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!

At Night At Night LP

I can’t quite place these guys in any specific genre and I love that. They truly have created something entirely their own, drawing on more pop or indie-style vocals with the occasional synth, keyboard, and distorted guitar. The standout track for me is “I’m Afraid They’re All Talking About Me,” as it felt so unique and powerful from multiple vocalists repeating the same line (sans instruments) that quickly dropped into an utter explosion of guitar and noise. Overall, a really fun band worth listening to.

Backstage Pass Legend (Come On Up to Me) / Let Me Show You Love 7″

Originally recorded in 1977, this has all the elements of early Bomp! Records, NIKKI AND THE CORVETTES, MNM’S, HOLLY AND THE ITALIANS, and perfectly encapsulates the early days of L.A’.s underground music scene. “Legend (Come On Up to Me)” was previously released on the Saturday Night Pogo LP on Rhino Records in 1978, but has been remastered to bring out the full attitude of the tune. Like all of the best power pop and pop punk from this time, “Let Me Show You Love” kills from the opening riff and continues straight through to the last ringing note. Simple and melodic guitar solos and instant earworm lyrics make this a very great and tight single. I’ve read that there was a 2019 cassette of live and recorded material floating around—I think it’s time that cassette gets a proper vinyl release, please.

Clan Dos Mortos Cicatriz Técnicas de Morte LP

Blackened death punk from Brazil that is difficult to wrangle. Técnicas de Morte is a genre-blurring affair that pulls the listener in a multitude of directions, often within the same song. From a one-two pogo beat one moment, to a blastbeat the next, CLAN DOS MORTOS CICATRIZ is erratic and at times disjointed. Across the fifteen tracks, you’ll find elements of crust, hardcore, black metal, and even rock’n’roll. The vocals are the most consistent component, with a pervasive echo that’s like Elmer’s glue and doesn’t hold the parts together sufficiently. The lack of cohesion is a shame, because there are some searing moments with consequential riffs. Tasty morsels, but the whiplash is too disorienting to provide sustenance.

Dogsblood Distorted Reflections / Beat It Out 7″

Violent, no-frills hardcore punk that explodes in short, vicious bursts. DOGSBLOOD strips everything down to pure impact: pounding drums, serrated riffs, and vocals that sound like they’re being ripped straight out of the throat. Both tracks feel urgent and confrontational, rooted in frustration and street-level anger. This is hardcore punk meant to hit fast, leave damage, and disappear before you catch your breath.

Hardcore punk violento y sin adornos que estalla en ráfagas cortas y feroces. DOGSBLOOD reducen todo al impacto puro: baterías demoledoras, riffs serrados y voces que parecen arrancadas de la garganta. Ambos temas suenan urgentes y confrontativos, anclados en la frustración y la bronca callejera.

Drunks With Guns Live CD

Remastered live set from this cult St. Louis band that released three 7” records and played four shows during their original ’80s run. Emerging around the same time as bands like MELVINS and NO TREND, DRUNKS WITH GUNS took misanthropic, slow-motion, My War B-side reverse hardcore to new depths of sludge, and do it again on this record. Thick, monolithic riffs envelop the audience with stacked, crackling distortion, while pounding drums, played on this set by Weasel Water of the FLYING LUTTENBACHERS, propel the band like a workhorse. Vocalist and founding member Michael Doskocil hollers with his full chest, sounding like John Brannon on downers. It is awe-inspiring and fucking heavy. “Zombie” might be the bummer punk national anthem: atop the bludgeoning riffs, a chorus of howls engages in anti-harmonic vocalizations that last way longer than is comfortable. “Tomorrow We Kill” keeps Glenn Danzig awake at night in his black satin pajamas with jealousy nightmares of not writing it first. “Drug Problem” gets close to a catchy chord change/vocal hook before receding back into the sludge, like the sneaky wink of a rock song stepping out a window. If you like your punk syrupy with contempt, your hardcore on the verge of entropic implosion, check this out and wish you were there live.

Eddy Current Suppression Ring Shapes and Forms EP

Melbourne’s EDDY CURRENT SUPPRESSION RING return with Shapes and Forms, their first release since 2019. For a band not exactly known for prolific output since forming in 2003, three new tracks feel like a genuine event. The production maintains their lo-fi garage rock foundation but sounds slightly more fleshed out than past releases, with Brendan Suppression’s characteristically flat vocal delivery cutting through the mix just fine. The tunes are all mid-tempo head-nodders, and I think there’s a melodic quality running through them that continues the evolution that we saw on All in Good Time—still tight and jangly, but not on the edge of a nervous breakdown. There’s also a cover of CAMPER VAN BEETHOVEN’s “Oh No!” that fits surprisingly well. Released on black vinyl with sleeve variants in red, green, blue, black, and yellow for the collectors among you.

