and Lyle ever had in Minor Threat and you can take that to the bank. The energy and message are there for those who can listen!

Pop Defect

June 16, 1990

Party in LA

Review by STF

After spending 6 hours typing stupid reviews like this one I was ready for some fun fun fun! I started off the night getting ready for the Mad Daddys at U-Genes in Whittier, I had seen them rip it up at Rajis the night before and was anticipating a better show tonight. Well, my ride flaked and I didn’t make it. Then I decided to run off to see Hunger Farm, The Offspring (one of my local heros) and Big Drill Car. What a rocking show! As I was still contemplating this evenings list of events Al and Gus finally get home, and it turns out my plans changed from rockin’ to like a rock! Cold, hard, silent and the color of cah cah. We went to this party in LA, granted it was free. The first band Left Insane, I didn’t care for. I don’t really think they know what kind of sound they wanted because, I can’t even describe them. Oh... they did do one token Iggy song, but then again who doesn’t. Next up was Pop Defect. While I was being introduced to these guys by Greg Tulip, I realized that these are the same pushy bunch that throw a little booklet in your hand at every gig I go to. Like the inconsiderate person I am, as soon as the guy walked away the book was on the floor. Tonight I decided to chuck the newest book into my purse for later use as toilet paper (you know how parties are). Wow I was ready to have some fun any time now - so I headed for the bathroom. Nope no toilet paper. Into my purse I dug. As I pulled out my Pop Defect “Dead Men Don’t Walk” booklet, it hit me that someone was actually trying to go out of their way with their band, and do something fun. So I glanced through the booklet and read this... “The Awful Truth: Most people love to yell at others for doing the same stupid shit they do every day.” Holy cowabunga, life just smacked me upside the head... while I was on the head! (Boy that’s heavy!) Now off and out to see Pop Defect. Yep they were poppy jump off your seat rock. Toast and Greg Tulip and I made a slight scene running around in front of the band, but we all had a great time (for the four songs that I saw). It was getting late and my carpoolers were hot to go to this weeks Acid House called SEX (Sin, Evil, and X). Let's just say I didn't enjoy myself here, and I will NEVER go to one of these again. I wouldn’t want to drag down my Pop Defect night by mentioning any more about the Acid thing.

Hubert Selby, Exene Cervenka, and Henry Rollins

A night of spoken word at “Macabes’’

Review by Sickboy

Hubert Selby wrote the book “Last Exit To Brooklyn’’, a book that was banned in England and he tours extensively with Henry. His lovesick poetry was not for me but I still want to see the movie. Exene came down and went right for the jugular, the changing dark and moody light complemented her stories. Her final one about not selling your soul was great and should be heard by more people. Henry was in classic form onight, his delivery was excellent, fresh and funny. His true stories are always interesting and never boring. He went on about impotence and finished with an inspiring story about “The Immortal” finishing by saying, “The world sucks but you have to try." Words to live by!!

Anus the Menace, Paper Tulips, Slash 44, TVTV$

May 5, 1990

At Cinco De Mojave, in the desert

Review by STF

Somehow - somewhere I came home with this little flyer in my hand that gave directions to a Cinco De Mayo/Mojave show. A gig out in the middle of the desert-WOW! I asked around before I took a half a days ride out to the fucking desert, and sure enough, Al had the scoop. Paper Tulips, Anus the Menace, Slash 44, and the TVTV$ on a generator in the desert. So here I go Saturday morning as designated driver, with Johnny Anus and his Visine bottle, Al and his funny paper, Joy and a cooler full of beer, and me with my big bottle of red wine... all just aching to have fun. The caravan of four fully packed cars were on their way, with desert directions reading: “When in the desert drive 3.4 miles then turn right at the orange cone.” WHAT FUCKING CONE??!! We’re out in the middle of the fucking Mojave, and were searching for an orange cone that doesn’t even exist! Somewhere along the 3.4 mile range we turn right. Joy is directing Al (who is driving through the pucker bushes and cacti) by hanging out the side of the car window. This was a very dangerous feat considering the fucking rednecks were in full shot gun force. Yeah, we found it! Don’t ask me how. We set up the tent and were ready for action.

