Reviews

For review and radio play consideration:

Please send 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. Please include contact information and let us know where your band is from!

Agathocles / Yacöpsae Very Old Shit split LP

No false advertising here, this is indeed very old shit from both bands. The YACÖPSAE side is remarkably consistent in recording quality for a collection of 30-plus-year-old tracks, though you are going to get way more of a “mid-’80s German hardcore punk band in the practice room” feeling than you will their insane, speed-obsessed final form. There’s a couple songs that set foot into the blastbeat zone and scream of things yet to come, but overall, you get a lot more punky tupa-tupa than you see from the lads these days. Being firmly in the YACÖPSAE camp in terms of preference, I enjoyed their side way more. I found it interesting hearing them sound like they could have become an altogether different band from these recordings, an alternate universe version where YACÖPSAE went more straight-up hardcore punk. The AGATHOCLES side varies wildly in quality almost from track to track; you can tell these are from a lot of different recordings and they definitely dip below the “listenable enough” line a few times. You get very primitive-sounding mincecore, from probably one of the best documented bands in the history of the planet. The vibe on this side is more along the lines of a band working out their shit to become what we all know them to be, and that I just found less compelling. Overall, this is for the diehards, kind of inessential truth be told, but maybe something people interested in the history of the bands or with a love of that “we brought a boombox to record our band practice” sound will find value in.

Amargao Amargao demo cassette

High-energy, high-end ear-splitting garage hardcore from Santiago, Chile. Serious US Midwest energy and focused sonic damage over the course of five songs—vocals damaged to oblivion and showy guitars treated to a wall of effects, while a blown-out rhythm section propels the entire experiment forward with a careless urgency. A gloriously exhausting listen, highly recommended.

Black Dog Sewn Into Confusion EP

This new EP from Halifax noizecrust fanatics might be the best five minutes you are going to spend this month. Sure, it might get you sent to Bedlam because doctors are bound to ask what sane person in their right mind would enjoy being subjected to such a D-beat raw noize punk assault? The answer is easy: punks of good taste, that’s who. I was fortunate enough to review the band’s first EP, and I am happy to announce that BLACK DOG haven’t become a revival skacore band in the meantime. In fact, they sound even more ferocious, somewhere between D-CLONE at their most intense, FRIGÖRA, FRAMTID, and contemporary bands like PHYSIQUE, SCUMRAID, and others who wished they had been around at Final Noise Attack gigs in the ’90s. Sewn Into Confusion is masterfully crafted by this crew of Halifax punks who just know how to be genuinely good at being genuinely noisy. I love how aggressive and direct the vocals sound, closer to Scandicore bands than the more extreme Japanese ones. If you don’t like this kind of hardcore, this EP will not reconcile you with it, but if you do like it, it will make you love it even more.

Blank When Zero Stagna EP

BLANK WHEN ZERO’s Stagna EP is a blistering four-song burst from this long-running hardcore trio out of Bingen, Germany. These tracks may be short—most clock in around two minutes—but they pack a sound that’s weirdly massive. The singer’s voice hits with a theatrical clarity that brings to mind the question “what if Michael Kiske’s kid started a punk band?” and it mostly works. Picture the spirit of DRAGONFORCE filtered through a punk lens (with a tiny fraction of the production budget and none of the guitar showboating), rooted firmly in their progressive politics. My favorite track, “Momentaufnahme,” is pure cardio for the drummer. This EP really grew on me after repeated listens. Maybe for fans of HELLOWEEN and PROPAGANDHI.

Canteleu Canteleu cassette

The city of Lille is a working class metropolis in northern France near the Flemish border. Aside from being the location of this year’s Tour de France Grand Départ  it’s also home to goth punks CANTELEU. Late in 2024, CANTELEU released their inaugural self-titled EP and effectively laid down some of the best goth tracks ever to be recorded to tape. This three-piece whipped out five originals and a cover of Q LAZZARUS’s “Goodbye Horses,” with delightfully heavy synths, pounding beats, and urgent vocals that immediately conjure memories of French compatriots and punk legends EDITH NYLON and MÉTAL URBAIN. However, there is a dark, melancholic bent to CANTELEU that comes out with pop-infused howls and is accurately dubbed “Coal Wave” (as the north of France is its coal region), as CANTELEU brings a wave of chilling, dance-ready energy. If you’re struggling to maintain an icy cool demeanor during this hellscape of summer heat, then I’d suggest giving CANTELEU a shot.

