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!

1 St Class Collapse / The Prim split 12″

The split 12″ from Germany’s 1 ST CLASS COLLAPSE and the PRIM is a chaotic little gem of powerviolence that doesn’t overstay its welcome. 1 ST CLASS COLLAPSE, hailing from Koblenz, delivers a chaotic and engaging set, marked by either traded-off vocals or one particularly unhinged singer, cycling through yells, screams, and deep, demonic croaks like a hardcore Swiss army knife. The PRIM, from various cities including Berlin, shifts gears with a more metallic hardcore approach—heavier riffs, longer songs, and raw, tortured vocals that cut through the murk. While the songs run longer than average for the genre—each clocking well over a minute—they’re tightly composed and never feel drawn-out. This split is a strong showing from both bands and ends almost as soon as it begins.

Altered Dead / Erosion split cassette

Vancouver’s underground at its heaviest—EROSION storms in with razor-edged crust riffs and D-beat urgency that recall MARTYRDÖD in their most feral moments. ALTERED DEAD counters with grotesque, suffocating death metal that grinds the air out of the room. Two sides of sonic punishment—one sprinting, the other crushing—that together feel like the walls closing in.

Greg Ashley Neon Exotica LP

Following his tenures in the GRIS GRIS and the MIRRORS, musician and producer Greg Ashley has settled into the unique and subtly psychedelic folk stylings showcased on this LP. With a matured creativity and confidence, songs like “Sandra on the Tropic of Capricorn” and the dreamy duet of “One Thin Herione” tap into a vein that evades the timestamps of any particular era. Thoughtfully composed and punctuated by oscillating sonic interludes, this is a potent record documenting ASHLEY’s proficiency as a singer/songwriter, even as it exists on (dangles off?) the edge of what is appropriate for MRR coverage.

Bee Bee Sea It’s All About the Music EP

Celebrating a decade of making music together, this trio, that formed right out of high school, is here with their It’s All About The Music EP. Coming from the small town of Castel Goffredo in Northern Italy, the band’s motto is “When there’s no good shit around you, better form a band!” which, as a small-town resident myself, I really appreciate. With a love for classic ’60s rock, they started their career with covers of the WHO, the ROLLING STONES, and the BEATLES—even paying homage to the Revolver artwork on their highly-anticipated 2020 Day Tripper LP (not to mention the album title). But far from covers they have come—with four LPs in their pocket and a smattering of EPs and singles, this lot has made a sound of their own, blending that ’60s rock with garage, classic punk, and pop punk, for a catchy as hell result. About this EP, the band writes “One garage rock anthem, three versions: The original. A sped-up punk reprise. A slow kraut intro. It’s obsessive, overthought, overdriven, and absolutely intentional.” Besides the “Kraut intro,” these songs lean on the pop side, and are all fun, with snaking guitar riffs, fast and bouncy drums, rattling bass, and lightly distorted vocals. From the impressionable words on their Bandcamp page, to a nice write-up in Missing Piece (praising the release of Day Tripper), I like the band’s story as much as their music. Everything feels genuine, earnest, and truly bootstrapped from the beginning. Great concept EP, awesome band.

Chow Eternal Lopez 12″

This is a bouncy, garage-flavored, danceable rock album from Bologna, Italy with a workmanlike approach to songwriting and performance. There’s something a little stiff here at first, a lack of flexibility and hooks that leaves me a bit cold even at its most anthemic. My ears do perk up, however, as the band starts to resemble HÜSKER DÜ at the midpoint of the record. While this outing might be frontloaded with weaker material, it starts to feel more lived-in and frayed, slowly revealing a band that is confident and does have an ear for melody. I’m a sucker for a band that mines the ’80s boom of Midwest college rock for ideas and presents them in a contemporary landscape. On a track like “Remember the Valentines,” you can hear a distinct John Reis influence both in the guitar and vocals, and I’ll always go to bat for that. I’m not as sold on the dreamier, spaced-out “Calling on the Altar Boys,” and think overall this 12” is a mixed bag, but there are high bright points to be sure.

Contracharge / Drogato Today’s Empire is Tomorrow’s Ashes split cassette

Midwestern anarcho-crust meets New York speed chaos. CONTRACHARGE deals in sharp, politically-charged D-beat with the precision of early AUS-ROTTEN, while DELGADO pushes the BPM to its limits with drug-fueled, basement-born hardcore. Ten tracks that don’t just play fast, they burn.