Fuckfuckfuck Fun LP

Not at all what I thought a band called FUCKFUCKFUCK would sound like. Surf punk mixed with a bit of pub rock and golden oldies radio, as if the CRAMPS were commissioned to rewrite the American Graffiti soundtrack. Poppy as hell with a fine line of fuzzy grit sitting right below the surface. I love the use of the dual vocalists. One sounds like a belligerent Lux Interior, while the more melodic of the two could pass as NICK LOWE in his prime. The combination in tandem makes for a powerful dynamic that builds to the climax of each song. Very high-energy and authentic; these folks can write some catchy tunes! Now who’s gonna tell me where I can find a pair of these short shorts adorning the album cover?

The Goons Mars EP

This is the GOONS’ first studio release in nearly twenty years. I gotta talk about the cover of this lil’ spinner, where we see an astronaut’s boot on the surface of Mars stepping in gum amongst cigarette butts and bottle caps. Does this mean there are punks on Mars, or just litterbugs?  The tunes are punk’n’roll ragers in the ZEKE, CANDY SNATCHERS, and NASHVILLE PUSSY vein. In the six minutes it takes you to get through these four songs, two things are going to happen. First, you’ll want to flip the record over and hear them again. Second, you’ll want to flip the record over and hear them again. And on and on, until you get to Mars to start your mission of finding punk Martians or litterbugs or both. Solid release. There are only 500 of these (on Mars red vinyl, no less) so grab this while you can to keep you company on your journey.

The Higher State Internecine Free LP

Self-described “authentic ’60s garage punk” from the UK. Twelve fuzzy songs, riddled with bass leads and Farfisa organ stabs, but where’s the punk? While the band manages to capture the saccharine sounds of the late ’60s, they fail to capture any ferocity or attitude. Simply put, they excel at crafting and performing psychedelic garage rock that doesn’t actually rock.

Human Greed Absolute(ly) Greed(y) LP

Québécois grinders HUMAN GREED just released this 24-track opus of crusty crossover entitled Absolute(ly) Greed(y), and it’s really fucking good. HUMAN GREED displays their reverence for old school grind while also completely reinvigorating the genre by introducing contemporary sounds and compositions. Throughout the album, I’m reminded of NAPALM DEATH, early FUCK THE FACTS, and AGATHOCLES. However, HUMAN GREED keeps the energy high by maintaining a blistering pace and a dual vocal approach that makes the lyric delivery enter warp speed.

Law and Order Anything But the Critic’s Choice + Unreleased and Vintage Tracks LP

Absolutely loved this. It’s everything I think hardcore should be, encapsulated into one snotty compilation. Lightning-fast, barely coherent at times; it feels like if it stopped at any given point, it’d collapse, so barely is it being held together. It’s wild, it’s sneery, and it’s played with no fixed idea behind sticking two fingers up at The Man and telling him to shove it up his arse while he’s at it. This deserves so much more than to be a footnote in a hardcore history. It’s this Critic’s Choice, that’s for certain.

Lipstick Killers Tour De Force: Live in Adelaide 1979 LP

LIPSTICK KILLERS’ Tour De Force: Live in Adelaide 1979 captures sixteen tracks from a 1979 radio session, documenting a band that never seemed to have achieved the recognition of Australian punk contemporaries like the SAINTS or RADIO BIRDMAN but still helped lay groundwork for what became a ridiculously vital scene. The set includes live versions of “Hindu Gods of Love” and “Shakedown U.S.A.,” plus a cover of the 13TH FLOOR ELEVATORS’ “I’ve Got Levitation.” Fans note this recording appeared on the CD version of 2021’s Strange Flash double LP, but got cut from the vinyl due to space constraints. The quality is brutally raw and the vocals sound like absolute hell at times, but that’s part of the charm when you’re documenting a band from this era. This might be for completists and historians, not casual listeners, but if you’re invested in the deeper corners of Australia’s late ’70s punk history and its ongoing legacy, this messy snapshot is worth the trouble.

