Reviews

For review and radio play consideration:

Please send one copy of vinyl (preferred), CD, or cassette releases to MRR, PO Box 3852, Oakland, CA 94609, USA.

Maximum Rocknroll wants to review everything that comes out in the world of underground punk rock, hardcore, garage, post-punk, thrash, etc. No major labels or labels exclusively distributed by major-owned distributors, no reviews of test pressings or promo CDs without final artwork. We reserve the right to reject releases on the basis of content. Music without vocals or drums will not be considered. All music submitted for review must have been released (or reissued) within the last two years. Please include contact information and let us know where your band is from!

Army of God Army of God cassette

Wall-shaking and powerfully frantic hardcore from Seattle. From the opening charge of “Play Your Part” to the closing of “Fading,” it’s a relentless shot of adrenaline. There’s a strong streak of early USHC running through this debut, tapping into the ugly, pissed-off attack of classic faster bands like KORO and a bit of UKHC-style crud. The songs are direct and catchy without ever sounding overly calculated. This self-titled cassette is a highly addictive reminder that punk rock doesn’t need to reinvent the formula to be great.

Broken Barcodes Jeff Wants a Rematch EP

You’re setting the bar high if, like BROKEN BARCODES, you believe your music is RAMONES-core. Unfortunately, the Columbus, OH trio opens their new EP Jeff Wants a Rematch with a title track that decides the route to pop punk heaven is to slow things down, dial down the pop without adding more punk, and replace melody with monotony. It’s not a promising start, but by hitting on the genius idea of opening with the collection’s weakest song, subsequent tracks shine, relatively speaking, by comparison. After the misstep of “Jeff Wants a Rematch,” the nonsensical, minute-long blast of “PTSD” is almost on target, as is “Six Minutes”—thankfully less than two-and-a-half minutes, and inspired by Vision Quest, a formulaic ’80s wrestling-themed movie. “Cathy,” the last of the ten-minute EP’s four songs, can’t even keep up with those average songs, and like the title track is best forgotten. BROKEN BARCODES never hit the heights they’re aiming for, but they’re also not quite as bad as they threaten to be.

The Broom The Broom cassette

Spastic, riff-soaked egg-punk from Leipzig, Germany. The BROOM brings us six uptempo tracks with a novelty aspect about cleanliness. While I don’t fully understand the endless smattering of jokes which run the entire length of the songs all the way into the liner notes, I can appreciate the catchiness of the songwriting. My biggest issue is that my tape came with three of the six songs dubbed on the A-side, followed by a long sound clip about cleaning which played twice. The doubled-up sound clip is longer than the music on the side of the tape, meaning the songs from the B-side could have fit on the front of the tape as well. The entire time the sound clip plays, the background is the sound that your record player makes when it continues playing on the run-out groove of a record, presumably meant to imitate the sound of a broom sweeping the floor. Flipping the tape, I found the exact same thing on the B-side, not the other three songs that were left off the other side. So what I got was a double A-side and no B-side, even though there would have been enough room on each side to fit all six songs. You may talk a big game about cleaning, the BROOM, but it seems you really have to clean up your tape-dubbing setup.

Celebrators Deliberation LP

Twenty-one cuts of primo studio experiments that dabble in spacey dub vocals, jittery post-punk guitar rhythms, indie jangle, and garage punk. It all sounds incredible, and CELEBRATORS are particularly good at finding a groove and riding it for a minute or two before debarking onto another idea. As a whole, it’s an upbeat, danceable affair that kitbashes elements from MINUTEMEN, CLEAR CHANNEL, and DEVO and gives you egg flavor without the whole omelet. It’s evident that the elusive wisps of practice room magic are captured here, and Deliberation runs like a pristinely recorded sketchpad that is worth checking out.

Crazy Clue Where the Dregs Dwell LP

Hardcore heavyweights collide on Where the Dregs Dwell, the first offering from UK/Canadian crossover CRAZY CLUE. Featuring the dynamic duo that is FUCKED UP’s Jonah Falco and Mike Haliechuk backing the inimitable Bobby Cole of TOTAL CON and the ANNIHILATED on vocals, CRAZY CLUE presents a style of off-kilter, mutated hardcore with all of the bells and whistles. Songs barrel along at a feverish pace, as the buzzy, manic production surrounds a tightly-wound rhythm section and wildly nasty riffs, the whole thing dotted with pops of unsettling electronics and Cole’s breathless delivery. I’m reminded of both ELECTRIC CHAIR and S.H.I.T., two bands who have left me chasing the high off of their respective last LPs; this fills that void quite nicely. Highly recommended.

