Videos of the Week: Leningrad punk pioneer Svin

July 3rd, 2014 by

To go along with the piece he and Tommy Dean wrote in the new issue of MRR, Alexander Herbert sent us some videos of Leningrad (St. Petersburg) punk progenitor Andrei “Svin” Panov. Pick up MRR #375 for an in-depth look at the life and work of Svin…

Svin (photo by Valery Potapov)

Svin (photo by Valery Potapov)

This is one of our personal favorites. This is Svin in the middle of a set expressing his typical indifference and distain for his role as a “punk rock icon” by singing one of his songs on an upper balcony behind bars to the crowd below while they are piling out like sheep. The lyrics he is getting them to chant go like this:

The bullet flew, hit me in the chest
But I saved on a spirited horse
Commissioner got me with a sabre
Bleeding on the horse I fell

Hey, my black horse!

Hey steel rifle!
Hey, dense fog!
Hey, dad, chieftain!

Without one leg, I came from the war
Tied my horse I sat my wife
But soon came to me Commissioner
Unhitched the horse and stole my wife

Its important to note that his song is very down-trodden Soviet-esq in that the words are old, but it deals with the Commissars. Andrei “Svin” Panov singing the “Comissar” acapella, written by Mikhail “Solidnyi” Tinkel’man. Video used with permission from the AU and Svin digital archive at

AU at the 6th Leningrad Rock Club Festival, 1988 with Valery Marozov, Evgeni Titov, Dima “Donkey”, and Andrei “Svin” Panov, 1988. This is a classic, guys, in which Svin plays with his two bands, AU and then Arkester AU (АРКЕСТР АУ) later. It’s a stadium setting, so his interaction is limited, but he still unbuttons his pants :) Used with permission from the Svin and AU digital archive at

Arkester AU At the Zenitovskii Festival #2, Club “Jam” St. Petersburg, 1998. Used with permission from the Svin and AU archive at


Create to Destroy! The Katacombes

June 11th, 2014 by


Janick Langlais was willing to take time to answer my questions about the Katacombes in Montreal, the venue she is a part of. I’ve looked up to Janick since seeing her band AFTER THE BOMBS when they played a Crust Massacre gig in Brooklyn years ago. Shortly there after I wound up in Montreal at her fest, A Varning from Montreal II, which was a blast! You may know her from her slew of previous bands, prior venue work in Montreal, her annual A Varning from Montreal fest, or her most recent band where she was singing in TRUNCHEONS. Whether you know her or not, she is worth knowing. Here is Janick…

Where are you from?
I’m from Montreal, Quebec, Canada

What was the first punk show you ever went to?
BARF (Blasting All Rotten Fuckers) and a bunch of other local bands in a high school basement back in 1989 with my sister.

anasazi stage dive on janick

How did you start booking shows?
I started booking show when I started L’X, my first venue in 1998, but I was already singing in bands for a few years prior to opening L’X, so I knew the basics of booking shows and when I joined Led By The Blind in 1998 I had the chance to put my skills to the test by booking my first US tour… and totally by telephone!!! It’s probably hard to picture today with the internet and all…haha.

Have you ever gotten shit for being a woman or had people not take you seriously because of this?
Well, I was lucky to have been “punk raised” in the ’90s where values were shaping our daily lives, not fashion, and guys in the scene were making more room for women to participate in building the scene. I was also lucky to be involved in a collective like L’X, surrounded by great friends and people that were (some still are) in the scene at the time. There were not really any women booking shows back then, at least not that I was aware of, so I kind of learned on the spot observing people that were involved booking gigs.

So, yeah, I don’t remember getting shit because I was a woman, but I guess I might’ve felt a bit apart and sometimes like some people were not taking me very seriously — but these people are long gone today, ha! Also, being part of the scene, being myself in a band and knowing a lot of people already made it easier, I guess, because people knew me. The one thing that was annoying I’d say was that with my name people either thought I was Yannick from Tragedy or that I was a guy, anyways (with my hoarse voice) hahaha…