Mundo Muerto Mundo Muerto cassette

Second band this month that I mistook for another, as I thought it was a new release from the Californian MUNDO MUERTO (that would have been unlikely since they haven’t recorded anything since 2012, but you never know). On the other hand, this is the name of a brilliant song from RIP, so you are bound to have a few bands going for the moniker. This one is from Saltillo, Mexico, not far from Monterrey. I understand it is a new act, and this is a first demo tape that is rather promising. MUNDO MUERTO goes for the direct D-beat punk style with angry words in Spanish. There are some solid Scandicore riffs here, so they have clearly done their homework. I am reminded of thoroughly enjoyable ’00s Barcelona bands like HORRÖR, TOTÄLICKERS, or DISUNDEAD. I like the raw primitive production, the sincerity and unpretentiousness of the music, and the slightly unhinged vocals (MAQUINA MUERTA, anyone?). I do think the band can improve though, and I’ll be watching for their next steps.

The Not LP1 cassette

If you like rabid, no-holds-barred, raw D-beat noisecore punk, then you need to listen to the NOT out of Montreal. Scathing lyrical criticisms squall over blown distortion with intermittent breaks for wild but captivating displays of feedback, squelch, and rhythm shifts. If you like ZYANOSE, ENZYME, and PHYSIQUE, this is for you. Personally, I want to hear a whole lot more from the NOT.

Pound Land Mugged LP

Derby’s POUND LAND punches you straight in the face with their noisy and chaotic breed of industrial-flavored no wave. Built on top of a heavy, mid-tempo foundation of distorted bass and hypnotic drums, guitars and electronics take the role of adding an intense wall of all kinds of noises and textures. Even though it’s a sound that thrives on repetition, Mugged never gets boring at any point, thanks to the psychotic lyrics delivered with delirious perfection and the saxophone that is constantly going through an intense episode of glossolalia. Plus, I’m a big fan of the warm and welcoming smile of that fella on the cover.

Ragged Revue The First Rodeo CD

We’re talking HICKOIDS and ZED with some rockabilly undertones riding shotgun while REZILLOS and CELIBATE RIFLES take the wheel. Just when you think you’re listening to a melodic punk band, RAGGED REVUE drops some meandering desert cowpunk into the mix (trust me when I say that they’ve listened to Tejas more than a few times), and you’re reminded that these dudes are from Slovenia and their sound is a sum of presumed influences. Totally unexpected and wholly enjoyable release.

Screaming Target Screaming Target demo cassette

Here we are, the first tape I have been sent to review in 2026, and it is an absolute doozy! Debut from this project out of Melbourne, Australia, and it is spot-on. No idea who is in this band or what other bands they have connections to, as I am only seeing them referred to as being a Melbourne supergroup. Six sons of driving punk with some truly shredding rock’n’roll guitar licks. Incredibly catchy and riddled with hooks without a single instant sounding like the band is dipping their toes into anything in the pop punk realm. It has me thinking a lot about the first record by the VIBRATORS, who were undeniably a punk band, but I can’t listen to Pure Mania without thinking what great power pop songs the album is filled with. This is great, start to finish. Consider the gauntlet thrown down with the first release I’ve tackled this year.

Setback No Pity No Love demo cassette

Capital-H hardcore from Omaha—SETBACK puts forth an impressive debut full of catchy riffs and bouncy rhythms. They don’t color outside of the lines much, but the songs are well-written, the breakdowns are nasty, and there’s an almost upbeat vibe that appeals to me more than this style of hardcore typically does. Definitely worth checking out.

Tipping Points Anthropocene cassette

TIPPING POINTS’ debut Anthropocene is a collection of five short and sweet, simple yet effective egg-punk jams with no distorted guitars in sight. After all, seasick guitar riffs and cute vocals drenched in reverb over boomy drum machine beats are more than enough to get any point across—and they clearly know it. Anthropocene is captivating in its simplicity and really enjoyable in its entirety. Eat your heart out, Jack White.

Wau y Los Arrrghs!!! Copa, Raya, Paliza / Es Un Buen Día 7″

Keeping that crazy beat alive, this neon pink single showcases two classic selections from the party-rockin’ WAU Y LOS ARRRGHS!!!—a band whose chosen moniker comes with its own punctuation and enthusiasm. It’s 1960s-flavored Spanish garage punk for the whole family to enjoy. Sounds like spiked punch, smashed maracas, and sexy go-go girls dancing with wild abandon.

