Reviews

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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!

Auditing Modern Tension cassette

Tetryon Tapes once again flexes their purveyors-of-taste muscles by aligning with AUDITING for a tape version of their attention-grabbing debut release. Sitting well alongside other recent killer releases by the likes of LIQUID IMAGES, DELICIOUS MONSTERS, and BZDET, these six synth punk tracks feel fresh, tense, and contain a fantastic amount of variety while all sounding like part of one whole. The one-two punch of “Imperial Weight” and “Cipher” really hits a high peak and really lets their originality ooze out into your ears. In a subgenre that’s felt a little saturated the last five years or so, AUDITING shows that there’s plenty of juice left to squeeze.

Before Dawn Shattered LP

L.A.’s BEFORE DAWN plays deathrock that harkens back to the origins of the genre. On their latest recording Shattered, they offer five tracks of gritty punk that are tainted with the macabre and melancholy. Borrowing heavily from ’80s gothic punk, BEFORE DAWN reinvigorates the sound with authentic emotions and fresh melodies. “The Veiled” is my personal favorite with its mid-paced downbeat, sauntering bass, and gruff vocals. Whether you’re a part of the nightset, cemetery-lurkers, or daywalking punks, I guarantee you’ll get down with BEFORE DAWN.

Carrousel I Don’t Want to Be Here LP

This is a strong, atypical sing-along hardcore punk release from Lehigh Valley, PA. Look, I know what you’re thinking—“weren’t the RUSSIAN MEATSQUATS a strong, atypical sing-along hardcore punk band from Lehigh Valley?” Yes, they were. Also, not unlike the RUSSIAN MEAT SQUATS, CARROUSEL is fast, singable, high-velocity, sarcastic, poignant, and oddly relatable. Alyse’s lyrics are fired-up, relentless, and her delivery is on target. Also, I’m an easy mark for any band that has a song about the movie The Warriors. The thirteen tunes are tight and rocket through seamlessly. Also (times two), I’m a sucker for ridiculousness, so when the circle-pit mosh part of their tune “Frogs” comes in and the band chants “ribbit” like it’s a CBGB NYHC matinee of little green hoppers, I love it. Also (times two plus one), although this release might sound tongue-in-cheek at first pass, the lyrics have many points where there’s an honesty and vulnerability that keeps a band like CARROUSEL from plopping into the parody band category. Also (times two plus two), the rad cover art was done with great style and attention to detail by Rick Cornejo. Also (times two plus three), I hope that they play Northern Michigan sometime because I’ll certainly be there.

Cheater Slicks Live on WFMU / At Carabar LP

There is no better band than CHEATER SLICKS. Like, objectively speaking. Dudes have been at it for 40 years, they’ve put out a ton of records (but not too many!), each of which is both essential and compulsively listenable, and they still kill live. Loudest band I’ve ever seen! So, I’m totally on board with Almost Ready’s blitz of unearthed live recordings. This is the fifth of six such LPs that they’ve released over the past year or so, and it covers two performances: a 2004 appearance on WFMU’s The Cherry Blossom Clinic with Terre T, and a 2006 appearance at the Columbus, OH venue Carabar. The former features a bunch of rockers pulled from Refried Dreams and what would end up being Walk into the Sea, and sounds fantastic. The latter covers more of their subdued numbers, including their great cover of the MYSTIC TIDE’s “Mystery Ship,” which closed out Don’t Like You—it also sounds great, but more like a traditional live record. It’s a document of a band at the height of its power doing what they do best, just absolutely cranking out incredible songs. Let’s unearth every shred of the SLICKS recorded output! Please!

De()t Welcome to the Idiot Factory EP

Following their 2024 Think of Your Future LP, DE()T presents the four-track EP Welcome to the Idiot Factory. The first couple of bars on the opener “Creepin’ In” sound like a typical hardcore affair, with chunky bass and guitar, drums pummeling out a turbulent rhythm, but then the whole thing breaks, the rhythm steadies, and a wobbly, chorus-drenched synth enters, accompanied by sarcastic, sneering vocals. The following track (“Progress”) continues this style; lyrics carry on a similar downtrodden agenda: “Is there anything more than just to survive?” The B-side takes on a slightly darker feel, and while present, the synth occupies a different, lower-end sound space, not as forward in the mix. The guitar goes from a glassy simmer on the verse of “Gamblin’ Man” to full boil-over on the chorus, and the vocals follow suit with less sneer and more gut-punch. Closer “Welcome to the Idiot Factory” comes in with a buzzy, bass-adjacent synth line, with a monotone report of “Slash your tires / Slit your wrist / Bang your head / Pop your zits”—lyrically, this song could be akin to DEAD KENNEDYS’ satire, poking holes through the machine of meaningless work that supports even more meaningless commerce. Great release from this Raleigh, NC group.

