Reviews

MRR #484 • September 2023

A Season in Hell Demo I cassette

To start things off, I’ll let the band describe what we’ve got here in their own chosen words: “Written and recorded (in) under two hours in Clifton Heights, PA on the day Kacznski [sic] died.”  Now that you have a rough idea what we’re dealing with here, A SEASON IN HELL plays super aggressive powerviolence-inspired hardcore. Everything was recorded live on what sounds like a damn boombox. A couple of the songs have some heavy licks and the band is pretty tight, considering. I’m definitely not saying this demo is bad, but with a little more time spent on it, I think it could have moved a lot closer to good. Kind of feels like the product should be a little closer to finished before it is exported. The recording itself sounds like a relic from years past. I didn’t realize it was possible for bands to still capture that hiss-filled, lo-fi, demented demo sound that was more commonplace years ago when nobody had access to home recording equipment. The four-song demo repeats on the cassette, and I got halfway thru the second repeat before I realized what was happening. I thought they had written an insane amount of stuff in a mere two hours.

À Cran / Ad Vitam split EP

Fun split of two songs apiece for Montreal punkers and Parisien skins. AD VITAM’s half is more North American in its approach to Oi!, with the kind of skeletal, no-frills jangle guitar tone of early TEMPLARS and some straight rockin’ riffs. If you didn’t know the provenance of À CRAN, then the tell-tale skronk of sax haunting the split like Banquo’s ghost will answer your question easily. Fans of SQUELETTE and BROMURE will find plenty to enjoy.

Alternative What Revolution? EP

Apparently, in the ’80s ALTERNATIVE were often called “the Scottish CRASS,” which, depending on how much one liked CRASS, could have been either a massive compliment or an insult (the latter especially true if you were barmy and glue-prone). The comparison makes sense, and you can instantly tell ALTERNATIVE was heavily influenced by their commune-dwelling elders, even though the Scots’ music was much more accessible. I would argue that their oddly-named crowning glory, 1984’s If They Treat You Like Shit, Act Like Manure LP, can be basically seen as CRASS’s punk quintessence. The album contains all the punkier elements of CRASS (the upbeat numbers, the dual male/female vocals, the songwriting versatility, the visuals, the politics, the emphasis on the collective, and so on) without the layered dissonance and the (sometimes anguished) weirdness. ALTERNATIVE was the more tuneful and catchier Scottish cousin of CRASS. In fact, they were more tuneful and catchier than most of the bands gravitating around CRASS, like FLUX OF PINK INDIANS or DIRT. Yet they have always remained somewhat overshadowed, despite being potentially more appealing and easier to get into. Is it a London bias? Is it because they were unfairly deemed “CRASS clones”? Is it because they did not tour as much because they had troubles securing a stable lineup (I’m putting that euphemistically, only one member remained between 1982’s In Nomine Patri EP and the 1984 LP)? Is it because they have weird accents? The album, released on Corpus Christi, was always very hard to find and about as pricey as a kidney on the black market, so that clearly did not help, but music streaming did contribute to making the band accessible to new generations—I personally had to order a crap CD-R with the first two records burned on it. Finally, Sealed had the great idea to make the LP available again almost 40 years later, and here they go again with the What Revolution? EP. The statement that the album may be the ultimate ’80s anarcho-punk album is not irrelevant if you think in terms of a retroactively construed “anarcho checklist” that includes standards that we have come to associate with the “typical anarcho sound.” If so, yes, 1984’s ALTERNATIVE was the perfect anarcho-punk band. What Revolution? includes one song that was recorded during the LP session and should have appeared on it, but it was replaced with a live recording of “Where are Your Hiroshimas?,” a proclaimed fan favorite at the time (it is a simple anthemic song after all) that was still far inferior to the song “What Revolution?’” that has now finally found its way onto vinyl. This is a flawless number epitomizing and concentrating the sound of ’80s British anarcho-punk: energetic, tune-oriented, political with spoken parts, and just bloody catchy. CHUMBAWAMBA certainly looked up to and listened to this lot. The EP also includes two songs from the album with a different mix, a clearer guitar sound, and more of a stripped-down feel. Not essential and more “for the fans” (count me in). If you don’t know ALTERNATIVE, start with the album and then succumb to this one. And if you need a description, which you should not, put LOST CHERREES, the EPILEPTICS, and DIRT in a blender, and voilà. Another great initiative from Sealed Records.

Asinin Asinin demo cassette

Right from the start, this Norwegian band unleashes a torrent of overwhelming hardcore, fueled by relentless energy that leaves the vocalist gasping for breath as he races to keep up with the escalating chaos. Most tracks barely exceed one minute in length, and the mixing is impeccably executed, ensuring the listener’s unwavering attention. The guitars offer a captivating dynamic, featuring sharp tones rather than harsh ones, filled with intricate riffing and a willingness to explore melancholic melodies. The breakneck pace, driven by the manic drums, leaves no room for boredom or distraction. As a band, they sound exceptional, although their sound leans towards a modern and somewhat unrooted style. A banger.

