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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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Top Tens from MRR #388 • September 2015

By popular demand, we present our reviewers' Top Tens from the current issue of Maximum Rocknroll! Here are ...

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Record of the Week: Basement Benders

Record of the Week: Basement Benders

BASEMENT BENDERS – “Native Tongues” EP Sometimes when you hear that a handful of your favorite ...

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Monday Photo Blog: Sergey Seregin

Sergey Seregin submitted some pictures from this summer's Raw Fest in Moscow for this week's ...

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MRR Radio #1468 • 8/30/15

This week MRR Radio and Rob bring you a covers-versus-originals battle, a label spotlight, '60s ...

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Record of the Week: Basement Benders

September 1st, 2015 by

BASEMENT BENDERS – “Native Tongues” EP
Sometimes when you hear that a handful of your favorite music-makers are joining hands and starting a new band it turns into exactly what you wanted to hear and it’s fucking fantastic. Sometimes, as we all know, it’s embarrassing and unspeakably bad. This record is great! Sorry for the scare. This has members of SEXY, HIDDEN SPOTS, THIS BIKE IS A PIPE BOMB, TULSA, FUTURE VIRGINS and (as you probably guessed) about a thousand other amazing bands from Chattanooga and Asheville. For the abundant haters of region rock around here, I think this is a good spot to try to get your head out of your ass. For the lovers of the genre, well, you probably ordered this EP long ago. I heard about this band and I checked out the demo on that little internet thing that everyone is doing. To be honest, I just didn’t get the hype. I thought maybe I was biased and maybe butt-hurt and bitter, but these re-workings are really fucking great. Angry, pretty, rough, tight, and well thought-out. The first song might be my favorite song I’ve ever heard Ashley play, and I already thought he was embarrassingly good. Get it! (DZ)
(Drunken Sailor)

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)

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)

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)