Discreet Charms Delivery Model Stateholder Meeting LP

More art/dance punk out of Brooklyn that sounds exactly how you think it does. Fuzzy guitars paired with a tight rhythm section featuring a bass player who does most of the heavy lifting. The music itself is actually quite good, sounding like a slower-tempo GANG OF FOUR or a more refined DEAD MILKMEN. It’s the vocals that make this a bit of a slog to get through. The singer is low-energy, sounding more like an indie music parody or a bad Richard Butler impression. Additionally, the vocals are layered in a tinny reverb that makes it stand too far out from the rest of the music. A better mixing job with less effects may have made it all a little more tolerable. If you can look past all of that, this is a pretty decent record—solid song construction and catchy.

Fuckin’ Lovers Crucifixion of the Masses EP

Brain-rattling noise from Philly’s FUCKIN’ LOVERS, whose namesake (a song by noise-punk legends CONFUSE) tells you what you need to know about their sound on Crucifixion of the Masses. Snotty, hectic, and with a touch of psychedelia thrown in, it’s a heady brew and burrows deeper into your skull with each listen. The dual vocals, nasty guitar and bass, and crashing drums peak on the raw blast of standout “Arrogance.” Also of note is final track “The End,” an effects-laden, out-there instrumental that sounds like four walls of noise slowly closing in on you. Yes, it’s as good as it sounds. Great band, great EP, highly recommended.

Gagu Gagu demo cassette

If this was a little noisier, I could see this being a regular release on Iron Lung Records. It’s the kind of intentionally ugly hardcore you’d see on the label, but maybe a little too clean-sounding for them. This is fucking outstanding, stompy at times, with vocals reverbed just right to elevate the bile and urgency of their delivery. The more I listened to this, the more that different bands came to mind…a more raw punk BOSTON STRANGLER, a more hardcore WHITE GUILT, an intensely focused HOAX…but the fact that every turn had me thinking of other great bands just highlighted that this band is doing their own thing. Even caught some powerviolence vibes here and there, which is a feature not a bug in my book. Ten out of ten, no fucking notes—if you like hardcore punk, go find this.

Karl Frog Yes, Music LP

Atypical sounds for round these parts, but worth your time. KARL FROG is a Swedish musician whose music does not come with power chords or blastbeats; no breakdowns, no shredding up or down the fretboard. What FROG does offer is fantastic and beautiful artsy pop. JOHN CALE’s “Barracuda” has been a long-time favorite song, and as soon as the opener “Colonial Hearts” kicked in, I knew I was in line for something wonderful. Playing this type of music often requires good balance, as the tightrope you have to walk to not quickly fall into Wes Anderson soundtrack-fodder can be extremely tricky. FROG walks the line with ease, offering up eleven smart, poppy songs that feel like good DESTROYER B-sides or early BRIAN ENO with a bit less production. Sometimes your mind can use a distortion break. The next time that happens for you, I implore you to see what FROG is cooking up.

Level Symptom of Mankind LP

Hailing from Chico, California, LEVEL delivers a relentless and masterfully done record with Symptom of Mankind. The usual suspects of any punk band are all there, but with the intensity turned all the way up to eleven. While gnarly, crushing guitar riffs attack from all sides, the drums pummel away with maximum velocity and bloodthirst. On top of that, tough-as-nails vocals perfectly tear through the full spectrum wall of sound the band blasts towards your general direction. Something that I particularly like about this record is that deep gut-punch of bass. Although a harsh and tinny sound never goes out of style in the world of hardcore, I do appreciate the extra dimension that a full low-end adds to the band’s heaviness. All in all, LEVEL’s Symptom of Mankind is a really solid record that deserves recognition from powerviolence aficionados around the world.

Metdog One for the Kids LP

If you’ve read my other reviews in the past, then you’ll know that I’m a big champion of the Australian rock’n’roll scene. However, there comes a time in a person’s life where they reach a breaking point and begin to reassess some prior convictions. Now don’t get me wrong, I still love egg-punk and I still believe that Australia has been the epicenter of some of the purest rock’n’roll over the last five years, but these DEVO/CONEHEADS-eqsue bands are starting to hit the proverbial glass ceiling and produce diminishing returns. METDOG probably sounds exactly how you’re imagining it at this point. Noodly, twangy guitars in lockstep with bass over a danceable four-on-the-floor drum beat. Oh, and of course the nerdy vocals. This is a good record, but it’s like every other Goodbye Boozy release you’ve heard this last half-decade. I will say, they do have a creative use of the synth, utilizing more modern patches over the typical Casio/electric organ options, but there’s still a lot of that, too. Might be worth a spin for the most diehard of the hard-boiled dorks like myself.

