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!

The Action Party The Action Party CD

The ACTION PARTY is a tepid rock’n’roll band. Maybe you could say this is like a flaccid JONESES and stuff like that. I’m betting their shows are a rocking good time, maybe. I’m not sure this was quite the right place to send this for review. This is fine, well-produced rock’n’roll that might fit in better on a “Best of the ‘90s” college/alternative rock CD.I guess the one positive thing I can say is that I dozed off a couple times while listening to this, so if you are a little sleep-deprived, then this is the CD for you.

Bahia de Kotxinos Bahia Kotxinos LP

This is a strange piece of ephemera; a long-abandoned debut by Euskara band BAHIA DE KOTXINOS, who by all accounts were a leading light in an active scene and had a record ready to go that was left on the shelf, gathering Basque dust for the next 30 years. Now lovingly remastered and released into the world, it’s a peculiar document of a very specific scene. It has the taut, frantic energy of yer DEVOs, yer WIREs, yer ADVERTS of the world. However, it also has the sort of wacky, clever-dick stylings of a kind of proto-egg-punk too, which is unfortunate. It’s certainly a lot more interesting than I was anticipating, and well worth your time, albeit three whole decades later than you should have enjoyed it.

Bootcamp Time’s Up LP

Who doesn’t like a great hardcore record that makes one punch a hole through a wall? Strap on your boots, because it’s time to slam with Iowa City’s BOOTCAMP. Proper USHC delivered in an intense manner, sounding fresh but remaining true to the classic tropes. You will find them on the same record store shelf as ARMOR and some of the 11 PM releases. Time’s Up, go listen to this! Now!

The Dick Spikie Ultra Punk 4Cycle Vol. 1 EP

Three fantastic Japanese Oi! tracks that will bring you to your feet to pogo with the best of them. Much like the BUSINESS and BLITZ, this trio of D-beat classics are equal parts catchy and rowdy as hell. “Restriction & Freedom” is the cream of this crop, an earworm that led me to spinning the A-side quite a few times. On the B-side, we have a song called “You’re a Bastard” that features some of my favorite lyrics of the year. Here’s a taste: “You’re a bastard / Wipe your arse yourself.” Fair enough. For my money, Japanese Oi! has always sounded the most authentic, and this is no different. Grab this slab today!

Erosion Invasive Species LP

The perceived amount of bands can often feel staggering in the internet age, and as much as you try to keep in tune with new releases, it feels like an impossible task that even a mythological hero would fail to complete. I normally feel comfortable among crust-related bands, so if even I have never heard of EROSION, I am not lost as far as what they are trying to achieve is concerned. In fact, besides MASSGRAVE, I have to admit that I don’t know any of the bands the members of EROSION have been or currently are involved in. Who said the world was small? If EROSION includes a Swedish-flavoured dark metallic crust influence, I would not put them fully in the crust category. A lot is happening on their second LP Invasive Species, sometimes too much so for my basic brain, as this Vancouver act also incorporates elements of extreme metal (black or death) into their behemoth recipe that borders on blackened crust. The record is punishing, heavy, and mean, no doubt about it, and will appeal to metalheads and fans of modern crust alike. The label Mechanized Apparatus Revolt rightly compares them to MARTYRDÖD, but they are more versatile and diverse. I would also add käng-driven metal bands like ADRESTIA adopting a blackened HIS HERO IS GONE approach (assuming that makes sense). It’s a little too technical at times, and sometimes I have the impression that the band wants to do too many things in their songs. However, the sound is great and crushing, definitely an intense listen.

Frente Norte / The Old Breed split EP

Broadly fine split between two Midwestern street punk-y types. My heart initially sank when I saw the cover and bore witness to not one but two fellas wearing the kind of daft flat cap only seen in Peaky Blinders, or on a Victorian chimney sweep or a fight at Cheltenham races, which is usually the sign of the worst kind plodding, midtempo, faux Oi! shite that makes me wish for an inner ear infection, but I was mostly pleasantly surprised. FRENTE NORTE, the stronger side of the split for sure, comes across like a janglier, more pop-oriented FUERZA BRUTA. OLD BREED’s side is boring as fuck but not offensive; can always use that side of the split as a coaster or something.