When did you start a venue?
After travelling and living in Europe for a year I was really inspired by the punks and the DIY ethics and how they were organizing their own gigs and such. So when I came back to MTL in 1997 I got back to getting involved in a project of putting up a live venue, a project I started before leaving for Europe in early 1996 with a dozen of friends. The venue was called L’X (like mentioned above) and we opened in May 1998. We ran it until we got kicked out by the University in 2004. Then I continued with my friend Claudie, who was also working at L’X, and we wrote a business plan and all that jazz — it was pretty intense. After two years of hard work we were ready to finally open the Katacombes, which we did on November 3rd, 2006.

kamikazee screammmm and crowd color

Was it always where it is now?
No, we got kicked out again in the summer of 2009 (the story of my life, haha) by some real estate promoters who wanted to gentrify the area. We found another space a couple of blocks north of the old location, which was a good thing ’cause it really wouldn’t have worked out to be pushed away, let’s say, in the east part of town.

How does the community support it?
Since the community knew us from L’X, most of the neighbors were okay with it, but there were other people that weren’t too keen about it. We had to do a bunch of meetings and even radio interviews to talk about the project and smooth out stupid prejudices and fear of the punks opening up a new space downtown. It was a hard battle but we did it and now even the cops like us because there never were any problems…not bad for a punk venue…haha!!! As far as the punk community is concerned, I think people are happy to have a space they can relate to and that understands and welcomes them without prejudices and that sounds good.

Do you hire punks?
Punks mostly, a couple of metal heads or people with similar values, but 98% are punks!

How did you get the money together to start your own business?
Claudie and I didn’t have a penny of course, haha, so, like I said ,we had to write a business plan to get some financing from the city and we also got a loan from the Canadian Foundation for young entrepreneurs.

Is it stressful? What’s it like having to deal with government permits, etc?
Yeah, it was stressful because you never know if you’re going to be granted the money or if you are doing all this work in vain. But most of all we felt like we were getting a bit too deep into the “machine” dealing with legal stuff, permits, government representative, city officials and all. But we told ourselves we knew why we were doing it and we came to the conclusion that the results were more important than the way to get there. Don’t get me wrong though, I don’t think we “sold out,” at least to me we did what we had to do to have a space of our own and keep putting up shows and keep the punk scene alive and I’m damn happy we did. I have to mention that Katacombes is a working co-op so it made it a little easier to get financing than, let’s say, a private enterprise.

What events do you host at the club?
We mostly host shows anything that’s alternative and underground so punk, metal, goth, deathrock, post-punk, alternative rock, electro, industrial and some folk. We also host a few DJ nights, like POMPe Night, which is a queer electro/disco/punk night every month, as well as MINIMALE Night, which is a minimale/synth/post-punk/deathrock night that is also a monthly event. We even have stand-up comedy shows once in a while.



What bands have you been in?
My first band was TEMPER TANTRUM (1993, NYC – all girl band, we didn’t last long enough to play shows), 86’D (1994, NYC — also all female band, I replaced Tamika for a year or so then moved back to MTL Kendall took over the vocals), FIERCE (1994–1996), PCP (1997, Holland), LED BY THE BLIND (1998–2000), HELLBOUND (2000–2004), AFTER THE BOMBS (2004–2008), TRUNCHEONS (2011–2013)…to be continued

Any good new bands in Montreal (besides SEX FACE)?

Tell us about Varning….anything in store for 2014?
A Varning From Montreal Festival is a festival I put on for the first time in November 2007 to celebrate Katacombes’ first anniversary, and it became an annual festival. I really wanted to bring more international DIY bands to Montreal and make it a crazy weekend where everyone from around the globe that you know would be there and we’d all hang out together! Varning will be back again this year in November, precisely on the 6th, 7th and 8th, but the line-up is not 100% confirmed. But I can give you hints: there will be bands from Japan, Italy, Usa, Canada and Mexico. Keep your eyes open for the complete lineup TBA very soon that will be put up here.

What advice do you have for people thinking of opening their own venue?
First of all make sure you do not mind not having a life..haha… but seriously, it takes a lot of passion and time and dedication to run a venue and if this is a hobby it might not be for you. Second, I’d say try to find the best location and cheap rent (which is hard to find), be patient and make sure you can get all the right permits at the location you want to establish your business. Get well informed on different structures available (non-profit, coop, private business). Also, make sure you have the right competences, if not learn the basics and/or surround yourself with friends or people that do (e.g., accounting, financing, booking, promoting) and believe in yourself…because anything is possible!!!