At Their Mercy Catechism CD

Emerging as a powerhouse, the crossover genre is on the rise again due to excellent acts like POWER TRIP and FORESEEN getting under the spotlight. Scottish band AT THEIR MERCY dynamically blends the best of both worlds: hardcore and thrash metal, but in a way unlike the aforementioned bands. With influences such as CRO-MAGS, SLAYER, or even DISCHARGE, it’s a fusion of relentless aggressive music—they lean more towards the hardcore side, giving it a bouncier edge. Effectively executed, AT THEIR MERCY’s music  has the potential to captivate fans from both the hardcore and metal genres.

Avskum En Annan Värld Är Möjlig LP

What can one ideally expect from a new AVSKUM album? In 2023, what should a lover of käng and D-beat expect from an established yet humble hardcore band? It’s not like there is any shortage of this specific sound today. Because of the unstoppable march of music streaming worldwide, there are probably more active Scandicore-inspired bands now than ever. A recent study revealed that, in some countries, there are more S-beat bands than there are working hospitals, which is saying a lot about the state of public health services. You could argue that, with the large amount of solid käng bands, the world may not need a new AVSKUM album, and that’s without mentioning that I am seriously running out of storage space for my collection of D-beat records. Besides, haven’t we all often been disappointed with newer records of “hardcore legends”? And yet, it’s not like the band vanished from all radars since the ’80s—in fact, AVSKUM’s output has been quite solid since 1998 (I’d argue that everything they did was quite good, with Punkista being my least favourite). Still, they have not released anything since the ferocious Uppror Underifrån in 2008 which is a long time in punk years. So why should you consider getting En Annan Värld Är Möjlig? Precisely because AVSKUM always sounds exactly like AVSKUM and doesn’t try to be something they are not. Forget your overproduced hardcore or fakely raw bands, AVSKUM still plays direct, DISCHARGE-oriented political käng hardcore with classic, simple but effective riffing and song structures and a rocking heaviness that has come to characterize their approach. They sound even closer to DISCHARGE and orthodox D-beat bands like MEANWHILE. In addition to the band’s tasteful musical classicism, the vocals are what set the band apart for me. Gunnar has always been one of my favourite Swedish hardcore singers, as the tone of his voice and his distinct prosody manage to express raw, spontaneous anger as well as a rough-hewn emotional tunefulness. He is both shouting and singing and has been doing so since the band’s first EP in 1984. This balance between strictly canonical Swedish dis-oriented hardcore and a highly recognizable vocal style is what makes En Annan Värld Är Möjlig predictably great and AVSKUM quietly memorable.

Azijnpisser Cold Cuts LP

A relentless barrage of unapologetic hardcore punk straight from the Netherlands. The album is a whirlwind of raw and aggressive energy, perfectly capturing the essence of the genre. From opener “Mental Disorder” to closer “Shit On Your Parade,” AZINPISSER maintains a frenetic pace that rarely lets up. What sets Cold Cuts apart is its unfiltered authenticity. In a world where the lines between subgenres can blur, AZIJNPISSER stands as a testament to the spirit of hardcore punk. A powerful punch to the gut that’s impossible to ignore.

Beef Beef LP

Coming at you straight from the punk rock abattoir that is current-day Cincinnati, BEEF displays flecks of fine gristle amid its marbled fat. Strain the RAMONES out of the SPITS’ playbook, up the DEVO portion, throw in a pinch of spice, and you’re most of the way towards completing this dish. Not much on this LP is gonna last under the heat lamp, but it’ll keep you satisfied. There’s a pleasingly grimey texture to the eight servings offered here—you’ll be grinning like a fool with all that dirt stuck in your teeth. The stakes here are medium, but at least the eggs are relegated to brunch service only.

Bell Toll 23’ Demo cassette

At a glance, I’d have expected Las Vegas’s BELL TOLL to be a little heavier. They have a great name and some cool artwork, but to be honest, I was a little let down by the skate punk style I found here. It’s not bad by any stretch, just a little generic. The vocals remind me a bit of MALLWALKER or BE YOUR OWN PET, and sonically, there are some slight BLACK FLAG and DEAD KENNEDYS vibes, but overall it just doesn’t stick the landing. In time, I could see BELL TOLL carving out a place for themselves, but in this listener’s humble opinion, they need to let these songs cook for a little longer.

