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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!
Split release pairing Sydney’s 1-800 MIKEY and GEE TEE. 1-800 MIKEY is a project from Michael Barker, who also plays in GEE TEE. His tracks are lo-fi, innocent, and achingly whimsical, similar to fellow Sydneysiders TEE VEE REPAIRMANN and Portland’s CHEERY CHEEKS. GEE TEE has been referred to as the Australian SPITS, but on their track, they slow it down with a tune that sounds beautifully crafted like NOBUNNY covering DANIEL JOHNSTON in a bedroom on a four-track.
Yet another contemporary German throwback to the Neue Deutsche Welle, and I’m not mad about it. Opener “Irgendwas Ist Immer” builds plenty of tension and drama over three-and-a-half minutes, and there’s a sharp, Zickzack’d angularity cutting through in the staccato guitar stabs and rigid rhythms of “Attitüde” and “Zustände,” but on a whole, Kiel’s ALIBI are far less shrouded and goth-influenced than the Berlin-based contingent of modern XMAL DEUTSCHLAND disciples like AUS, DIE SCHIEFE BAHN, and MISERE, landing somewhere closer to the second HANS-A-PLAST LP that bridged their late ’70s speedy punk spark with an expanded early ’80s post-punk palette. Impressively tight and locked-in for what’s essentially a first demo, and if whatever comes next plays up even more of the latent art-damage that I’m picking up on here, it could be genuinely savage.
BABY TYLER is back and better than ever. I’ll admit it, on the first listen I wasn’t impressed. It was exactly what I expected, hardcore-tinged garage punk rippers. Nothing more, nothing less. The first two tracks didn’t do much for me at first, but the third track caught my attention with the lyric “And if you give it nothing / What do you expect in return?” This stuck out to me, and days later it was still in my head. Tracks six through eight expand on the sound of the first few songs and have some of my favorite moments on the LP. The horn breakdown on “Rinse Repeat” is a great example, as is the menacing vocal on “Good Motivator.” The bass and drums really stand out and work together seamlessly to move the songs forward, while the guitar takes a back seat and adds subtle flavor where needed. Elsewhere, the bass can be overpowering at times, and I wish the guitars hit a little harder. Lyrically, vocalist Tyler Fassnacht angrily questions his dedication to the craft, the idea of “success,” and what it means to a mid-thirties DIY punk who has spent most of his life on tour and making records. “If you give it nothing, what can you expect in return?” The answer is nothing. Fucking nothing. But if you give it everything, time and time again, you may end with an LP full of piss and vinegar, yet still poppy enough to leave hooks in your head for days.
Dark, evil-sounding hardcore punk from Los Angeles, CA. CRISTØ follows up their first digital release from two-and-a-half years ago with a ripping seven-song cassette. It might not be heard by everyone, but the songwriting and vocal patterns sound to me like the band wisely took a page or two out of the NUCLEAR ASSAULT playbook. This recording really shines when leaning into the speed-metal-inspired aspects of their sound. With the cassette release only limited to a mere fifteen copies, good luck getting your hands on one.
Coming out of the gates sounding like a menacing version of PRISON AFFAIR and then settling in with their own thing entirely, D.U.N.C.E. does a killer job of introducing themselves to the masses with this demonstration. There is a sheen of effortlessness that coats this offering, especially on the highlight “Shark,” that is not too unlike the energy of a SPIRITUAL CRAMP or a HANK WOOD AND THE HAMMERHEADS. Demos should seek to turn a head or grab an ear, and D.U.N.C.E. successfully stops the listener in their tracks and makes them whip their head. Excited for what’s to come, but glad for what we’ve got.
Get ready for some scratchy, growly vocals. These guys were playful, diving into some more Western sounds or kind of groovy punk. The vocals stand out to me the most, as they really take the song into different places. Super fun band.