Dana Clean Living LP

Have you heard of the saying “a chain is only as strong as its weakest link?” Well, there are no weak links on DANA’s latest LP, Clean Living. Every member, every instrument, and every song is perfectly on-point and solid as they could ever be, so much so that I won’t even bother dissecting every single element of their music. Just know that DANA is like a complex organism that works in perfect harmony—and disharmony, when they want to—without breaking a sweat. Clean Living radiates this energy of boundless creative power that always enchanted me with no wave acts like JAMES CHANCE AND THE CONTORTIONS, TEENAGE JESUS AND THE JERKS, and BUSH TETRAS. While it’s possible to hear influences from these classic bands, DANA is by no means a copycat group. If you don’t mind me, I’ll just go ahead and call this album a ten out of ten. P.S. Can somebody tell me what the fuck is going on in Ohio and how they always come up with the best, the weirdest, the quirkiest post-punk imaginable? Thanks.

Diamine Ancient Riffs LP

DIAMINE is a Washington, DC three-piece made up of musicians from CAPITOL CITY DUSTERS, SEVERIN, and Florida’s DISCOUNT (a band fronted by Alison Mosshart, later of some band called the KILLS). Their debut LP Ancient Riffs mostly reads as mid-tempo alternative rock with personal lyrics delivered by a singer who sounds like a worn-down B.A. from SLOPPY SECONDS. Track seven, “Either/Or,” was the only one that I thought showed any bite. While some bands use “post-punk” to describe a distinct sonic signature—anxious tones, driving bass lines, sharp edges—others use it to mark what ex-punks did next. Ancient Riffs lands in the latter camp, and not necessarily in the best way. Coming of age in DC in the ’90s meant navigating wave after wave of projects built around ex-members of great bands—most of whom had lost whatever made those earlier bands compelling. DIAMINE sounds like one of those projects: the kind of group you might accidentally catch while waiting for the headliner. Recommended for friends of people who work at Dischord.

Eskolopendra Criminal LP

From the Spanish island of Tenerife, ESKOLOPENDRA conjures up passionate and sinister punk with classic deathrock vibes. The tunes on are undeniably catchy, propelled in no small part by the fantastic vocalist, and this young band has assembled a record here that plays like an album and not just a collection of songs—a solid debut. The name of the Spanish label that released this translates to “Methadone Records,” which is crazy, and if you want to put a creepy little jolt in your day, look up image results for the band’s name.

Flor Mi Cuerpa es Protesta cassette

FLOR spans an interesting gamut across the eight cuts on this release. The backbone of these tunes consists of anger-fueled, straightahead punk. It’s a rip-roarin’ time with chaotic elements that makes it feel like the whole thing could fly off the rails at any moment. Polished this is not, but fidelity here is replaced with passion and charm. And while the core sound is free of extraneous complexity, FLOR takes some interesting turns, like on “Preludio Al Dolor,“ where they veer into URINALS territory. This tape is a solid reminder that a band doesn’t have to spend a small fortune in a fancy studio or flaunt their technical chops to make a compelling release. They just have to give a shit about what they’re doing and go for it.

Green Fingers Ltd. Liminal Safe Space cassette

Seven-song debut release by a new band from Tbilisi, the capital of Georgia. Each of the seven songs by GREEN FINGERS LTD. is a bit like a roller coaster ride in the dark—there are elements that are fun and entertaining, but ultimately the unknown curveballs thrown at you feel more jarring than they do exciting. Musically, this is mostly some kooky, synth-driven egg-punk. The vocalist is doing real barked, gruffly delivered Muppet style vocals, which works for some realms of hardcore, but sounds wildly out of place in this context. That, plus the wacky decisions to add a Star Wars cantina-band-style transition in one of the songs and some real yo-ho-ho pirate chants in another leads to most of this tape coming off as a bit of a novelty project. There are aspects that make your ears perk up in a good way and wonder exactly what’s going on, but the piss-take is what really shines through above all.

Hilerri Herio Usaia LP

Brutal Spanish guitar-free D-beat. There’s a dark and sinister energy that their sound creates, even though (or specifically because) I am constantly yearning for that guitar. My mind is reaching for the empty space, and there’s nothing there. Because it’s empty. Because there’s no guitar. The songs are absolute shredders—erratic, no-bullshit, shit-fi D-beat mania punctuated by mid-tempo slogs like the title track. The songs are killers, the production and presentation are flawless. HILERRI is evil as fukk and they’ve got me hooked…and still I want those six strings.

Irish Handcuffs Humbs EP

From their Bandcamp page, I learned that “after thirteen years and close to three hundred shows in around fifteen countries, IRISH HANDCUFFS are calling it a day.” To be honest, I’m bummed that I’m just now hearing this band. These four songs are mid-tempo and contain the speckled reflective parts of SAMIAM, JAWBREAKER, and MOVING TARGETS. Tunefully akin to OFF WITH THEIR HEADS and LEATHERFACE, but without that over-the-top, “gargle with sand” vocal style that many try and few do well. I appreciate that every guitar and bass note, every drum hit, every syllable is clear and mixed well enough to be a DESCENDENTS record, but not overproduced to where the tunes become flaccid song bags. I dig it.