Yellowcake Apparitions of War cassette

This tape is an unrelenting scorcher. Production value? Vertibly none to speak of. Distilled to the rawest form, YELLOWCAKE follows up their monster 2024 EP with another batch of devastating blasts. Nothing here not to like, just utter intensity via psychotic dual guitar leads and anguished shouting into the void of despair. You can draw a line directly back to 1980-era DISCHARGE, particularly in the double-tracked vocal delivery and primitive bass lines. It’s compelling to hear songs that are influenced by DISCHARGE in a way not solely relegated to the drum beat.

V/A Olive Seeds: An International Benefit for Mutual Aid in Gaza cassette

Some of the headlines may have moved on, but Gaza remains under siege from an occupier genocidal state backed by US policy and tax payers’ dollars. And yet, mutual aid remains a vital resource for oppressed people the world over. Some say punk shouldn’t be political, and to that I say two things. One: fuck you, idiot. Two: opposing genocide is not a political stance so much as foundational to humanity. All that said, this is an excellent comp in a series of comps benefiting Gaza Soup Kitchen. It’s worth your time, your money, and your attention. From the glitched hard drive D-beat of ENZYME to the fish-hook-catchy, always fierce JUDY & THE JERKS from Hattiesburg. The outpouring of support, resistance, and great goddamn punk music might not save the world, but it’s a start.

Already Dead I Think It’s Time to Leave EP

ALREADY DEAD, to my ears, has traveled some distance since their Something Like War CD, and has constructed a solid and more powerful sound. At first, these five tunes might be blown off as commonplace meat-and-potatoes punk tunes, but they are not that at all. The songs on I Think It’s Time to Leave are centered thematically around everyday struggles, like fucking hating work, all presented in an anthemic and robust aural attack. This style of punk usually leans toward a lot of beer drinking until blackout and nihilism, but ALREADY DEAD put thought into what they are trying to say. Parts of this certainly fall into the Rad Girlfriend Records camp of bands like RAGING NATHANS and the DOPAMINES. However, ALREADY DEAD can stand just as easily on their own. This is a very refreshing second physical release.

Bellum Gure Gerra 12″

Fun debut outing from these Basque punks, albeit with more than a faint whiff off the egg about it. With these stilted, lurching guitar lines and the staccato vocals, it does knock on the door of wacky bollocks beyond which yer PRISON AFFAIRs and yer SNOOPERs reside but never quite fully walks through, and for that I’m glad. There is a pop sensibility at the heart of this though, with solid bass lines and actual proper choruses making this a very promising start.

Cheater Slicks Live at CBGB’s 02.28.92 LP

Recorded at their second CBGB’s appearance, this set captures the band during a period of evolution in the wake of the departure of bassist Merle Allin, as they were becoming the heavy and experimental three-piece unit that they remain today. The earliest session of the four live CHEATER SLICKS albums recently released by Brooklyn’s esteemed Almost Ready Records, the sound quality on Live at CBGB’s 1992 is notably strong and clear, having been remastered from the original board tape for a dynamic presentation. It sounds great loud, preserving the wild atmosphere and nuances in the performance adequately as hits like “Destination Lonely” and “Possession” howl from the speakers. Crank it up, crack a cold one, and bask in its sweaty, loaded energy in the comfort of your living room.

The Crawlers We Told You So LP

I usually try not to give short reviews, but I don’t really know how else to say this: if you loved BLACK FLAG’s Damaged, then you will almost certainly like this. You could have told me that We Told You So was a collection of B-sides from the Damaged session and I would almost certainly believe you. Give this a spin and tell me I’m wrong. See! I told you so!

Dream Warriors World Without Dreams EP

Top-notch hardcore from Swedish punks DREAM WARRIORS, who now stake the claim to my current favorite band name (shout out Freddy Krueger). Fast and furious riffs, D-beat for days, and perfectly placed melodic leads add up to a massively enjoyable listen. The write-up mentions Japanese, Swedish, and American hardcore elements, and while there are definitely components of each of those here, DREAM WARRIORS do a fantastic job of not sounding like they’re aping any one specific style. This is just rock’n’roll-infused hardcore punk, which in my estimation, is the best kind there is.

Dr. Sure’s Unusual Practice No Pigs / Desksitter 7″

DR. SURE’S UNUSUAL PRACTICE keeps things tight and twitchy on this 7″, folding nervous new wave instincts into dance punk that’s built to move without losing its edge. “No Pigs” is solid, but the B-side steals it for me. On “Desksitter,” the plucking synths come in right alongside the guitar and rhythm section, all of it locking together from the jump before the song starts mutating about a minute in, with odd, twitchy noises creeping into the mix. By the time it hits the final stretch, everything spirals outward into some gloriously dumb sci-fi squeals. The recording sounds great, and both tracks carry more urgency than much of the band’s longer releases, making a strong case that this sharper, more focused version of DR. SURE’S UNUSUAL PRACTICE is where they slap hardest.