Nice Smile / Pissed Off Zombies split 7″

Seattle songsmith Rob Vasquez put out singles under various monikers in the 1990s, leaving his greasy garage prints on exalted labels like Estrus, Sub Pop, and In The Red, among others. Cementing his legacy a little further, this one-two punch on Total Punk drags two of his previously unreleased tracks into the modern era. It’s a raggedy, primitive, blues-infected affair, like a totally shit-faced Billy Childish let loose on four-track, and rumor has it that there’s more of this to come (fingers crossed).

Passion Killers They Kill Our Passion With Their Hate and Wars LP reissue

I was thrilled when this weird little piece of CHUMBAWAMBA history came out as an LP on Demo Tapes fifteen years ago, and it’s really nice to see it reissued on Sealed now. PASSION KILLERS were a group of teens from a small town near Leeds who had a song (their Big Hit “Start Again”) on Crass Records’ Bullshit Detector 2. CHUMBAWAMBA was also on the comp, and wrote to all the other bands saying “Hey, let’s keep the momentum going, let’s start a movement based on this serendipitous collection of bands!”—PASSION KILLERS were the one band that responded. Long story short, the two bands released a split demo and played together constantly, and two of the members, Harry Hamer and Mave Dillon, moved in with CHUMBAWAMBA  (with parental permission, kinda), recorded the material found on this LP in 1983 with Boff of  CHUMBAWAMBA  joining in, and then got kind of absorbed into  CHUMBAWAMBA, with PASSION KILLERS playing their last show in 1984. They reformed to release a 7” of covers protesting the first Gulf War in 1991, but otherwise have not done anything until a series of reunion shows this year (I’m assuming this reissue was done to coincide with those shows). The backstory is cute and all, but happily the music is also fantastic, almost shockingly good for something that has remained so obscure. Dare I say, it’s better than the early CHUMBAWAMBA demos. You can tell that very young teens wrote a lot of this, and I don’t mean that in a bad way. There’s a really charming naivete throughout that is kind of refreshing in this day and age. The lyrics are political and largely idealistic, and the music is decidedly punk (more ’77 punk than anarcho-punk), very simple but very pop-informed and super catchy with sometimes off-key three-part harmonies. It brings to mind a lot of their contemporaries, bands like ANARKA AND POPPY, the MOB, and HAGAR THE WOMB that were straddling the line between punks and (gasp) hippies. It’s very easy to hear what the members brought to CHUMBAWAMBA, and it’s frankly magical. The record comes with a booklet with a detailed history of the band and all kinds of ephemera, and is all-around packaged beautifully with respect for the band’s ultra-DIY roots.

Pig Sweat Backward Values LP

Razor-sharp Swiss hardcore that sounds like S.H.I.T., which may be considered insulting out of context but in this instance, it’s high praise. Backward Values is stuffed to the brim with contemporary D-beat goodness and killer riffs that rock in a WARTHOG kind of way, especially on standouts “Death Dealer” and “Bullet.” I’m a fan, check this one out.

Poison Tribe False Narrative EP

POISON TRIBE out of Denver has released a couple of cassette recordings over the past few years, but this summer, they decided to release their first proper vinyl 7″ entitled False Narrative. On this five-song EP, we find POISON TRIBE offering a refined version of their signature crusty hardcore sound. Instrumentally, somewhere between DISFEAR and NASUM—POISON TRIBE uses a call-and-response, dual-vocal approach which creates a dynamic lyrical presentation. If you dig grindy guitars, shredded vocals, and a terminal velocity rhythm section, then you must absolutely check this out.

Smith Grind Curb Appeal LP

This band has members of FALL SILENT, who did the capital-H/’90s hardcore thing pretty hard, mixed with crossover/thrash elements. Here, thrash is the main ingredient (definitely of the thrash revival variety), with some intermittent forays into capital-H hardcore. A pretty solid effort, but some of the songs are a bit long for my taste (four of the ten tracks go beyond two-and-a-half minutes, with one track going over four), and they kinda lose me when they add breakdowns after what feels like a perfectly fine end for the songs. Not great, not terrible, might be worth your time if modern hardcore mixed with revival thrash sounds like your bag.