Krigssystem / Smog split EP

Two tracks by SMOG, four tracks by KRIGSSYSTEM, all absolutely DISCLOSE-dosed. I dig the two tracks by SMOG as they walk the fine line between raw D-beat and full-on noise, while I like the KRIGGSYSTEM tracks as they embrace the noise nearly entirely but still manage to push adrenaline-inducing punk. Limited to a pressing of 300, this record is sure to sell out fast.

La Flingue Boredom With the La Flingue LP

A huge collection of almost all of  LA FLINGUE’s output, Boredom With the La Flingue brings together all four of their previously tough-to-find 12” releases. On its surface, 24 tracks can seem a bit daunting, especially given the average attention span in 2025, but just like the ocean, if you allow yourself to simply jump in, you’ll be glad to have submerged yourself fully. Whether they’re singing in their native French, English, or even German on the early standout “Hass Hass Hass,” these garage punk hits come fast (only one of the two dozen tracks breaks the three-minute mark) and loaded with snot. While this collection represents over four years of songwriting from LA FLINGUE, there isn’t a huge difference in sound between track one and twenty-four, proving that there was a singular mindset with these lads—once you’ve gotten into the water, sometimes you just want to stay forever.

Musty Flick Define Who We Are CD

MUSTY FLICK is fine Midwest emo. They are mellower than some Midwest emo bands and can slip into dreamy indie rock, but they can also switch back and be on pace with the other Midwest emo bands. There is a label called Tiny Engines, and I feel like this could be a decent fit on their roster with SOMOS, LAPÊCHE, HOT JOY, ALIEN BOY, PERSONAL SPACE, and others. I tracked down a show of theirs on YouTube and found them to be humble and charming, two things I was not expecting. MUSTY FLICK is from Southeast Iowa, and maybe you won’t completely find their sound to your liking, but they are on an island in the Middle West and they are trying to swim against the current. If this review is to keep at all with the origin and intent of MRR, then my hope is that someone from a neighboring town or state will build a bridge and start connecting. It’s never too late to start a scene.

Nasty Party Nasty Party LP

Sydney- and London-based NASTY PARTY, the conjoined brain child of Nasty Simon and Rhys Nasty, put out this LP with all their previously released material. Songs drive straightforward with a RAMONES-core catchiness, mixed with the British snot of Pete Shelley’s vocals. The first listen didn’t capture me, thinking it was some party (I guess their name led me there) Oi!-adjacent kind of band—but with some more focus, I heard a UK ’77 throwback, and really enjoyed it. These songs not only make me want to push around, they’ve also got something to say, like on “Strum & Drang” where they sing “You got social media influencers, the parasitic elite / I’ve never seen such a worthless pimple on society’s ass cheek.” Plenty of social commentary abounds in his thirteen-track LP that is as fun as it is poignant.

Pegasister Burn to Ash LP

Fuzzed-out pop punk with a power metal twist, as if FIDLAR started listening to DIO and MANOWAR and decided it was time to don the knight’s armor. I wish their Bandcamp page listed their lyrics, because from what I’m picking up, this sounds like the narrative of a Sega Genesis-era dungeon crawler. Speaking of the lyrics, the vocals are above and beyond the best part of this band. The kind of rock’n’roll screeches that every frontperson dreams of being able to pull off, chock-full of charisma and energy that can’t be taught. Don’t get me wrong, the music is great too, especially the little synth parts that are beautifully laced throughout each song, acting more like a garnish than a lead. It’s clear that PEGASISTER really took great care with these songs, because they are masterfully crafted and extremely catchy. Fire up your copy of Shining in the Darkness and give this a spin.

Pyrex Slugman EP

After their excellent LP Body from earlier this year, I was not expecting a fresh batch of songs from NYC’s PYREX so soon, but I guess this is my lucky day. Sounding as raw and evil as ever, Slugman sees the band dig their heels further into the nastier elements of their brand of grimy hardcore punk. From the maniacal opener “The Curse” to the menacing closer, the appropriately titled “Menace,” this is bad music for bad people in the best way possible. Absolutely recommended.

Scheisse Minnelli / The Shining / Verbal Abuse Speed Kills, But Who’s Dying? split LP

Three bands, three labels, and fifteen tracks of fast “fuck you” music. It rules, folks. This slab originally came out in 2011 as a CD, and I can see why they brought it back for the vinyl treatment. O.G. HC athletes VERBAL ABUSE open the proceedings as a tough act to follow, with five blistering tunes that set the tone for the thrashing to come. In addition to having one of the funniest band names I have ever heard, SCHEISSE MINNELLI evokes just a bit of an early SUICIDAL TENDENCIES feel with their agile metal guitars and goofy humor. Finally, the SHINING caps it all off with some menacing crossover out of Amsterdam. It’s a bonafide ripper, recommended for fans of CONCRETE SOX, HERESY, and other fastcore champs.