Dust Collector Dust Collector LP

Upon first listen, this L.A. band resembles classic blown-out noise punk bands like DISORDER and the SWANKYS with a relentless drum cadence and ultra-distorted guitar tone. After a track or two, it clicks that this noise isn’t blown-out at all and actually has crystal-clear production that highlights every turbo bass riff and static-sheet classic punk/hard rock/pogo chord change. The vocals are of the right-about-to-vomit school and make for a band that is undeniably heavy and abrasive, but also fast and catchy. “Rawkin” sounds like LEBENDEN TOTEN covering the RAMONES, while songs like “Scalpel Life” and “Unholy Knife” could bring fans of DISCHARGE and BATHORY together in the pit. Raw hardcore for everyone. And check out the wild artwork – it’s like little demons jumped off a Chips & Beer cover to drag everyone’s favorite billionaire rodent out of copyright protection.

eX-Tradition Apocalyptic Silver LP

Philadelphian post-punkers EX-TRADITION released their first full-length in the fall of 2025. The group once known as the IRE has been refining their sound over the past few years and has finally found their stride. The eight songs on Apocalyptic Silver blend anarcho-punk and post-punk to create a sound that is reminiscent of early JOY DIVISION, but with more grit. Rhythmic bass and guitar lines frequently loop in danceable grooves. Occasionally, the band allows a more post-hardcore sound to influence their songs (such as in “Circle of Being”) while still maintaining a melancholic demeanor.

Gatzara S.N. LP

Barcelona tends to produce interesting bands, so I was psyched to check out GATZARA. Not quite what I was expecting—melodic, anthemic punk rock with group chorus chants and post-punk undertones. Musicianship on this release is at the fore, backed by a pristine production that highlights interlacing guitar harmonies. The album is catchy in a ’90s mall punk way with raspy sing-along parts and a “whoa-oh-oh” sensibility. Heartfelt to be sure, if somewhat stylistically dated.

Hotza Esnatu 12″

Been interested in these Bilbaino boot boys for a while now since they released their stellar demo a couple of years ago, and I was delighted to see they’ve kept standards high. Fans of France, and specifically 1980s skinhead France, will be delighted by their output, as much like RIXE or BÉTON ARMÉ, they’ve taken inspiration from this particular purple patch of Oi! while not turning into a panto dame rip-off. I’ll even forgive them trying out a ska song on the final tune of the record; we can just pretend it’s five tracks long.

Liiek Living in a Fiction LP

Third LP of quality post-punk from this Berlin group who also appeared on the famed Achtung APK tape comp. Bleak, angular guitar lines creep around and then suddenly crash with surprising garage grit on tracks like “Create” and “Scum.” Imagine TOTAL CONTROL or DIÄT with John Dwyer on guitar; we get the introspective feels but also the crunch. “Miserable Thoughts & Ideas” and “I Don’t Want to Fight” start with classic ’50s rock’n’roll riffs that crumble into rhythmic art-punk tirades, as if the band is taking the history of rock music and re-molding it into something more personal.

Linda’s Mistake Jim EP

It’s tough to describe because it’s so perfectly punk. Four absolute heaters here, opening with a bang from a trumpet and the high-energy “Steve Harvey” that seems to channel REZILLOS and ADOLESCENTS with equal intensity. “Because You’re an Asshole” takes it from there, and the remaining four minutes are full of treble-heavy, whip-smart micro-anthems that sound even better on repeat.

Loose Lips Last Laugh LP

A great goddamn rock’n’roll record. Owing as much to the NEW YORK DOLLS as they do to Australian power pop heroes LITTLE MURDERS, this band is a murderer’s row of current Australian rock purveyors (members of the CHATS, CHUBBY AND THE GANG, and the criminally underrated STREET SWEEPER) but goes beyond their other projects here. The more energy they put into the songs, the more I get out of it, which isn’t to say the slower tempo tunes don’t fuck (they do, they do fuck), but when this goes, it makes me want to fucking go. Not gonna waste your time here, this is catchy, guitar-driven rock music for fucking everyone. I love this, go buy it.