Döltz Total Recharge cassette

The cover is a humorous take on the classic Never Again art by DISCHARGE, but instead of a dove impaled by the sword of oppression, it’s a propeller hat! This alone establishes that this North Carolina four-piece is not here to warn you about the impending doom, they are here to brighten up your day. DÖLTZ plays warped ’80s hardcore with drenched-in-reverb vocals by Big Bastard(!?!) and a seriously dumb sense of humour. You can hear the likes of D.R.I., JFA, NEGATIVE APPROACH, and all that good stuff in their DNA, but it’s all twisted into DÖLTZ’s own goofy, unhinged propeller hat mess.

The Etters Er Is Niks Aan Jou Dat Ik Niet Haat EP

Ah, yes. More bratty and bumpin’ firecracker punk from the Netherlands courtesy of the ETTERS. This EP showcases the group’s snotty style across three tracks, all of which are bangers in their own right that refused to be relegated to the flip, and so we have a single-sided slab that’s jam-packed with A-side action. It’s boiled-down ’90s garage mischief with cleverly rude lyrics that will be lost on most English listeners, but its snappy charm and instant magnetism most certainly will not. If this one isn’t in your stack of the year’s best 7”s, your stack is haggard and you’re lookin’ rough.

Fruited Planes Dismal Nitch LP

FRUITED PLANES play what sounds to me like ’90s indie rock, with a few shades of psych around the edges. The closest thing I can compare it to is the more straight-ahead end of FRANK BLACK’s solo work, minus the genius part. This Portland four-piece includes former members of MARZIPAN, PERNICIOUS KNIFS, MONOSHOCK, EAT SKULL, MOUTH PAINTER, and other bands that I had never heard of. Listening to this album feels like seeing a random band added to a punk bill and wondering why the fuck they’re opening, while everyone else talks through the set or hangs out in the parking lot. It’s not the worst thing in the world, but I’d use this time to stand in line at the bar.

Hez Detrimento LP

There’s a determination to Panama’s HEZ that I really respect. Their extensive touring means putting in the work, carrying this music across borders and making actual connections along the way. I got to meet their singer Rodolfo here in Argentina, and we spent part of the day buying records and talking hardcore punk. That kind of exchange stays with you: meeting somebody from another scene and immediately having plenty to talk about. Detrimento brings that commitment into focus with ten compact tracks of raw hardcore punk, noise, and a dark, oppressive edge. Titles like “Mierda de Vida,” “Jaula Personal,” and “Perdiendo el Tiempo” fit the mood perfectly. What I want to underline is the persistence behind this band, the willingness to keep moving and take Panamanian punk well beyond home. Sharing records and conversation with Rodolfo made that connection personal. Much respect for HEZ and all the miles behind them. Recommended.

Hay una determinación en HEZ, desde Panamá, que respeto muchísimo. Su extenso recorrido de giras implica poner el cuerpo, llevar esta música a través de las fronteras y generar vínculos en el camino. Tuve la oportunidad de conocer a Rodolfo, su cantante, acá en Argentina, y pasamos parte del día comprando discos y charlando sobre hardcore punk. Esos encuentros quedan: conocer a alguien de otra escena y tener, de entrada, un montón de cosas para conversar. Detrimento pone ese compromiso en primer plano con diez temas compactos de hardcore punk crudo, ruido y un costado oscuro y opresivo. Títulos como “Mierda de Vida,” “Jaula Personal,” y “Perdiendo el Tiempo” encajan perfectamente en ese clima. Quiero destacar la constancia detrás de esta banda, las ganas de seguir moviéndose y llevar el punk panameño mucho más allá de casa. Compartir discos y conversación con Rodolfo volvió personal ese vínculo. Mucho respeto por HEZ y todos esos kilómetros recorridos. Recomendado.

Icons of Filth Time of the Signs LP

To look objectively at new material by a legendary band is indeed an arduous task, and one that I have had to accomplish by reviewing ICONS OF FILTH’s new album, Time of the Signs. The band absolutely belongs to “classic ’80s punk bands,” and you will find their iconic logo on many an anarcho-punk fan’s jacket. Being harsh with a record from such a band feels almost like betrayal, even if the lineup has, of course and for sometimes tragic reasons, changed a lot since 1985. All this circumlocution to say that I don’t enjoy this album. There are some songs that I find pretty decent, but otherwise, it sounds very plodding and lacks the aggression and intensity you would associate with both band and genre. The clean production clearly does the band a disservice here, which goes to prove how the sound can affect the feeling of the songs, and I don’t like the vocals at all, which are very reminiscent of American hardcore and very loud in the mix—they completely distract me from the music. On the bright side, the lyrics are very political and relevant, genuinely angry as they should be, and the artwork, courtesy of Squeal, looks great. I think this would appeal to people looking for clean-sounding hardcore punk, but I am not one of them.

King Sans Sell the Cow LP

Chicago noise punk duo KING SANS delivers an intense collection of eleven armed and dangerous tracks with their new LP, Sell the Cow. With its fuzzy, low-tuned guitars, stomping drums, and charismatic and expressive dual vocals, this LP is an absolute joy to listen through. If you like a slight industrial edge and some theatrics in your noise punk, Sell the Cow is definitely for you.