Sewer Urchin Global Urination LP

The cover for this record reminds me of a mutant version of those children’s car track rugs. I wouldn’t guess this was a crossover album by any means. Global Urination is a filthy, spit-in-your-face assault on decency and order. SEWER URCHIN oozes with thrashy riffs, sewer-slick bass lines, and vocals that sound like they were recorded in a rusted drainage pipe. Their sound almost feels like NUCLEAR ASSAULT with the punkier edge of CIRCLE JERKS. It’s raw, sarcastic, and politically foul, with song titles like “Godzilla vs. the Financial Sector,” like a middle finger raised from beneath the gutter. If global collapse had a soundtrack, this might be it.

The Slugs A Song for Every Feeling LP

I came into this record not familiar with the SLUGS, but from the first track it took me back to a time when I would listen to the MOLDY PEACHES and a bunch of lo-fi indie pop. Mind you, where the PEACHES were a little unhinged and wild, these two British girls are more cheeky and adorable in a very bedroom pop kind of way. One member plays drums, the other guitar/bass, and they both sing line for line with each other on basically every moment of the record. This approach, youthful songwriting mixed with clean, clear production, creates quite a bit of charm (and takes the whole thing out from under the lo-fi banner). The band didn’t pull the album title out of their ass either: each song goes for a different feeling, even if sometimes they can be too precious to pinpoint what that feeling is aside from “cute.” Still, there are some very catchy moments, interspersed with some clever bits that betray a band with more depth than one would initially assume them to have. The whole endeavor gave me an “I don’t wanna grow up” feeling that I can certainly identify with, and though not the most memorable record I’ve heard, it’s not forgettable either. I hate to use the term, and I use it as much as a compliment as it can be, but this record is nice. Just nice as hell. It’s not gonna kick your ass/change your life and it may be a little too breezy, but goddamn, it’s nice.

Terre Neuve Depuis Les Marais EP

Belgium is an oft-misunderstood country. Frequently (and incorrectly) called boring by shallow-minded dullards, as if any country that’s powered by chips, 9% trappist beers, and disappointment at a nearly-ran international football team could be anything other than fertile ground for some good ol’ fashioned Oi! TERRE NEUVE is one of the leading lights of the Cobra Jaune scene, a loose group of rapscallions and ne’er-do-wells coagulating around the titular venue. This particular release has the kind of bite and bile that so much contemporary Euro stuff lacks, putting me in mind of RIXE in their pomp, and that’s high praise from yours truly.

The Unknowns East Coast Low LP

One of these days you’re going to read a review of an Australian release where things are panned, but that sure as hell isn’t going to be today. Bringing to mind other brilliant Australian classics like the RIPTIDES and the EASTERN DARK, this album is a case study in how a foundation of good taste can take you far. These tracks are brimming with power pop hooks, pub rock call-and-response shouts, and classic punk energy. While the UNKNOWNS include members of the CHATS, this is far from anything one might call a “side project,” as the UNKNOWNS have been cranking out hits with regularity for a decade.

V/A Still No P.E.A.C.E. Still War LP

When I first heard of War Bad’s Still No P.E.A.C.E. Still War compilation, the infamous International P.E.A.C.E Benefit Compilation (commonly referred to as the P.E.A.C.E. comp) immediately sprang to mind. For those unfamiliar, a brief rundown: the P.E.A.C.E. comp was put out in 1984 by MDC’s Dave Dictor (in association with this very zine, MRR). It was a profoundly impactful album whose profits went towards various good causes including anti-nuclear groups, Food Not Bombs, and Greenpeace. It also featured a track list that included everyone from G.I.S.M. to WRETCHED to CRASS (and that was just on the A-side). It’s endlessly cited as a musical entry point for people the world over, and remains an untouchable piece of punk history for its stellar lineup and its message that it is in fact cool to give a shit. Now, fast forward 41 years and here we are in motherfuckin’ 2025, once again coming together to raise profits for a cause: the heinous terrorizing and starvation of Palestinians at the hands of completely unchecked world powers and their all too apathetic peers. It’s beyond the pale, to put it mildly, as anyone with eyes, ears, and a smartphone could tell you. And while I feel significantly less qualified to give a comprehensive history lesson on the subject, I have no problem saying that ignorance and non-action is not an option. So what can you do? Well, amongst many other things, you can skip the latte and buy a copy of War Bad’s Still No P.E.A.C.E. Still War comp. With an ethos that follows in the footsteps of the aforementioned ’84 P.E.A.C.E. comp, War Bad brings together a who’s-who of today’s best punk bands to support a cause that takes the brutal Palestinian genocide head on. Each of the 22 bands featured here have reputations that proceed them both sonically and in their clear-eyed messaging, providing a near-perfect snapshot of today’s punk scene that could only be made stronger if this thing were double (or even triple) the length. From the ghastly urgency of SPIRITO DI LUPO’s opening to the all-out attack of WARTHOG’s “Iron Fist” cover, this thing is a beast of a sampler platter that I would gladly serve up to anyone interested in getting into punk music in 2025. Time will tell if it holds the same place in hearts and minds that the ’84 P.E.A.C.E. comp did, but regardless, its impact will surely be felt for years to come. Dictor’s idea behind the ’84 P.E.A.C.E. compilation was to show how prevalent hardcore culture had become across the globe and how its raw music and leftist politics could be harnessed to create something that is much, much more than the sum of its parts. That is in essence what Still No P.E.A.C.E. Still War is: a spiritual predecessor that once again shows how the alleged “fringe” of society can come together for a good cause. Because it is in fact cool to give a shit.