Martin Savage Gang Such a Drag LP

Stockholm’s MARTIN SAVAGE GANG, led by the relentlessly productive Martin Hildebrand (the BLACKS, LOCOMOTIONS, Savage Records), delivers a tight, eleven-song party platter with Such a Drag. The ROLLING STONES’ DNA runs deep here, with shades of a NEW YORK DOLLS swagger thrown in for good measure, and Hildebrand’s vocals carry an easygoing charm that makes you want to be friends with the guy. A couple sax solos pop up on the record because why the hell not, and the album never settles into that sameness that can plague this style. Each track manages to carve out its own space. It’s a smoother, less organ-forward ride than 2020’s Now We’re Rollin’, trading some of that grit for some real-deal boogie. Three covers round out the set and should help you know what to expect: ELTON MOTELLO’s “Victim of Time,” EDDIE COCHRAN’s “Summertime Blues,” and KING LOUIE BANKSTON’s “Gypsy Switch,” all delivered with the loose, lived-in energy of a band that is devoted to the gospel. Recommended.

Mindrott Let It Rott CD

Hardcore punk driven by bitterness, decay, and controlled violence. MINDROTT blends classic hardcore aggression with metallic weight, keeping everything tight and hostile. Short, compact songs hit with blunt force, fueled by resentment rather than polish.

Hardcore punk impulsado por la bronca, la decadencia y la violencia controlada. MINDROTT combinan agresión hardcore clásica con peso metálico, manteniendo todo tenso y hostil. Canciones cortas y compactas que golpean sin sutilezas.

Nightfeeder / Verdict Död Åt Tyranner split LP

An intercontinental split between the USA and Sweden with fifteen tracks of raw hardcore D-beat. First up are eight tracks from Seattle’s NIGHTFEEDER. It’s classic, pedal-to-the-metal crust with an undeniable American thrash influence, and it’s delivered with the utmost intensity. Think DISRUPT meets Darkness-era POISON IDEA—badass, huh? They aren’t reinventing the wheel, but they are certainly beating it with enough force to blow the tire out! The next seven songs are from Sweden’s VERDICT, and they are out for blood! Featuring members of TOTALITÄR and 3 WAY CUM, they deliver quick blasts of perfect käng hardcore. These songs rip and tear and don’t leave the listener much room to breathe. I love listening to a record and feeling like I got my ass kicked. If this were a steel cage match, VERDICT would undoubtedly take home the belt. Competition or not, this is a killer split that had me diving face first into the Phobia Records catalog.

Odpadki Civilizacije Obsojam LP

The capacity of punk to bridge connections across time will never cease to amaze me. ODPADKI CIVILIZACIJE is a band from Ljubljana, Slovenia that originally formed in 1982. The seminal incarnation appears to have had an impactful three-year run, contributing songs to some compilations and developing a foundation of support that sustained the band until their dissolution in 1985. Fast forward to 2021 when the group reformed and, following a few lineup changes, re-emerged in 2024 to record Obsojam, their debut album. And thus, after a prolonged gestation, ODPADKI CIVILIZACIJE has an LP. And it’s pretty killer! I’m not certain if the songs stem from the band’s initial period or if they have just maintained their stylistic integrity, but this is a straightforward hardcore punk ripper that could convincingly have come from a lost tape from the ’80s if I didn’t know better. Musically, they sound a bit like early NIET or TOŽIBABE, retaining the classic approach of Yugoslavian hardcore. The authenticity cuts through very clearly with this one.

Parisian Orgy Parisian Orgy LP

Wonky art-punk from Calgary, where the “art” in question skews heavily toward a theatrical/performance sensibility—toy instruments, handmade outfits/costumes, a genuine troupe of freaks building their own hodgepodge world from the detritus of synth pop plasticity, off-kilter new wave, and the warble and wobble of late ’70s/early ’80s DIY. Classic femme-punk references abound within: “Cream Dream” flirts with the playful post-no-wave polyrhythms of LIZZY MERCIER DESCLOUX before upending into blown-out basement punk outro, French electro-wavers TOKOW BOYS are paid tribute via a relatively faithful cover of “Four Boys,” and Gwen Morgan’s vocals veer from coolly delivered spoken word in the late-night dub drift of “Jazz Song for Shrimp” to ecstatic shrieks over the bouncy bass/synth-driven beat of “Come Pretty Pump Sleep,” bringing to mind ALGEBRA SUICIDE’s Lydia Tomkiw fronting PINK SECTION and PINK SECTION’s Judy Gittelsohn fronting ALGEBRA SUICIDE in equal turns. I’m imagining unexpecting, Neon-Taste-following hardcore men having their minds bent into pretzels by this record, and it brings me immense joy. Magnifique!