Draft Dodgers Draft Dodgers demo cassette

The label’s statement doesn’t lie: “Death to capitalist hardcore.” If you were looking for some feel-good Coachella hardcore, look elsewhere. DRAFT DODGERS have no fake tough-guy bark; they’re just a band actually pissed-off at the state of the world, and they certainly nail the frenzied ’80s hardcore vibe found in bands like YDI or even HERESY. This sits firmly in the lineage of UKHC that values immediacy over everything, clocking in at five minutes like it’s daring you to complain. Blink and you’ll miss it. That’s the point. This is hardcore as a reflex, not as composition. If you need more than five minutes, you’re missing the point of hardcore. And, fuck wars, dodge the draft, let the rich fight on their own.

Fauna / Sequera split cassette

A ten-song split from two bands from North Catalonia who are both new to me. The SEQUERA songs have a Western pop punk influence that really threw me off. It sounds like it could have been on Epitaph in the ’90s. I’ve heard this before, and I never want to hear it again. The FAUNA songs are much more interesting. The recordings are less polished, and they’ve got a decent energy. They’ve got an edgy post-punk thing going on that reminds me of BLITZ or SYNDROME 81. This would have been better if it were ten songs from FAUNA.

Grapefruit Prehistoric Hijinks EP

I am actually pretty fond of a lot of third wave ska/ska-punk, but I’ll be the first to admit the genre has more misses than hits. This EP feels like filler for the most part, like the songs that would be between the super-energetic, catchy highlights of an album that doesn’t exist. It’s melodic enough, but it lacks memorable hooks or choruses—it’s not bad, but feels unnecessary. It went through me evoking little to no response. The lack of horns makes me think of the IMPOSSIBLES, but without all the personality and definitely not enough energy. It’s gonna be a pass for me.

Haexler Talkshow 12″

Leipzig’s HAEXLER totally decimates with their hyper-aggressive Talkshow 12”. It ticks all the boxes for me: guitar riffs supercharged by dimed HM-2s, gnarly bass that sounds like a nasty gut-punch, tastefully over-the-top drumming, rabid vocals foaming at the mouth…it really is a solid powerviolence record that I can see myself coming back to, especially when I need my daily dose of that Swedish chainsaw sound.

Kato Ihmiskulttuuri LP

I have been listening to a lot of raw ’80s hardcore punk lately, especially on my way home from work. The direct teenage energy of such bands is infectious and contrasts nicely with the tedious daily grind and the predictably boring colleagues (especially Nicolas from Accounts). KAAOS is one of the bands I play the most often because old school Finnish hardcore is probably the genre that best illustrates this sort of raw and snotty fury, and it is precisely the genre that the St. Louis band KATO decided to adopt. Absolute Tampere-82-style, and bands like the aforementioned KAAOS, RIISTETYT, TAMPERE SS, or MELLAKKA have been listened to frequently in KATO’s bedroom. It is very hard to replicate this ’80s vibe, especially Finnish hardcore since it relies so much on the specific tonalities of the language and the kind of unhinged punkiness inherent to being a sixteen-year-old punk that makes it such a lovable subgenre. But the band pulls it off very convincingly, with a Finnish vocalist (I assume) who sounds like he time-traveled from the golden era back when sniffing glue was still acceptable. This LP is very impressive, and fans of fast ’80s raw punk will go nuts for it. One of the best albums of the year so far for me.

Lackey Pay No More EP

Extremely fun slice of hardcore punk rock’n’roll, in this humble reviewer’s opinion. Reminiscent, at its most unhinged, of GLUE or HOAX, so if that particular flavour of hardcore intrigues you, then pop your keys back on your belt carabiner, roll your watch cap even further up your forehead, and give this a spin for heaven’s sake!

Nutrition 8 Song EP

Originally released by Neon Taste on cassette, this wiry and efficient grip of tracks has been remastered for sweet merciful vinyl. I love when a group can strip down to the bare essentials, and this is a perfect example of doing as much with as little as possible. Guitars stay clean, bass is not too flashy but holds it down, the drums gallop, and the vocals are beautifully unhinged and kept out in front in the mix. It’s hard to put in a corner of genre, but it has the intensity of hardcore and the tunefulness of jangly original recipe punk. More good stuff out of British Columbia, and kind of a perfect treat of a 7″.

Panic Kids Falling With Style LP

PANIC KIDS are a Madrid five-piece who cite TURBONEGRO, RIVERBOAT GAMBLERS, and TURBO AC’S as inspirations, which is an ambitious wish list. Their sophomore LP Failing With Style lands closer to TURBONEGRO’s throttled sleaze than the full-tilt attack of the others, and the album lopes along in mid-tempo territory enough that the adrenaline doesn’t quite pump for the recording in the same way that it probably does in a bar. That said, the production is big and solid, the gang vocals and “whoa-oh-oh”s keep the party moving, and there are enough hooks to keep it interesting. Standouts include the opener “The Itches” and “I’ll Be Adored,” and a guest vocalist on “From Madrid With Love” delivers a classic hard rock performance that’s one of the album’s highlights. Their creepy baby-face mascot is unsettling. Limited to 500 copies.