Animals Revenge Invasión // Destrucción EP

No bullshit, just D-beat. Controlled chaos on this three-song blast from Tijuana—their dis-attack feels like it’s on the edge of collapse at all times,the tension that results is like a drug, and I’m tryna get fucked up listening to this shit. More, please. The closer “Perro Tráfico” is a short and restrained number that closes the release in the most brutal manner; this is the mid-tempo dis-banger that is supposed to (if you’re following the formula) come in the middle of the first side of the album before the band really unleashes. But here? It’s the end. So I’m not just wanting more at the end, my mind is demanding more at the end. Total fukkn dis-banger of the highest order, highly recommended.

Anticitizen Take to the Streets LP

Is it weird to think that this band is mis-marketing themselves? From the spikes and the spiked hair and the pictures of them snarling at the camera with spiked wrist bands, I feel like they want to be a street punk band, but they are more than that, and better than that, methinks. They are from New Jersey, and I love New Jersey, from the mountains, the Delaware Water Gap, Princeton Record Exchange, Pine Barrens, and the Jersey City and Newark areas, but I’m not sure which part these guys are from. This could be a great hardcore record, like NAUSEA, DEAD SILENCE, CELEBRITY MURDERS, or some of the fast BORN AGAINST songs. But then ANTICITIZEN will self-sabotage with “Drink, Smoke, Fuck, Die!” if only because it doesn’t fit in with the more penetrating and thoughtful approach of the prior four songs. Some of the standouts are “Blood Money” and “They Live, We Sleep.” I’ve never been a fan of songs about “punk” or being “punk,” the same way I don’t care about a country band talking about how they are so totally country because of their “beer, dog, truck, or (insert your best),”, and this record does have a few of those songs. However, if you get past the easy stuff and dig into the songs like “100 Seconds” or “Industrialized Sacrifice,” then you’ll find a pretty great and thoughtful New Jersey/New York hardcore record that maybe should have been seven songs instead of twelve. But dang, those seven songs are rippers for the ages and could go one-on-one against some of the greats.

Billiam Sylvie S Goes to Hawaii EP

The prolific BILLIAM is back again, this time with a quasi-concept EP. The A-side finds BILLIAM doing his version of an eggy MEAT LOAF, with a five-minute tale in mini movements about a vacation gone wrong. And sure, an “eggy meat loaf” might sound gross on paper, but it sounds great in the ears. While the A-side is one five-minute song, the B-side finds the inverse with five one-minute songs. Frenetic sounds that feel like they overheat and explode at any moment, but BILLIAM has it all under control. Fans of the storied, modern Australian sounds like 1-800-MIKEY and TEE VEE REPAIRMANN will of course feel right at home here.

Body Maintenance Far From Here LP

If you, like me, are just hearing of this Melbourne-based post-punk band, then listen up: BODY MAINTENANCE may become your latest obsession. This is their second LP, after 2023’s Beside You—Far From Here stands up with ’80s UK greats like First and Last and Always and In the Flat Field, with the vocal authority of The Black Album-era Dave Vanian. I hear lots of jangly acoustic guitar, keeping rhythm with the tom-heavy drums, under tragic electric riffs, soaring synths, and gurgling bass. The rhythms have a danceable gait to them, contrasting with the dark and downcast nature of the melodies and lyrics. This will easily make my year-end top ten list. Gripping, heartfelt, melancholic and bold.

Cam Girl Flesh & Chrome LP

For an album that was self-released, the production here is really off the charts. This would be right at home on my local hard rock radio station. Very reminiscent of that style of pop punk that was big during the early 2000s, like the DONNAS, BILLY TALENT, SUGARCULT, and the hair-metal-infused era of SUM 41; the kind of punk that took more of their influence from DEF LEPPARD and MEAT LOAF than your typical D-beat band. There’s also an element of theater here that really adds to the storytelling of the songs and energy. Speaking of energy—this slab is chock-full of charisma and catchy, clever lyrics. I can’t lie, readers. I didn’t expect much here, but by the end, I was hooked.