Reissue of a classic Euskara band’s classic record. In many ways, it’s pretty churlish of me to try and add to the big pile of discourse around this band and release. What more is there to say that hasn’t already been said? A pivotal band in the development of punk en Espanyol, and this is them in the midst of a clear purple patch. A step change from the ’77-inspired early material into arms-aloft, “whoa”-infused choruses for the ages. “Es Un Crimen” is surely in the pantheon of the greats by now. Unsure if we really need to add any more onto the big critical landfill surrounding this record, or indeed what the point is in remastering punk records in general, but if it encourages you to give this a listen, then do it.
Tell any punk who grew up in Chicagoland that FLYING HEADS feature members from TV SLIME, and they’re going to jump at it immediately. Incredible noise/crust punk that brings to mind some of the best to do it, like ELECTRO HIPPIES and DOOM. There’s also a sludge element much like MELVINS and KILSLUG. This is one of those records where you have no other choice but to listen to it loud as hell—it imposes that upon itself. If you’re not blasting this into your eardrums, then you ain’t living, friend. Chicago is known for an array of different punk-adjacent genres, but this sloppy, raucous rock’n’roll feels most at home to me. This pairs perfectly with an Old Style and a shot of Malort.
Ever wondered how PAINTBOX would sound if they were Finnish? Helsinki’s Burning Spirits-influenced hardcore heroes are back with more vicious melodies. Many have tried and many have failed to emulate the sound that the Japanese NWOBHM-influenced punks crafted so well. G.A.Z.E. is an exception to that rule. They nail the style so well because they strive to retain the high-energy, uplifting mood that characterized the classics like DEATH SIDE or JUDGEMENT. It’s supposed to be a constant yin/yang of brutality and melody, but always very bright. The guitar leads are performed to perfection, the vocal delivery is complete with the classic gang shouting, and the songs are very unpredictable, thanks to a great usage of tempo shifts. There is even time for out-of-the-box instruments to make an appearance, like saxophone, violin, and double bass. They have studied their lesson well. Essential listening.
H.Ä.L.T. out of Vancouver, BC recently released their second full-length 12″, affectionately entitled II. Their latest release brings more bop, more punk, and more goth to their already gloom-infested sound. The eight-song II is sonically dense with its shifting, danceable rhythms, intriguing organ/synth work, and gnarly guitar tones. Personally, the second song “Forever Dead” is my favorite with its defiant perspective, and I love how that song transitions into the spectral “Voices.” In all, this is a fantastic work of dark delights.
Nineteen songs of feverish hardcore punk from France. No distortion, no breakdowns, no songs over 1:45, and no time to slow down! Super-political, super-fast, and the origin of Saint Lundi has me wanting to quit my job and go slam a pint! JODIE FASTER has been dishing out “short songs played fast” for a decade, and it truly shows on Saint Lundi. My favorite moment on the record is when vocalist screams “fuck that!” during a split-second pause in “S.O.R.G.A.” This shit rules.
RYAN KIDD is rock’n’roll punk with sass and swagger, pulling in elements of DEAD BOYS and the SAINTS. This comes in punchy and will hook you with catchy choruses, but you’ll stay for the oddball guitar work that punctuates the verses from time to time. I’d be remiss to not include that some of these tunes reflect EXPLODING HEARTS and Dirtnap Records with their melody and power pop hooks. There is yelling on this Rock N Rude LP, some “woo-woo”s, “yaaaohh”s, snotty Stiv Bators vocal stuff, and most of the songs are perfectly lyrically vague enough that you could get away with singing them around town without getting side-eyed. This record is for you if you like beer, bars, and places that have punk shows that have been around so long that smoking cigs inside has been grandfathered into the building’s lease.