How can we stay up to date on Katacombes?
You can follow us on Facebook through our page at COOP KATACOMBES or you can visit our website:

Any last words, punk?

Create to Destroy! Will Kinser of
No Options/New Dark Age Records

May 14th, 2014 by


Will Kinser is a name I’ve heard tossed around in the punk scene for years. He’s released records for many punk bands under New Dark Age Records and No Options Records. He traded Oakland, California, for Hamburg, Germany, and I thought I’d catch up with this expat for all you punks out there, and find out why he released records in the first place and what advice he has for anyone wanting to start a label. Here’s Will…

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Who are you, what bands have you been in and how’d you wind up in Germany?
My name is Will Kinser and I come from among other places like Oakland, California, not to be mistaken for the rest of the USA, which is far too vast to pigeonhole under one cultural bias. I release records under two labels: New Dark Age and No Options Records. Bands I was/am part of… Hmm, let’s see… NO OPTIONS, BORN/DEAD, DESOLATION, IN THE WAKE OF THE PLAGUE, DOPECHARGE, SUICIDE BOMB, RED DONS, and NO MORE ART. How I ended up in Germany is a long story, but the short version is that I wanted to live abroad, to have the experience of living outside of the USA. I’d traveled to Europe many times before, and just ended up here because of logistics and wanting to live near good friends and have some fun times.

How is punk different in Europe versus the US and different in Germany as opposed to the rest of Europe?
I could write a book about the differences. Europe has a totally different flow than the USA for starters. Everything here is slower and older, and therefore more thought-out and consistent. The show spaces here and network have been developed over decades and are well organized and well funded. Europeans in general are more stable in their friendships and with their lifestyle, so you get people who are still going to shows and being involved that are 50+ years old here. The downside of that, because punk is fun when everything is fleeting and chaotic, I find that people take things for granted. The scene isn’t as alive and evolutionary as in the USA. I guess it comes down to culture and the fact that people get away with a lot in the US that people here would be held accountable for. Like, say, a house show probably wouldn’t take place in a major city in Germany because for one thing there are mainly only apartments, and everyone has neighbors and would have to pay huge fines for noise complaints. In my opinion, the biggest drawback here is that not so many people play music, and if they do it is mostly just a hobby, so you don’t get the quality or urgency of bands like in the US where music is a way of life and it takes precedence over most other things like jobs, housing, and general security. Of course Scandinavia is the exception because the beer there is way too expensive, so all there is to do after work or school is to play music. Germany is very different than the rest of Europe in that everyone here is taught to be a citizen and to achieve social security and to be an active participant in the social system from birth. People are very stressed when everything isn’t going as planned. It comes down to everything being a bit regimented, even in the punk scene. I find in other countries in Europe, especially the southern countries like Spain, Italy, and Greece, people are more laid back and let things slide, and I like that. But there is no work there for a foreigner like me…shittay.

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Any good punk in Hamburg or Berlin these days?
I live in Hamburg, and yes, there are some good bands in Hamburg and Berlin. Some of my favorites in Berlin are MODERN PETS, FLUFFERS, DIÄT, BLANK PAGES, JEMEK JEMOWIT, PIG//CONTROL, MINUS APES. Here in Hamburg: KÜKEN, YARD BOMB, INSTINCT OF SURVIVAL, MOUNTAIN WITCH, AUXES, OMA HANS.

Where are your favorite records stores and venues in Berlin and Hamburg?
Berlin record stores: Static Shock Records, Bis aufs Messer, Vinyl-a-GoGo. Venues: Kopi, Kastanienkeller, Bei Roi, SO36, etc.
Hamburg record stores: Fischkopp Recordshop, Burnout Records, Freiheit und Roosen, Crypt Records, Championship Records. Venues: Hafenklang, Gangeviertel, Gun Club, Komet, Rote Flora, Molotow, ect..

What was your last release?
THE WAR GOES ON This Shitty Life EP

It’s been a few years, are you planning on another release?
I was supposed to do THE WAR GOES ON album but those dudes are so fucking lazy…haha. I don’t have something planned at the moment as I am perpetually broke, but I’m sure something will come up. I might do a release for FLUFFERS if they aren’t too busy courting indies like Captured Tracks or In the Red. There are literally tons of bands I would love to release (mainly in Scandinavia and the USA), if I just had a bit of money then I might even ask them.