Besta Quadrada The First Four Weeks cassette

Here’s a whirlwind of noisy punk lunacy. BESTA QUADRADA blasts out seven tracks of gritty hardcore oozing with character. Distinctive riffs are in abundance here, striking just the right balance between catchy and tough. Top-shelf drumming lends even the dirge-like numbers a propulsive quality. The vocals, dialed a touch back in the mix, tie everything together and draw the listener down into the mire. Not quite as frenetic as FUGITIVE BUBBLE, but not far afield either, I’m reminded of the short-lived JJ DOLL and a bit of the much beloved TYRADES. Killer stuff.  

Big Clown Beatdown EP

Freaky clown party from this group of Memphis friends that continues their run of short and direct punk bombs. Sometimes fun and sometimes deadly serious, these eight tracks all center around a big, lizard-brain-tickling rock riff and vocalist Lucy’s distinctive and enthusiastic yelps. Every one of them is a hit. We get the instant fun punk jams like future dance classics “Frogman” and “Teeth” (“More sugar, more plaque / Please teeth come back”), hearkening back to BIG CLOWN’s excellent Gonerfest sets. However, these joyous moments are tempered with earnest and impactful songs about issues like consent (“Always Knew”) and water contamination (“I’m Thirsty”). The record is great throughout, but the last line takes the cake: “So when I drink your blood / Don’t beg me for mercy / Motherfucker / I’m thirsty.” These are honestly the only clowns I like.

Bondage Bondage demo cassette

Demo cassette from Kuala Lumpur’s BONDAGE, released in 2021. Four tracks of raw, blown-out, ugly chaotic hardcore punk mess. Reminiscent of something that would be on ’80s Euro HC compilation from Really Fast or something on Pogar Records, yet with a vibe more akin to the filthy underground vibes of ’80s Tokyo or Sweden than the contemporary noisy hardcore sound. It may not necessarily follow the exact rules to be considered “raw punk” in the official book of the department of Swedish studs at leather jacket school, but it has its own unique take on raw, grinding, nasty hardcore. Recommended.

Bridge Burner Grave Mistake cassette

File this one squarely under “tough guy hardcore.” BRIDGE BURNER’s 2022 cassette Grave Mistake is a pretty straightforward listen, featuring all of the hallmarks of the genre: two pissed-off vocalists who want to fight you, stomping mid-tempo breakdowns, and plenty of metal riffing. Complete with hip-hop instrumental opening and closing tracks, as well as the trademark intimidating, hoodie-wearing cartoon characters on the cover, this tape checks all of the beatdown boxes.

Cammy Cautious and the Wrestlers Cammy Cautious and the Wrestlers cassette

This is really growing on me. It’s a perfect-length cassette of bouncy garage punk from Sydney. I think it will unfortunately get the obvious AMYL AND THE SNIFFERS comparison due to the thick-accented female vocals, but I think this deserves more attention. Sure, it’s got the thudding drums and crunchy guitar, but this almost has some BABES IN TOYLAND or early HOLE moments. Imagine if AMYL and Co. never listened to AC/DC or the COLOURED BALLS and you might get something like this. “Critter” is my fave.

CC Voltage Berliner Pilsner / Bummer Party 7″

Seriously, this one has elements of garage, glam, power pop, and even a little hint of country. I’m not kidding. Leave it to the Canadians. It’s super catchy and I’m certain that if you had a lyric sheet, you’d grab a hold of that and be singing along in no time. The vocals have a great rhythm about them and the songs are well-written. The only drawback, and this is really a personal thing, is that there’s a little too much lead guitar work at times.

Cleons Down 1995–1997 LP

Wow, for a discography, this is a short record. Just a hair over thirty minutes! The sound runs from melodic, occasionally funky hardcore punk to noisier emo-tinged numbers, and even a stray thrash metal riff. The tracks are ordered from newest to oldest. While there’s no big stylistic changes, you can hear how much more confident the band are by the end (or, uh, the beginning?). The record has a simple but sharp sound, like something recorded with mediocre equipment but a good ear behind the controls.

Coconut Planters Upset Hopes CD

When I saw the name of this band and the album cover, my initial thought was “oh, a ska band.” I mean the name COCONUT PLANTERS screams upstrokes and “hep-hep”s to me, and the tiki-themed Kaiju on the cover didn’t help matters. I could not have been more wrong. The band actually plays nicely polished punk of the classic Fat Wreck/Hopeless/Fearless variety. While I’m generally not a huge fan of this type of sound, I can appreciate it when it’s presented well. All in all, a pretty solid effort. In fact, the only two skippers for me were the ska-tinged “Reggae For Yankeez“ and the last song, the acoustic ditty “San Antonio’s Fire”.