Las Ánimas Las Ánimas 12″ reissue

Originally released in 1989, this reissue sees La Vida Es Un Mus continuing the story of Toño Sánchez as he takes a step even further from his roots of traditional rock-style music. Last year, La Vida Es Un Mus reissued 1988’s Las Ánimas Del Cuarto Obscuro, which was the group’s first album and only one with a full band. Now shortened to simply LAS ÁNIMAS, we see Toño take full control and start to explore different musical landscapes. In the beginning, you can hear bits of the CURE and POLANSKY Y EL ADOR, with tight bass lines and twinkling guitar melodies. As the album drives on, it goes more the way of fellow countrymen and techno-pop/synth punks AVANT GARDE, NAHTABISK, and even SILUETA PALIDA. It is incredibly moody but not without making you want to dance, even if it is by yourself. If you found yourself a fan of contemporary Spanish post-punk group ALGARA, this may be more subdued but up your proverbial alley.

Moyamoya Hol Newland LP

MOYAMOYA, a three-piece from Perth, Australia, mixed the bass over the guitar on Hol Newland, a decision I respect. Across ten tracks and just over forty minutes, this art-punk record is chock full of nervous energy that tips over into noise rock outbursts just to drive the nails in. The playing is sharp, and the singer flips between singing and sing-talking like he’s one bad night from losing it. I don’t always love a ranter, and his lyrics are packed with Australian slang I’m struggling to decode, but it mostly works for me, especially on “Habitat,” which portrays a climate-change-denying asshole and ends with a list of extinct animals that closes with us. Some of this reminds me of the peppier moments from SQUID or URANIUM CLUB. The vinyl comes in black or a cool “recycled gold.”

Nuke ‘Em High Mutant Thrashers CD

The FACTION/JFA blended up with SHEER TERROR/SLAPSHOT? Another new-to-me band. Themed to a very ’80s toxic waste mutant aesthetic and of being an old punk, they put a whole lot of California in their sound, with a couple tracks meddling with the more melodic side of skate punk. The production is a little thin for my taste, but overall enjoyable stuff here. I prefer when the band lands on the more HC side of their sound—they seem to shine the faster and louder they’re going into the songs, but overall, a fun release and an easy listen with actually fun and funny lyrics.

Parëntesis 536 Verdades Que Se Esconden, Mentiras Que Aparecen EP

I have no idea what the number 536 refers to (the total number of showers the members have had collectively in the past 10 years?), and I had never heard of PARËNTESIS 536 before, but this first EP is indeed right up my street. This band from the Basque Country plays ’90s-style gruff crust punk with dual male and female vocals, and even though the genre has been done to death in the ’90s and ’00s (indeed, it is almost synonymous with the era), few bands still ride that horse. I for one am a big sentimental fool and just love ’90s anarcho-crust, meaning that PARËNTESIS 536 hits all the right predetermined keys here. I am reminded of bands like JOBBYKRUST, 3 WAY CUM, AMEN, or HIATUS, and it makes one very happy and in very high spirits. The vocalists complement one another well (furious bear exchanging meaningfully with rabid crow), the music and the production are rather simple and direct, and it just sounds fresh, oddly so since, as I advanced, the band is not exactly experimenting with avant-garde jazz here—indeed, they are just here to play good old political crust for the masses in a spontaneous, selfless fashion that is quite endearing. A big yes for me.

Ruckus Ruckus 12″

Six killer cuts from Boston’s RUCKUS. Turn the treble up to ten, drop the needle, and let the party begin. This is rock’n’roll done the right way! You’ve got your boogie-woogie guitar licks, your punchy bass lines, and vocals that fall somewhere between classic Oi! and ’77 street punk. “Pocket Full of Cash” sounds like the soundtrack to a schoolyard brawl between the BARRACUDAS and the DICTATORS, and I’ll be damned if that doesn’t sound like a great time! Heed my warning and come correct with a switchblade and a pair of dice, it’s party time.

Sin Lógica Together 10″

Your standard punk rock affair from our friends over in Switzerland. Tight D-beat/Oi!-infused gutter punk with catchy guitar riffs and barking vocals. The guitars are nice and loud, but I wish the bass had been brought up a bit more—it’s a tad too quiet and there’s a noticeable lack of depth with it being turned down so low in the mix. Chances are that won’t matter as much to the type of person who will love this 10”, though. Raw and pissed-off Euro punk. If you’re a BLITZ/DISCHARGE kind of person, you’ll be happy throwing this slab on the platter.