Permanent Opposite Permanent Opposite LP

Debut from PERMANENT OPPOSITE, the solo project of Jared Leibowich. This eleven-track album is highly personal and emotional in a confessional poetry kind of way. I don’t quite want to call this indie, but it fits somewhere in that vein, as the songs are on the slower, softer side, with clean instrumentals and production, and may have just made it through the MRR criteria for inclusion—but that’s an uninformed speculation. I could see this being passed around a crowd who’s bored with KURT VILE, or those wanting more DEERHOOF (as John Dieterich engineered this album). I like a lot of the heart-on-the-sleeve sentiment within, but it’s not necessarily for me.

Robbie Thunder If Rock & Roll is Dead… So is Robbie Thunder cassette

Lo-fi, drum-machine-driven Australian synth punk. This is the seventh album by Newcastle-based ROBBIE THUNDER, and like each of the six albums before it, it is ten songs of non-stop bopping and rocking recorded on a Tascam four-track. With songwriting as catchy as their synth is warbling, ROBBIE THUNDER seems to care about one thing and one thing only….rocking. This is pretty damn evident with album titles such as Rock N Roll Does It Again and Houston, We Have Rock. If Rock & Roll is Dead… does not veer in the slightest from the path that ROBBIE THUNDER has laid out with his previous output. Perhaps that sounds like a bad thing, and sure, maybe that’s already 70 recorded songs in just a few short years, but I for one find this commitment to lo-fi, dingy, poppy rock’n’roll refreshing and commendable. I personally cannot wait to hear the next album, which will surely be titled something along the lines of All Roads Lead to Rock or some other predictable nonsense, which will undeniably continue all the way to ROBBIE’s eventual washed-up finale album Full Speed to Rock Bottom.

Sex Dwarf Påhittad Värld LP

SEX DWARF: the epitome of a band name you probably should not Google. These Swedish punks have been around for a while now and have made a bit of a name for themselves, but seeing as their previous record was released in 2019, I thought they were more or less inactive, and being wrong has never felt so sweet indeed. Påhittad Värld is their third album, and arguably their most convincing effort. The production is probably heavier and more dynamic than on their already excellent previous EP Sensou Hantai, but the songwriting is not dissimilar (but then, who really expected skacore breaks?). SEX DWARF’s compass points to the classic Japanese noisepunk sound of SWANKYS or CONFUSE, but I can hear a snottier Bristolian influence on some numbers here, and because I suppose they just cannot really help it, the band also relies on the old school Stockholm käng style when they decide to go into seventh gear. Listing all this, you would be tempted to classify SEX DWARF as a crasher crust band, but you’d be mistaken as no crust flies here—they never leave hardcore territory (the vocals are the perfect reflection of this). There are dozens of bands claiming to do the GAI noize hardcore thing, but few (if any) do it with the same inspiration as these gentlemen. There is a good diversity of beats, and the seamless transitions from one song to the next keep the listener engaged through a hook-driven ferocity (if that makes sense?). My one critique would be that the introduction is a bit too long compared to the overall length of the album. Other than that, it’s a top-shelf release in the genre and one of 2025’s highlights.

Shishu Shishu cassette

Cardiff, Wales has been the location of origin for a host of amazing bands. However, SHISHU couldn’t give two shits about that as they make noisy punk rock. Layers of distortion coat the vocals, guitars, and even the rhythm section with maximum cacophony on this nine-song tape. Even the room’s ambiance seems to fire with frenetic crackles and feedback. The closer “Scum Head” is a real auditory treat as it shifts from mid-paced punk rock into full-on harsh noise.

Sweet Harm Certain Sun LP

This SWEET HARM record, with its melodic indie riffs and Dominic Armao’s talked lyrics, falls somewhere between the FALL and ’90s Gern Blandsten Records bands the VAN PELT and the LAPSE. The songs are catchy and budding with dream-journal-styled poems and fever dream notes. Conversely to the first three songs, track four delivers a fresh approach with Kate Larson taking over on main vocals. Kate’s songs are lyrically more succinct and filled with dreamy regret. Both vocal stylings, while having their own songwriting approaches, come together to aurally complement each other and create an entirely different spirit. It is no surprise that Certain Sun is on Salinas Records, given that the label is known for an elevated style of modern pop punk, indie, and emo. With the research I’ve done (typed a couple words into an Internet browser), I believe that this is the first physical release by SWEET HARM, and for someone who is a fan of this particular style, I should prolly cross my fingers for a few more.