Consec Wheel of Pain LP

The new LP from Athens, Georgia’s CONSEC is twelve tracks of intense, high-energy, noisy hardcore punk fury similar to VOID, Cows and Beer-era DIE KRUEZEN, or Dirty Rotten-era D.R.I.. Pummeling drums and full-speed combustion of energetic controlled chaos. Despite all that, it still has well-crafted songwriting and a unique approach to riffs, making them more interesting than most of their contemporaries. The soundtrack to constant anger and frustration towards our society.

Crosshairs Crosshairs demo cassette

Debut from British Columbia, Canada’s punk and noisy garage trio, with slashing, rusty guitars and a handful of progressive open riffs mixed with anthemic, angry vocals. Deep, clean cuts of chainsaw guitar that are garage revival as hell, resulting in messy punk’n’roll filled with garage vibes and upfront drums. Four tracks with similar cadences as classic mid-’80s punk, plus a twist of garage-y noises.

Cryptic Void Physwar//Psywar LP

Brutal death-doom out of Texas. Drums are absolutely incredible here and are all over the place. Recording quality is conducive to this, picking up every little thing the drummer does—almost mind-blowing at points, and really what caught my attention the most. Guitars are heavy as all hell, slow and low at points, and manically fast at others. Vocals are in the traditional death metal styling here, but sound great. All in all, a fantastic record for those who are fans of the genre.

Cura Ab Sublimation cassette

CURA AB’s love of bouncy rhythms and grooves doesn’t enter full metal territory or pure noise. They actually sound restrained to me, since the songs didn’t go longer or louder than they do. I agree with that choice because I prefer wanting more over being served one last chorus/main riff reprise. There’s still plenty of volume and vitriol, along with some fun curveballs like a guitar lead instrumental and some creative drum work. The sound quality is cleaner than I prefer, but there’s enough bass in the mix to give it HC-grade umph.

Curbsitter Grip on Reality EP

CURBSITTER from Milwaukee is coming in ferocious and funny on their debut 7”. The band is sounding well-honed, playing surging and vibrant hardcore with an inherent daffiness that comes from the singer’s unique voice and delivery, although some of the songs have subjects of a more serious nature. These six tunes are fast and melodic, and the obnoxious, mildly-warped vocals are a little corroded in places, spouting lyrics with a humorous lean that are often repetitive to pleasant effect (as expressed to the extreme in the stand-out track “4 Years of Repetitive Motion.”) The sound, at its core, is interesting and weighty punk with old-school sensibility and a bit of slapstick edge that may endear it to fans of FEAR, VANDALS, and other jokesters.

Cutre Cutre cassette

CUTRE is from Buenos Aires, Argentina, where this tape originally came out in 2020. Thanks to Open Palm Tapes out of Chicago, we now get to grab one in the US. Playing raging hardcore powered by a steamrolling D-beat with speedy fills, it’s a solid set of beefy jams for all you hessian-types. I don’t speak Spanish, but this guy is clearly pissed.

D.T.A.L. Dark Dimensions of War LP

Cult punks D.T.A.L. recorded this LP in 1990, moving away from the classic ripping hardcore roots of their Time to Die debut EP, but it was shelved for 33 years! Now remastered, here is a very synth-heavy Swedish stench album that is leagues more metal. While their earlier material is fantastic, blisteringly fast mangel, Dark Dimensions of War offers a practically symphonic long-composition crust record. D.T.A.L. does no wrong in either lane. Many might find this a bit more contrived in its execution, but that kind of reminds of criticism of RUDIMENTARY PENI—“I don’t like anything after Death Church.” It’s just different. Musicians want to explore different sounds. If the D.T.A.L. EP and this LP were by two separate bands, no one would argue it’s “not as good” as the other. Significantly different. Anyway, think of the rhythmic delivery of ONSLAUGHT or VENOM (except tighter, but who isn’t?), with a lot of interesting synth like AMEBIX, AXEGRINDER, or DEVIATED INSTINCT (flute-like arias at times, and I thought it was on the wrong sped at first), but not lacking the punch of ANTI CIMEX and their own early ’80s impact. Riffs galore within seven songs of long passages and advanced changes. This came out at a good time, with a sound from the late ‘80s/early ‘90s, but holds up against modern war/stench/crust metal bands. Pretty sure we’re getting some sax on Side B here too, but that may be a keyboard. A bleak catastrophic scene of the bombing of Cologne addresses the album’s themes on the cover. Overall, this is just a bigger, badder, more advanced sound from D.T.A.L., and I like both their razor-sharp narrow path and this tank-crushing direction as well. Get this, a dream album that sounds like a dystopian nightmare, for your next DJ night. It provides plenty of time to step away and enjoy your own playlist!