Skeptic? Graphic Details cassette

This collection of outtakes, cover songs, demo recordings, and more is a welcoming introduction to the hardcore of SKEPTIC?, the Birmingham, AL five-piece marking their 25th anniversary as a band in 2026. The cassette/digital album includes cover versions of “I Got a Right” (originally an outtake from the STOOGES’ Raw Power sessions), RAMONES’ “Commando,” and a lovely, sludgy opening to their take on BLACK FLAG’s “Depression.” Alongside that, there’s outtakes and demos from their own Heartless Dixie and The Worst That Could Happen albums, plus live tracks that put you head-first in the pit. At $15 for the digital album, this could be a bit pricey for anyone who’s not already a fan, but that would be a shame. Over pretty much a double album’s worth of tracks, they provide frenetic, old school hardcore that picks you up and slams you down.

Topper Topper demo cassette

Five-song debut demo from Dublin, Ireland’s TOPPER, a fun, sloppy punk band that I’m sure many people would call an Oi! band these days, given the repetitive nature of the songs and the gruffness of the vocals. Some of the songs are pretty catchy, but I mostly chalk that up to the band having more “whoa”s than a BÉTON ARMÉ set. The drawback is that the vocals sound like they’re being belligerently shouted at you across a crowded bar.  Look, I’m as guilty of recycling riffs in my musical projects as anyone, but some of the tracks on this demo are just too blatantly lifted. I don’t care what year it is, a MISFITS riff is always going to be a MISFITS riff. I won’t be able to hear any of your words about telephones while my brain is working out whether the maggots in the eye of love will copulate or not.

U.B.T. Pure Audio Warfare LP

Croatian band U.B.T. is heavily influenced by the Yugoslavian band U.B.R. Pure Audio Warfare is seventeen brutal tracks of late ’80s-styled European hardcore, so no bullshit, just lightspeed feral punk. U.B.T. is not just a revival act, as their intensity is genuine and their method is crucial. Fastcore aficionados and fans of L.A.R.M. and SPAZZ, take note.

Wax Minds Funatic Asylum 10″

German egg-punks WAX MINDS deliver ten tracks of DEVO-core on the uncommon punk 10”. The tracks navigate familiar waters of reverbed dork riffs, crisp and fast 4/4 drumming, and lo-fi production with zig-zag vocal lines. While this record could resonate with eggos, I don’t love it. The vocals lean very melodic, almost into pop punk territory, which doesn’t quite fit the frenzied speed and energy of the music. They are also very well-performed, which you can’t be mad about, but it sounds like Hayley Williams fronting the CONEHEADS to me. Check it out if you like this stuff, but listening to this felt like walking into Urban Outfitters.

Zikin Zatitkxu EP

This 7″ lives up to the expectations that develop in my head whenever I see that Mendeku Diskak has released something. It evolves their sound a bit from their last 12″ on the label, where it’s still a dark, punk-tinged mix of street punk and Oi!, but the layers of post-punk and hardcore influence are a bit more resilient this time around. I hear some structuring and riffing that made me think of IMPALERS but with the aggression toned down, and some guitar work and arrangements that put me in the MARKED MEN space, but neither of these aspects comes across as blatant. Instead, they are added to the punk rock tunes on the record with purpose, creating some memorable songs. In particular, track three, “Gerizpia Iluntzen,” spoke to me on every level, and it kind of shows off the songwriting here. I still don’t speak Basque, so I have no idea what is being said, but on this EP, they show why they belong on such an excellent label.

Baby Killer Baby Killer cassette

HC punk in the image of UK82 and the punker end of US East Coast ’80s HC. This was kind of a fascinating listen—it’s hard to come up with interesting things to say about genuinely good, skillfully executed hardcore punk, but on repeat listens, I found a pretty unique lane here. There’s a subtle darkness to the feel of the band, not explicit post-punk or darkwave sounds, but something about the rhythm section made it feel like the 2010s UKHC of HOUNDS OF HATE or VIOLENT REACTION through the lens of someone who likes SUICIDE a lot. Might be an NY thing. Regardless, the songs are solid and the tempo and melodic changes are above average interesting  for this kind of stuff. Really enjoyed this.

Blug Now! More Than Ever cassette

Countless grimy demo tapes have passed through my hands over the years, and this tape is the grimiest—a magic-marker-scrawled, multi-generation thrift store cassette dubbed over to oblivion with impenetrable boombox rehearsal jams. There is a lyric sheet that came connected by rubber band that not only has words but also a rudimentary guitar tab for the players, and I’m convinced it came straight out of the rehearsal space as a 1/1 master recording (I had to rewind it myself). Is it good? It’s hard to tell, being a sonic black hole of room hiss, blasting feedback, and one-take chaos. On first listen, it kind of sounds like the SHAGGS with a distortion pedal, which isn’t a diss at all. Group chanting, feedback-tinged power chords, and ramshackle pounding fill the space. There are a couple of false drum starts on one song, which made me laugh because this shit’s not exactly in time anyway. So, good is subjective, but punk? Oh hell yeah. This crusty slab of plastic and tape captures the joy of bashing out chords and yelling what’s on your mind (sometimes all in unison). It’s the collective energy of creation and the purest distillation of DIY spirit. It’s a mess, and it’s awesome, and it’s beautiful. This tape isn’t streaming, but you can search for “BLUG 2” on the Bandcamp page of Olympia’s Music for People for a clearer listen. BLUG, let me know if you need the tape back.