Splizz Splizz LP

As soon as the first track begins, you’re immediately immersed in another world. The layering of guitars and far-away vocals make you feel like you’ve been transported to a gloomy forest on a quest or sitting in nature watching the rain fall. I love how atmospheric and classically post-punk these guys are; amazing.

Tiger Helicide The River Squid CD

This comes in swinging like the DIDJITS or something. The first song, “AlaKABLAMa,” clocks in at just under four minutes and really takes the listener for a ride with all the tempo changes and oddball lyrics. The first listen to this TIGER HELICIDE CD had me plopping it into the trashcan. However, now on my third time through, I think I’m starting to get it. This is sloppy like a super drunk NOMEANSNO, SCHLONG, or LOVE SONGS, and retains the same charm throughout. I feel as though every member of TIGER HELICIDE loves a different style of punk, and together, with all of their personal elements brought in, they created this oddly perfect garbage fire. I say with one hundred percent certainty that TIGER HELICIDE is making the exact kind of music that they want to. If I have one critique, it would be that the vocals are a bit too loud and overpower the music a bit. I really like this though, and can’t wait to see what is next.

偏執症者 (Paranoid) Possessed / Deserted Centuries 7″

If there’s one thing everyone has to acknowledge about PARANOID, it is that they are original and singular in a genre that strives on sameness and rules to survive. It’s not like they included reggaeton or chanson into their music, but from a rather classic, distorted, noizy käng unit, they have turned into a FROST-loving metallic Scandicore act (it is to be noted that PARANOID is a prolific bunch), and in the realms of DIY hardcore, it is considered as a big step. This 7″ was part of a series of five records with covers structured around a similar colour palette and template. “Possessed” / “Deserted Centuries” appears to be the only one of these with two mid-paced, old school metal songs and no fast bits, and while the Swedes are good at what they do, I have to admit I miss the faster hardcore punk moments. Still, a well-executed endeavour from people who have been doing this long enough to know what they are doing.

20 Minutes Sucks LP

A dozen buzzing garage gut-punches here from the picturesque city of Domodossola. 20 MINUTES continues the lineage of stone-cold rock’n’roll that can be traced all the way back to the STOOGES, in the vein of its re-emergence with a fresh coat of paint in the ’90s. Injecting a bit of delicious pop into the formula, the band achieves a sharp and barreling sound that falls somewhere between Germany’s (excellent) KÜKEN and fellow Italian punkers the DICK DASTARDLYS. The resulting record rips, with tunes like “You Die” and “Payment” that would fit perfectly in a mix with the finest of golden-era bangers like TV KILLERS and the SPLASH 4. Ace shit.

Aqua Tofana Miroirs LP

Punky post-punk band with high-pitched screams sprinkled throughout. I loved how they manipulated different levels of sound from whispering vocals with cascading guitar to more outright screaming or layered vocals talking all at once; I felt thoroughly immersed throughout this whole album.

The Boogie Spiders Songs For Losers LP

Great start to this BOOGIE SPIDERS LP. Herky-jerky, rock’n’roll punk that starts out fun as fuck. Lyrically, this first track feels like you’re right in a basement or bar with a sticky floor. This is going to sound wild, but this has a very East Coast and West Coast feel at the same time. Rock’n’roll and surf guitar all at once. This is like if the Dirtnap and Estrus labels made a baby with DIRT BIKE ANNIE and then…ya get the BOOGIE SPIDERS. The cover throws off how good this record is. If you are a fan of Sympathy for the Record Industry and classic/early the JAM wiggling in there too, then this record is for you.

Bunnygrunt Action Pants! Thirtieth Anniversary Director’s Cut LP

Reissue of St Louis’s underrated indie pop/rock stalwarts’ debut LP. This record is fucking fantastic. While mostly it stays in the lane of upbeat twee pop endemic of the indie pop scene of the era (yet another record I’m reviewing for MRR with a big ole whiff of GO SAILOR/TIGER TRAP coming off it, and I ain’t mad), they do bring in some fuzzier guitar moments and even shoegaze-y ambience to mix things up and grab from indie rock sounds that were the style at the time. This reissue sounds great and features four tracks not on the original release: “Inanimate Objects,” which came out on a single shortly after the original release, and three songs fronted by their original bass player Renee, which had been dropped from the original release after her not-so-amicable split from the band. If you’re in the market for twee pop with a little bit of a rougher edge, or if you are into indie pop at all, this is a must-own record.