Dead Heat Endless Torment 12”

Adding to the ever-growing list of killer crossover releases dropped recently, DEAD HEAT’s Endless Torment features five tracks of gnarly thrash that recall the best qualities of “the big four” of ’80s, while sitting comfortably next to modern classics by bands like FUGITIVE, POWER TRIP, and ENFORCED. Title track “Endless Torment” wastes no time in laying down the groundwork of what DEAD HEAT is all about: fast and fun riffs-on-riffs, never-ending drum fills, and inspired touches of authenticity throughout. Lead singer Chris Ramos has a perfectly raspy growl, tearing his way through each track and even stopping to flex his clean vocal ability on “Tears of the Wolf.” It’s a great example of DEAD HEAT’s ability to be over the top without teetering into corny, which can be a difficult feat considering this style can easily become parody. “Smite Thee” is a quick ripper which reminds me a bit of IRON MAIDEN in its intro, while closer “Hard Reset” boasts a moody acoustic intro and some righteous guitar solos, once again being pulled off expertly with just the right amount of cheese without being too cheesy. If all of this whets your appetite, wait until you get a load of “Eyes of the Real,” a truly impressive showing which features, amongst other things, a bell toll, rattlesnake rattles, heavy echoing gang vocals, and a drum intro that sounds like it was recorded in a steel mill. This is the kind of album the metalheads you went to high school with could only dream of. Fantastic stuff and highly recommended.

Degenerates of Punk DCxPC Live, Vol. 13: Live at Ralph’s Rock Diner LP

While I’m not necessarily getting the self-billed “RAMONES-core” reference, I do find myself enjoying this live recording. Live recordings have mostly never been my thing, but I do find that the technology has come a long way (I still find the mixing of the vocals is often an issue, and I’d say that’s true here). This is mid-to-uptempo melodic punk rock that isn’t unlike the RAMONES in the sense that it’s straightforward, super catchy, and the songs are over before you’ve ever gotten tired of them. If you said it was power pop with a heavy dose of garage, I wouldn’t fight you. Last thing: I don’t get it throughout the set, but there are times when they remind me of OPERATION IVY. This is pretty fucking catchy and pretty fucking good.

DSM-5 Skärblacka D-Beat LP

I am not familiar with DSM-5. As a band name, it reminds me of MC5, M:40, SPACEMEN 3…but here I see they are from Sweden, and their album is titled in such a manner. First impressions are of a more hardcore attitude, thinking of TOXIC NARCOTIC, ANNIHILATION TIME, S.H.I.T, MIND ERASER, or RAT CAGE, with some call-and-response compositions. Most songs come in around two minutes, so there is ample time for some interesting changes. A song titled “Sick of It All” continues to remind me of hardcore when it was fast and punk. This is an accomplished hardcore punk album with intense musicianship and palpably pissed-off messages. DSM-5 is ugly and angry, and the entire play sinks into more dismal tones around the halfway point. “Empathy” is a true depressor with uneasy industrial effects. Seriously, once Skärblacka D-Beat hits its stride, you’re going to want to hold on. I could imagine this band obliterating a live set. “Word” brings some absolutely scorching vocals that seem to be from the addition of a guest vocalist—think DISRUPT’s “A Life’s a Life.” A relentless LP with both impact and melody that took me a moment to catch up with.

Electric Eels Spin Age Blasters 2xLP

To say that the ELECTRIC EELS were ahead of their time is at once a statement of the obvious and a vast understatement. Pressing play on the new Spin Age Blasters double LP compilation, I’m struck by the gut feeling that we still haven’t quite caught up to the unintentional proto-punk prodigy of John Morton & co. They created in a way that was shockingly free at a time when even the supposedly uninhibited hippies were largely constrained by popular conventions. This monster 27-track collection is a “best of the best”-style follow-up to 2001’s The Eyeball of Hell, which was the most thorough EELS experience up until this point. This one plays like a connoisseur’s guide to the group, showcasing the finest representations of the band’s greatest hits plucked from previous comps and expertly sequenced to deliver a gourmet spread. To me, the band’s jazzy, ragtag sound computes as a mix of rock as art, art as art, and rock as weapon of provocation to baffle and fascinate in the best way possible, and it’s wild to think that these tunes were captured in 1975. They were ruder than the STOOGES, more flamboyant than the NEW YORK DOLLS, and violently unconcerned with what you thought of them. We’re lucky that this brief and brilliant blaze of original punk glory has been preserved with such meticulous care.

Electrolytes Ultralyte cassette

Garage pop with big riff energy fuses with punk rock delivery in the chemical slurry that is ELECTROLYTES. Unpredictable musical twists and turns make this a very entertaining and interesting listen. Sugary-sweet synthesizer lines decay into aggressive guitar blasts, and all the while, ’60s-style crooning attempts to keep everything in order. There’s a no wave influence running through this cassette that is hard to miss, from the LYDIA LUNCH-esque vocal delivery to the occasional repetitious guitar bangs and noisome stabs.

