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!

AG-3 Covert Strike cassette

Norway’s finest modern export AG-3 takes an anti-finesse hardcore approach and pushes it into something uglier and more unhinged. They put the FRAMTID in SVART FRAMTID, like a tape dubbed three times over and given to you by your older friend who put you on to every sick record in your collection. AG-3 dials their hardcore past the point of control: guitars sound like chainsaws, drums are locked-in and ready to fire, and vocals belch primitively. The songs move fast but not in a clean D-beat clone way; they keep you off balance and curious. There’s a real sense of chaos here without drifting into full noise territory, more like hardcore that’s been chewed up and spat back out. The recording is raw as all hell, but that just adds to the extreme sonic violence. Six songs, all necessary.

Bastard Idol Demo 2025 cassette

BASTARD IDOL plays four tracks of bombardment-grade D-beat raw punk on their 2025 demo tape. Frequency-shredding guitars blast aggro psych atop a precision rhythm barrage, while deep, full-throat vocals deliver raging rebukes. At time of writing, there are only two copies available through Broken Skull (with proceeds going to Solidarity Across Borders), so hurry and scoop one.

Belgrado El Encuentro 12″

El Encuentro finds BELGRADO swerving further away from their colder, guitar-driven brutalist roots of XMAL DEUTSCHLAND/SIGLO XX-influenced post-punk and into something more bright and synth-and-pulse-heavy, much like when JOY DIVISION morphed into NEW ORDER. This natural progression is still done from a very underground lens, just rerouted through drum machines and flickering lights instead of blown speakers and basement sweat. Melodious and purposeful like a late-afternoon haze somewhere between a club and a factory floor, this EP continues the journey that started with the Intra Apogeum LP. The bass still carries that familiar post-punk tension, now snapped into a Movida-like rhythm, while the drums and synths cut in and out in a very new wave way. Patrcyja Proniewska’s vocals drift above it all, distant and otherworldly, adding to the overall sense of retro modernism. Sure, the “more synths equals less punk” crowd will roll their eyes, but that argument’s tired. BELGRADO is reshaping their sound, like it or not, and they don’t seem to care about anyone else’s opinion—that makes this EP more punk than most, because they don’t conform to expectations. Neither should you!

Comedy L.A. Perfume / Hate Machine 7″

COMEDY puts out their first 7”, with a rock-heavy alternative sound out of Melbourne. I hear influences from ELVIS COSTELLO, the REPLACEMENTS, and maybe, in gruffer moments, the vocals of Jeffrey Lee Pierce. It’s melancholic, yet full of so much rock’n’roll vigor that it’s gratifying and energetic. These two tracks grew on me—at first, the croons on the chorus of “L.A. Perfume” were off-putting, and the squeaky-clean production didn’t leave any room for grit. But repeated listens had me hooked. Hearing the guitar work on “Hate Machine” made me think of ECHO & THE BUNNYMEN, and the same sentimental feeling of the lyrics that at first gave me a bad taste began to draw me in, wondering what other feelings this 7” is capable of cultivating. While this isn’t something I’m used to hearing out of Melbourne, I like the direction, and I’ll be interested to see what they do next.

Dead Heart Burning From Within CD

DEAD HEART comes out like a mid ’80s NY/NJ funny hardcore band like ADRENALIN O.D. or BUGOUT SOCIETY with a touch of TWO MAN ADVANTAGE, but they are from Columbus, Ohio, so who knows. Parts of this are bouncy and not completely unlike the WORLD INFERNO FRIENDSHIP/SOCIETY. I bet they put on one hell of a show, and if they ever play Michigan, I’ll prolly go see ‘em. This record has an interesting crosscurrent of “I ain’t gonna take your fucking shit” aggression that’s hitting the target dead center right now. Look, this isn’t a CD I would listen to often, but when I do want to hear it, I’d crank it to eleven to drown out my own singing along. This is a super strong release and I’m excited for what’s next.

Dispo Idüll cassette

German three-piece DISPO’s Idüll brings together proto-punk’s straightforward attitude and post-punk’s abstractive stylings…so, does it just kind of even out to regular punk? Look bud, I’m no punk rock quantum physicist. All I know is that this album kicks ass. Tasteful bass lines, energetic drums, grimy guitar riffs, and multiple distinctively characteristic vocals make Idüll an absolute joy to listen through. That playful and unpolished sound definitely adds to the experience as well. Highly recommended!