Cash Bribe Demonomics LP

My biggest qualm with CASH BRIBE’s last outing was its lack of cohesion; the songs were solid enough, but a lack of clear direction felt distracting. On their new LP Demonomics, I’ve got to give credit where credit’s due, as the band sounds a lot more dialed-in and focused. Across six tracks, CASH BRIBE takes their brand of metallic NYHC and leans into some evil overtones, most notably on the sprawling title track’s creepy intro and spoken word outro. Overall, it works, and while this still isn’t really my cup of tea, it’s great hearing a band’s progression.

Décima Víctima Un Hombre Solo LP reissue

DÉCIMA VÍCTIMA was a Spanish post-punk band from 1981–1984, and Un Hombre Solo is one of their last recordings. Un Hombre Solo is a ten-song album that merges Spanish guitar style with the flanged repetition of post-punk to form a basis for crooning vocals reminiscent of JOY DIVISION, but with a decidedly Spanish swagger similar to SINIESTRO TOTAL. It’s a similar energy to PARALISIS PERMANENTE, and DÉCIMA VÍCTIMA should be considered a basis for Spanish dark punk or the “dark sound.”  I’m infatuated with the long moments of quasi-psych-rock-inspired instrumentation that seem to pop up sporadically throughout this album and lend a sort of hard-to-describe but very distinct flavor to the proceedings. Munster Records has lovingly preserved Un Hombre Solo and presented it with only minor improvements to the album art per the band’s request, so the packaging has a fresh but also archival feel.

Drivel Pledge Allegiance to the Bomb EP

DRIVEL’s new EP is a feral blast of hardcore that channels the whiplash tempo shifts and noisy sample chaos of early 2000s Bay Area powerviolence while injecting a strain of murky and chaotic lo-fi grunge. Featuring members of PILAU and CHILL PARENTS with a guest appearance by Richard Johnson (ENEMY SOIL, AGORAPHOBIC NOSEBLEED, DRUGS OF FAITH), the record balances relentless aggression with moments that are almost darkly funny. The production is raw but intentional, everything lands exactly where it should. It’s the kind of recording that reminds you how creative this genre can be when bands let themselves sound unhinged.

Flashes Red Samepain EP

Four songs that are spat out in an aggressive LEATHERFACE/HOT WATER MUSIC sorta way. These folks are barking down from the Mile High City, and their intent seems to be bringing the melding of melody, a “fuck you” approach, and competent musicianship to the masses. I’d be lying if I didn’t hear a little HÜSKER DÜ in there, too. I wish these folks would try to sing a little more. Like, what ever happened to the MEGA CITY FOUR or DOUGHBOYS or the bands that had great songs and not just yelling and spitting. I was only reminded of this by a couple lines in the song “Apathy of Me,” where the singer takes the yelling-ness down for a couple words. NAKED RAYGUN put out a record a year or two back with similar music and crisp (not yelling at me) vocals, and I think more bands should do that more often. These four songs clock in at just under thirteen minutes. The songs are great. Maybe I’m just getting tired of being yelled at by music I like. I think I’m going to call my mom and ask her if she loves me.

G.I. Jinx Mind Freak LP

These Montreal noise-mongers serve up a saucer full of space rock. Landing somewhere between SONIC YOUTH and MOON DUO, G.I. JINX blends screechy no wave with repetitive, drone-informed jams. Most songs hinge on a single riff or two, piped through multiple layers of fuzz. I’d be willing to bet the guitarist has a mean collection of boutique germanium stomp boxes. The vocals are delivered with a semi-lackadaisical coolness that begs for a Kim Gordon reference. Great art rounds out a record that will surely appeal to your friendly neighborhood acid casualty.

Grid The First Demo cassette

A blistering introduction to GRID’s crude energy. Clocking in with furious riffs, pounding drums, and throat-tearing vocals, this debut captures the essence of hardcore in its most primal state. There’s a refreshing lack of polish here, and that’s the point. Every track pulls on that urge to tear everything to pieces. GRID isn’t here to play nice, they’re here to make you drag your knuckles on the ground. If fast/slow dynamics are your thing, GRID does this very well!

Heavy for the Vintage Resist. Dance. CD

Carrboro, North Carolina’s HEAVY FOR THE VINTAGE mesmerize with their minimal and downtempo synth punk magic on their latest release Resist. Dance. This thing has its own unique and immersive sonic universe with crunchy drum machine beats, bittersweet synth melodies, background electronic noise, and beautiful vocals that are the perfect fit for this sound. They definitely make the most out of the minimal set of sounds in their pallette. If you expect high production value, look elsewhere—it’s dirty and lo-fi, with human feel peeking through one way or another. And that kind of imperfection is exactly why I love and admire this record. It’s been a while since I heard something that keeps a steady pulse and vibe from start to finish, yet manages to keep me hooked. Perfect soundtrack for when you get that hollow, sinking feeling for no reason at all.