Planet on a Chain Ritual Routine LP

Twelve new stompers from one of Oakland hardcore’s finest. Big, beefy guitars and powerhouse drumming kick you in the ass while youth-crew-style vocals teach you a lesson with thoughtful, introspective lyrics. There’s more substance and attention to detail here than typically found in this style, right down to the crystal-clear production. I’d chalk it up to the band’s collective pedigree; obviously, they’ve been around the block and know their shit. A massive record that’s engaging from start to finish.

Psyop Fucko cassette

Fucko is an abrasively fast, no-nonsense hardcore EP. The five tracks on this cassette each barely go beyond the one-minute mark, hitting with the strength and the attitude of a band playing CBGB in the ’80s. Songs like “Negative Nancy” and “No Going Back” come and go in the blink of an eye, but the tight playing and chaotic groove keep it very memorable. After five years, PSYOP is delivering in the greatest manner. A modern banger.

Reek Minds Eternal Reek EP

Prolific Portland speed-punks are back at it. Cramming six songs onto seven inches of hateful hardcore, REEK MINDS continue along their trajectory laid out some eight years ago. Nods to the classics are certainly present, but I think of bands like SPEED PLANS and ALIENATOR (with whom they share members) as better reference points. These punks clearly have a huge chip on their collective shoulders, but I get the sense that they’re not taking themselves so seriously that they aren’t finding enjoyment amidst the animosity. “Aesthetic” is the rippingest track among a bunch of properly ripping tracks. A great place to start for the uninitiated, but there really ain’t a dud in their growing catalog.

Dave Strong DCxPC Live & Critical Mass Music Presents, Vol. 40: Live at Puke Fest LP

DCxPC drops in again with this DAVE STRONG LP, which immediately reflects the quality of releases that I’ve come to appreciate from the label. DAVE STRONG hails from Portsmouth, NH. Look, I know what you’re thinking: “Wasn’t that band the QUEERS from Portsmouth, NH?” Yes, they were. Also, not unlike the QUEERS, DAVE STRONG sings upbeat pop punk songs about wandering and drinking or whatever. The LP has plenty of songs about friends hanging out and things impacting his life. The songs are playful and budding with shout-along choruses. There’s also a great cover of the VASELINES tune “Molly’s Lips” with a breakdown that introduces the band members. As with most DCxPC releases, you probs already missed the chance to pick this up, but maybe Critical Mass still has some in their closet. Here you get fourteen songs that stroll along with the average running time of two-and-a-half minutes. This is a great set up for DAVE STRONG’s next full long-player.

Subterranean Kids Los Ojos de la Víctima LP reissue

Re-presenting the 1987 debut album from these Catalan hardcore legends, this new edition of Los Ojos de la Víctima (“The Victim’s Eyes”) reminds us of the band’s power and creativity in its formative stages. Mixing D.R.I.-level thrash chaos with MINOR THREAT-style breakdowns, all presented with the dramatic flair of MDC, the songs are short, abrasive, and unpredictable. Unbridled intensity suddenly drops into a casual, bass-heavy groove before exploding back into screaming fury. A menacing chug turns to a relaxed tempo with noodling guitar, and then the next track is tripping over itself with incomprehensible urgency. It’s sure to keep you on your toes. The remastered album is included here in its entirety, along with two previously unreleased tracks.

Suitor Saw You Out With the Weeds LP

Indie rock with a touch of post-punk at times. I liked the variety of styles these guys were able to capture; I didn’t know what to expect for each track. My absolute favorite track was “Generator.” It was a bit heavier and strange with a bang to start the track. I really liked the droning noise with a bass interlude, and overall very tense feelings it created. I kinda wish they had more tracks in this style as it felt the strongest to me, and some of the other songs felt a bit too long for my taste.

Twisted Teens Blame the Clown LP

There’s something about New Orleans that defines its own weirdness, a disparate collage of Cajun, creole, country, and punk subcultures with an identity distinctly of and desperately not of the American south. This transient collection can create art and music that is hard to pin down and classify it as anything other than itself, and TWISTED TEENS could only authentically come from there. A melting pot of garage rock, folk punk, blues, soul, and Americana, they have shaped their own sound that just feels like something familiar in that way that you could know WOODIE GUTHRIE by listening to the CLASH. There’s a crazy mishmash of GUN CLUB experimentation, zydeco energy, and TOM WAITS weirdness. Lead singer and guitarist Caspian Hollywell’s scratched-out, cigarettes-and-whisky-soaked voice harkens to his folk punk roots in SCISSORBILLS and BLACKBIRD RAUM—I mean, he’s wearing a SCROUNGER shirt on the cover of the album, so you get an idea where this is rooted. Lyrically, the songs have the humor and narrative weirdness of Tom Robbins on a meth bender. Hollywell is backed by Ramon (RJ) Santos on pedal steel, and their live shows incorporate a random entourage of other musicians on stage. It’s Santos’s playing that is the guts of the band, twisting and intertwining with the guitar and vocals and then breaking away while still carrying the song.