Final Gulp Future Undone cassette

FINAL GULP’s Future Undone is the third tape from this German powerviolence/fastcore act, and if you’ve been sleeping on them since their 2020 debut, wake up. Eleven tracks, most clocking in around thirty seconds, a couple pushing close to a minute, every one of them a tempo-shifting, white-knuckle ride that’s hard not to measure against SPAZZ. The vocals alternate between a bark that brings a young Billy Milano to mind and a shredding attack that sounds equally great, though whether that’s Sven stretching his range or a guest remains unclear. I guess it doesn’t matter. Their lyrics take on climate collapse, anti-fascist resistance, technocratic dystopia, and the case for mutual aid as a way out, which, given the state of things, feels less like a political stance and more like a survival guide. They played their first live show in January with more dates on the way, and if this release is any indication, those rooms are going to get wrecked. This tape rules.

Flathead Flathead LP

This is pretty, jangly pop music from Marseille. It’s mid-tempo and catchy and also a little melancholic. I really like the recording and the production, where everybody gets a seat at the table and it’s not overly focused on one thing (which is typically either the vocals or the guitar). I don’t always like pretty music, but I’m digging this.

Game Set Match Hang Out With You EP

At this point, I’d be surprised to hear any garage punk or rock’n’roll from Australia that isn’t killer, and this is no exception. GAME SET MATCH is Will Cooke from CAMMY CAUTIOUS AND THE WRESTLERS. This 7” features four tracks of fuzzy, rough-and-tumble rock’n’roll delivered via Goodbye Boozy, who have a history of putting out killer garage punk from across the globe. This isn’t groundbreaking or genre-defining, but it’s not trying to be, either. It’s just four killer cuts of rock’n’roll. While all the songs have a similar quality to them, they each have a great chorus and fun energy that I really enjoy. Each one would feel right at home blaring through the speakers at your local pub’s $1 beer night, or on your next mixtape or playlist.

Hope? Hell on Planet Earth LP

Bleak, D-beat-driven barrage that leans fully into crust’s apocalyptic worldview without diluting its immediacy. The guitar tone is raw but cutting, slicing through a relentless rhythmic assault that rarely lets up. There’s a sense of forward momentum that feels less like progression and more like forced march, unyielding and grim. Vocals are delivered with hoarse conviction, sitting right on top of the mix like a warning siren. What keeps the record engaging is its balance between speed and weight, shifting just enough to avoid monotony while maintaining pressure. It’s a harsh listen, but a purposeful one.

Descarga D-beat devastadora que abraza la visión apocalíptica del crust sin perder inmediatez. El tono de guitarra es crudo pero filoso, cortando sobre un ataque rítmico implacable. La sensación es más de marcha forzada que de avance: rígida y sombría. Las voces llegan con convicción gastada, como una sirena de alerta constante. El disco mantiene interés equilibrando velocidad y peso, sin soltar presión. Es áspero, pero con dirección clara.

Institute The Shooter EP

INSTITUTE proves yet again why they are a standard-bearer of effective, tense, subtle yet confrontational post-punk. And yeah, that sentence contains a bunch of qualifiers, but it’s less narrowing down their sound than it is the inability to not be verbose and effusive when describing it. This three-song EP was pressed to coincide with their first-ever Australian tour, so thanks for existing, Australia. The opening title track is a perfect sample size of what makes INSTITUTE so great and seemingly singular. And while the next track seems to exist in the same lane, the closing track changes it up just enough for the listener to take notice. “Why Are These Men Still Alive?” takes the musical tension of the first two tracks and shifts it over to the lyrics, questioning why we are forever trying to lift the boots off our necks when the legs in said boots are so feeble that they can barely stand as it is. The track is a bit longer, allowing both exploration and repetition, a krautrock-esque decision that really lets the listener get lost towards the end, picturing these powerful men with their colostomy bags running down their legs.

Kaput I LP

Debut LP from Chicago-based KAPUT. The group is comprised of Nadia Garofalo (HEAVY FEELINGS), Brian Fox, and M. Sord (JON SPENCER AND THE HIT MAKERS), and offers a dark, brooding take on no wave.  Songs range from strange, slow, and uneasy on “Teal” to full noise on “Sucker,” loud with distorted synth and bass, uptempo drums, and gripping vocals, as Garofalo asks “What about me?” In between are songs that travel this range, making me uncomfortable, almost paranoid, and completely hooked to keep listening through this exploration of self. Garofalo comments, “I think we live in a world that (especially if you’re feminine) tells you to hide or ignore your anger. I wanted to explore its facets; it’s not always negative, sometimes it can show you things, it can teach you so much if you listen.” Amazing debut. For the perturbed and repressed, have a listen—let it out.