Teengenerate Live at the Empty Bottle LP

Secretly recorded on one rowdy night in Chicago in 1995, Live at the Empty Bottle captures the dirt cloud of chaos that was the mighty TEENGENERATE’s calling card, in all its glory. The band’s ’77-fueled punk power pushes through sixteen tracks encompassing all the hits and a few cool covers (PAGANS, the KIDS, etc.), and the crowd goes wild. It’s down-and-dirty rock’n’roll with audio quality to match, and these tunes will send a rush of radical memories flooding through any ’90s punk-crazed brain. What a sick surprise to unleash thirty years to the day.

Versus You A Collection: 2009–2024 2xLP

Do you enjoy pop punk (or at least something from the dozens of kinds of pop punk that have been crammed in that clown car of a term)? Then you’ll probably enjoy VERSUS YOU. This release collects and remixes/remasters tunes from the last fifteen years of the band’s history, and while this is my first encounter with them (maybe because it’s probably hard to push out into the world from Luxembourg), this is right up my alley—I am a staunch pop punk enjoyer. Musically, we’re somewhere in the neighborhood of fellow European acts like the APERS or propulsive American pop punk purveyors like TEENAGE BOTTLEROCKET, but there are moments where they pull from more indie-rock-leaning stuff like BROADWAY CALLS when crafting some radio-ready melodies. That’s not to say it doesn’t pack a punch: the production across the collection is clean and strong, there’s some killer solos here and there, and the gruff vocals keep it well off from coming across weak. Lyrically, this has some clever moments and stays within the margins of personal, political, and the combination of the two you get with the better examples of this kind of music. This is a great surprise; it stands out with songcraft and attention to melody way above the plurality of its peers, and I will be going back to examine their considerable discography after sampling them here.

Yunk Our Way EP

There is a lot going on here and I don’t enjoy any of it. YUNK juxtaposes anthemic choruses, distorted grunge riffs, and indie rock guitar lines, with over-the-top noise blasts delivered in a formulaic fashion. Each song has a slightly different feel and style, and the only real cohesion between them is the vocals. They could improve by focusing on a couple of things that they do well, instead of trying to mash all these styles haphazardly into songs. YUNK = yuck.

Angstmäler 4 Track EP

Under The Gun has a varied and somewhat eclectic oeuvre, but the throughline is a commitment to quality.  ANGSTMÄLER both maintains and bolsters this tradition by delivering four tracks of punishing hardcore punk. I’ve been infatuated with Philly’s the DAMAGE, and this EP is scratching a similar itch. Vital, deranged, and obliterating any sense of safety or comfort, these songs go so fucking hard it’s mesmerizing. There is so much energy on tap that they sound unstable, yet somehow entirely focused at the same time. There are hints of harmony that poke through that are absolutely brilliant. The vocals have a fuzzed-out, muffled quality that lends an air of total psychopathy—only to be upended by tunefulness. Rooted in classic USHC but firmly planted in 2026, ANGSTMÄLER is helping push the frontiers of punk forward. Killer!

Baraka Face Junta Do Piekła LP

Before I dived into this new album from BARAKA FACE JUNTA, I had not realized the band formed as early as 2009 and that Do Piekła is their fifth full-length. Doesn’t time fly and hair recede? Now that’s dedication for you. If you are not familiar with them, BARAKA FACE JUNTA is from Kołobrzeg in the north of Poland, and originally emerged from the excellent STRACONY, a crucial anarcho-punk band active in the ’90s and the early ’00s. Since their inception, the band steadily progressed and kept building on a tuneful, passionate punk style that manages to sound fresh and original. They have substance. CHUMBAWAMBA is an obvious influence, as is CRASS, and the EX at times too, and I think equally inventive but harder-hitting bands like ARMIA or WŁOCHATY should get invites as well. The incorporation of a saxophone (normally a “forbidden instrument” because of its ties with—gasp—ska) clearly highlights the band’s drive to create something different and shape an atmosphere of lunacy. The undeniable energy relies heavily on the brilliant musicianship, the martial/tribal drumming, the groovy bass lines, and the guitar’s sharp dissonant leads. BARAKA FACE JUNTA is not, however, an experimental band; they are firmly rooted in the dynamic Polish tradition of strong female-fronted punk bands. If this lot were from New York or London, they would get a lot more attention. Anarcho-punk fans should take notes if they haven’t already.