V/A Current Affairs CD

Here we have ten bands and seventeen songs from England and the Netherlands, tackling all types of underground punk. This CD has all the makings of a charming local release of all pals and pub buddies working to capture a moment in time. OLD AGE SPIES start off with a real zinger of an upbeat melodic stomper with lyrics surrounding the boring day-to-day. From there, MOUSER shoots in with a rager on the hardcore side of things, then plops in later with some great punk swagger that hat-tips to the FALL a little bit. Coming in just under one minute, ABRAZOS’s “We Pretend to Work Because They Pretend to Pay Us” locks in fast and furious with shared vocals. Soon after, STRESSSYSTEM accepts the challenge with a tune almost 400 percent longer, mirroring ABRAZOS’s intensity with a powerful crust/hardcore offering also with shared vocals. BRIOCHE, with the tracks “Aliens Are Real” and “Strange,” is a brother-and-sister duo that can be best described as the Swain kids from the Kurt Vonnegut book Slapstick with their joint genius, and stylistic and genuinely enthralling songs. FORD’S FUZZ INFERNO is perfect melodic, straight-ahead lo-fi punk. With every compilation I have ever listened to, I always look for a few distinct things. First, did these bands give their best? These bands did. Second, do I get the feeling that I’d want to stop into their hometowns for lunch and record shopping? I don’t think I’d want to go record shopping, but I’d totally want to hang out, grab a pint, and have a laugh. Third, and most importantly, do I want to seek out music from bands I’ve never heard before? One hundred percent. My funds are a little tight right now, but as soon as that tax cash comes in, I’ll be tossing some across the pond for a whole big mess of stuff. Also, if you act now, you’ll receive a zine and some other things, too.

Ambulanz III 12″

Following their 2023 II mini-album, Leipzig’s AMBULANZ is at it again with their fast and fun garage-flavored krautrock. Also a mini-album, this 12” offers five songs that make you want to move and jitter around, mirroring the spiky synth and guitar lines, the spasmodic drums, and dueling vocals. The first four songs stay within a pretty standard realm of two-to-three-minute run times, while the closer is their first experimentation with long format, as “Slime” clocks in at over ten minutes. There’s a bit of silence in the middle of the track, and I thought the whole thing was over, only to hear an instrumental beaming into my ears—kind of spacey and psychedelic. I think I lost the momentum of the previous tracks on this long closer, but maybe that’s the point? Listening back to a bit of their 2023 album, it seems like they’ve really captured a spirit and style that is continued here, even down to the watercolor album art. If you’re a fan of contemporary Leipzigers LAXISME, you’ll definitely enjoy this.

Black Adidas Black Adidas CD

This is BLACK ADIDAS’s second LP of melodic, catchy punk rock in the ’80s vein of SOCIAL DISTORTION, while bringing in some LEATHERFACE and JAWBREAKER influences with a few added tricks. BLACK ADIDAS uses keyboards to fill out the sound of the band and generates a feeling hovering between uncharted and familiar and comforting. Many of the songs have an anthemic, fist-pumping-in-the-air aspect that makes this a great listen. Spoiler alert, there is a rad cover of “Ditch Digger” from ROCKET FROM THE CRYPT’s ’92 LP Circa Now ending this CD on a great high.

Bullshit Detector Criminal Dreams LP

With a name like BULLSHIT DETECTÖR, I was expecting some anarcho-tinged hardcore punk with the predictable CRASS font and a couple of doves on the cover. Something cosy. But no, this Texas lot plays a blend of French Oi! and old school NYHC with a cold, modern, and always quite melodic vibe, although the vocals remain gruff throughout and contrast with the very tuneful backing choruses. French bands like SYNDROME 81 or RANCOEUR come to mind, as do the TEMPLARS (the guitar sound is clearly a minute work), and I suppose the wave aspect can also remind one of late-BLITZ-influenced bands and full-on coldwave bands that seem to be quite fashionable these days. I grew up as a teen listening to Oi! music, as it was a genre that was easily relatable until I realized how pricey the Oi! cosplay was and I had to switch to noisier and more affordable punk subgenres that would also not get my ass kicked; definitely a plus at that time. So I still understand, objectively, the band’s appeal. To be fair, it is not really my cuppa, but I am sure BULLSHIT DETECTÖR is considered top-shelf in their own category, and if you’re looking for some working class, melancholy-but-still-beefy tunes, this record can be a good start. Criminal Dreams includes a remastered version of their No Joy EP and the splits with EMPIRE DOWN and LIBERTY AND JUSTICE.

