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“New Blood” is our weekly feature spotlighting new bands from around the world! See below for info ...

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Maximum Rocknroll #390 • Nov 2015

It’s time for Maximum Rocknroll #390, the November 2015 issue! On our cover: AS MERCENÁRIAS, ...

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Reissue of the Week: Disclose

Reissue of the Week: Disclose

DISCLOSE – “Yesterday’s Fairytale, Tomorrow’s Nightmare” LP This is a monumental record, even without considering its ...

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MRR Radio #1472 • 9/27/15

Dan digs through the new bin once again, and guest DJ Liz revisits the last ...

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Read a Book! A Wailing of a Town

Read a Book! A Wailing of a Town

A Wailing Of A Town: An Oral History of Early San Pedro Punk and More Craig ...

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Record of the Week: No Form

August 11th, 2015 by

NO FORM – 12”
I must sound like some kind of sycophantic anglophile the way I’ve been raving about UK hardcore lately, but something is really happening over there. Apparently this thing that is happening is not limited to any particular major city, but is happening all over the island. I have been told NO FORM are from up north and maybe the cover photo is indicative of exactly where. Either way, this is a band after my own heart. I’ve seen reference made to certain hardcore bands alongside certain early industrial / post-punk bands I hold in the highest esteem, but really all you need to know is that this record is a complete fucking beast. The A-side contains four quick stompers accented by noisy effect-laden guitars and off-kilter rhythms while the flip is a side-length filth-dirge that really hits the proverbial spot. Just a two-note bass plod accompanied by manic guitars, pounding drums, cavernous rantings, and a mutilated saxophone. This is not for everyone, but those who are prepared to dare will be rewarded with endless delights. (Jon Kortland)
(Muscle Horse / Reagent)

Record of the Week: Power Masters

August 4th, 2015 by

POWER MASTERS — “Home of the Grave” LP
This month’s Mystery Record: no one knows when it got here, no one knows who assigned it, and even midway through listening to it I have no idea what it sounds like. Maybe a David Yow impersonator fronting the bar band from “Roadhouse”? I haven’t seen that film with the sound on in a while, but imagine actually that there are two bands on opposite sides of the room trying to play the same song from memory after not practicing for six months. That’s not meant to be a diss. There is definitely a laid back, behind the groove feel that they’re going for here. Equal parts swagger and self-awareness were poured into this particular rum drink. I don’t know if anyone should be allowed to name a song “Come On Feel This Noise”, but POWER MASTERS certainly did. It has a few cool PENTAGRAM as played by thirteen year-old garage band style riffs, linked by “Shreds”-vid quality interludes (that’s a compliment). I feel like this recording doesn’t capture the vocalist’s delivery as well as it could though. He can manage the swing between atonal deadpan and desperate howl well enough, but some lines kind of fall flat. No moments are really going to get stuck in my head here, but that’s probably not the point. I don’t know if there’s a one big track here that’s going to make my ultimate drinking-in-a-parked-minivan-outside-the-club-after-losing-the-keys mixtape (strictly the EXECUTE and TANK), but a few are weird, loose, and heavy enough to plead their case. I do kind of want to see this band live now that I know they exist, so if I ever swing by Providence I will bring a jug of Malibu just in case. (Eli Wald)
(Surveillance Investments)

Record(s) of the Week: Violence Creeps

July 29th, 2015 by

VIOLENCE CREEPS – “I’m Broke/Gridlock” flexi
         “I’m Broke” is one of those songs that is so immediately catchy, punk and destroyed that I thought it was a cover song. The band lurches through two chords while their singer Amber screams her fucking head off about all the shit she can’t afford. The band ramps up their energy through the two paltry minutes of this ripper until it’s on the verge of falling apart. It has an instantly classic sound that feels pure and raw in all the best ways. Without a doubt, it’s easily one of top five favorite songs of the year. That’s a hard act to follow, but “Gridlock” is also a ripper about being stuck in traffic. VIOLENCE CREEPS is lurchy, slow, destructive, pissed-the-fuck-off and perfectly raw. The soundtrack to losing your goddamn mind. This flexi (the worst format, my only complaint) comes with issue #16 of Degenerate magazine. (Greg Harvester)