Are you satisfied with the releases you’ve done?
Between the two record labels, New Dark Age and No Options, I would say I am extremely satisfied. Of course there were a few flops over the years but I think that happens when you operate on a DIY scale and you release stuff for friends bands, or bands that aren’t really striving for success as much as artistic freedom. Twenty-six releases is pretty good for someone who doesn’t take it that seriously.

Do you think you helped punk by having a label? I personally view anyone who has a label as being a contributor to punk because you are supporting bands, working with distros, and keeping punk alive…
I don’t know if I helped punk so much as it has helped me. I get just as much if not more than I put in, which is the reason I always want to do more. The punk scene, although imperfect, has helped guide my life, for better or worse. The music is always with me and the philosophy has made me the person I am today. I am proud to have been involved in the productive side of punk.

So, why did you start a label in the first place?
It was a necessity when we were young to put out our own bands records, but I quickly made the jump to releasing friends’ bands, due to the initial success of my first releases. It was a fun way to be active in the scene. Also, I am a collector so running a label definitely has its perks.

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Has it gotten easier or more difficult to release records over the years?
It has gotten harder because the network has broken down, in my opinion. It is no longer cost effective to ship records overseas. Trading is a waste of time if you don’t have the means to transport a distro from show to show, or have a website. The record market has shrunk due to downloads as well. Maybe I have also grown tired of fair-weather fans? When something is popular, then it sells in a week. The next week the next band is popular and they have moved on. I release records which I feel will stand the test of time. I would like it if I could keep my records in print, but it’s nearly impossible these days with the market. Also I have to say I haven’t given it my all with the label, I always have focused more on my own bands and touring, but I still hold all the releases dear to my heart. It has been a long and bumpy ride for me, with some fallouts with bands and other labels, but I have always done my best so I won’t get too critical on myself. Some of my releases have been taken over by other labels because I don’t operate on a consistent level and can only move forward with releases which I am very pleased with for the most part. Although, consent is always a nice thing when you re-issue a record that was previously released on another label that spent a lot of time and effort on it.

Are the pressing plants and sleeve companies you first used still around today?
By in large they are. I started with United Record Pressing and they are still going strong. Bill Smith was my favorite to work with in the USA — nice people and a family business. Pirates Press does a great job, but I’m not a big fan of DMM mastering, and they are a bit pricey in my opinion, even though it’s sort of a one-stop shop which makes life easier. These days I press EPs at My45, which is a one-man operation, so far as I know, based in southern Germany. I press LPs at Green Hell, which I think pieces them out to other plants, but they are super pro and always concerned about the final product and small details. They have super great prices in my opinion, and are easy to work with.

Any real headaches releasing records?
My least favorite thing is the expectations of some people. It’s not like I have some publicity wing in my house that is gonna get their record into every store in the country. A band has to tour in order to get an audience. That or build hype some way or another. It is not a DIY label’s job to popularize your band, that is your job. If some kid in Boise, Idaho, can’t get your record at his local store and has told you that information via Facebook, don’t bother me about it. Tell the kid to ask his local record store why they aren’t ordering from Ebullition. It’s like asking what time a show starts…it’s always 8:30 or 9pm…look at the fucking List you jackass, don’t text me about it. [Sweet "List" reference, Will! —ed.] DIY still applies to everyone involved, not just the schmuck who decides it’s a good idea to waste all their spare time releasing records that get almost no press outside of rags like MRR.

Who do you recommend to master for vinyl releases?
I highly recommend Daniel Sayer at North London Bomb Factory! He’s my good friend and takes real passion in getting exactly what the band and label want from every release he handles. Dan Randal at Mammoth Sound, Brad Boatright at Audiosiege , and Jack Control at Enormous Door. I’m also very partial to George Horn at Fantasy Studios, if you have the money to afford that grumpy old man mastering your release.

Any suggestions to punks thinking of releasing a record or starting a label?
Put everything that you have into each record and be totally compulsive about attention to detail. Every record you release will have a life of its own. It will come back to haunt you if something is imperfect or not up to snuff. Release what you love and don’t give a shit about what is the new current genre trend. Bands will always want more than your label can give, don’t get too attached. If you release a great band’s first record it will most likely be their best, and personally I can live with that.