Gnats Gnats demo cassette

First demo from Florida-based, self-proclaimed bubblegum rock band. It’s a little confusing reviewing a band’s first release, which is a year-and-a-half old, when the band has dropped two releases since, but we happily write about what is assigned to us. Six tracks of lo-fi drum machine music with a keyboard seemingly set to emulate the sound of a swarm of bugs, hence the band’s name. That’s a funny idea and all, but not all ideas seem worth following through to fruition. This just comes off sounding like someone is badly playing a slide whistle over all of the songs, some of which actually seem well-crafted and have a fair amount of pop sensibility to them. The final song, “Serial Mom,” is really cool and driving right up until the point that the swarm of slide whistles comes in. Don’t get me wrong, I love a stupid-sounding synth, but this reoccurring aspect through all six songs is just too commanding and makes the songs hopefully forgettable.

Gruntwork Violence in the Workplace cassette

Noise-addled, shit-fi punk that just might drive ya to the brink of homicidal rage if you’re listening too close in proximity to your place of employment. Four snappy, over-before-you-know-it jammers that kick harder than your grandpappy’s shotgun, this whole affair will take up less than five minutes of your precious time. For fans of HOAX, FRIED EGG, long stretches of unemployment, etc.

Ignorantes Las Promesas Que Te Hacemos Te Las Puedes Meter Por El Cul 7″

Chilean punks IGNORANTES usually deal in scorched, blown-out, hyper-abrasive recordings—the kind of raw tupa-tupa punk that is so harsh it feels like it’s stripping paint. But this two-song 7″ is a bit of a curveball, serving up super lo-fi but almost poppy Oi! with plasticky keyboards that give it an odd sweetness. While digging through their catalog for this review, the release that grabbed me most was No Hemos Inventado Nada, Ni Nos Interesa Hacerlo, even though the recording quality is so brutal it made my ears bleed. By contrast, this 7″ is lighter and bouncier. Side A’s “Adiós Camarada” even carries a hint of that CURE “Boys Don’t Cry” tune, which gives the whole thing an oddly familiar flavor. I respect the swing into new territory, even if it doesn’t fully land for me.

Kolpeka / Revert split 12″

Perfectly executed split 12” showcasing two bands from the Basque Country, a region whose punk and Oi! scene Mendeku Diskak has pretty much put on the map. On the A-side is REVERT, whose tooth-chipping stompers take cues from early Boston hardcore. REVERT’s vocals are particularly rough and pissed, taking these songs up a notch or two on the aggro-meter. KOLPEKA follows up on the B-side, and while they retain some of the East Coast brutishness of their fellow countrymen, they have a little more spring in their step. I’ve read from a couple of sources that KOLPEKA are avid skateboarders, so maybe that explains the slight uptick in energy. Regardless of its source, their speediness compliments the more mid-tempo pace of REVERT nicely, making for a well-rounded split. Top it all off with the killer artwork this is wrapped in, and Mendeku Diskak once again proves why they’re one of the best in the game.

Liquid Cross Don’t Think cassette

In reading the Bandcamp description for this release, three things feel undeniable—the SAINTS, the WIPERS, and the Pacific Northwest. I might add RADIO BIRDMAN here as well to round out what the listener might expect. These songs have a palpable desperation to them that really draws the listener in and along. The image of a fresh smelling pine tree enshrouded in a dense fog makes sense here as well; you can sense the presence of melody, but you can’t easily see it through the wonderful sonic din. These tracks are timeless DIY.

Making Friends as Adults New Road CD

I’m never sure what’s going to happen when an acoustic guitar starts off a record, but dang, it’s in and out fast. Pulling from BRAID, DISCOUNT, LEMURA, POHGOH, FIFTH HOUR HERO, and so on, these are catchy songs delivered in a thoughtful, melodic way that can bring early ALKALINE TRIO to mind. Although MAKING FRIENDS AS ADULTS pulls from these bands, they also are clearly carving their own path. There are eleven songs on here and I think they maybe could have gone with eight or nine, but overall, this CD is a great listen. One bit of advice for MAKING FRIENDS AS ADULTS would be to not do it. I’m in my fifties, and at a certain point, you know enough people and making friends is overrated and tiresome.