Chaos Quitter / We Are the One 7″

Originally released in 1983, this CHAOS 7” was the first Filipino punk record. The first pressing is currently going for over a grand, so interested parties may want to jump on this reissue pronto. There are two tracks; the melodic “Quitter” on the A-side, and the punchier “We Are the One,” which is not the AVENGERS song, on the B-side. This is one of a few elusive grails that have recently become once again attainable thanks to a long-overdue reissue. Come, all ye completists, and joyfully fill thy gaps.

City Slang CS II cassette

Drum machine punk out of Dallas that ended up being a lot more fun than I had initially expected when I saw Barney Fife on the cover. Makes sense, though. Who better represents incompetent law enforcement than him? Very rock’n’roll-heavy with low, bluesy guitar tones. The vocals are what make this band for me—blood-inducing growls coming from the deepest depths of the singer’s diaphragm. It’s classic English Oi! with an East Texas twist. I didn’t think I’d come away loving this, but I do. Great work, and well worth several plays.

Coeur Chamade Coeur Chamade cassette

Hailing from Brittany, France, COEUR CHAMADE’s debut features five songs of melodic post-punk with an artsy undercurrent. The vocalist has a pleasingly subdued delivery that compliments the often meandering guitar lines. I’m reminded of LA FRACTION if they embraced a more laid-back indie approach. The songs are well-crafted, and I suspect that the members have played in bands that would be recognizable, though I couldn’t dig up any evidence to connect that assertion to reality. Regardless, this cassette is a good jumping-off point for a group with demonstrable potential.

Foot Fetish Foot Fetish cassette

This is jangly, this is aggressive. This is the sort of music where you alternately move up and down and side to side in a dirty warehouse filled with smiling friends in less than fashionable clothing. Come summertime, the warehouse turned venue will be gone, but this tape will serve as a reminder of a better than good time you once had. The most obvious touchpoint may be KC’s WARM BODIES, but this is its own twisted thing. This cassette contains the sort of fun urgency that people who live in cold-climate places are inherently born with. Cool guitar movements that are very BROWN SUGAR meets VANILLA POPPERS. I would advise you to buy this and just keep flipping it over ad nauseam.

Hasiací Prístroj Hej Hou Pivo Roul LP

It’s not often that I’m out carousing, perhaps because I’m neither a pirate nor an eighteenth century explorer, but if I were, I would definitely want Slovakian band HASIACÍ PRÍSTROJ as my soundtrack. The lyrics may or may not actually reference ale, but musically, these are good-time drinking songs, something more than hinted at by the sounds of a bottle opening and something being sparked up at the record’s beginning. The clinking of bottles at the start of the frenetic “Arabské Tango” seems like a bit of a giveaway too, as does their reappearance at the start of “X Pív Prosím.” Hej Hou Pivo Roul! is actually the second demo from the band, whose name translates as “Fire Extinguishers,” and was first put out on cassette, DIY fashion, in 1992. Now Czech label PHR is giving the set its first vinyl release, and it’s remarkable how up-to-date the album sounds. Sure, opener “Pivo” could have been recorded inside a tin can, but then either the production improves or my ears adjust and I quickly stop making allowances for the sound. Whatever the subject of their songs, HASIACÍ PRÍSTROJ is unimpaired on this varied yet coherent set that offers a mélange of punk styles, but is none the worse for it as it merrily careens between melodic hardcore, street punk, and folk punk. There are some proto-RANCID influences, a dash of DEAD KENNEDYS on “Hlavou Proti Múru,”, and “Pionier” challenges you to sing along, whether or not you know Slovak. All in all, the sound of a band that provides upbeat, carousingly good fun.

Ice & the Iced Rock ‘Pn’ Roll EP reissue

Despite years of devoted digging, you never came across an original copy of this elusive KBD relic in the wild. It’s okay, bucko, you tried your best, and look—now you can snag a fresh one that sounds and looks just like the real thing, courtesy of Berlin’s No Good records. This label doesn’t put much out, but when they do, they make it count, as evidenced by the justice they have delivered over the years to the likes of the MAD VIRGINS, X-PULSION, and now this much-sought Italian classic. Originally released as a small run in 1981, this four-song EP of rough-hewn and melodic fledgling punk has had obsessive types drooling ever since. Not only will your copy will come free of collector scum saliva, it will also include a two-sided 13×19” poster made by the band that was not released with the first pressing. The thing is, this reissue is even more limited than the original run was, so go ahead and get to it.