Claimed Choice Genuinely Crafted Noise LP

Fast and loose bangers from CLAIMED CHOICE, whose energy has a hopped-up sense of swagger from beginning to end on Genuinely Crafted Noise. This is a perfect record to play while getting ready for a night on the town with the crew, sounding at times like everyone from GIUDA to the RIFFS to CHUBBY AND THE GANG’s first record. Call it Oi!, call it glam, call it punk, it’s all rock’n’roll to me and it rules, OK?

Distance Le Décor 12″

Touting influence from the French and Scandinavian underground as well as power pop and Oi!, this Bourdeaux group has a strong and formidable style that builds everything around a melodic core. The vocals are a little too forward in the mix, but that’s a quibble when the hooks are this deep. The guitar has a satisfying chorus-laden crunch and the bass is punchy, harmonizing beyond just plunking on the root notes to a deeply satisfying end. At six tracks, the energy stays consistent throughout, and the band doesn’t outstay its welcome. Just a really solid affair through and through, and catchy as hell.

Dr. Sure’s Unusual Practice Blue/Bubble LP

Synthy punk stuff is great and I’m always down to dig into these sounds, but rarely do I think that it has a genuine edge to it. Enter DR. SURE’S UNUSUAL PRACTICE to challenge that very thought. This combo release of, you guessed it, their Blue and Bubble releases, provides plenty of fun, sure, but also you’re treated to a bunch of synth-soaked garage punk tunes that sound actually urgent and truly propulsive. The first two acts that came to mind were SPIRITUAL CRAMP and HANK WOOD & THE HAMMERHEADS. Of course, there is plenty of dynamism to be found across these eleven tracks that prove DR. SURE’s practice is indeed unusual. After the first few garage-y offerings, the album explores more whimsical cartoon sounds on “Blue Evening,” but then trades the staccato synth hits for sustained sounds and nylon string guitars in “Not the End of the World.” The second half of this combined release, the Bubble side, explores sounds even more, tending to feel a lot more post-punk, with another highlight in “Outside Looking In.” This LP challenges your definition of “egg-punk” and tosses you a whole slew of exciting sounds that coalesce into a fantastic listen.

The Fects Rocket to Ruin LP

What is happening? Am I currently facedown at Gonerfest with a HELLACOPTERS and HOOKERS bastard love child band playing songs over me, while in between songs, they turn me on my side to make sure I don’t aspirate on my own puke. The FECTS’ Rocket to Ruin is a non-stop party record, without calling it a party record. Around track five (“Topic”), about sitting in a room listening to the radio and trying to tape songs, it made me think these folks are as old as me. It was a crazy time when you had to actually physically move to find a sound. I would drive my grandma’s car 70 miles to pick up MRR’s radio show from a college station. My favorite thing about this record and the THE FECTS is the fact it sounds 100% natural. If you put these folks in a room and told them to make a record that sounds like metal-math-emo-hard-egg-synth-goth-ska-pop, they would come out of the room, looking up at you doe-eyed, and they’d ask, “Is this right?” And it would be this record, because this is what they do and they do it perfectly.

Fugitive Bubble What Will Happen If We Stop? LP

I had never heard of them before today, but it’s hard for me to consider a band falling too short after having the superb name of FUGITIVE BUBBLE. They are a three-piece from Olympia, WA that plays a mathy and urgent punk cutting close to the NEO BOYS/AVENGERS meets MINUTEMEN bone. There is more beyond the typical within What Will Happen If We Stop?, as well as moments of thoughtful surprise. One moment you are beating your skull to “Eftio,” and the next are in a moment of introspection with the two-part “Demodex in Situ.” The range is revitalizing to listen along to, and I am eager for part two.

G*U*N*N G*U*N*N LP

The main influence I hear is the FU’S. Even a little bit of STRAW DOGS in a couple tunes, but generally speaking, the approach is incredibly satisfying meat-and-potatoes hardcore. What you can also hear, though, is California. Think stuff like the FACTION, with that focus on skating and partying and just being a Cali punk. I am not familiar with their earlier releases, but this sounds incredibly purposeful—love to hear a band knowing who they are and exactly what they want to do on a record. The record absolutely benefits from repeated listens, it gets more fun the more familiar you are with what’s happening, and I appreciate the SPAZZ-ish devotion to throwing in samples to make the whole thing feel even more cohesive. This would be a great second or third release for most bands, but as a debut LP, it’s even more remarkable.