The zipper on the front of this record should be a hint of what you’re in for. The release notes promise a love letter to the UK82 scene “organically mixed with the sound of raw ’80s global hardcore,” and that’s exactly what it delivers. VAXINE (NYC) tears through three politically-charged two-minute blasts that land somewhere between DISCHARGE and CHAOS UK, with a whiff of MOTÖRHEAD swagger in the intro to “War Criminals.” LAST SURVIVORS (Tokyo) follow with two tracks that sound rougher, like a third-generation tape dub, but they still bring four minutes of pure basement energy. Both bands hit that sweet spot of raw, mid-range-heavy ’80s-style punk without too much of the metallic drift some of their influences leaned into. Every song could’ve been trimmed by half a minute, but it’s still a strong dose of unfiltered, boots-on-the-floor hardcore. For fans of the punkiest of punk sounds, this one’s worth tracking down. The high point for me was VAXINE’s “Thread of Hate.”
I love this sort of thing—kind of soft, kind of jangly female-fronted pop music. That said, it always has to be done well. She’ll probably hate the reference, but the singer has great range and can hit highs that remind of Dolores O’Riordan of the CRANBERRIES. But this one does have its moments of grittiness, with the pretty vocals occasionally drifting into distress.
Representing New Zealand and Nova Scotia respectively, NO SECTOR and PERACETIC prove that hardcore is still spoken fluently across the globe on this ripping split. NO SECTOR is deliciously dialed-in across their three tracks, serving up a satisfying splash of intensity in just four minutes. It’s hard to pick a favorite from this addictive little set, but if I had to, it’s “Bootcamp.” Thrashier and less compressed, PERACETIC manages to shoot out six tunes in roughly the same amount of time, each one surrounding the listener like a tornado of razors. Glorious.
Goddang, you ever just hear a band that means what they say and plays it well? Admit it, it happens fewer times than you think. Well, let’s take a look at PRISE RAPIDE from Paris (not Texas). This music feels like it wears its heart on its sleeve, and drives it home like a stake through a vampire’s heart. The hooks and melodic turns here will keep you locked in throughout its relatively short runtime (just under 30 minutes). The bass is honey bright with presence, anchoring otherwise zig-zagging melodic post-punk without ever getting too dour. It’s good stuff, I don’t know what else to tell ya.
Aussie five-piece SPLIT SYSTEM has released their third 7″ of 2025, and the A-side “No Cops in Heaven” is killer ’70s-style punk with clenched-jaw propulsion. It’s mid-tempo, but the rhythm section plays like they’re sprinting forward at full tilt, locked into a locomotive groove that gives the song that RADIO BIRDMAN-esque push where everyone else has to keep up or get steamrolled. Guitars leave zero breathing room, and the whole thing has that piston engine momentum that made me want to play it again the second it ended. “Pull the Trigger” doesn’t hit quite as hard, but it’s still a solid shot at war profiteers. The more I hear from this band, the more I dig ’em.
Sick debut from this Norwegian outfit. A potent compound of two parts USHC and one part rock’n’roll. A couple of the licks reminded me of early ANNIHILATION TIME. A couple more made me think of CAREER SUICIDE. Clear production works to their favor, especially when the tempo downshifts and the bassist tramps up and down the fretboard. “Repeat Offender” feels like the completed distillation of what they’re, uh, stabbing at, but this is a tight EP from start to finish.
Sealed Records unapologetically does it again, this time with an epic double album including SUBHUMANS’ three early demos recorded before the release of their iconic first EP Religious Wars. This massive undertaking is actually a reissue as Bluurg Records had released these three recordings on a tape entitled Demolition War Parts I-III in 1981, so it’s pretty unlikely anyone already has a physical copy these days anyway (beside that hammered old punk at the pub who rather embarrassingly claims that “punks were punks back in the days”—you know the sort, avoid at all costs). As ’80s demos recorded cheaply at Warminster’s local youth center and The Old Bell, the production is raw, but the band was already so skillful, tight, catchy, and proper energetic that it confers a new charm to otherwise well-known anthemic songs from their early period, and the record brings some further context to the band’s first steps with some interviews and collages. As a bonus, it even has three unreleased numbers in case you needed additional arguments. If you have never heard SUBHUMANS, I envy you, because you are about to discover a wonderful slice of snotty UK punk. This might not be the greatest point of entry into the catalog of one of the most respected and most consistent anarcho-punk bands still playing and delivering (which is more than can be said about legions of “reformed punk legends”), and 60 minutes of raw versions of (even undeniably great) old school punk songs could be a bit hard to take for a newcomer. However, it is obviously a mandatory purchase for anarcho lovers.