Any last words?
Thanks for the interview; it really made me think about why I started the label and why I need to continue it. Thanks to all the bands I have had the honor of working with and all the labels that have helped out. Most of all a big thanks to the record nerds everywhere!


No Options Records
NO-01 Born/Dead ’24 Hostages’ EP
NO-02 Phalanx ‘s/t’ LP
NO-03 Endrophobia ‘s/t’ EP
NO-04 Desolation ‘Demos pt.1′ EP
NO-05 The Total End ‘Chasing Nightmares’ LP
NO-06 Stockholm Syndrome ‘One Way Out’ EP
NO-07 Stormcrow ‘Enslaved In Darkness’ LP/CD
NO-08 Peligro Social ‘No Religion’ LP
NO-09 Stormcrow/Sanctum ‘split’ LP/CD
NO-10 Born/Dead ‘Best Of’ CD *deleted
NO-11 Tarrakian ‘The Swarm’ LP
NO-12 Bombenalarm ‘No Mistakes’ LP/CD
NO-13 Limb From Limb ‘Death.Famine.Plague’ LP/CD
NO-15 Los Monjo ‘Cobardes’ EP
NO-16 Fix My Head ‘Empty Slogans’ EP
NO-17 Morne ‘s/t’ LP
NO-18 Morne/Warprayer ‘split’ LP
NO-19 Heratys ‘s/t’ LP limited edition United States
NO-20 Ratface ‘Ratfaced’ EP limited edition European

New Dark Age
NDA-01 Spectres ‘Last Days’ LP
NDA-02 The Estranged ‘The Subliminal Man’ LP
NDA-03 Red Dons ‘A Forced Turning Point’ EP
NDA-04 Doom Town ‘Walking Through Walls’ EP
NDA-05 No More Art ‘Peripeteia b/w Evil Eyes’ EP
NDA-06 The War Goes On ‘This Shitty Life’ EP

Create to Destroy! Anya

May 9th, 2014 by


I met Anya a few years back in Portland. She was like no other punk I had ever seen before, is in good bands, and carries an interesting conversation making her an all-around engaging human. In a sea of clones, here is a truly colorful individual—online and off! I don’t exist on the internet (except through and my record label) but even I knew of her internet presence. Whether Tumblr or Instagram, this girl is a magnet for punk and fashion voyeurism. Eat your hearts out…


How do aesthetics and punk intersect for you?
I think the two are intertwined in a really taboo way, to be honest. Anyone that has ever seen a punk is aware that there is a specific aesthetic there, and yet somehow talking about fashion choices or looks has this connotation of being shallow. While I don’t totally disagree with that sentiment, I think that said shallowness can be combatted by being open about these things, much like how people say that privilege or bias, etc., can be combated by awareness primarily. Like, if you’re fucking secretive about your look and uncomfortable talking about it, that tells me you probably think about it an awkward amount. For me, a central doctrine of punk is pushing boundaries and I think it’s important to not exclude our own boundaries from this.

A central doctrine of punk is pushing boundaries, and I think it’s important to not exclude our own boundaries from this.

Do you feel that the aesthetics of punk are important?
Clearly punk aesthetics are important to me. I mean, fucking look at me — Christ. I think aesthetics are important in general, and having said that I don’t mean that they necessarily should be important to everyone. I guess I could say that as a cripplingly visual person, aesthetics are important to me though. I think people should look and present themselves however the fuck they want, even if that means presenting themselves in no particular way. Having said that, though, that doesn’t stop me from relentlessly talking shit about normal assholes. Like if you’re fucking walking around in crocs and a utili-kilt you’re a complete dick, sorry.

What punk fashion movements and characters have had an impact on your personal style?
I think that much like my taste in music, the two things that have had the most influence on me fashion-wise and in general are the anarcho punk and 1977 punk “movements.” I’m embarrassingly obsessed with England in the ’80s. I like things that blur the line between what’s a joke and what isn’t, and if you’ve ever seen me, that’s abundantly clear.


Anya & Matty Buttcakes

What is Tumblr, and what do you post on there?
Tumblr is a website where all kinds of weirdos can have a blog without knowing anything about fucking code or whatever you need to know about to have a regular blog. You can make it be about whatever the fuck you want and there’s almost no censorship so it’s a jungle out there. I originally started because I was bored and unhappy with my life so I wanted a way to distract myself, and then people seemed to like it and I’m fucking starved for attention. I post porn, pictures of punks from the ’70s/’80s and general internet dysphoria. I really like the perverse outsider art aspect of the internet a lot.