Isolationsgemeinschaft Start. Stop. Zurück. LP

Look, I wasn’t alive in the ’80s and I’ve never been to Berlin, but I’ll take a wild guess: ISOLATIONSGEMEINSCHAFT’s latest LP, Start. Stop. Zurück., sounds exactly like it. Freezing cold atmosphere, gothic undertones, a bunch of analog synths, and deep-voice talk-singing in German. At this point, you should be able to perfectly imagine what this record sounds like—and there’s nothing wrong with that. I particularly enjoyed the more danceable, EBM-influenced parts of it, but it definitely has more to offer for the fans of this sound.

Kerosene 454 Came By to Kill Me LP reissue

Here we have a reissue of KEROSENE 454’s 1996 sophomore LP Came By to Kill Me. Hailing from Washington, DC, this release was originally released on Dischord and Slowdime Records—the latter run in part by KEROSENE 454’s John Wall (also of CANYON), who formed the band with brother Jim Wall and Erik Denno. If these labels bring to mind classic DC post-hardcore, you’re not wrong, though KEROSENE 454 added in a bit of melodic hardcore (a sign of the mid-’90s, I suppose), while still keeping roots in the sounds that formed early Dischord bands. I hear pretty classic post-hardcore on “Injection”—fast little guitar riffs, dissonant and squabbling, drums keeping a syncopated beat, vocals spoken, shouted, spat, with a strong backbone of bass. “T Minus 100” offers up some of those melodic qualities, while the closer “Continued” has a slacker sound, and is tamer than the rest—possibly a foreshadowing of Wall’s slowcore career to come in CANYON. While I may prefer ’80s-era DC bands, I like this record, its lineage in the city’s history, and the fact that it’s getting a new day in the sun.

Lumpen Exterminación EP

This is the third record from Barcelona’s LUMPEN, a band that has been on my infallible punk radar since their inception and that I have therefore kept a watchful eye upon, not unlike a majestic albeit featherless eagle of good taste. This new EP Exterminación aptly reflects the progress they have made since the opening shot of Desesperación in 2020. While the intention has always been to build on the beefier side of the classic UK82 sound, I could always hear a raw Latino punk influence at the start, especially the Mexican school (which I rate highly) like MELI or ESPECIMEN. On this new EP, the sound is not as chaotic and noisy (I think the guitar player really found his footing here), but more precisely closer to the original UK influences. They have been, rightly, compared to CRIMINAL JUSTICE, and I am also heavily reminded of the DISTURBED or LAST RITES, but with a darker, anguished edge thanks to the lyrics in Spanish that do make you feel like you are at a dodgy gig in el DF in 1989. I really enjoy the mid-paced number “Apatia de la Raza Humana” with its Horror Epics tribal beats, and the heavy nod to WRETCHED on the closing number (with lyrics in Italian) obviously speaks to the inner nerd. Synchronically speaking, you could see LUMPEN in the same light as bands like PRIMER REGIMEN, SAVAGEHEADS, or the MASSACRED, but with time, they did manage to find their spot in what has become a busy subgenre. Make no mistakes, these punks are for real. Another solid release from Discos Enfermos.

Missvnaries ov Charity Petrolevm Jelly cassette

Petrolevm Jelly, the latest release from Copenhagen’s MISSVNARIES OV CHARITY, is a bouquet of post-punk jams with a written invitation to the dancefloor tucked inside. Yes, it’s a traditional sound, but luckily, it’s one that never gets old. Huge drum machine beats, supportive layers of percussion, and tastefully dominant bass lines make up the groovy foundation of the cassette. Guitars add a good amount of spice to it all by going from tense to funky in a matter of seconds, and expressive vocals sit on top nicely with their cool, laidback delivery. If you have a soft spot for BUSH TETRAS and DELTA 5, this might be able to scratch that itch. Go put on your dancing shoes and give it a spin.

Não Obrigada LP

International punks NÃO, stationed out of Bremen, released a killer demo two years ago, and returned to the studio to record the full-length Obrigada. Eleven songs of noisy, speedy D-beat rocket from this recording with screaming guitars, thick bass, and cyclone drums. With members that include alums from VITAMIN X, ZANJEER, and INFERNO PERSONALE, it’s no wonder how NÃO is able to play with such power and precision. Heavy influences of GBH and KURO come through frequently with the guitar work, occasionally reminding me of ENZYME. Needless to say, the Obrigada LP by NÃO is absolutely recommended listening.