Küken Palermo EP

From the sounds of things, it appears that someone slipped up and allowed one of the most formidable garage punks outfits of our era onto the beautiful beaches of Sicily. Infected by the cleansing surf and sun, the band’s signature rolling grooves are endowed with a new degree of head-bobbing smoothness. But, don’t be deceived—their subdued ferocity lurks just beneath the surface of these tranquil waters. Swim at your own risk.

Laughing Corpse Beyond Recognition EP

Easily my favorite hardcore release so far this year. A lot of bands claim an ’80s hardcore sound, but LAUGHING CORPSE delivers that and more. The VOID and BLACK FLAG comparisons are inevitable; just listen to the breakdown riff of “Nothing” and try to argue otherwise. But that’s how they get you. You’re a couple tracks in, it rips, you dig it. You think you’re in safe and familiar territory, and then bam! They blindside you with a cacophony of noisy guitar solos and drum fills that puncture your jugular and rip it wide open. What I really love about this record is that it feels dangerous. It twists and turns, it follows you in the dark, and it laughs as you bleed out. If I were a kid, I’d be scared to death to see them live, and that is a compliment of the highest order.

Möney Hegemony EP

Another egg-punk act, however this one has the clear distinction of sounding like the MUMMIES on meth—much more sinister vibes as the EP progresses, though. This has a gothy shoegaze quality to it that’s really amplified by the chorus effect the guitarist is running their axe through. It is absolutely drenched with chorus, mate. Of course, there’s a surfy element to it as well, but that’s to be expected with these poultry punks at this point. The whole thing wraps up with a very cool noise piece that ties everything together in a barbed-wire bow. A solid addition to the nerdy phenomenon that’s gripped the mid 2020s.

Nervous Twitch The Day Job Gets in the Way LP

NERVOUS TWITCH has been churning out quality punk/wave, mod revival rock’n’roll, ’70s singable punk records for around thirteen years, and with each release, they continue to distill their sound and become more catchy. The Day Job Gets in the Way, their newest LP, rockets down that road of playful, hummable, sardonic wit and catchy songwriting. Erin Hyde’s vocals capture the mood perfectly, and she seamlessly glides from carefree to pissed-off to bored, which in its totality creates a full record of engrossing songs. Any of these NERVOUS TWITCH songs could have as easily been found on one of those 20 of Another Kind or English Waves early punk compilations, all while remaining fresh and interesting.

Piss Rules Repissues cassette

This is my favorite release of the year so far. Seriously. Six tracks of warped, full-treble egg-punk from Bristol that collects two digital-only releases onto one tape. Take your BILLIAM or ERIK NERVOUS DEVO-core and laser focus it on clever, story-telling songwriting with snotty vocals that register somewhere between KY Ellie of GOOD THROB and Poly Styrene of X-RAY SPEX. Strong words, I know, but there is an inescapable charm, sense of fun, and catchy musicality that begs for repeat listens. And they go punk, as in traditionally fast and angry, on the blistering “Nietzsche Preacher” and “Senile Delinquent.” Sly references abound, like the Mario coin samples on the subversively dirty “Gameboy 4 Xmas” and the PULP-aping “Common Person.” Check it out—PISS RULES rules.

Power of Dusk What We Deserve EP

What we deserve? A bloody firm handshake and a knowing nod for a job well done. Positively fizzing with indignity at how the world is currently operated, righteous anger permeates the whole record. Heavy-sounding hardcore, with the speed and crackle of punk. If you are looking to fill a HOAX- or BIB-shaped hole in your life, they might just be the ones to fill it.

Rata Negra Hawai LP

RATA NEGRA is back with another absolute banger. They keep progressing, and this time around, they’ve added more color and texture to their sound, dipping into the ’80s/’90s Spanish new wave/pop influences, which was something I fucking adored on their “Problemas No” cover on an earlier 7″. I’m hearing more moments that call back to stuff like DUN CAN DUH or even HOMBRES G (and I mean this as a big-ass compliment), mixed in with some propulsive punk rock on some tunes and SMITHS-esque jangly guitars on others. Lyrically, the band is still razor-sharp in commenting about the unbearable weight of modern life and the minefield of social interaction in the worst possible timeline. This is catchy, rocking, insightful songwriting that is executed with passion and joy; another home-run for this killer band.