Since their self-titled debut from last year, I’ve been a big fan of TRAUMATIZER’s brutal brand of D-beat, and on their new EP Nuclear War Machine, they sound gnarlier than ever. Each of the five tracks here showcases their ability to seamlessly meld their influences into a streamlined sound that is entirely their own. Excellent riffs, excellent drumming, and excellent vocals, what more could you ask for? For fans of ANTI-CIMEX, SACRILEGE, and MOTÖRHEAD, this one’s a no-brainer.
VORÁGINE is Peruvian D-beat, punk crudo at its best. Primitivo in presentation and production, the Pánico EP will absolutely get your fist pumping. Seven tracks that contain bursts of Motör-punk forming bridges between noise-blasted lyrical delivery and everything happening at terminal velocity. If you’re lacking in recent D-beat face-meltings, then you should probably check out VORÁGINE.
The cyclical nature of music continues to resound as young folks renew and revise the spirit of ’90s indie, centering bright hooks and big guitars. WAVERS, from Olympia where American indie has always thrived, sound familiar and novel at once, striking the perfect balance between the current crop of loftspace DIY rock and giants that came before—even rhyming with early PAVEMENT in some of their guitar work. Vocalist/guitarist Rosie’s soaring voice is smartly featured up front and center, bolstered by a smart and well-weathered backing band that knows what they like and how to play it. Drummer Charlie also sings sumptuous harmonies that will mist your eyes more than once, guaranteed. Totally gorgeous and self-assured emo-tinged indie that will ring true regardless what era it’s heard in.
The forgotten Ramone was surely Eggy Ramone, no? XRAY XEROXX embodies the spirit of this made-up Ramone by giving us fourteen tracks of egged-up, RAMONES-meets-DEVO sugar rushes. While RAMONES and DEVO certainly get called to mind almost immediately, as the album goes on, those comparisons start to (d)evolve into something more like the QUEERS and the AQUABATS—the immaturity of the lyrics, the performance/persona behind the music. These songs are definitely fun and snotty, but it does have me wondering if today’s mainstream high schooler views this type of egg-punk in the same way a normie twenty years ago viewed REEL BIG FISH or the MAD CADDIES? Are lots of synth punks today just former marching band kids? Does SNOOPER sing along to MEPHISKAPHELES? Did PRISON AFFAIR perform in their high school musicals?
Solid first offering from San Diego’s AGGRAVATE. The band has one foot firmly planted in traditional USHC thanks to the straightforward vocals, but otherwise the proceedings are more atmospheric and heavier than your usual fare, almost approaching stadium crust. Overall not bad; I’ll be curious to see what direction they go from here.
The title says it all, folks. A double LP full of campy, over-the-top, ’60s-inspired monster madness straight out of Philadelphia. It’s worthy of a seasonal spin during your next Pagan house party or seasonal sockhop. Songs like “Dracula’s Castle” and “She’s in Love with Frankenstein’s Monster” are loaded with all the reverb and tremolo of your fave ’60s and ’70s novelty records, and much to my enjoyment, they lean into the humor and campiness. It reminds me of the kind of stuff I would find in a used dollar bin and would scoop up without hesitation. It’s pressed at 45 RPM on 12” which adds to the novelty vibe. Overall, it’s a fun record without a ton of memorable moments, but deserving of a listen if you’re into the schtick.
Good mix of post-punk and more classic punk rock—their ability to go from the classically post-punk guitar in verses into a distorted explosion in the choruses was awesome. I really appreciated the noise and intensity that they kept up throughout, definitely a solid record.