Peeve Grave Digger cassette

PEEVE sounds fuckin’ pissed! Anger-fueled, noisy punk with a pervasive duhka-duhka beat. Strong, abrasive vocals are the standout here, with some juicy quips like “Live, laugh, lose,” from the seething track “Squeet.” A nice accompaniment to the COFFEE STAIN EP from earlier this year, albeit a touch less feral and unhinged. Five songs that don’t overstay their welcome, with cover art that I think is a nod to the Grave Digger monster truck. A solid addition to the ever-growing Noise Merchant catalog.

Plaga Demo 2024 cassette

Four originals and a cover from Irish solo project PLAGA. Each original is scruffy, high-energy,  and produced just right; not too dirty and not too clean. With a little more oomph, this would approach DELETÄR levels of greatness. The only downside is the SIEKIERA cover which sounds like a different band altogether, with more traditional singing and a much slower pace. It’s awkwardly placed in the middle of the demo and unfortunately derails things a bit. It’s not a dealbreaker, but feels like an unnecessary addition to an otherwise solid set of songs.

Poizon Culture Scam Likely LP

I know the term “grunge” is a bit of a controversial one, but POIZON CULTURE would be best described as grunge punk. Scam Likely sounds like DRIVE LIKE JEHU mixed with MUDHONEY, very early ’90s energy—screeching melodies paired with a creative use of different time signatures, giving each track a sense of a winding momentum which in turn drives the narrative of the lyrics. Phew, that was a mouthful. I can’t lie, I had to make sure I hadn’t reviewed something from POIZON CONTROL in the past. I think it would be a stretch to call POIZON CONTROL unique, but that’s really my only complaint about this album. For a self-released slab, Scam Likely is beautifully produced. This is a solid follow-up to their 2020 EP and will be fondly enjoyed by people who worship at the altar of flannel.

Risposta Vstříc Zániku Člověka 12″

Dystopian Czech crust, bleak and deliberate. RISPOSTA’s cold pacing, stark guitar tone, and scolding vocals sketch a world in collapse—existential dread shouted in a language you don’t need to understand to feel. Minimal flourishes, maximum impact; it’s the sound of a final warning shouted from the barricades.

Skeptis Demonstrasi Oleh cassette

SKEPTIS is from Bandung, Indonesia, and this five-piece plays some gnarly and innovative anarcho hardcore on this four-song cassette. Raw hardcore transitions into intergalactic distortions which eventually emerge as synth work that quickly joins the melee. The nearly six-minute-long closer blends dungeon synth with noisy field recordings to create a fascinating yet anxious atmosphere which provides a glimpse into the world of SKEPTIS. The pogo-punk purists may want to pass on this release, but the rest of us will thoroughly enjoy this sonic experience.

Squelch Chamber Everything Turns to Shit, Volume 2 cassette

Forty-five minutes of pure sonic filth. Chaotic, abrasive, and beautifully unhinged filth. With a band name like this and a title so bleak, you’d expect total devastation, and that’s exactly what you get. Blending harsh noise, industrial textures, and an underlying hardcore sensibility, this release feels like being trapped in a collapsing building. It’s suffocating, cathartic, and utterly scary. Not for the faint of heart, but perfect for those who thrive on audio punishment.

Testors Prime Primitive 1976-1977 LP

In the conversation that’s dominated by references to the RAMONES and the NEW YORK DOLLS, TESTORS deserve a louder mention, and this release helps raise the volume for Sonny Vincent and co.’s pioneering old school efforts. The A-side presents nine of the band’s lightning-in-a-bottle studio cuts from 1976–77, newly remastered for this release, while the flip contains a careful curation of live performances showcasing lesser-known songs that add further dimension to the legacy. While revisiting this material, I’m struck by just how fast they played in this era—the B-side opener “Awmaw” sounds like a STOOGES song cranked up to 78 RPM. Though it was never in doubt, TESTORS’ status as top-tier O.G. punk visionaries is triumphantly reconfirmed, in a cool collector’s package complete with poster inserts and silver-foil jacket, no less.

Appaloosa Of Human Bondage 7″

Fun, one-track lathe-cut that brings to mind a combination of TILT, the SMITHS, and SUGAR STEMS. Hearkens back to an era when college radio ruled the underground. Sharp production and catchy song construction here. I just wish there was more to chew on.