Klonns G.A.M.E.S. LP

KLONNS, Japan’s ambassadors of global hardcore, have returned with a fresh full-length slab to slam to, and trust me, you’re going to want to. G.A.M.E.S. finds KLONNS perpetuating their sound which combines the ferocity and ferality of classic Japanese hardcore with the metallic, tough-guy punch of NYHC to create a mutant of profound impact. Aggressive, brutal—these words don’t even begin to touch what KLONNS does on this LP. In fact, we just may need to rewrite the lexicon of hardcore, because KLONNS has changed the definition.

Lotti Bigotti Zártosztályharc 12″

Fun fact: the Hungarian language is closer to Finnish than it is to any of its neighbours. I wish I hadn’t slept through my linguistics classes, it is a fascinating topic. All this to say that I think Hungarian goes perfectly well with punk rock music, and LOTTI BIGOTTI is great at what they do. Hailing from the very active and lively Budapest scene, the band plays inventive and dark punk rock that experiments with post-punk and weirdo punk. They are difficult to pinpoint, but I am definitely hearing some Greek dark punk à la ΣΚΟΤΟΔΙΝΗ or older stuff like ΓΚΟΥΛΑΓΚ, but also ’80s Yugo punk like MRTVI KANAL and PARAF, and even X-MAL DEUTSCHLAND, but on the whole, LOTTI BIGOTTI really sounds like their own with that strange atmosphere, melancholy and bellicose at the same time, depressive but oddly dynamic and super punk and familiar. The combination of male and female vocals is well-organized, and the eight songs go fast, making the listener crave for more. I knew the demo tape but hadn’t given this one-sided 12” a chance (a bit of an odd format, but there you go), and the progression is obvious and impressive. Brilliant stuff.

Plastic Meat Losing It EP

Thrashy, fuzzy punk from Madrid that’s equal parts early ’80s-era California like the AVENGERS and rushed, spazzed-out pop à la DICKIES and BUZZCOCKS, the former reference not exclusively because the singer awesomely brings to mind Penelope Houston intuitions. The band lands in that fast, angular proto-punk sound that their fellow Spaniards and the Australians are doing so well right now. This is their second EP, burning through six songs in ten minutes, and just seems to be scratching the surface of what they’re up to.

Rat Cage Not Asking For Much LP

It seems appropriate that Not Asking For Much, the new RAT CAGE LP, marks ten years of stellar hardcore punk from mastermind Bry Suddaby. Across multiple compilations, splits, EPs, and LPs, RAT CAGE has always retained their core influences while expanding on their sound, and while I’d have probably said the same about their 2023 LP Savage Visions, this new record really feels like the band has leveled up and evolved into its most fully realized form. Between the ringing guitars on the opening notes of “Steady On Now” and the final shout-along finale of “Not Asking For Much” is a journey that twists and turns with USHC speed, Scandi-punk stomp, and British gruffness, especially in the lyrics department, which remains laser-focused on the increasingly difficult experience of living in the West. Every little touch sounds intentionally placed and perfectly executed, with big, beefy production providing the space for Bry’s vocals to be front and center throughout the proceedings. Each track has at least one if not multiple elements that stand out, but the vital urgency of “Marble Bench,” the anthemic (and acoustic) moments of “Grass is Greener,” the snotty call-and-response sing-along in “Dragged Through the Dirt,” and the excellent drum pattern shift in “Spiders in a Jar” are a few that stood out to me on first listen. I could go on for days, and by all means, hit me up to further discuss this masterclass of an album. In the meantime, here’s the TL;DR: throughout its 22-minute runtime, RAT CAGE delivers an explosive collection of tunes that are absolutely monumental, sounding more dynamic and inspired than ever. Essential listening.

Scatterbox Enemies LP reissue

Hardcore from Coeur D’Alene, ID? Hells yeah. I’m not gonna throw out names of similar bands because I want to be clear that this record is so much more than similarities. Well-crafted hardcore with melody tossed in here and there, and enough guitar riffage and gang vocals to make everyone happy. Info is a little scarce—it seems like the drummer has been in other bands, but I can’t find anything linking to any other members’ projects. Look, the only reason I think this is important is because their sound is that of well-weathered punk and hardcore, and it’s hard to believe that this would be a first band with such honed aggression and articulated sound. Thirteen songs that seem to go by way too fast. Coeur D’Alene, ID, huh…I think my ex-wife has family that lives in Coeur D’Alene, ID. Who knew that Coeur D’Alene, ID had cool things, too?

Sin Offering Guilty 12″

Imagine, if you will, CHRISTIAN DEATH, but if they went through a phase of loving prog rock, and you’ll be close to the sound of SIN OFFERING. SIN OFFERING does a great job of keeping the goth vibe flowing, but there are frequently instrumental moments that remind me of Roll the Bones-era RUSH with dark riffs that begin in the dirt and slowly ascend to the heights of Icarus. Guilty is SIN OFFERING’s latest sacrament, and it’s five tracks of palpable indignation wrapped in a black cowl, or an angry treatise on how darkened souls are created. If you like CHRISTIAN DEATH, DANSE MACABRE, or any amount of gothic inspiration, then you’re going to love this.