Extremely solid effort that kicks into full gear immediately. Blistering guitar solos paired with a blood-curdling screamer and a tight, lightning-fast rhythm section. There’s a little bit of keyboard action laced throughout that I wish was a bit more consistent and louder, but that’s my only real complaint. Sounding a bit like their labelmates GUMM, DESTINY BOND also combines the best parts of youth crew hardcore (gang vocals and groovy, mosh-inducing tempos) with classic rock’n’roll mentality (charismatic singer, catchy riffs, and palpable energy). This is a great record and a fantastic addition to the Convulse library, which has hosted some real ten-out-of-ten albums over these last few years.
Insanely catchy collection of garage punk tunes from Australia that was almost scrapped by the band? Folks, why? It’s so good. If you like JAY REATARD or TEE VEE REPAIRMANN, give it a listen and soak in the rock’n’roll grit, the near-bubblegum vocals on tracks like “Mine Tonight” (“Make you mine toooo-niiiiiighttt”), and the old school keys that bubble up like ? AND THE MYSTERIANS playing with the SPITS. Hooks hooking into more hooks on every song had me writing one word next to each song while listening: classic. Like the song “Borned to Rock,” ELECTRIC PRAWNS 2 were in fact borned to rock.
Burly, punishing hardcore that draws from the wellspring of ’80s NYHC like the ABUSED or the MOB (the good stuff). Everything is outsized and menacing, with gang chants and guitar leads as you might expect, particularly if you’ve encountered their demo from 2023. Sharing members with FORESEEN may also be a helpful bit of knowledge to have, another band to masterfully modernize old school influences. FORCED HUMILITY doesn’t spare the hooks and isn’t afraid to introduce a harmony, but make no mistake—this shit is brutal and unsparing. An ass-beater, to be sure.
I love splits. This one is a cool showcase of the current dirt pop scene, with each band contributing two original songs and one cover. If that’s not enough for you, it even comes with a fifteen-page zine. The whole affair gives off heavy MARKED MEN or RADIOACTIVITY vibes, so it should come as no surprise that three of the bands either recorded or mastered their tracks with Jeff Burke. The original songs are a good example of what each band brings to the table, but the covers are the real gems here. TV COP covering MOLLY HATCHET just might be my favorite track on the split; pop punks covering Southern rock and doing it justice??? I’m into it. The TEENAGE BIGFOOT originals remind me of walking into a Hot Topic circa 2003. Not into it. On the other hand, their cover of “Dreams” by the CRANBERRIES was stuck in my head for days, and I really dislike that band! For the uninitiated, I don’t feel like anything on here will make any of these bands your new favorite. But for existing fans, Jeff Burke worshippers, or anyone looking for a few killer dirt pop covers, this LP will feel right at home in your collection.
Static Shock delivers the second LP from IMPLODERS, a maddeningly fast, no-frills hardcore strike. Quick riffs, shredded vocals, constant energy—tight and well-executed, but familiar. A solid, enjoyable record that stays in its lane. Ideal for listeners wanting straightforward speed and power.
Static Shock trae el segundo LP de IMPLODERS, un ataque directo y enloquecedor de hardcore rápido y sin aditivos. La banda ejecuta bien: riffs veloces, voces mordidas y energía constante. Es sólido y disfrutable, pero no sorprende ni rompe el molde. Hardcore bien hecho, ideal para quienes buscan velocidad pura.
Until about five years ago, JET! was seemingly a complete unknown, nary a footnote in the annals of New Jersey power pop (which is actually New Jersey’s top export as a state, not “chemicals” as the internet may try to make you believe). JET! formed in Toms River, cut two of the greatest power pop 45s ever, and disappeared. Luckily, a NJ collector uncovered a stack of deadstock copies of those two singles, and soon us obsessives got our grubby little hands on copies of our own. And now, the immaculate Fish & Cheap Records continue to do what they do best and get another obscure slab to the masses. “Everybody Plays the Game” and “Here Me Sheila” represent the band’s second single, with the A-side being a little more driving than their first single “Please Mister Radio.” While the decision to be a bit more rocking may have caused the rift in the band that led to their split, they still managed to capture lightning in a second bottle. If you have even a passing interest in punky power pop, all four of their songs are an absolute must, and Fish & Cheap are making it so the sounds aren’t confined to the greasy collectors shelves. With any luck, they’ll give the first release the reissue treatment as well. Get this, now.