Ritual Cross II cassette

Eight more cuts of wretched hardcore from Chicago’s latest and greatest, RITUAL CROSS. After making a splash with their debut tape, the band follows up with more of everything on II: more angular riffs and song structures, more grizzled vocals, more sinewy leads, and more commentary on capitalism, genocide, and anti-war protest. The use of ambient noise and instrumental breaks adds a foreboding atmosphere that gives the tracks a sense of cohesion that really works in their favor. In his review of their debut, Matt Casteel mentioned them reminding him of Richmond’s CICADA, and I still can’t think of a better comparison.

Spiritiste Excommunication Hymns LP

One interesting thing about post-hardcore is that it often comes from places that aren’t otherwise giant hubs for bands or music (relatively speaking, of course). Hailing from Baton Rouge, SPIRITISTE offers up ten tracks of emotional hardcore on their newest release. There are for sure some strong tracks here, including lead single “Transagion Prayer” and closing track “A Sheep’s Last Defense.” Not the most consistent from track to track, but putting out a full-length screamo/post-hardcore record is a tall task, so some inconsistency comes as no surprise. Perhaps it is consistent, and that’s actually kind of the rub? How do you make ten tracks feel important when the approach to each track feels the same? But in this scene, it can also be a cardinal sin to veer from the formula that makes this type of music what it is, so perhaps there’s no way to win here beyond smaller offerings. Clearly, I don’t know. Good on these Louisiana folks for doing the dang thing either way.

Subtle Body Subtle Body cassette

Philadelphian band SUBTLE BODY their inaugural recording in cassette form through Strange Mono, and it’s a lo-fi, eight-song package of dark, creeping, synth-driven post-punk that feels simultaneously premeditated and exploratory. “Infinite Casualties” highlights this by opening with synth punk and divulging into jazzy improv, as “Estrangement,” the following song, reverses and repeats the stylistic arrangement while also managing to close with a bit of stomping punk rhythm. The cassette closes with “Stolen World,” which is a rebuke of society but uses a rhythm that is exceedingly danceable until the track shifts into a harsh noise club mix for the fade-out. The variation and blend of digital, synth, vocal distortions, and admixture of underground genres really makes SUBTLE BODY worth checking out.

Traición 1312 EP

TRAICIÓN blasts through three cuts of urgent, political punk that vacillate between jagged hardcore and something more melodic and poppy. This latter approach shows up on the second track, “Querer La Libertad,” and briefly shifts their sound towards a direction informed by LA FRACTION or PETROGRAD. Setting that aside, the two other songs pack a punch with fist-pumping pogo parts and youth-crew-inspired breakdowns. If that description makes the release sound disjointed, it’s the underlying passion that binds it all together. A step forward from their 2024 demo, this might be a precursor for a hefty future.

TY Hot Wheel City EP

Four tracks of energetic and ironic garage thrash punk. The guitar immaculately sounds like it was plugged directly into a Marshall MG10 amp as a middle finger to all the pedal aficionados out there. The lo-fi drums and gruff vocals round out the DIY bedroom spirit. The band could be one cheap synthesizer short of stepping into the egg-punk scene, minus the pseudo-intellectualism, but maintains its own fresh and raw sound.

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

This benefit tape is the newest in a series of beautifully designed, community-organized mutual aid projects supporting the people of Palestine. Of course, the cause is as urgent as possible, the funds go directly to the Gaza Soup Kitchen, and the music is excellent. Go buy it! The tracklist hosts an incredible lineup of international punk luminaries, including mostly rare and unreleased songs from heavy-hitters like the EX, MEKONS, SHAKTI, NAPE NECK, POISON RUÏN, and many more. Sonically, the mix flows well, leaning heavily on melodic peace punk with a few ragers and eggy tunes (hey, BILLIAM) for good measure. This comp was organized by Rachel of the DISSIDENTS and dedicated to her husband, bandmate, and punk lifer Bill Chamberlain, who tragically passed in 2025. R.I.P. Bill, free Palestine, get this tape.

