The following review was written before the news of the Micronotz break-up had been announced. but it still applies to their upcoming album.
MICRONOTZ
"Forty Fingers"
(L.P.-Homestead Records)
After three albums, two EPa and over five years of playing, it looks as if the Micronotz are finally about to hit pay dirt. The band continues to improve with each recording and their third album, Forty Fingers, is no exception. Available at record stores in March, Forty Fingers should put the Micronotz in the same category as The Descendents and Toxic Reasons as far as popularity goes. It's that good of a record.
Since the demise of the Embarrassment the Lawrence-based, four-piece Micronotz have become the best and best-known underground band in the Flatlands. Their regional shows draw large crowds; in Lawrence people return to watch them again and again, just as they did with the Embarrassment during the early '80s. Local fans can't understand why the band hasn't received more recognition on a nationwide level. Perhaps this excellent record, on a new label, will get the band the attention they deserve.
During the last five or six years, the band has grown from a high school garage band into a heavy-hitting, fast-paced, high quality, gut-wrenching power band whose unique sound is difficult to describe. P-O-W-E-R-F-U-L is about the only word that can describe the band and the record.
All types of fans of high-energy rock 'n roll should be pleased by Forty Fingers. It has that unique quality that made nearly everyone like the early Husker Du and Replacements recordings.
The record is cleaner and more refined than previous Micronotz material. Many who have seen the band live may think the record is too refined and somewhat over produced. And in fact, the band does sound somewhat different on Forty Fingers than it does live; guitar and vocal overdubs are used more frequently than on earlier 'Notz recordings. But the overdubs tend to make the music more complex, adding to the power rather than subtracting from it. Those who have not seen the band live won't notice anything unusual and those who have will appreciate the increased complexity and clarity, although they still won't be able to clearly understand Jay Hauptli's growling, Motorhead-style vocals. That's just the way he sings. Any more production would be too much, however, and it's to be h oDed that the band doesn't keep adding more and more production tricks with each successive album.
USDA Grade-A Prime Cuts on the record include a humorous cover of "Scarborough Fair" that will have the hippies retching, "Carnival Freak Show," "Push It Out" and "Pay Your Bill." Over all, Forty Fingers is a great record that shows how good this band really is. If a band of this quality doesn't get some attention with a record of this caliber, then either their fans have no taste and the band isn't really as good as we think they are or else there is something drastically wrong with the world of underground music. I have a hunch that if the band doesn't get some recognition this time around they'll throw in the towel. Why should they waste any more time, money and effort?
--Marc Coan
BROMPTON'S COCKTAIL
"Nothing Succeeds Like Excess" (Cassette--King Trash Music)
Rising from their grungy roots, Lawrence's Brompton's Cocktail has turned out an excellent release here, with very strong production (done by John Harper of the Micronotz) and some really cool songs. It's sort of an "early American Punk" type of sound (comparisons to the New York Dolls and the Dead Boys come to mind), and it comes across very well. The band is now minus second guitarist Kelly Bradford, with Kurt (Drunken Debaucher) Mangold still playing guitar and doing much of the vocals (although I hope they let Rob sing more often). They continue to be thoroughly enjoyable live, with their sound remaining pretty much the same, if not better as far as song-writing skill goes. Favorite songs include "Serf's Up" and "Both Bags."