Enemy Maladjusted LP

The title Maladjusted hints at the rebellious spirit of hardcore, as it embodies the raw power and unapologetic energy that defines the genre. Hailing from the vibrant L.A. scene, ENEMY launches into a relentless onslaught of ear-pounding beats, blistering riffs, and vocals that bristle with intensity. The saxophone on opener “Unprecedented/Zero Sum-Game” denotes a certain influence from local legends FEAR, paying homage to the band’s roots while injecting a modern edge. Tracks like “The Freak” showcase their ability to meld melodic hooks with unbridled ferocity, creating an infectious energy that’s hard to resist. For fans of classic USHC, a sonic statement that refuses to be ignored.

Engage Eight Songs EP

Not to be confused with the Bay Area ENGAGE from the early ’90s, this Australian act plays straightforward youth crew-style hardcore. Short songs. No frills. The way a hardcore record should be. The one thing that stands out to me is the lack of gang vocals. Something that is usually prevalent on these types of records is the overabundance of gang vocal parts, and this has literally none. It’s a welcome change to me, and I think makes this a bit more palatable. The vocals were a bit of a letdown as they made it next to impossible to decipher what the lyrics were, but all in all, a solid performance.

Enzyme Golden Dystopian Age 12″

ENZYME is back with a second full-length album. It is a massive work that is rooted in noise punk, but aims to broaden the soundscape of the genre. Some might treat noise as a one-shot gimmick, but in reality, it’s a rather versatile element found in so much music. ENZYME built songs as they are aware of this, and listened to enough different records to understand how cacophony could be used interestingly. Traditionally, they left the bass almost undistorted, loud and clear so it can drive the songs and lay down the fundamental rhythm. Above that, the guitars go wild, hissing alien sounds, future riffs for demented minds. Electronic influences appear here and there, but if you’ve dug deep enough into the EXIT HIPPIES discography, then you will not hear anything unfamiliar. Yet these unusual influences are adapted in a tasteful way—instead of showcasing bizarre ideas, you get ENZYME’s crafted individual sound, although this originality creates its own dimension which holds back the record from being an ear-threatening sonic attack. But neither is the record dirty or dumb. It dares to be different, packed with ideas that keep me entertained even after multiple spins. Truly a boundary-pushing record.

Eskorbuto Eskizofrenia LP reissue

A long time ago, a lover of Spanish punk rock explained that, in this Iberian country, you basically had two distinct tribes when it comes to the identity of the ultimate classic Spanish band. You are either in the team of LA POLLA RECORDS or in ESKORBUTO’s. The rivalry is mostly friendly, but I have been told that, in some cases, particularly heated arguments did end up in nasty pub brawls. Some of the most fanatical have been known to hold entire record collections hostage to emphasize their point. My friend was adamant that proper punks with a decent taste in music would definitely go for ESKORBUTO. This band, from the fiercely rebellious Basque Country, is something of a legend: crude, dark, nihilistic, spiteful lyrics, two of the original members dying in 1992 and an old-school punk rock sound that has had a massive imprint on el punk en español. The internet has significantly spread the band’s unique take on punk music to a worldwide audience that they never really had outside of the Spanish-speaking world. It is a little tricky to review a record from such a cult band. Because I was not familiar with the band’s work in my youth, I approach the music with objectivity—like I would other international treasures like DEZERTER, EBBA GRÖN, or CÓLERA—and ESKORBUTO was a great ’77-influenced punk rock band with attitude, style, snot, and a strong ability to write catchy songs. If you grew up listening to the band, you probably find them absolutely wonderful, unrivaled, and genre-defining, because it is the teenage heart speaking. Although I prefer Anti Todo, Eszkizofrenia is indeed a classic punk album (with a weirdly distracting effect on the drums), the obvious qualities of which I wholeheartedly acknowledge even though I struggle to really feel it and get excited, and I have to confess that the very strong Spanish accent (by which I mean actually from Spain) is a little overwhelming at times. ESKORBUTO is the epitome of a band that can either be loved with the absolute passion of youth or appreciated from the analytical point of view of a lover of punk music. And while we’re on the subject, I am team RIP all the way.

Ex Parents Ex Parents LP

Out of Roanoke, Virginia, EX PARENTS are a hardcore band with a diverse sound that draws from a range of influences. This album starts off with the D-beating of “Mania,” whose lyrics are a direct DISCHARGE homage, and after that it expands into a bunch of other directions, all accompanied by vein-popping screamed vocals. Out of the ten tracks here, I dig the classical-sounding chord progression and surprisingly bright finish of “Void” and the unexpected post-punk vibe of the closing “Perpetual Bliss” the best. Simultaneously fibrous and beefy, if this music was a literal dinner, it would be pot roast, which can be pretty tasty when prepared well.