Cancer Spreading The Church of Failures EP

An Italian stench unit that has been reeking up punk consistently since 2007. The bastard child of AMEBIX and BOLT THROWER, this veteran band has a steady hand on the pulse of the classic mixture that creates the stinkiest of stenches. Primitively grueling, The Church of Failures paints a bloodied picture of a world without hope in which the light is slowly fading. Not that dissimilar from earlier works, the genre isn’t one to strive for innovation but rather dwells in atmosphere and feeling. Opener “Absence of Empathy” sounds like if Justin Broadrick played guitar for DEVIATED INSTINCT instead of NAPALM DEATH. Follow-up “Idiosyncratic Reaction” goes full mid-tempo death metal mode, like an ash-covered WINTER. There is a range in which they function, but by this point in their career, CANCER SPREADING is leaning more towards death metal, and the crust is felt more in the atmosphere and lyrical content than in the techniques employed, which makes this EP a misanthropic monolith for the dark times ahead.

Carry Out Time to Learn, Time to Die… Your Life is Gone Now!!! LP

It took a bit of digging to find out much about this one. From what I gather, CARRY OUT was prominent in the ’90s Barcelona hardcore scene, releasing two demos that are collected here along with a slew of previously unreleased material encompassing 32 tracks in total. CARRY OUT was very much a product of the time in which they existed, which is to say that they have a distinctive ’90s sound and delivery. They stab out in many directions, but the core of their identity is anchored in fast, somewhat crusty, dual-vocal hardcore punk. They don’t shy away from their influences, which are underlined by some of covers that show up by LOS CRUDOS, HIATUS, and NEGATIVE APPROACH. While those bands have stood the test of time, the same can’t really be said about CARRY OUT—I mean that as less of a jab than it may read. This record sent me on a nostalgia trip thinking of all the similar bands from when I was putting glue in my hair and stealing 40s from the grocery store as a misguided ’90s teenager. I just don’t see this resonating too far beyond the crowd that could’ve caught it the first time around.

Displeasure Annihilation / Billionaire Death Drive LP

DISPLEASURE, a side project of New Zealand’s UNSANITARY NAPKIN, released the Annihilation / Billionaire Death Drive LP about six months ago—yes, I’m proverbially late to the party. Layered synth work, distorted guitars, pulsing blasts of beats, and sound clips intermingle into rage-driven E-beat similar to SCUMPUTER, STREET GLOVES, or L.O.T.I.O.N. There are several tracks on Annihilation / Billionaire Death Drive that have earworm qualities which will live in your aural canal for a while. When consumed completely, Annihilation / Billionaire Death Drive is dense with political defiance against the technocrats and oligarchs of the world while also being critical of the cultural manipulations of the ruling elite. An in-depth dive into our contemporary global hellscape.

The Dogs The Only Band Called the Dogs EP

I wasn’t prepared for this. The record opens with “I Didn’t Ask,” which sounds like a bastard version of “Cold Sweat”-era THIN LIZZY minus the twin guitar harmonies, and I’ll be goddamned if the vocals don’t sound like a snottier Phil Lynott. They are tuff and have the kind of swagger to them that should accompany riffs like these. It’s fast as hell and sounds like the soundtrack to a bad Saturday night! Jonah Falco (CAREER SUICIDE, FUCKED UP) oversaw all of the production, and the fidelity of the recording really serves the songs well. It’s an improvement over their 2024 LP; thick, meaty, and a lil’ dirty, with the bass driving each of the songs against a wall of programmed drums. The closing “Take It From Me” displays the band’s street punk influence, and it’s as catchy as it is menacing. The DOGS play rough-and-tumble rock’n’roll, plain and simple. If you’re a fan of shit that rocks, don’t sleep on this. I’d be surprised if this doesn’t end up on a bunch of year-end lists.

Flippeur Élastique 8″

FLIPPEUR’s Élastique doesn’t just bend genre, it snaps it and leaves the recoil ringing. There’s a wiry, nerve-shot tension running through these tracks, where post-punk angularity collides with blown-out garage abrasion and a sense of barely-contained collapse. Guitars twitch and slash rather than riff, constantly threatening to derail the rhythm section’s brittle forward motion. The vocals feel half-detached, like they’re being transmitted from inside the breakdown rather than narrating it. What elevates Élastique is its refusal to settle into a stable identity; every passage feels like it’s mutating under pressure. It’s restless, antagonistic, and deeply physical in a way that bypasses easy categorization—music that coils tighter the longer you stay inside it.

Élastique de FLIPPEUR no solo dobla el género: lo quiebra y deja el rebote vibrando en el aire. Hay una tensión nerviosa que atraviesa todo, donde la angulosidad post-punk choca contra una abrasión garage saturada y una sensación constante de colapso inminente. Las guitarras se retuercen y cortan más que riffear, amenazando con descarrilar el pulso frágil de la base rítmica. Las voces suenan medio desprendidas, como transmitidas desde adentro del derrumbe. Lo que eleva el disco es su negativa a fijarse en una identidad estable: todo muta bajo presión. Es inquieto, antagonista y físico.