Apoptosi Per Tutto Il Male Che Avete Fatto LP

APOPTOSI out of Bergamo, Italy plays hardcore punk in the Italian tradition, which means ample amounts of high-speed thrash ground into the mix. Their ten-song Per Tutto Il Male Che Avete Fatto full-length is packed with intricate instrumentation hidden just below a layer of seething lyrical delivery. Gritty and lean production keeps the whole album feeling very old school, as if this masterpiece could have come out between 1988 and 1992. If you like NEGAZIONE or RAW POWER, then you should absolutely give APOPTOSI a listen.

Brix! That’ll Do Ya! CD

Pleasantly rough around the edges, like the punk possum on the cover giving us the middle finger. On That’ll Do Ya!, BRIX! crank out seven quick shots of no-nonsense punk. These songs rarely hang around longer than they need to, and that’s the whole point. There’s also a loose, rehearsal space quality to the whole thing; energy over polish. Nothing fancy here, only direct blasts of punk to kick up some dust. A fun, quick rip for fans of raw, straightforward punk.

Bulldog Φύλλο Αγώνος EP

An EP from these Hellenic hardnuts, which I am reliably informed is aimed at football fans, and against modern football. I suspect, however, that largely due to the prominent image of a bunch of bloody rozzers on the charge on the cover, it’s more to do with football violence rather than, let’s say, the popularisation of inverted wingbacks or the roll-out of semi-automated goal line technology. That being said, regardless of what they are on about, this was a surprisingly fun bit of Oi! Some decent knockabout stuff that carries a tune without slipping into fancy dress nonsense

CP Westman Orkester Backpack Baby EP

Combining members from JERRY SPIDER GANG, BART AND THE BRATS, and other notable rock’n’roll outfits, CP WESTMAN ORKESTER serves up some rough and minimal Euro-punk for that ass. This is garage punk for all intents and purposes, but to these weathered ears, the songs sit squarely in the lineage of the VIBRATORS and UK SUBS. You get a black-and-white sleeve containing ’77-inspired style, released on a most-respected Italian label—a rather agreeable situation.

Dögmën All Men Must Die cassette

Belgium’s DÖGMËN cover quite a bit of ground on their second release, All Men Must Die. The band toggles from straightforward punk instrumentals to powerviolence blastbeats to LONG KNIFE/POISON IDEA-style hardcore to an acoustic intermission that leads back into a thrashy punk burst (and that’s only the first three tracks). There are a lot of ideas swirling around here, and DÖGMËN are adept enough to make it all make sense, putting together a strong collection of songs that keep the listener on their toes. Additionally, as a dog person myself, I’m awarding some bonus points for the band’s name and this tape’s excellent artwork. Highly recommended.

Electric Prawns 2 Rock and Roll’s Greatest Hits cassette

Nineteen tracks make up this monster of a cassette. Having lived through the musical bloat of the ’90s, I am always a bit skeptical when a tracklist length could legally drive (or legally drink, given that ELECTRIC PRAWNS 2 are Australian, after all). With that personal hangup documented, this cassette does a nice job of keeping you off your guard and on your toes. The first two tracks are sub-minute intros? Strange! The first actual song comes in subtly enough, and then the dogs start barking on “Big Man” and you forget everything you’ve heard thus far; the PRAWNS have arrived. This is where you lock in, because this is where they lock in. Great synth lines, plenty of attitude, lots of fuzzy sounds, and the desire to stick around. Clearly, this is not meant to be a passive listen. ELECTRIC PRAWNS 2 demand your attention, for better or for worse. I do personally find them at their best when they crank the intensity and throw everything they’ve got right in your face. There is a ton of music here, and what’s perhaps the most interesting is that if you randomly choose a track, you’ll probably really dig what you hear. I’m not sure if sitting down from the first intro to the end is the goal here as this is intentionally ADHD music, but I will say whatever track you may hear, it’ll make a solid impression.

Flower Power Raw Power cassette

Imagine the nerve of calling your tape Raw Power! STOOGES aside, it’s not too far off the mark for this ultra-lo-fi Dublin DIY hardcore band that treads in unfrilled, massively pissed punk. These six brief tracks recall the shredded vocal violence of bands like NO KNOCK with the scabby instrumental weirdness of MYSTIC INANE. Real-time detuning guitars choke out surf rhythms against sprinting drum pounding. It sounds like shit, and it’s awesome.