Mask Appeal Slice & Slice EP

Debut release from Los Angeles-based MASK APPEAL. With members from DETROIT COBRAS, OOZELLES, and the STARLITE DESPERATION to name a few, this lot is well steeped in a noisy, industrial death wail akin to the BIRTHDAY PARTY. The bass is way up front in the mix, propelling this creature forward, with big, hall-reverb drums, and both set the stage for a writhing, shimmering guitar and howling vocals that inspire a morbid fascination. A tragic poem recited to an anxious pulse. Thank you to whatever forces of good and evil brought these three together, MASKED APPEAL truly rules.

Okres Demo ’85 / Jarocin ’85 LP

Pulled from obscurity and into your stack of questionable records, this archival LP remembers OKRES out of Ostrów Wielkopolski, Greater Poland. The first half of the album features the band’s demo recordings from 1985, and the second portion brings us another blast from the past of the legendary Jarocin music festival of that same year. It’s fast and loose first wave hardcore driven by pure energy—“Liban Nie Żyje” has a wicked swarming guitar attack like Government Issue’s “Sheer Terror.” There’s nine crude tunes from the demo and nine from the festival, but Bandcamp only teases four songs, so if you want to hear the whole thing, you’ll have to pony up.

The Pages Ordinary Love / I’m a Bullet 7″

From Portugal, these guys remind me of the TRANZMITORS, if only because they bring a sound rooted in mod and power pop. The music is straightforward and mid-tempo. The vocals are soft and almost whispery at times, just sort of calming. The B-side is particularly catchy and a total toe-tapper/head-bouncer. This is definitely worth checking out.

Rude Television I Want to Believe EP

Another entry in the egg-punk universe: bouncy synths, wiry guitars, playful neon energy. RUDE TELEVISION executes it well, though the formula feels reused, with the record´s explosive highlight being “Artificial Paint.” A fun, energetic listen—enjoyable, but not essential.

Otro capítulo del universo egg-punk: sintes saltarines, guitarras procesadas y ese pulso juguetón que define el estilo. RUDE TELEVISION lo hace bien, aunque la fórmula se siente reutilizada, siendo el punto álgido del disco su track “Artificial Paint.” Un disco simpático, energético y disfrutable, aunque no esencial.

Spares / Treasure Pains split 12″

Alright, I’ve griped about this before, so I wanna get it out of the way first—please stop halving split albums between two different Bandcamp accounts. It defeats the purpose of said split! I know it’s all together on the record, but the vast majority of people will be listening online. Keep it together, folks! SPARES play classic post-hardcore and remind me a bit of RUSSIAN CIRCLES (with vocals), and THRICE. TREASURE PAINS are in the same realm and have more of a dissonant edge like RIVAL SCHOOLS and HOLY ROMAN EMPIRE. Production for both bands is crisp and loud as hell. Really solid stuff here. I’d go as far as saying it’s worth bouncing between two Bandcamps.

Speed Week Weak Speed 12″

With players from the excellent Australian bands the BRAKES and SPLIT SYSTEM comes a snarling slab of punk with conviction. SPEED WEEK presents here with an assured confidence and maturity that perfectly tempers their wild-eyed energy. Reminiscent of more mainstream acts like SHAME or FONTAINES D.C. but with a wiry cool, this band sounds poised for bigger and better things without the fear of losing their edge. It’s well-read, high-energy punk rock that doesn’t miss a step. Impressive as so few new acts are.

Subversive Intent Subversive Intent demo cassette

A solid debut from San Diego’s newest hardcore outfit SUBVERSIVE INTENT. Plenty of speed and leads on top of leads call to mind SoCal legends BATTALION OF SAINTS. Better than average production pushes this one past usual demo fare, making it more than worth a listen. Check out “Payaso” and “Weathervane.”

Sympathy Flowers Dreams of Lurking Fear LP

Dreams of Lurking Fear is the first full-length by Oakland, CA dark punk band SYMPATHY FLOWERS. However, Dreams of Lurking Fear is an expansion of last year’s Through the Veil cassette (which was SYMPATHY FLOWERS inaugural release), with most of the cassette tracks being reworked with a better density and richness for the LP. There’s something in SYMPATHY FLOWERS’ sound that reminds me of the below-the-radar punk that cemented my relationship to our illustrious genre in my teen years. Maybe it’s the driving rhythms blended with the quick shift guitar riffs, or maybe it’s the poetic-but-direct lyrics that are defiant while deviant. Whatever it is, Dreams of Lurking Fear scratches an itch I didn’t even know I had.