Famous Mammals Instant Pop Expressionism Now! LP

Two years ago, Amber Sermeño (the WORLD, NAKED ROOMMATE), Stanley Martinez (RAYS, CHILDREN MAYBE LATER, also the WORLD), and Andy Jordan (a.k.a. ANDY HUMAN, also in the WORLD and one million other Bay Area bands) dropped a limited-run cassette as FAMOUS MAMMALS. It was an absolutely fantastic debut from an act that seemed to come out of nowhere and disappear just as quickly. I’d assumed it was a throwaway project that just so happened to be great, but no. They’ve apparently spent the interim since that release going deeply method as a troupe of UK DIY musicians. This is no longer a Bay Area act pretending to be a band that grew up in high-rise flats above King’s Road or a council estate in Manchester—this is now that actual band. And the results are exceptional. If I hadn’t known the deal before going in, I’m sure you could convince me this album was assembled by some hitherto unknown, staunchly independent CRASS-like collective wed by a way of doing things rather than a particular output they’re striving for. The eighteen tracks on this record cover such a wide array of sounds and styles: a mix of early FALL discordant clang, “Lady Godiva’s Operation” grimy but gentle meandering, “Don’t Throw Ashtrays at Me!” noisy ambience, warbly They Could Have Been Bigger Than the Beatles dejected yet twee psychedelic rock, and stripped-down, talk-sung ballads that could be a cross between MARINE GIRLS and YOUNG MARBLE GIANTS; it’s hard to imagine this coming from just the three musicians. And while I just rattled off a ton of stuff this sounds like, I want to be clear that this is far from cosplay. The songwriting is so distinct and the execution (including what I would consider the perfect fidelity production) near flawless that you’ll have no doubt this is an original undertaking. Easily the best record I’ve heard all year.

Fugue State Subtlety’s Dead cassette

As time continues moving on and the world gets more and more back to “normal” in this perceived post-COVID world, the one and only thing that I feel sad for is the amount of cool isolation-inspired solo projects beginning to fade—for a number of months, that made up the majority of tapes I was sent to review. There was something incredibly beautiful and inspiring about the resilience of the creative punk rocker left to their own devices and having to make something work alone in order for it to exist at all. Well, FUGUE STATE is coming to me rather late in the game, but it just may be my absolute favorite of all such COVID projects I have yet heard. Beautifully crafted and demented driving garage rock tunes with more hooks than a meat locker, and some killer saxophone playing on two of the tracks. FUGUE STATE combines elements of tons of classics without  sounding like aping them at all. Highly recommended for fans of the CRAMPS and BUTTHOLE SURFERS. Truly top-notch. I have no idea if this Western Massachusetts-based solo project has made the transition into being a live band, but dear god, I hope so.

Gino and the Sharks Just a Few Stitches EP

We’ve got another unearthed “classic” on our hands. But at least this one has a cool backstory! Gérard Mosiniak, aka Gino, grew up in a small mining town in the north of France. His grandmother helped him develop a passion for cooking, which led to him taking up an apprenticeship at a Michelin star restaurant. Throughout the ’50s and ’60s, he became enamored with rock’n’roll via LITTLE RICHARD records and the local clubs, which would feature acts like the KINKS and JIMI HENDRIX. It became his second calling, and he vowed to one day sing in a rock band. In 1971, he learned that Keith Richards had recently moved to a villa on the French Riviera and was looking for a chef. Gino got an interview and won over Richards with his cool hippie style. As their live-in chef, he hobnobs with all sorts of famous music folks and eventually uses his ties to Keith to get a gig as a DJ in one of the hottest clubs in Cannes. While there, he falls in love with a Londonite, whom he follows back to England with hopes of making progress on his dream of fronting a rock band. To make ends meet, he gets a job selling souvenirs on Carnaby Street alongside a musician named Neil who’d also moved to London in the hopes of starting a band. Unfortunately, the two are unable to help each other due to a difference in genre preferences. Neil was looking to play stuff that’s a little heavier and a little more technical. Things work out for Neil, though—he moves back to Canada and ultimately hooks up with the band RUSH! Gino gets a job managing the now-famous Great Frog jewelry shop, where he meets plenty of musicians looking to get some sick skull rings, including Lemmy from MOTÖRHEAD, who gives him the advice he needs to start a band, and he eventually recruits the SHARKS, including drummer Pedro Ortiz, who’d go on to play with JOHNNY THUNDERS and DAVID BOWIE. They recorded this three-song EP in 1978, and it was supposed to come out on Stiff Records until their manager picked a fight with the label, and the record was shelved until now. The music is fine…maybe leaning good. It’s pretty typical stuff for first-wave UK punk—dumbed-down, recycled rock riffs that are glammed up a bit—but it’s a little rough around the edges and Gino’s broken English lends the record a bit of a KBD vibe. It’s nothing to get too excited about, but wow, what a story!