Gylt In 1000 Agonies, I Exist EP

The title had me thinking this was going to be some black metal garbage, but this is a nasty lil’ record and nothing I say should convince you otherwise. If you like your hardcore metallic and crusty, this is for you. If you like your riffs nasty and your vocals disgusting, this one’s for you! There’s no filler here; every riff, drum fill, and scream is delivered with intention. They never rest on a riff too long before rocketing full-blast into the next one. “Intimidated” moves between two or three tempos in just over 60 seconds, and does it without giving you time to catch a breath. It ends with gut-wrenching vocals going head-to-head with a ripping guitar solo before you’re thrown headfirst into “Pentiment,” with the opening vocal line “I hate youuuuu” sounding like it’s delivered from the bowels of hell. The vocals really make this one for me. It’s one thing to have a ripping band, but to have a vocalist match the energy and pedigree displayed by the band is something else. The vocals hold their own among the brutality of the music; visceral and guttural but delivered with clarity and authenticity. I hear a lot of bands trying to pull this kind of thing off while failing miserably, but that’s not the case here. Good shit.

Hook / Korupuhe split EP

Here we have two bands from Finland churning out two different styles of punk, and each of them nails their target dead fucking center. HOOK’s songs are chock-full of simple, catchy guitar solos and fast-to-slow parts, and they fit the usual pop punk themes, from breakups and downtrodden boys being bummed out about unrequited love to a catchy song about the devastation of war in the streets. This is one hundred percent the stuff I was loving in my twenties. KORUPUHE blasts in with two hardcore numbers that are annihilating and relentless. They check all the boxes of great hardcore with multiple singers, group choruses, stop-on-a-dime musicianship, and a perfect breakdown in the middle of the song. I am gonna take a break from this and go find out what other stuff these bands have available. If you like either pop punk or hardcore (or both), then this is the split EP for you.

I.D.K. Nark5 CD

For a pop punk act, these guys have shockingly long songs. This slab teeters on the edge of prog-punk. Your typical Fat Wreck-esque affair, sounding like a mixture of NOFX and PROPAGANDHI. I.D.K also has that RAMONES-core edge, and would be at home with bands like DIGGER and EGGHEAD. The last track is seasoned with a bit of BLACK SABBATH and JUDAS PRIEST, and gives us a nice break in the action. Production sounds great. Songs are fun, melodies are catchy, and the riffs are heavy. Nothing groundbreaking, but if you like your punk sweetened, then you’ll dig this.

Kimbo Slice Kimbo Slice cassette

Kimbo Slice was an early viral internet street fighting legend turned UFC fighter who took the title of most vicious fighter alive, at least for a while. KIMBO SLICE, the band (or should I say sole member GoodyxJames), in the great tradition of naming powerviolence bands after famous badasses, made this oddball ten-minute powerviolence epic. This is true powerviolence in the vein of originators MAN IS THE BASTARD, as it relies heavily on bass, strange musical shifts, and is littered with samples of Kimbo Slice. Visceral, street fight bravado!

Lakra Lakra 12″

LARKA is from the current generation of young punks stoking the fires of the underground in Mallorca. It’s angry and fast and delivered by kids who see no hope in a world that’s getting harder to live in by the day. It’s raw hardcore punk that’s delivered with intent. There’s much more of a Finnish punk sound than I expected, but with more modern production without overdoing it. Kinda sick! If you’re into bands like KAOSS or APPENDIX, you’ll dig this.

Nohz Slumber Between Rotten Walls 12″

Sinister black metal punk from France, guaranteed to instill a strong sense of dread. NOHZ ’s sound has two elements that stood out to me right away: a distinctly gnarly guitar tone and the heavily echoed vocal effect. The end result is a heavy blend of styles, not unlike Atlanta’s NURSE or Philly’s ZORN. But while ZORN leans into soaring guitar theatrics, NOHZ omits anything approaching levity, creating an unsettling and dreary sound perfect for late-night strolls through the cemetery. I love it.

