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Create to Destroy! Loud Punk

I met Chris when I was with Perdition on a small Montreal/Albany tour in 2010.  ...

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Record of the Week: C.C.T.V

Record of the Week: C.C.T.V

C.C.T.V – “Quiet” EP The coolest record of the year so far at least to these ...

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2 METRIC TONS OF STEEL, 100 KILOMETERS AN HOUR: Permanent Ruin on Tour in Europe

San Jose's Permanent Ruin recently went on tour in Europe. Drummer Rich Gutierez wrote an ...

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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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Spokane, WA

MRR Radio #1467 • 8/23/15

Big ups to SK & Kip and 1990s Spokanarchy on this episode of the Rotten ...

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Record of the Week: C.C.T.V

August 25th, 2015 by

C.C.T.V – “Quiet” EP
The coolest record of the year so far at least to these ears, total nervous frantic post-punk created in the furtive fertile NW Indiana scenery…The songs are tightly wound fraught invocations of the indignities of modern life, anxiety and paranoia, everything sounds like it was recorded on a boombox at the wrong speed adding to the strange feeling of otherworldliness, like walking through a dead mall full of fake plants and broken ideas. It’s perfectly retro, really sounds like a recently excavated secret basement from the 1979 New Wave/punk collision, but it’s from now, and is fresh yet eternal. The sputtering drums and stumbling bass with that sick dollar store guitar sound, while the coolest vocalist lists her demands and concerns. It’s just so fuckin rad, like SU TISSUE fronting DEVO at their most hardcore…I think it sold out, but a repress is on the way. (Layla Gibbon)

Reissue of the Week: 92 – “Cenzura/Cukrarnar”

August 19th, 2015 by

92 – “Cenzura/Cukrarnar”
The travel back in time continues! Next stop: Ljubljana, Slovenia circa 1978. Like many bands from former Yugoslavia, 92—who get their name from the police’s phone number, the equivalent to 911 in the US—fuse new wave sounds with reconstructed regional and traditional musical elements, all filtered through punk with a keyboard twist. 92 were informed by, but not dependent on or limited to, bands such as the CLASH, SEX PISTOLS and STONES, and concepts such as nihilism, Dadaism and social critique. Their logo of the number 92 inside a triangle charms and perplexes me despite its simplicity. This results in upbeat tracks with layers of choppy and grazing guitars, dancey drums alongside swelling bass, and soulful, raw organ riffs haunting the whole thing. The lyrics are critical and sharp. “Cukrarnar” (“Sugar Works Man”) tells the story of a “raged vagrant on the street […], he’s dirty and full of trash, in sugar works every night he spends, but then he wakes up on the bench.” “Cenzura,” which discusses the issue of state censorship, is slightly darker, with its dense opening riff and staccato keyboards. “Basically you corrected everything on your own.” The keys are wonderfully expressive, tying this whole concept together in a unique manner; at times sounding almost like a child’s melodica, at others more like a breezy church organ, or carrying the frenetic beat in an almost accordion-at-the-fair fashion. Their collected works LP, which was released in 2013 also by NE! Records and reviewed in these pages, is definitely worth checking out if you have an interest in early European punk, but this 45 works as an excellent introduction to this extraordinary band. Two tracks that are equal parts vibrant demonstration as they are creative exuberance. As always, comes in a beautiful packaging, with lots of pictures and translated lyrics. Check out their interview in MRR #378 and hvala NE! Records for doing such a great job! (Lydiya)

Record of the Week: Andy Human and the Reptoids

August 18th, 2015 by

“Reptoid Rock Revenge” is the motto on the collage/lyric sheet. How and by whom were they slighted? The answers may be in Fortean Times rather than these pages. I, however, can tell you that so much of what makes this record great could have gone terribly in lesser hands: saxophones, synthesizers, rhyming “insides” with “intestines”. It all comes together in the hands of ANDY HUMAN, rocker and composer. Some tracks toe the line of Boogaloo palatability, but there’s an attention to detail and careful application of sheer noise all over here, the watermark of a dedicated stylist. The production here is polished enough to let the static and atonal saxophone-wailing stand out. High fidelity recording works to a band’s favor for once. Then again I seriously think the internet-using public would flip out if this was recorded on a Tascam 414 and if everyone in the band was 5-10 years younger. Perhaps the world will appreciate this record after all, though we know too well how cruel America’s tastes and ultimate fate can be. But seek out “I Got Soul” if you need a sample; rarely since Rock’n’Roll Animal have punk desperation and glam virtuosity come together in such a frothy eruption. I’d buy seven copies of this record if I could afford it, but I can’t. Anyway, this record is one of the two most assertive statements on having no money in the city to come in this month. Some react to late capitalism in urban America by withdrawing; some stick around to try their hand at outplaying, outsmarting, and outlasting the suddenly very late night. Hand them the keys to the studio. (Eli Wald)

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)

Reissue of the Week: Blitzkrieg

August 5th, 2015 by

Croatia, our distant love affair continues! Underrated, shambolic protest punk from Zagreb. BLITZKRIEG formed in 1984, then a year later recorded their four-track demo in two days. All four are on this nice slab of wax, and fuck if they aren’t all really good. The recital intro to “Apel” (“Appeal”) from the bleach-blonde, leather-clad singer is giving me chills—it’s annoyed and determined and snarky and passionate. “This is an appeal to reality.” A rockin’ riff rolls in and the gritty mid-tempo has me sucked in. The singer is kind of dragging his voice, sniggering between lyrics, while the guitars are kind falling apart in a warm wave of basement fuzz. “Tko je kriv?” (“Who is to blame?”) is a certified jammer, with its chopped up guitars and impatient vocals: “Who is to blame for the quiet agony of society?” All tracks have been remastered but I enjoy the graininess to this recording; it’s so analog and intimate, it adds character and depth, of which they already have ample. Comes with translated lyrics and cool pictures—some seminal Yugo punk! (Lydiya)