Iron Lung Adapting // Crawling EP

Seattle’s long-running powerviolence duo IRON LUNG have recently returned with their first full-length album since 2013’s White Glove Test. This Adapting // Crawling promo 45 offers one of the album’s standouts and the partially hidden title track. Side A delivers a grim three-part sequence—“Purgatory Dust,” “Virus,” and “Purgatory Dust (Finale)”—channeling the chaos of public health disasters and anti-science backlash, pulled from both the COVID era and the polio vaccine fights of the 1950s. Side B is the full version of “Adapting // Crawling,” a broken sound collage that slowly mutates into a crawling dirge. IRON LUNG remains as bleak and gripping as ever, holding a mirror to the damage we do to ourselves. As they write in the liner notes: “Human nature is insane. I’m surprised we’ve lived this long.” Same.

Krime Demo EP

Solid four-song demo from the just-starting-out band KRIME from the Netherlands—their whereabouts as to what city exactly remains a mystery. The band veera into the kind of palm-muting guitar, double kick, hard-edged pop punk à la MORAL CRUX, RKL, etc., just a little more spastic.  It’s a bit rough and there are moments that will feel like James T. Farris could be in a new tribute band. After it’s over…there are moments for sure, but I am resigned.

Los Pepes Out of the Void LP

Delivered from a multicultural London setting, Out of the Void is a classic punky power pop record. Infused with beachy guitar and ’60s-influenced sounds, LOS PEPES know who they want to be. However, this LP was generally unimpressive and sounds too overproduced. The drums aren’t too creative, maintaining their kick and cymbal-heavy rhythms without much deviation. I didn’t care too much for the vocals; there isn’t that harsh quality to vocalist Ben Perrier’s voice, which would make for a more interesting listen. Otherwise, the guitar on “Sweet Appeasement” has a great tone, groovy synth, and it’s the best song on the LP. They change pace a bit in “Undercover,” getting faster before the record ends. Honestly, LOS PEPES seem like they’d be better live than recorded, which must be true considering their impressive booking schedule. My prescription: Listen to Out of the Void live for better results and less studio dampening.

Nuclear Fear Pantomime of Power EP

If you want to be transported to the era of nuclear paranoia and unhinged Scandinavian hardcore punk, then throw this on and spend just a hair under six minutes with this UK outfit. Featuring members of NWOBHC standouts ARMS RACE and the FLEX, this record bludgeons you with what it wants to do. Buzzsaw guitars push to the forefront while acid leads wail at you from behind pounding drums that owe more than a bit to that MOB 47 manic pace so many of us know and love. It’s not just ’80s worship though, the spirit NWOBHC can definitely be heard, and more importantly felt here. The production/mixing go a long way to place the band, their sound, and their very righteous anger in the modern era. The gruff vocals feel desperate and hopeless, which fits with the lyrics that swing from deeply personal despair to very pointed political rage (standout track “DTZWM (Destroy the Zionist War Machine)” leaves no doubt where the band stands ideologically). NUCCLEAR FEAR sounds like a band with a very clear objective on this, doing everything a hardcore punk EP should do in exactly the time needed to do it. Very solid work that wets the appetite for what the band may be able to put together in a whole LP worth of tunes.

Phane / Visions of War …Is This 2024, or 1984 split EP

Can you go wrong with a split EP between Vancouver’s PHANE and VISIONS OF WAR (who are scattered a bit everywhere these days)? I had the pleasure of seeing the former on their European tour last year, and thoroughly enjoyed their dynamic blend of beefy UK82 à la LAST RITES and the DISTURBED, over-the-top early metalpunk like ENGLISH DOGS, as well as early DOG SOLDIER. They deliver as usual here, with one original scorcher and a flamboyant cover of ABRASIVE WHEELS. On the flipside, VISIONS OF WAR, if you will allow a tautology, do what they do. These undying survivors of the ’90s Eurocrust wave unleash raw cavemen crust for fans of DOOM and HIATUS with a touch of the gruffest käng like SVART PARAD on this recording. Like PHANE, they also grace us with a cover, ONE WAY SYSTEM’s anthemic “Give Us a Future,” a song I played an awful lot as a teen, and I have to say they fall a bit short here, especially the vocals. The EP does not disappoint if you are into both bands, but it might not be an ideal point of entry if you are unfamiliar with them. I fall into the first category, so I am happy as a pig in mud.