The Berserk Where’s the Dictator? EP

Maniacal raw punk out of Philly that cops from various eras of hardcore without feeling cobbled together or incoherent. This EP is like a sonic endorsement of violence against authority with lyrics to back it up. See lines from the title track, such as “Where’s the dictator? / His forehead’s in my sniper sight.” Brutal. Solid production bolsters the more USHC-influenced tracks to great effect, recalling NECROS or the FIX but with way harsher vocals. A firm step forward from their demo from 2024, which was quite a beast to begin with. Profits from this release are donated to the Philadelphia Community Bail Fund, even more reason to jump on this one.

The Boreouts Do Your Scam / Tightrope 7″

On their debut 7″, the BOREOUTS deliver two tracks of unpretentious and raw ’60s-inflected garage punk that sound less like a calculated throwback and more like a group of seasoned Detroit musicians having a blast. With Jason Navarro of the SUICIDE MACHINES on vocals and guitar, Ko Melina from the DIRTBOMBS on vocals and bass, and John Bunkley of GANGSTER FUN on keys, this unexpected supergroup sidesteps nostalgia-pandering in favor of genuine energy and fun. It’s raw, it’s real, and it’s pressed on limited edition red vinyl. Act like you’ve got taste and grab a copy.

Chronophage Musical Attack: Anarchist / Communist Friendship EP

A lot of the music reviewed on this site can be understood (if even just at a surface level) fairly quickly—this is not a slight at all, but more of just an expression that one knows what they’re dealing with often within one listen, or one track, or one chord. That sentiment is definitely not the case with the latest offering from CHRONOPHAGE. This EP may take a number of listens to cement a reaction, and I suspect these Texans prefer it that way; the tag “spoken word” is the only descriptor on their Bandcamp, despite the fact that they clearly be singin’. My best approximation of what I’m hearing here is if Carey Mercer (FROG EYES) and Dan Bejar (DESTROYER) allowed their collaborative SWAN LAKE project to be a little poppier? Honestly, put these four songs on repeat for a while and see what you land on, because your first impression is going to be that you need a second impression, and that’s refreshing if nothing else.

Denevér Economía Doméstica LP

DENEVÉR is a duo out of Budapest harnessing the power of electronics to create complex, raw post-punk that occasionally toes the line of darkwave EDM. After consistently releasing material for the past few years, DENEVÉR decided to release the emotive and layered full-length Economía Doméstica. This eleven-song album uses everything from sampled audio, distorted synthesizers, overdriven drum machines, and noisy instrumentation to create an atmosphere that is on one hand reminiscent of ’80s-era new wave, and on the other is approaching post-hardcore. Emotionally heavy, Economía Doméstica is anguished, urgent, and melancholic while exploring a complex and shifting sonic space. The vocals are often delivered in unison by the duo which provides a sort of power behind the lyrics. Definitely check this out when you’re in the mood for something a little different.

Feral Housecats The Unherdable EP

Fun, guitar-heavy rock’n’roll that sounds like Richard Hell if the VOIDOIDS ran their gear through a Boss DS-1 with the distortion turned all the way up. Pretty typical punk affair here—they’re not reinventing the wheel, but it’s a fun jaunt regardless. They even throw in a live track about halfway through, which shows off how tight these folks are outside the studio. You’ll want to give this a spin if you’re a junkie for solid garage rock.

Frizbee Sour Kisses cassette

Indianapolis femme-punks FRIZBEE lived fast and died young, with Sour Kisses serving as the tombstone marking the end of the project’s two-year run. It’s nine tracks worth of noisy and raucous art-garage played with a borderline hardcore intensity (and short attention span) not dissimilar to last decade’s brat pack of UK bands like GOOD THROB, FRAU, and WOOLF, as interpreted by four Midwestern women in a post-Lumpy Records context. Vocalist Maude’s conversational but deeply caustic lyrics cut straight to the chase, lining up targets with zero ambiguity—see the repeated demands to “Give me back my own space” in “Evil Eye,” or the rhetorical taunt of ”Tell me why I’m burning at both ends” from “Defective”—with seriously blazing guitar and a claustrophobic, pinned-VU bass/drums pummel perfectly mirroring that vitriol. If you’re going out, might as well go scorched earth; FRIZBEE certainly did.