Do you feel that through social media that you have branded yourself almost as a punk character, not just some weird Portland local?
Oh, definitely. I think anybody that knew me before knew me as a bizarre character, and that my eventual transmigration into social media has cemented and exacerbated this aspect of my personality. “Internet” has given me the physical and mental or “cyber” space to expand into utter fucking shit.

Do you value privacy? Do you feel it’s diminished by having an online presence?
I do value privacy and I do feel it’s diminished by having an online presence. However, I also think that if you don’t want a motherfucker to know what you’re up to don’t talk about it and don’t photograph it, and if you throw something out into the aether at this point it’s unrealistic to assume it can be private. I feel the things that I post on the internet are so absurd that if the powers that be acknowledge me as a threat to society then “they” are essentially acknowledging their own obsolescence.

What does “all men are rapists” mean? Do you consider yourself a feminist?
When I decided to engage in social media, I wanted an eponym that was universally offensive. “Allmenarerapists” was something I felt nobody would feel good about and nobody would make a fad of, so of course I was attracted to this as a screen name. I used to write it on coats and we used to have a couch with “all men are RAPIST” spray painted huge on it.


Do you think it’s weird I’m interviewing you about your online presence?
Not at all, to be honest. I think it’s strange that virtual personalities and discussions thereof aren’t more of a discussion point within the punk scene.

Do you think it’s weird punk exists on the internet?
Not at all. Bias noted, I think that punk as the manifestation of anger and alienation retains relevancy throughout the digital age. I think that the intrinsic irony worship of digital media mixed with the infernal petulance of the punk scene creates an inescapable draw. Maybe ten years ago it seemed strange, but nowadays I happily acknowledge that we’re edging quickly toward the cyberpunk post-apocalyptic world prophesized by William Gibson and Phillip K Dick.

Have you had any strange interactions or backlash because of your presence online?
Because the international punk scene is passive aggressive as fuck, I have not officially received any backlash due to my online presence. However, I do feel that I have had several strange interactions because of it. Because smartphones notify a motherfucker immediately when you unfollow on Instagram or Tumblr, people are constantly intimately aware of your level of interest in the minutiae of their lives and feelings get hurt.

What bands are you in now?
I’m playing in VIVID SEKT still, new EP on the way all female fronted, and also I’m in a new Oi band called PMS84 with members of KOWARD and LIFE FORM that should be pretty ridiculous.

Do people know you who you have never seen before, and not just because of the bands you’ve been in?
Oh, yeah, all the time. When I was in Europe last year I was constantly recognized at shows in various exotic locales. It happened so much that BELLICOSE MINDS and BELGRADO were giving me no end of shit. I am comfortable with this. I feel that my online persona is an extension of my “meatspace” one, and I’m pretty comfortable with myself at this point. Fucking 27 years old — FUCK.


Anya on Tumblr:

MRR Radio #1399 • 5/4/14

May 3rd, 2014 by

Matt does his first solo show without getting too nervous and barfing!


Intro song:
PURA MANIA – ¿Ha Servido?

Pura Mania

Pura Mania

New Vinyl
THE CORPSE – False Hope
ALERTA – Busca una Salida
OBEDIENCIA – En el Cilindro
SUICIDAS – La Amistad Ya No Es de Nadie
RÄTTENS KRATER – The Great Rat King

Hot New Demos
DYE – I’m Important
SYNDROME 81 – Brest la Grise
NO TIME – Headache
TWISTED – Aliento

Those Polish reissues you’ve never heard of are worth your time!
ZIELONE ZABKI – Numerek W Kraczkach
H.C.P. – Żołnierz
TZN XENNA – Wasza Wiara

Past And Present Faves
SALTED CITY – No Control
POLISKITZO – Niños Suicidas

Outro song:
COMPLICATIONS – The Weight of Weakness

MRR Radio is a weekly radio show featuring the best DIY punk, garage rock and hardcore from the astounding, ever-growing Maximum Rocknroll record collection. You can find the MRR Radio podcast, as well as specials, archives, and more info at Thanks for listening!