TTTTurbo Modern Music cassette

Someday people who write great pop songs won’t be so scared of themselves, obscuring their catchiness with lo-fi tricks and budget ethos. But in the meantime, it’s still lovely to spend time with a tape like this that sounds like California underwater with the good vibes still intact. The bouncy bass lines walking up and down the throbbing synths and half-muttered bedroom vocals can’t hide forever that these are bangin’ pop songs. I hear you, TTTTURBO, and I know what you’re up to. You can throw an egg on top while you’re at it. Sounds great like an artifact from the future.

Uzu À Qui La Liberté? لمن الحرية ؟ LP

Symphony of Destruction has quite the knack for bringing us bands that push the boundaries of punk. Case in point: UZU returns with their second full-length, building out their deathrock gloom ship for further exploration. Based in Montréal, the group is an international outfit with ties to Algeria and Colombia, delivering their lyrics in Arabic. To the latter point, the vocal delivery is one of the elements that sets UZU apart, with an inflection falling somewhere between Jello Biafra and Rozz Williams. While CHRISTIAN DEATH is certainly a jumping-off point, UZU charts a path of their own, much like fellow Canucks HOME FRONT and ULTRA RAZZIA (with whom they share members) have. Inspiration is more a point of departure than an anchor. À Qui La Liberté? is a bold, forceful album. Don’t sleep on this one.

Why Bother? Case Studies LP

Prolific punks WHY BOTHER? are back with another LP on the heels of an EP released earlier this year. While the former relied heavily on a synthesized version of ’80s-inspired Midwestern punk, Case Studies sees the band, yet again, charting fresh ground, but I’m not so sure that’s such a good thing. Make no mistake, every few songs, there is a song that rips. They shine on tracks like “I Take Back,” “There She Was,” or the album closer “Galaxy Eyes,” where they effortlessly combine heavy ’70s psych melodies with SPITS-style lo-fi goodness, and vocals that call to mind early GUIDED BY VOICES. Unfortunately, the rest of the record felt boring and longwinded. Songs often drift in and out of ambient and instrumental explorations that would best be saved for a Friday jam session rather than on a recording. Repeated listens could change my mind, but I’m not sure I have the attention span to reach for this one again.

Xray Xeroxx Social Media Made Me Hate My Friends cassette

Short and sweet four-song cassette EP by an incredibly active Los Angeles-based solo project. This is the third cassette release by XRAY XEROXX (two EPs and a full-length), all of which came out this damn year! Juvenile, upbeat, poppy, garage-infused RAMONES-core filled with both self-deprecation and societal deprecation. There sure is a lot to hate in this world, but I do not hate XRAY XEROXX. Looking forward to the three releases this project is due to shit out throughout 2026.

1-800-Mikey / Gee Tee split EP

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.

Alibi Alibi cassette

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 Sucker With a Dream LP

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.

Cristø Fragments of the Inferno cassette

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.

D.U.N.C.E. Demo 1 EP

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.

Eskorbuto Anti Todo LP reissue

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.

Flying Heads Flying Heads LP

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.

G.A.Z.E. G.A.Z.E. 12″

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.A.L.T. II 12″

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.

Jodie Faster Saint Lundi LP

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 Rock n Rule LP

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 Last Survivors / Vaxine split EP

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.”

Makin’ Out Living in a Glass House LP

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.

No Sector / Peracetic split EP

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.

Prise Rapide Trop Plein cassette

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.

Split System No Cops in Heaven / Pull the Trigger 7″

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.

Stabber Shut Up EP

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.

Subhumans Demolition Wars Demos 2xLP

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.

Traumatizer Nuclear War Machine EP

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 Pánico EP

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.

Wavers Look What I Found LP

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.

Xray Xeroxx Nevermind, Whatever cassette

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?

Aggravate Black Glass cassette

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 Bacarrudas Bleed Out, Get Pushed Off a Cliff, Sink to the Bottom of a Lake, and Play a Halloween Monster House Party! LP

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.

Cold Summer Den Umständen Entsprechend 12″

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.