Giallo Tenebrarum LP

GIALLO’s Tenebrarum sounds like a black-gloved killer stalking through a haze of feedback and flashing lights. Hardcore stripped of warmth and rebuilt with tension—cold, mechanical, and sharp like a knife. Named after the cult Italian horror movie genre, this record plays exactly how it sounds: soaked in menace. An eerie intro done by none other than TERROR CELL UNIT creeps in, and by the time it’s over, you are immersed in a Mario Bava movie. The second track displays the band in full swing with its angst-ridden stompy hardcore, the kind that makes you vent out in hatred. The vibe here is not too distant from HOAX or any of the mysterious bands from Youth Attack’s roster. A love letter to horror aesthetics filtered through cold hardcore abrasion. Play it loud, preferably at night.

Intel Afterdust cassette

INTEL’s music is creative and complex, a heady kind of hardcore that violently bucks any attempts you may make to neatly categorize it. On this tape, the Fort Wayne group’s burly sound moves through various shades of rocking, psychedelic, and atmospheric noise. Nihilistic plowing, battered melodies, and an unnerving stomp co-exist naturally within their unique ugliness.

Kimono Draggin’ I Can’t Believe It’s Not Music LP

Jokey, punk-adjacent rock for fans of unserious bands like DEAD MILKMEN, CAMPER VAN BEETHOVEN, and maybe WEEN. Musically proficient, the lyrics are the line in the sand here, with references to all manner of dorky shit like The Dark Crystal, Labyrinth, video games, pro wrestling, and Scooby Doo, sometimes in the same song. The band sounds like they are having fun, volleying inside jokes back and forth to each other over fuzzy riffs, but it quickly becomes tedious. One track has someone in the background repeatedly saying “fatality” in the Mortal Kombat voice, while another track pulls the same shtick but with the word “suplex,” ending with “These lyrics are suplex.” Maybe the members have some kind of pre-pubescent vocal tics. More likely, they’re the type of dudes who collect Funko Pops and speak only in Family Guy lines. If you like goofy rock and the pop culture of the ’80s and ’90s, oh my god, you’re going to love this. I don’t see anyone outside that niche audience making it through a full listen.

Last Thread Balance EP

Really solid four-song slab here. Catchy as hell; one of those albums that put me in a great mood the moment it started spinning. This is your typical pop punk affair, with power chords and speedy Fat Wreck-esque drums—however, the singer is absolutely marvelous. My mind immediately went to TILT, but I think there’s a little more substance here. Fantastic vocal control with what I can best describe as melancholy melodies. The rest of the band spends most of the time in the pocket, and it helps strengthen the vocalist’s power. A heavy lyrical vehicle, this gives me J CHURCH vibes but sounds much more like SUGAR STEMS. I’ll be adding this to my springtime Bandcamp playlist. Check this one out.

Maldita Un Mundo en Demencia cassette

Latina-fronted hardcore from Toronto. These punks have been cranking out aggressive, anarcho-inspired releases since 2018. Their brand of dead-ahead, driving punk has a raw edge that keeps things interesting despite being somewhat repetitive. Their real character cuts through on tracks like “Odio,” where the backing vocals inject an element of the unexpected. I gravitate mostly to the faster tracks like “Perdida” and “Memorias,” but this is sheerly a matter of personal preference. MALDITA pulls from the stripped-down side of UK82, so the quicker tempo amplifies the impact.

Plastique Pigs 2025 Demo cassette

PLASTIQUE PIGS play meaty yet agile hardcore, bringing you some suitable new slam material out of Raleigh. It’s a solid demo debut, and songs like “Run. Duck. Hide.” and “Soldier of Misfortune” hint at the kind of expressive character that makes this type of band stand out even when they’re closely following the blueprints.

Pura Mania La Band Es La Ley 12″

After a tranche of EPs, these gothic punkers have released a cracker of a debut 12”. An unmistakable punk sneer and snarl pulsates throughout the vocals, barely contained by a sleek deathrock shimmer. However, it’s a genre-defying beast—there are beautiful post-punk elements with at least one tune sounding like a CHAMELEONS off cut, and a swaggering mid-tempo glammy stomper which wouldn’t be out of place as a SLADE B-side. Worth the wait.

Render. Greyscale / Static on the Airwaves 7″

RENDER. is a Southeast UK band with their emotional hardcore influences, bands like INDIAN SUMMER, JULIA, and POLICY OF THREE, pinned right over their hearts. Their two-track lathe-cut 7″, limited to 50 copies with hand-stamped sleeves that could’ve been pulled straight from the ’90s, makes no apologies for any of it. Ten seconds into “Greyscale” and I was checking the calendar. “Static on the Airwaves” opens with atmospheric bass and single-string guitar picking over jazzy drums before the vocals show up around the 1:40 mark. On both tracks, the singing toggles between a Revolution Summer-style yelp of suffering and a screeching attack reminiscent of Chris Fogel from REVERSAL OF MAN, with the music swinging between pretty/dark and discordant mid-tempo hardcore. Look, this style was never my scene and it still isn’t, but the recording is solid, the musicianship is there, and those screeching vocals genuinely deliver. They’re not reinventing the genre, but if returning to the emo dream of ’95 sounds like a good Saturday to you, RENDER. is the sad boy party that you’ve been looking for.