Orange Whip Horse Phase EP

This Boston four-piece reminds me of a specific band that I can’t quite put my finger on—definitely something from the second half of the 2010s. Maybe PATSY or RED RED KROVVY? But not quite. You could similarly describe ORANGE WHIP’s brand of punk as “trebly” or “garage-y,” but they’re not nearly as frenetic or stylish as either of those acts. Maybe the trouble I’m having stems from the fact that these folks play things pretty straight, never really sounding like anybody because they kinda sound like everybody. Which isn’t necessarily a criticism! I actually think the four songs on this record are pretty solid, and I’m pretty sure whatever act they remind me of is something I dig. So, yeah, give this a listen if you’re a fan of whatever band I’m thinking of that isn’t PATSY or RED RED KROVVY but kind of reminds me of them, or just give it a listen to help me figure out who the hell I’m thinking of. Really handsome packaging, btw!

Pöls A Nuestrxs Amigxs LP

Dang, duder! Wowzers. Driving, powerful sing-along verses and choruses bring this PÖLS LP fully to life. Clara’s vocals are similar to DISCOUNT and the LIPPIES while bringing in her own tone and melody. Her lyrics range from purely exposed and personal to broader themes (the neighborhood disappearing to chain stores, war-torn streets, refugee displacement, the positive and profound impact of friends and community). One thing that puts this a cut above is the occasionally graveled vocals of bassist Alex, punching in to level-up the earnest message PÖLS are bringing on A Nuestrxs Amigxs. This record is not a typical melodic pop punk placeholder that sits in the stratosphere waiting for you to listen to it. This record will find its way to you, move you, and make you feel something. I totally lucked out in getting this to review. My wholehearted thanks to the assignment desk for this one.

Propad Vsak Dan EP

There is a strong foundation of ’00s thrashy hardcore here (stuff like TEAR IT UP, or underrated favorites of mine BOILING OVER), with hearty servings of INFEST-style powerviolence to kick things up. My favorite element of this release is the band’s ability to insert and hold breakdowns and buildups. It’s not entirely novel; there is a lot of PV/grind out there that dips into sludge for the sake of variety, but here it is grafted onto the songs to build and release momentum in an awesome way that made me think about picking up my chair and throwing it out the window (in a good way). It’s not some slow songs, it’s moments that have groove and power and I fucking love that. This one got many repeat listens as I familiarized myself with the songs and looked forward to the really dynamic parts, and that’s about as good a response as this kind of record can produce.

Rearranged Face Rear Ranged Face EP

Any time a synthed-up punk band can remind me of either side of the 1979 gem “Trust in Technology” by ADAPTORS is a great time. REARRANGED FACE manages to recall both on their first offering for their hometown label, Los Angeles’s always fantastic Under The Gun Records. Their previous releases on Tomothy perhaps had a touch more post-punk to them, which makes these new freakouts perfect for Under The Gun. The egg-punk moniker would feel lazy here, as the sounds on this EP reach beyond that umbrella term. Oftentimes, anything labeled “egg” feels almost intentionally ephemeral, whereas REARRANGED FACE is crafting sounds that may harken ears back to the late ’70s but feel like they could be referenced in fifty years the other direction.

Sacrosanta Decadencia Occidental Danzas No Solpor Do Mundo LP

Hailing from the oppressed northwest of Spain, SACROSANTA DECADENCIA OCCIDENTAL channels their rage with society into epic, blackened stenchcore. If you like things like NUX VOMICA or AGE OF COLLAPSE, then prepare to get on board with Danzas No Solpor Do Mundo. This sixteen-song album is absolutely brutal in its delivery of punk fury, with Edu’s metallic riffs whipping by at double and triple speed and María’s vocals coming from deep within and shredding vocal cords upon delivery. BOLT THROWER rhythms get chopped and sped up, creating a battle metal vibe that highlights the lyrics about death, war, and the violence of life. Dispersed throughout the album are moments of ambient or classical instrumentation backing spoken word or melodic singing, with the closer “Tebras” offering a beautifully crafted return to nature.

Sinister Purpose Sinister Purpose cassette

Finland’s SINISTER PURPOSE released a self-titled cassette with seven tracks of blues-inflected ’70s heavy rock with fuzzed-out guitars and a whiff of LED ZEPPELIN in the riffs. This sounds like the band that someone’s older brother was always rehearsing with in the basement, and here’s the thing—they weren’t terrible. The guitar solos have a loose, unhurried charm, even if the muddy recording doesn’t do them any favors. The singer is making the best of what they’ve got, which is respectable, but there’s a lot of room for improvement. If they asked me for advice, I’d say lean harder into the sound you’re chasing, turn everything up to eleven, and call a friend who can handle the vox. For now, they’re probably a $3 cover charge and a pitcher of cheap beer away from winning over a bar crowd. There are worse places to start.