Society Reign of Flies LP

Solo basement tunes from Sims Hardin of MESH that seamlessly move between trebly, lyrically conversational contemporary punk like CRUELSTER and mellow, snaky interludes that could be lost VELVET UNDERGROUND song sketches. You never really know what to expect, but it makes sense taken as a whole. Killer power pop hooks catch you off guard, like on the tail end of opener, “Casualties of War,” and then you find yourself tapping your foot along to the rambling vintage country of “Gangstalkin.” It’s an interesting mix, and if you go with the flow, it flows, man. There are a lot of ideas on this record, and they fit together like a rough-edged, homemade puzzle, freewheeling and authentic. I’m going to play it again.

Under Pressure Retrogression LP

This band was featured on the famous New Breed comp back in the day and represented very much “the style at the time” for NYHC. After releasing a vinyl comp of their old demos, they’re back in the ungodly year of 2026 with new material…sort of. Some of this is re-recordings of older songs, some is outright new, but it reminded me heavily of what bands like SUBZERO and SHEER TERROR were doing in the mid-to-late ’90s—more melodic hardcore, but still breaking it down in the bouncy NYHC fashion (there’s an instrumental here that would have made me leave a mosh-sized hole in the world if I’d heard it live when I was eighteen) with the requisite toughness baked in. I feel like that era/sound of NYHC isn’t lauded as other eras, but it was formative to me and I love this stuff, so this is right up my alley. Wish it was longer, but I’m glad the band stuck to their guns and made this kind of NYHC groove for the old heads (not the oldest heads), and hope they keep at it.

Veradas Universal Relays LP

Very cool fuzzed-out psych/garage rock out of Portland. Sinister surf rock chock-full of groove, atmospheric vocals, and wah-wah guitars, with a little bit of desert rock thrown in there as well. At times sounding like a theatrical score, this is a very impressive outing from this PNW trio. Amazing to me that this was put together by just three people. Everything sounds massive and the song compositions are tight and well-constructed. This is an experience! Throw it on after a couple edibles.

Zabøgart Antek Ass“sing” cassette

Indonesian two-piece ZABØGART brings some raw and straightforward powerviolence to the table with their new cassette Antek Ass“sing.” Blistering drums, abrasive guitars, non-stop vocals, and occasional bursts of noise…just what you should expect. Nothing more, nothing less.

Ace of Spit Ace of Spit II LP

An experimental unit out of St. Louis, Missouri, ACE OF SPIT embraces atmosphere and organic decay on their second full-length foray. With roots firmly planted in minimalist guitar rock, the group’s raucous spirit and raw rumble pulls their sound over to the punk side, making for a rich listen. Just as soon as the melody of “Broadway Babylon” draws you in, the tribal drums and wandering leads of “Cole’s Chopper” leave you questioning just exactly where you are. The record is full of surprises like that, with basement-born buzz achieving unexpected range. The band reaches into the depths of instrumental surf rock and comes up to the surface with weird artifacts seemingly rescued from the bottom, as exemplified by the SHADOWY MEN-esque “Diaspora Rock” followed by the pulsating synth of “Parts List.” By the time we get to “Esther’s Room,” the waves are reduced to moonlit memories in the bleak, black expanse.

Bad Jesus Experience VII 10″

It seems that BAD JESUS EXPERIENCE has been around for a while, though this is my first encounter with their brand of chaotic, emotive hardcore. Off-kilter, angular, and discordant, BAD JESUS EXPERIENCE is the 2026 Finnish response to ’90s screamo like ONE EYED GOD PROPHECY, OTTAWA, ORCHID, THREE STUDIES FOR A CRUCIFIXION, etc. The most abrasive aspects of the genre propel this forward at a pace that feels pregnant with urgency and franticism, rooted in what was called emo before the term became associated with swoopy haircuts and teenage mall goths. Tough to endorse a band that calls themselves BAD JESUS EXPERIENCE, and the cover art is equally atrocious, but if you get down with any of the aforementioned bands, then you can probably look past those transgressions.

Blitzer The New Conspiracy LP

New LP from Berlin’s BLITZER that delivers a tight mix of brisk garage punk with a light egg topping, like the SAINTS meets R.M.F.C. with Peter Hook’s bass tone settings. The title track opens the record with a fast snare roll and post-punk guitar/bass interplay before erupting into some serious classic rock action, albeit reverbed to the center of the Earth and back. This band rips. They also bounce, like on the more playfully catchy tunes like “Dumb” and “Pylon.” BLITZER does a great job of refreshing the tried and true without falling into wacky schtick territory, and The New Conspiracy is a great punk record.