Station Model Violence Station Model Violence LP

Debut LP from Australian stalwarts by way of Sydney. With some crossover with R.M.F.C. and DEN, this group is stacked with musicians in bands too numerous to name, the talent and detail of which is on gleaming display here. Frontman Daniel Stewart has a long write-up on their Bandcamp page explaining the evolution of the group, and it’s worth a read to learn just how much time, movement, and energy went into this thing, with part of the inspiration coming from a scene out of a BBC Krautrock documentary wherein IGGY POP opens coconuts and expounds on the NEU! sound (don’t act like you’re not intrigued).  All ten tracks are dense, dynamic, and rich—they build and develop emotions that make you want to look into the wind; they fall away, leaving a lonely guitar riff in the corner of your ear. “Heat” is particularly potent in this way, clocking in at over eight minutes, with plenty of space for mood changes.  Part of Stewart’s write-up describes the inspiration of CRISIS, and you can definitely hear that cloud-covered post-punk pulsing throughout the album. Overall, this feels like an epic drama, something big; elegant yet forceful, and completely enthralling. A masterpiece of 2026. I’d take note, get in line, tell your friends—climb the crow’s nest and look for them on the horizon.

Tormented Imp Punishment EP

Searing tunes from Leeds-based TORMENTED IMP, combining POISON IDEA-indebted attitude and vocals (and band name), Motör-charged riffs and drums, and Burning Spirits-style guitar leads for an exceptional 7” that requires repeated listens to catch all of the little details the band has laid down here. Final track “Out to Dry” is particularly awesome, mixing everything to love about hardcore punk into a 2:45 pummeling. Highly recommended.

Vipers Way Out EP

There must be something in the water in Buffalo, and whatever it is, it’s responsible for some of the best hardcore in recent years—this is no exception. VIPERS feature members of COKE BUST, SCIENCE MAN, and BROWN SUGAR, and I am stoked to say they sound nothing like any of those bands! It’s menacing hardcore punk delivered at breakneck speed with intense vocals and a dash of straight-up rock’n’roll guitar-playing. “Preferia” sounds like SOA colliding with early SEPULTURA, topped off with a guitar solo that would make Wayne Kramer proud. “Coxinha Motherfuckers” is a standout for me, blending CIRCLE JERKS-style riffage under a savage scream of “I have no patience / Coxinha Motherfuckers / You’re driving me insannnne.” I thought he was talking about chicken! Absolutely bonkers. Play it loud!

Whitepicketfence Regret. EP

Sonically undulating, turbulent at times, calm at times, with a changing pace, width, and depth reflecting the Delaware River. Each of the single-word song titles cast a quiet, brooding sorrow that mirrors the melancholy desperation of the songs that, at times, stab through the blanket of ache they’ve created to disrupt the whole feel from dull sorrow to jarring heat. I don’t think I’ve ever said this (ever, at all, ever-never-ever), but I think the songs could be five-to-seven minutes longer. This is a fucking great record if this is the kinda thing you are into. I really dig it.

Abyecta Inténtalo o Muere / Amo y Esclavo 7″

This highly anticipated return of ABYECTA is pure punk perfection. Two premium cuts that take the formula they’ve developed over the years and max it the fuck out. I hear more of the NWOBHM influences cutting through here, and the band is clearly embracing the Japanese hardcore in a more blatant manner as well. This is all to great effect. Each of the two songs take the listener on a sonic journey that has been crafted with precision and intentionality. Both tracks exceed the four-minute mark, with “Inténtalo o Muere,” the topside ripper, clocking in at over five-and-a-half minutes. Despite the expansiveness, nothing here comes across as extraneous or ornamental. They are just fully dialed-in, and have worked the material into its most potent form. This amounts to heavy, but also deft compositions that defy the apprehension that such an endeavor could induce. Carolina’s vocals are as powerful as ever, and this latest iteration of the lineup is so locked-in that it’s crazy. Absolutely killer.

Bränd Sjuk Stad 12″

BRÄND out of Gothenburg, Sweden released the Sjuk Stad 12″, their second recording, late in 2025, with six punk rock tracks that blend classic elements with quick refreshes. The variation in the vocal takes is really what makes this record intriguing, jumping rapidly from dual vocals to gang vocals to solo vocals, from megaphone to guttural howl. In all, Sjuk Stad is dystopian and down-tuned accordingly, but is still a really fun listen.

Burial Plot Architectural Hostility cassette

The New Wave of British Hardcore is a few years out by now, but it continues to stamp its spirit onto a lot of the bands coming out of the British Isles these days. BURIAL PLOT sounds as if you took bands like HOUNDS OF HATE or ARMS RACE, gave them a requisite level of pogo punk per tune, and they overdelivered every time. This tape will make your brain circle-pit for hours, and the basically vomited vocals might put the fear of life in you. This vocalist could easily front an OG death metal band, but puts every bit of that skillset towards elevating the tunes here. A ten-out-of-ten effort from these guys.