Technopolice Chien De La Casse LP

Ah yes, more egg-punk. This would have sounded fresh five years ago, but by this point, it’s just paint-by-numbers. Your typical synth-heavy, twangy, chorus-laden guitar affair. Don’t get me wrong, there’s some decent songwriting and arrangements here. If you’re devoted to the genre, then you’ll love this. I must not be as devoted as I previously thought.

Tee Vee Repairmann Only a Memory / Bad News 7″

Looks like another two-piece from Australia (who remembers the GOOCH PALMS?). This is bare-bones garage punk/pop. Two songs, five minutes. Fuck it, the kids are demanding more. We want more! It’s basic, but it’s catchy as hell. More than that, it’s compelling. This will have you engrossed, bopping your head and tapping your toes. It’s that good.

Watermelon No Laughing / No Crying LP

Chicago three-piece WATERMELON traffics in RAMONES-brained, wall-of-guitar pop punk, and the bones are solid enough. The instruments hit the way they should on this release that was recorded and mixed by Erik Nervous (the SPITS), and I liked most of the songs until the singing kicked in. But the vocals sit deep in the reverb and low enough in the mix that whatever personality they could bring gets swallowed whole, and the songs end up blurring together. They’d probably be worth catching live if they’re opening for someone you’re already seeing, but No Laughing / No Crying is more shrug than fist-pump.

Youth Avoiders Defiance LP

We are fucking blessed to get a new album from this top-tier French band in 2026 when we so badly need it. The band has carved a lane all its own on their prior records, and they have never been more comfortable in their own skin than on this album. One of my favorite things about the band has been their guitar sound; they refuse to lean on distortion to give their compositions weight, relying more on carefully putting together melodic hardcore tunes where urgency and release create all the heft you could possibly need. This record reminds me of the golden era of Deranged Records and sounds as if the WIPERS and STRIKE ANYWHERE had one weird-ass baby that FUCKED UP raised. This might be my favorite of their LPs and it sounds absolutely fucking essential in 2026.

V/A Metro Subterranean 2 LP

Dark Entries’ Metro Subterranean 2 brings together four widely different acts: DONZII, KLYPI, ICBM, and PERIOD BOMB, none of whom I’m really familiar with. First act DONZII’s funky and modern post-punk sound really captivated me and got me dancing around the house. But to me, as a casual listener of electropop, KLYPI’s part felt a bit outdated, and out of place with the rest of the LP—and MRR’s scope. The next act, ICBM, was incredibly fun with their fluid, weirdo experimental punk sound, and I’ll definitely return for more. The closing act of the LP, PERIOD BOMB, is the only band I had prior knowledge of, and after hearing more of them on this album, their minimalistic yet chaotic no wave sound really clicked with me. Overall, Metro Subterranean 2 is a really enjoyable experience for the most part, apart from some moments that weren’t exactly my cup of tea.

All Beat Up Mercy Thirst LP

ALL BEAT UP’s Mercy Thirst is what happens when breakdown-driven hardcore stops posturing and actually commits to the bit: ugly, claustrophobic violence with zero interest in crossover palatability. The guitars sound like they’re being dragged through rusted sheet metal, while the rhythm section locks into a stomping, almost punitive cadence that feels more like crowd control than groove. Vocals are spat in short, venomous bursts, rejecting anything resembling melody in favor of pure bile. There’s a distinctly modern blunt-force production job here, but it never slips into the plasticky sterility that plagues so much moshcore revivalism. Instead, Mercy Thirst lands as an exercise in sustained hostility—music for dead-eyed pile-ons and rooms with no exits.

Mercy Thirst de ALL BEAT UP es lo que pasa cuando el hardcore centrado en breakdowns deja de posar y realmente se compromete con la violencia: feo, claustrofóbico y sin ningún interés en la palatabilidad crossover. Las guitarras suenan como si las arrastraran contra chapa oxidada mientras la base rítmica se traba en un pulso aplastante que se siente más como control de disturbios que como groove. Las voces son escupidas en ráfagas cortas y venenosas, rechazando cualquier cosa que se parezca a melodía en favor de pura bilis. Hay una producción moderna y contundente, pero nunca cae en la esterilidad plástica que afecta tanto revival moshcore. Mercy Thirst funciona como un ejercicio de hostilidad sostenida.