Cleveland duo KNOWSO, consisting of Nathan Ward (CRUELSTER, PERVERTS AGAIN, the CARP) and Jayson Gerycz (CLOUD NOTHINGS), return with Hypnotic Smack, a wiry, offbeat LP that fits neatly into the city’s long tradition of bent punk weirdos. Earlier MRR reviewers have namedropped DEVO, CAPTAIN BEEFHEART, NOMEANSNO fronted by Steve Albini, and SERVOTRON when trying to pin this band down, and those touchpoints still make sense: jerky rhythms, odd vocal phrasing, and a nervous, sci-fi pulse that feels both mechanical and human. Must be something in the water in Cleveland, turning out band after band of weirdos who twist punk into performance art and still make it catchy. It’s got humor, it’s upbeat and angular, but it doesn’t quite stick for me. All those reference points are ultimately more interesting than what comes through here. Maybe I’m just wishing they’d lean harder into it. The track “Sacred Mystery” was a high point, a glimpse of the extra bite I wish the rest of the record had. In today’s world, this isn’t that weird or abrasive. Maybe it’s a nonthreatening entry point for a voyage toward more esoteric pleasures. Eleven songs, thirty minutes.
Sophomore album of shambling, poppy indie punk from Minneapolis. They pull from multiple influences—Motown, ’60s pop, Brian Wilson, Phil Spector, Flying Nun Records, and contemporaries the BABIES—in the same way Fred Thomas did with SATURDAY LOOKS GOOD TO ME. They nail that mix of scruffy punk attitude with melodic hooks the way that ex-BANANAS drummer Scott Miller did with his bands NAR and especially BRIGHT IDEAS.
Jesus Christ, did they find enough labels to help release this thing? Classic fastcore powerviolence, but both bands sound different enough to keep things interesting. MEXOFF pulls double grunting vocal duties, sounding like MAN IS THE BASTARD and CAPTAIN THREE LEG with a very prominent, heavy bass. There’s a bit of a crusty edge here as well. NEGATIVE PATH leans a little closer to the D-beat side of the spectrum and is a tad more guitar-heavy, with thrash-like solos and unique vocal tones; they sound like a pack of wild coyotes. There’s over two dozen tracks piled onto this disc and none of them go over a minute-and-a-half. That’s pure perfection right there.
MORWAN began as a solo project by Alex Ashtaui in Kiev, Ukraine around 2019, but now MORWAN is a full band out of Berlin with Alex at the helm to guide the band into the darkest and heaviest post-punk territory ever to be explored. Their new album Vse Po Kolu, Znovu is an emotional journey through inspirations, ranging from things that sound like KILLING JOKE and MINISTRY to noisy psych rock à la OH SEES. The guitar work on this album is really cool with its maximum-velocity plucking that is very surfy but also very rhythmic at times, and with its droning repetition, the sounds begin to distort in your mind as other influences emerge. This album would be perfect for a winter night while watching snow fall, especially the epic, nearly eight-minute closer “Не чекай” as it enters a shoegaze/post-hardcore realm.
Powerviolence is a micro-genre that strives at extremes, be it in velocity, tempo shifts, drama, or self-awareness. It became somewhat oversaturated some years ago with the rise in popularity of some bands, then went back ”underground” (it was never mainstream, but it used to be very niche), and only the strongest survived. NECK BREATHER is one of those cases—some of the freshest-sounding modern powerviolence that I’ve heard in a while, not the silly comedic powerviolence but the apocalyptic, nihilist kind like IRON LUNG. The sonic violence only gets amped up by the genius mastering by maniac James Plotkin (go check out OLD LADY DRIVERS or KHANATE if you’re ready to die).