Cruelle Cruelle demo cassette

Demo from Montreal’s CRUELLE, out on Florida’s XTRO label. Four tracks of darkwave, synth-heavy, femme-fronted punk. I’m an absolute sucker for this type of thing, and can’t seem to get enough of an up-tempo, dancy beat mixed with gloomy synths and strained vocals, and in this case, a tame amount of aggression and a bit of distortion. Easy sell for me. This reminds me of PHANTASIA who I reviewed a while back, and it probably owes a fair amount to XMAL DEUTSCHLAND. Hopefully they keep up after it, CRUELLE rips!

Depressionista Tools for Survival cassette

Thought this was going to be another run-of-the-mill powerviolence release, but that changed as soon as the singer started rapping. Been a long time since I’ve heard a band bring back that old slamcore sound, and it’s got me curious—is this popular again? Tools for Survival seemed fresh at first, but sadly has diminishing returns. This is that East Coast “real tough guy” shit, and it sounded great during my first listen through, but each time I doubled back, I noticed how sloppy everything is together. The lead singer tries to cram as much as he can into each bar and it sounds rushed. It also contrasts with the often fluctuating tempo from the band and kills the flow. There were a couple lines that stuck out to me that I thought were clever, but one that made me laugh was from the track “East Side,” where the singer says “Pop punk is not punk / I’m not old, I’m not unc,” which, depending on who you ask, could very well be something an unc would say. DEPRESSIONISTA has a good base and I’m excited to see how they grow over the next few years. If my research is correct, they’ve only been doing the hip hop thing for over a year now, and I assume this is the first time the band has had to write music catering to that structure. But what do I know?

The Freak Accident The Midnight Show Tales of Toil and Frustration CD

The FREAK ACCIDENT is the inside-out brain of Frank Spight (VICTIMS FAMILY, HELLWORMS, JELLO BIAFRA AND THE GUANTANAMO SCHOOL OF MEDICINE, etc.), coming in blazing with what you’d come to expect from someone who’s served time in those bands. Here we have mid-tempo, weirdo, sometimes circus-like instrumentation layered just under politically poetic dystopian lyrical themes that don’t charge you up as much as they open the doors for sorrow. However, blended in with the darkness is a bit of humor, as evidenced by the lyrics “Ask me how I’m doing / I’ll tell you that I’m fine / I can be your toilet / Let’s make toilet wine”—I somehow find that pure of heart and a bit romantic. If you are a fan of a lot of the bands and releases on the Alternative Tentacles label, then you’ll prolly dig this, too.

Glitter Tortura Mental EP

GLITTER’s Tortura Mental lives up to its name with a suffocating, feedback-drenched hardcore attack that feels designed to erode rather than energize. The production is deliberately claustrophobic—guitars smear into a toxic haze while the drums pound like they’re trapped in a concrete box. There’s a raw, almost sadistic repetition in the structures, hammering the same phrases until they lose shape and become pure pressure. Vocals cut through as distorted commands, more texture than language. It’s not about hooks or memorability; it’s about impact and abrasion sustained past comfort. Tortura Mental doesn’t invite you in, it locks the door behind you and lets the walls close.

Tortura Mental de GLITTER hace honor a su nombre con un ataque hardcore sofocante y saturado de feedback, diseñado más para erosionar que para energizar. La producción es claustrofóbica: las guitarras se deshacen en una neblina tóxica mientras la batería golpea como encerrada en cemento. Hay una repetición casi sádica que martilla ideas hasta volverlas pura presión. Las voces atraviesan como órdenes distorsionadas. No hay ganchos ni concesiones: solo impacto sostenido. El EP no invita a entrar; te encierra y deja que las paredes se acerquen.

Heather the Jerk Scroll If You Love Devil cassette

At first pass, HEATHER THE JERK comes across as standard budget rock fare—crude and direct, with a blown-out sound and song titles like “My Dumb Brain.” But, leaning in a little closer, there’s a bit more heart and soul to be found within these ten tunes. Hell, she even manages to make her cover of LOLI & THE CHONES “I Hate Your Guts” somehow sound sweet. And she’s a “one-lady band,” single-handedly covering almost all musical duties here. This one is highly recommended for fans of PEACH KELLI POP and other cute rockers who have chosen to use their keen punk songwriting prowess to immortalize feline friends.

K9 Thrills LP

Now this is what I’m talking about. This band could be your life, or at least your latest obsession. Richmond’s K-9 offers their first LP with the aptly-named Thrills, a collection of songs that seems to pull from DINOSAUR JR., MISSION OF BURMA, LEMONHEADS, and other exciting sounds of the ’80s and ’90s. There are breezy, slacker indie tracks (“The Island” nails this feeling), and there are sub-two-minute blasts of energy (“95x”), but they work really well together, keeping the listener engaged and excited. My only gripe isn’t really a gripe at all: some of the shorter tracks are so infectious that I don’t want to see them leave (“A Race”), but there’s plenty of solace in knowing that the next song will pull you right back in for different reasons.