The bands started off with Anus the Menace. What can you say about Anus that Flipside hasn’t raved over already? More! ATM rock n’ roll with lyrics to cry over, drums to conk your noggin, and guitar twangs to pierce your heart out And they actually play around a lot. Johnny was in top form tonight, slurring most of the words, and forgetting the rest... but hey, its still Anus. Half way through the set, the generator was stalling I guess it couldn't handle all that power at once. Next up was the Paper Tulips. By this time my red wine was getting low, so I have to tell the truth, I only saw about four songs of the Tulips. Since my first taste of the Tulips was one of their first times on stage, I can assure you that they have now brought all that energy and practice time together to wail out some ear piercing vocals and smooth rocking instruments. As I was watching them from afar, somehow they blended into this Punk/ Hardcore slam a thon. Wow- what happened? It turned out that I can’t remember about an hour in which the Paper Tulips ended and Slash 44 started. Lots of this bands friends showed up in full slam force. Great fun for them, but I was to busy trying to find someone to hold me up. I did stumble over to see the TVTV$ play three songs before the cops came. As Blaze (lead singer) was singing the lyrics, “I’d rather fight, fight than quit...” the piggies told them to quit. So much for fighting eh, TVTV$? You must go see this band soon, (if they ever play) because those men can never seem to keep their pants on for long. As the desert was spinning all around me I decided it was time to hit the tent... before I hit the dirt.

Johnny and Al woke me up about 4 am to gaze at the stars (too much smog in LA to ever see actual stars), and to remind me to... “Leave the drinking to them!” Then about 6 am Johnny decided to wake everyone up with his Jimi Hendrix guitar solo... amplified at extra high! WOW! Well, we all packed up and drove home... since I was the only one that slept, I drove and everyone else slept.

Where the Wild Things

at Dorothy Chandler Pavilion, then…

The Offspring

June 16, 1990

At Raji’s

Review by Joy

This is an opera review, that’s right OPERA! Just because I prefer to hang out in scummy bars in Hollywood doesn’t mean I’m immune to the more sophisticated things that money can buy. Yeah, occassional trips to the theatre or opera can be very... educational. “Where the Wild Things Are” is a famous children’s book story by one of my favorite illustrators, Maurice Sendak. If you’re not familiar with the story, it’s about a young boy named Max, who is sent to his room without supper for tearing up the house dressed in a wolf costume. In rage, he imagines that his room is transformed into a forest and he sails away in a boat to the land of “where the wild things are”. The nine-feet tall wild beasts make him their king as he leads them on a “wild rumpus" until he realizes that all the anger has left him and that what he really desires is to be home in bed with a full stomach and the love of his mother.

The costumes were superb and the set was designed by Sendak himself, so it captures the essence of what the original book conveyed; Max’s savage beasts, his moonlit boat ride across an ocean and his room being transformed into a forest (Bedposts rise and bloom into trees and walls become transparent as they disappear into the night.) A real treat and one of the few operettas I’ve seen that translate well for both adults and kids.

I went to the opera with Mr. Brett Religion and Tony Adolescent and various escorts and since the show was over fairly early, we all headed down to Raji's to see the Offspring and Big Drill Car. The Offspring were in good form tonight. While I have previously remarked that they take a lot of influences from old TSOL, what I saw them do took them farther past what TSOL did with “Abolish Govt.” Musically more tighter, they still have that spunk of ’82 punk bands but more importantly, they have that total punk rock attitude in their songs, complete with Mr. Bush and other political topics in them. TSOL may have been something in their heyday but when you look at all the SHIT that the original members are doing now, the Offspring are a current reminder that the spirit and style still go on and that that creative process is alive and wed. Big Drill Car was next but I was feeling sorta sick so I went home.