The aspiration here is to make nostalgic, gritty rock’n’roll, but there’s something charmingly off-kilter about the presentation that makes it more than just a pale shade of something we’ve all heard before. Mark Death’s vocals have that sort of monotone sociopathy to them, while the guitar has a direct-in compression that gives everything a sort of detachedness that manages to elevate the tightly-written material from “JOHNNY THUNDERS knock-off” to something much more odd and a hell of a lot of fun. There’s a meager few tracks here to sink your teeth into, but the hand-hewn quality (see also: the horrorcore high school notebook cover art) makes it worth your time.
“PROFIT AND MURDER? Are they still around? How long have they been playing? Since the 19th century?” is likely to be the most common reaction to this brand new album, Doomed to Fail. It was certainly mine as I strongly, and perhaps irremediably, associate this German band with the ’00s so that I am constantly surprised to hear about them. I hadn’t listened to them in ages and only had a vague memory of what they were supposed to be about: rather typical old school crust punk. And to my great relief, Alzheimer’s is still a long way off, because PROFIT AND MURDER plays precisely old school traditional crustcore, with two vocalists and something to say. Hurray! Despite being around since 2000, it seems that trends and fashion have had no effect whatsoever on the band’s sound, impervious to change, which in this case is commendable in my opinion. Doomed to Fail can be said to be a trip down the ’90s and early ’00s Eurocrust memory lane, one I am happy to take, not out of nostalgia but because it’s very well-done, with sincerity. Pummeling, fast, with a Scandi touch and a sense of confident simplicity that clicks. Bands like HIATUS, ’00s VISIONS OF WAR, or 3-WAY CUM got invites of course, and PROFIT AND MURDER is one of the last instances of this peculiar species. I love that one.
A short-lived unit out of early 1980s Valencia, REGIMIENTO SPANSUL left only the four tracks on this 7” behind as evidence of their rowdy little run. The sounds here range from spirited first-wave inspiration (“Haciendo Surf en Marte”) to prickly and groovy post-punk (“La Ejecución”). If you’ve been itching for some catchy and obscure Spanish nuggets, pick up this EP and consider yourself scratched.
Wow. This is almost like perfect pop music. Vocals are soft, but assertive. The music itself is also soft, but with some excellent distortion. They marry remarkably well, which I suppose shouldn’t really be a surprise, but it was noteworthy to me. The pace is measured and deliberate. Kind of reminds me of early BLUR or the DANDY WARHOLS. If you’re familiar with the band GLITZ, that also comes to mind.
Blistering punk from Mexico City masters SOGA. Their 2018 demo made a huge splash, ultimately making its way to vinyl thanks to the good folks at Iron Lung, so naturally their debut album has garnered a frenzy of excitement. No need to be coy here, it’s fucking good. I think what sets SOGA apart is the curiosity they employ, pulling on threads that are woven into the broad tapestry of hardcore punk. At times they’re unrelenting and ferocious, like on “La Respuest,” and “Aniquilar.” Without breaking character or missing a beat, they can flip a switch and delve into a catchy, ’77-style rave-up like “Voy Por Un Mai Camino.” Gloriously genre-bending, pissed-off, political punk. Sign me the fuck up!
Birmingham hardcore (with a capital H) born from the ashes of SUPPRESS. Massive-sounding hardcore in the vein of STRIFE (or, as they put it, “bands that sound like they’re straightedge but aren’t”), with mosh parts and melody standing side-by-side, and hyped-up sing-along queues. This is the type of hardcore that gets the blood boiling, or the dance moves in check.
From Ohio in the late ’80s and early ’90s, this is definitely my sort of thing, but they’re brand new to me. It’s definitely got a REPLACEMENTS feel to it. It’s jangly and raw and has a good dash of country and folk going on. I gather from the liner notes and some online research that this is a reissue, but that’s not a certainty for me. There’s an honesty in this one that’s compelling. It’s also pretty well-done. It’s catchy and melodic, gritty, and really both fun and cool to listen to. Other similarities…what if you crossed the DILS with RANK AND FILE? And does anyone remember (IMPATIENT) YOUTH? Good shit.