I don’t know what to tell you. Yesterday I woke up, ate a shitty fucking West Coast bagel (masochism rears its ugly head), sat down at this computer and didn’t stand up except to piss and refill my coffee for thirteen or so hours. This music is the soundtrack to that. Today I went to my low-paying job and my boss bought me lunch at the organic taqueria that is probably owned by white people and there was some sort of Instagram photoshoot going on involving fish tacos and a hot pink longboard and this was the soundtrack to that. Tomorrow I have to get up at 5:00 a.m. and get on a plane to Minneapolis to see my family which will be nice but we will probably get in a fight over my new finger tattoo and someone will get too drunk at dinner and we’ll all feel terrible about it but it will also be kind of funny and this will be the soundtrack to that. Last night I had an unending stream of maddening interactions with a series of punishers and this was literally the soundtrack to that. It was the record release show for this fine platter in the basement of a completely mystifying club and if you live in the Bay Area and you weren’t in attendance, you’re a poseur and a loser and an idiot. Too strong? I don’t care. Fuck you. This is the best band in the Bay Area. They make me wanna flip over tables and punch people in the face, but they also make me laugh like a maniac and wanna hang out and make weird art with my friends. It’s funny, it’s intelligent, it’s infectious and instantly classic. Watch the music video for “On My Turf.” You’ll get it, if you’ve got eyes and ears and a semi-functioning brain. Watch it. Now. Do you get it? Who needs John Brannon when you have Amber? There’s acoustic guitar and sax freakout and bass skronk and slow FLIPPER-esque sludge but also good old fashioned ’core and hooks for days. (“Drop Out,” you’re moshing!) This is a band that is getting better with every release and this record finds them at the peak of their powers, powers that don’t look quite like anything else out there. For fans of the “catchy-but-weird” hardcore du jour:if you like it tougher, meaner, smarter, catchier, more depraved—you’re a punk, right? So the answer is yes, right?—get this. Wake up, sheeple. (Grace Ambrose)

Record of the Week: NO

July 22nd, 2015 by

NO – “Treating People Like They Don’t Exist” MLP
These Londoners have really outdone themselves this time. While I whole-heartedly enjoyed the self-titled 12” on Static Shock, this record is definitely the next level. The recording here is much akin to “the lunatic ravings of a one-off man-mental!” Somehow the guitar has this brittle clean tone clarity while still being completely overdriven. The bass and drums are heavier than an anvil dropped onto a baby grand and still retain precision and punchiness. On top of all that is this completely feral, animalistic, snarling vocal. All of this alone would make a good record, but it is the totally inventive songwriting that makes this a great record. One more reason UK hardcore is back on the map…with a vengeance. Do yourself and your neighbors a favor. (Jon Kortland)

(La Vida Es Un Mus)

Record of the Week: Downtown Boys

July 15th, 2015 by

DOWNTOWN BOYS – “Full Communism” LP
This is a seamless melding of so many punk touchstones. It’s X-RAY SPEX raised on hardcore and these saxophones (double fucking saxophones!) sound so LORA LOGIC and the rage in every moment is palpable and focused. It’s cathartic and faces the worst a capitalist, racist, sexist, classist (and so on) society can shit onto the world and finds joy in the action of confrontation and discussion and standing up for shit. The world is bleak and the subject matter of these songs is bleak but this record definitely isn’t bleak. This manages to be triumphant without being anthemic and heavily opinionated without being preachy. The lyrics fluctuate between Spanish and English, there are moments that speed up to breakneck paces and then moments that have enough space to dance in, cherry-picking the best sounds of punk and blending them into something purely exciting. This record is incredibly fucking good, an undeniably perfect punk record. (Marissa Magic)
(Don Giovanni)