Calice Calice cassette

A grimy, multilingual melting pot of Rust Belt hardcore punk, CALICE is precisely the sort of thing I’d come to expect from the always eclectic Swimming Faith Records. Sonically, CALICE plays speedy and loose hardcore dripping with disdain and attitude, led by twisted vocals that occasionally echo the spirit of Sakevi and, unbelievably, toggle between different languages each song, utilizing nine in total. It’s remarkable how seamless the language-switching is, and while it’s a novel idea, it never feels forced or jarring, an impressive feat that makes for one of this year’s most unique releases.

Celebrity Handshake The Wrong Couch is on Fire LP

It’s a muggy September evening. It’s hotter than usual as I step onto the train platform. I wait for the doors to open, and I take a seat. The train cart is full. There’s a group of teenagers all talking on their phones, there’s a couple of random dudes listening to music without headphones, the train conductor is announcing stops over the intercom, and there’s a crazy dude yelling a bunch of bullshit at me from five seats away. That’s what this record sounds like to me. It’s a mess of noise and weird vocals that falls somewhere between SONIC YOUTH, PERE UBU, and the MINUTEMEN, with vocals delivered by a manic railway pastor. It’s weird as hell, and I can honestly say I haven’t heard another record like it this year. That’s probably a good thing, but I applaud their originality.

Daddy’s Boy Four Hombres LP

Chicagoan band DADDY’S BOY has returned with another full-length after a few years away from the studio. The eleven-song Four Hombres LP is a chaotic rock’n’roll vision of the daily struggle. High-speed rhythms surge beneath vocals that occasionally remind me of PROPAGANDHI, but also have a unique stream-of-consciousness delivery with lyrics deriding modern development. Fuzzy guitars, jazzy song structures, and indignation against AI and data centers—sign me up.

Guiding Light Fear On My Own Time LP

Incredibly lush and well-defined production on this collection of art-pop. The lineage of VELVET UNDERGROUND to CHRONOPHAGE to 2026 is complete with this one. Every instrument is showing you most if not all of their best tricks, but not at any detriment to the music. The songs are engaging and short enough that this one will be over before you realize it, and the only proper thing to do would be to listen again. The lyrics are mostly in German but sung at a frenzied canter whose exigency is reminiscent of Minneapolis’ AQUARIUM. If you, like me, are a barely functioning adult with untreated ADHD, I would suggest you lightly jog through the streets while listening to this on a loop. It will make the world seem like a video game—a game whose ending will probably disappoint you, but until then, you will have a great soundtrack for this round of samsara.

Hiss A Cheapened Crown LP

“100% Wool” kicks this off with a wall of guitars and heaviness on par with TORCHE, MELVINS, PLANES MISTAKEN FOR STARS, HELMS ALEE, AmRep, and so forth. I think you know where I’m going here. This is the kind of record I want blasting out of my garage when the door is open for ventilation while I’m building shit but want to keep the neighbors held at bay. I’d also want this record when I have an all-night project to finish. This is a record for slogging through the day-to-day with a slowly radiating focus, and I’ll be playing it as it gets colder outside and my motivation starts to slip. I don’t know what to say about this other than I like it. Chef’s kiss.

Infuriate / Subvermes split EP

Hot new EP seeing gruff crust machine INFURIATE from Minneapolis teaming up with SUBVERMES from São Paulo, and as expected, this is a by-the-book bollocking. I am not sure whether INFURIATE’s songs were recorded after the ones on their new album, but in terms of sound, we are swimming in a very similar ocean of downtuned, old school crustcore with something of a grindcore edge, not unlike DISASSOCIATE grabbing drinks with DESTROY! and MAN THE CONVEYOR, but the rather muddy metallic production somewhat impairs the energy and impact of the songwriting to my ears. However, it is still heavy and hard-hitting enough, and the two numbers work perfectly on this format. Will certainly do the job for the crust army. The other side is graced with four songs of fast, punishing, and energetic old school Brazilian crusty hardcore thrash with those typically aggressive vocals and that distinct flow and diction. Classic angry and raw pummeling São Paulo hardcore with a spontaneity and straightforwardness that must be commended. Fans of vintage RATOS DE PORÃO should take note. This band smokes. A very cool split.

Kronol / Resistance is Punk split EP

RESISTANCE IS PUNK (or R.I.P.) is from Stockport in the UK, and plays gritty, aggro anarcho punk, while KRONOL is from Leeuwarden in the Netherlands and plays D-beat-driven hardcore punk. R.I.P. has two songs on this split, and both have a homebrew feel largely driven by the clean yet lo-fi production and noisy guitar work. KRONOL plays three songs on this split, and their set carries an even more aggro feel with rhythms that get your fist in the air. All in all, this is a really well-matched split with both R.I.P. and KRONOL bringing some great punk rock.