Buckle in for this Ohio-based adventure; an ever-meandering river of jangle pop/lo-fi bedroom pop/egg-punk/indie rock awaits on this seven-song cassette. As soon as you think you’ve got the band figured out, WINSTON and co. throw you a curveball, leaving you guessing once more. The unexpected post-punk track “Subject of Interest” is unbelievably catchy and memorable, from its repetitive bass lines, noodly guitar leads, and impressively lackadaisically delivered vocals. It almost feels like the band is trying to play a slightly different sub-genre of the greater punk world with each track on this cassette. Perhaps this is being done to show us, the listener, that all of these sub-genres can in fact exist in Perfect Harmony.
This starts with a real heartbreaker of a seasonal song about not singing door-to-door because the singer is awfully sad about things and stuff (sad face emoji). I bet these songs were a real hoot to write (hoot emoji). The songs are mostly upbeat in sound but downbeat in jolliness, and are peppered with language that will get you on the “naughty list” for certain (uh-oh emoji). My friend Derek loves Christmas-themed punk stuff so he can sprinkle in a few tunes he enjoys between the MARIAH CAREY and BING CROSBY family favorites Xmas playlist (thumbs up emoji), so at least one of these is already in a stocking in Michigan (shrug emoji).
It’s time to face an uncomfortable truth—a lot of modern Oi! is complete and utter shite. It’s either hardcore lite made by people in big shorts, or it’s pop punk about the pub made by people in flat caps they bought off Amazon. It’s bland, overproduced, insipid bollocks. So when I get the chance to listen to something truly good, not just “genre good” but actually good, it’s a real treat. AN SLUA is that treat. The Sligo skins have released a modern classic in their debut. Joining luminaries like OI POLLOI and the OPPRESSED in being fiercely political and not being afraid to nail their (correct) colours to the mast at a time when cowards are happy to be fencesitters, they also know their way around a tune. Catchy as fuck, lyrically whip-smart, and choruses that beg to be shouted on the terraces. This is, quite simply, class. Any time you don’t bother listening to this is time wasted.
One of those bands that isn’t really sure what they want to sound like. Swapping between an amalgamation of HOT WATER MUSIC, O PIONEERS!, CRO-MAGS, and CHOKING VICTIM, the only consistent variable is the vocalist who maintains the same dynamic throughout the entire record. While the stamina is impressive, the lack of vocal nuance is a tad dry. The gang vocals laden throughout sound great and pepper in a much needed charisma boost. A release where everyone involved is obviously quite talented, but it all sounds a bit dated. The whole orgcore motif combining the posi-tough-guy image with the sentimental longing for “home” was fresh fifteen years ago but still hasn’t hit its nostalgia period, it just sounds stale. However, if you still pine for that era, then you’ll love this.
As is more often than not the case, Knuckles on Stun brings us yet another absolute smash hit! BETA MAXIMO is a wildly prolific garage punk band from Spain with more releases than some bands have songs. Eight catchy and driving tracks, most of which are pushed over the top by having almost sickeningly poppy synth licks. I absolutely love this! I truly hope that my Spanish not being very good might mean there is a chance that Último Asalto is not the band’s way of telling us that this is their final release. If that is the case, then I really hope I am of the lucky 25 people to get a copy of the forthcoming BETA MAXIMO discography cassette on Knuckles on Stun, as that is the standard amount that label makes of each of their releases (this one included), so get one while you can.
Belgian hardcore band BEZETTE STAD has been releasing music for about five years now. Their latest release F.A.N.O.N. is a six-song 12″ that explores our contemporary global scenario with articulate hardcore blended with D-beat, as if PAINT IT BLACK started hanging out with DISCHARGE. From the bass-heavy opener of “Reform” to the metallic pummeling and digital glitching in closer “28 Days” the F.A.N.O.N. 12″ is six slices of hardcore hellion heaven, and you need to put it in your ear holes posthaste.