Planlos Smog & Ruß LP

First things first—fans of underground and undiscovered ’80s DIY punk, run to the Aufnahme + Wiedergabe label now. Seriously. A label dedicated to reissues of recordings from GDR’s vibrant and illegal punk scene is going to grab my attention immediately, and I’m ashamed that I am just learning of the label today, but rest assured that I am about to give their releases a considerable dose of my time (and money). But to the release at hand, East Berlin’s PLANLOS is a compelling and mysterious Deutschpunk slog. Slow plodding numbers like “Schlage” conjure EA80 and JOY DIVISION, while driving burners like “Tagging Tagaus” and “Deutschland” are filled with infectious mystery and make you wonder what a band like this could have done without the shadow of state oppression (though perhaps is that very shadow that made them so compelling and unique). This record (and tape) features their seven-song demo from 1982, two tracks recorded live the same year, and re-recordings from 2024 with help from the band L’ATTENTAT—even though the songs are the same, it feels like you’re listening to a split release with two different bands, and I’m very glad that I don’t have to choose between the two. A glorious concept, an important document, and an excellent release.

The Roxies Keep You Up at Night LP

Rock’n’roll outta Berlin that sounds a bit like if members of the REAL KIDS and the BEAT got together and recruited the singer from SUEDEHEAD to add some mod-like touches. There are some great moments to be found on this album, and those moments are usually when the tracks choose the higher end of the energy spectrum. Songs like “Animals” and “Feeling” do a great job of bending your ears and make you want to turn up the volume. The mid-tempo moments drag a bit, but the sequencing of the album lets you get one of those higher-energy pick-me-ups after plodding through the snoozers. An up-and-down affair, but the highs do a nice job of justifying the lows; worth digging through to find the diamonds.

Send All The Great Betrayal CD

Self-released fury from Tampa, blending melodic metalcore riffs with raw hardcore vocals. SEND ALL leans into early 2000s post-hardcore with an aggressive political tone. The guitars shimmer between breakdowns and melodic runs, while the vocals scream betrayal with conviction. A few clean-sung choruses break the tension but never kill the energy. Not strictly punk, but filled with the ethos. Not up my alley, but DIY self-releases are always welcome!

Snailgun Reset Power Eject cassette

Debut four-song cassette from a Melbourne, Australia band. SNAILGUN sounds like a mixture of noise rock and alt-rock, with just a pinch of post-punk sprinkled in. A real smattering and hodgepodge of ’90s throwback sub-genres blended together. It’s not bad by any means, but it’s also not particularly memorable.

Swan Real Growing Up EP

Punk in the way that Devon Williams took OSKER on their final album, and the direction he went in with LAVENDER DIAMOND and his solo projects. Subtle guitars with ethereal lyrics of heartbreak and aspirations delivered in that soft but so piercing and direct Dean Wareham manner. The guts are personal and honest, reminiscent of the more subtle tracks from the ACKLEYS’ canon.

Toxic Rites Voice Hunger EP

Recorded back in 2023 and finally emerging into the light thanks to Symphony of Destruction, TOXIC RITES are back with four anthems clipped right out of the classic anarcho-punk hymn book. Shades of ANTHRAX, OMEGA TRIBE, and ZOUNDS color their sound, with surprisingly tuneful vocals. As one would expect, the lyrics are overtly political, but there’s an introspection that adds a deeper dimension to the content. Taken with CAN KICKER’s cassette from earlier this year, I’m hoping this is the beginning of a peace punk revival.

Wesley & the Boys Rock & Roll Ruined My Life LP

Coming out of Nashville with a natural cool and a penchant for clever titles, WESLEY & THE BOYS lay down some first-wave-tinted garage boogie on their debut foot-long. There’s plenty of fun to be had within these eleven energetic tracks, with relatable themes like being an asshole and being in the car. With their sooty rock swing and punky take on classic R&B grooves, I can’t help but be reminded of the VIBRATORS all over the place here, which is some divine inspiration. Count WESLEY & co. among the sharpest of the modern-day sunglasses and stripes set.

Zero Bars Life and Hell cassette

Toronto three-piece ZERO BARS cranked out six songs of tight punk rock’n’roll on their Life and Hell cassette, with most clocking in under the two-minute mark but landing with plenty of bite. The first few tracks show up like a slightly less feral DEAN DIRG or MARKED MEN, all forward motion and sweaty basement show vibes. Then they flip the script with “Prove It”—taking a jab at the high cost of seeing these legacy punk acts—and “House Arrest,” both of which flirt with harmonics and channel a post-punk-adjacent feel. Things wrap up with a legit cover of the CRUCIFUCKS’ “Mountain Song” that sticks the landing. The audio sounds great and the playing is rock solid. The tape left me wanting more. Check out “Nervous Wire.”

Autobahns / Elvis II split EP

More classic lo-fi bedroom egg-punk madness brought to us by our Italian friends over at Goodbye Boozy, one of the top five labels in existence at the moment. Both AUTOBAHNS and ELVIS II play a bittersweet, blown-out style of DEVO-inspired punk. AUTOBAHNS are a little more raw and actually have a bit of a chain punk edge, while ELVIS II is melodic and has catchy riffs for days. I actually picked this up the day it came out and was ecstatic to see it come across my review desk. Really solid work here. My only complaint is that it’s all over too soon!