Glaas Cruel Heart, Cold Summer EP

“Cruel Heart, Cold Summer”—could there be a better banger (or name of a banger) of a summer anthem? The track has layers and layers of snot-ridden vitriol bellowing out of brass instruments, and a band shoveling out noise on a reverb loop. It has a little FLIPPER and a little CHROME and makes everything around it on the record kind of fall to the side. Not that the rest of the EP is bad; there is an artful combustion within each song and it carries on throughout. “Crossfire” is proof! And GLAAS is now a new favorite.

Glass Praxis Demo 2023 cassette

Discordant post-hardcore with a metallic bent. Nothing whiny though, this is ugly, mean, and brutal. Reminiscent of bands such as PALATKA and REVERSAL OF MAN, though not as angular or chaotic. Which is not to say that GLASS PRAXIS is tame in any form or fashion! There’s a groove that they lock into that is not dissimilar to NO TREND. Heavy, dour skramz punk from one of the best scenes in the country, Hattiesburg, Mississippi. Noisy and unsettling music for bleak times.

Guiding Will cassette

GUIDING is a duo from Tokyo who play youth crew-style hardcore on their debut Will. Within roughly five minutes, GUIDING lays down four fast and angry stompers that have some solid breakdowns that are tailor-made for two-stepping. No reinventing the wheel here, but the DIY recording quality and Japanese vocals set it apart from the crowd.

Hans-a-Plast 2 LP reissue

All three LPs from early German punks HANS-A-PLAST have recently been brought back into circulation thanks to Tapete, but 1981’s 2 (their second, duh) is their most striking, and I’d argue their best. The band’s self-titled 1979 debut was a relatively trad take on the wind-up punky energy of the BUZZCOCKS, with a streak of wild X-RAY SPEX abandon in vocalist Annette Benjamin’s animated delivery, and just as those groups fractured into new projects on the cusp of post-punk so that they could push into more challenging musical directions, 2 likewise finds HANS-A-PLAST deconstructing some of the rigid first-wave boxes in which they’d placed themselves on the first LP. It might not be immediately apparent when the speedy pogo-punk opener “Spielfilm” kicks in, but it soon will be, from the sax that skronks over the rattling rhythm of “Reicher Vati,” to the punctuated, stop/start jabbing and steadily more unhinged gang vocals in “Humphrey Bogart,” to the loopy KLEENEX-ish post-punk tumble of “Kunde Und Vieh” and “Kurz und Dreckig,” to Annette’s trills, squeals, and general motor-mouth chattering starting to take on character that’s much more Neue Deutsche Welle than Poly Styrene. By 1983’s swan-song Ausradiert LP, the tone had gotten a little darker and more dour—not quite goth, but rubbing elbows with the likes of XMAL DEUTSCHLAND or MALARIA!, and with less of the eccentric spark that made this second album so special. Weird, fun, just the right amount of messy and shambolic; the golden ratio of early ’80s Euro art-punk.

Heihaizi Heihaizi LP

With the ski-masked dudes on the cover, the charging sound, and some of these lyrics, I’m wondering if HEIHAIZI is intentionally continuing the charming trend of “breaking and entering-core” (as demonstrated on FOSTER CARE’s killer El Abuso LP.) This two-man “rap-punk” group is from Zagreb, Croatia, and this record is loaded from front to back with simple, explosive, and addictive songs. One minute they’re spitting fast vocals like a kid who’s super excited to tell you something and can’t get the words out fast enough, then the next thing you know, they’re leaned back, sounding like a punk RUN DMC and rhyming about how bad they stink. Then back to the “EMINEM-on-speed” vocal attack, pounding drums, and ripping guitars. This is some unique cool-kid hardcore if I’ve ever heard it, and it slaps.

Hope? Your Perception is Not My Reality EP

The hotly anticipated follow-up to 2021’s Dead and Gone cassette is finally here, and it fucking rips! Four tracks packed with even more crucial lyrics—Manda pushes the vocal limit beyond the brink, while the band plays an even tighter and heavier version of their D-beat-styled hardcore crust. Desperation and urgency are the strong emotional undercurrents that will pull you under immediately and get you slamming in short order. Opening with a brutal, beat-heavy treatise on gender politics, “The Patriarchy Must Be Destroyed” could be a standalone song, but there’s a lot more here. It’s followed by “Obey,” a warp-speed reminder of how fucked planet Earth really is. The B-side opens with “Take Back the Night,” a rocking tribute to punk life and a simultaneous decree of action. “Retrograde” closes out the disc with Kalvin throwing in just a pinch of psychedelic guitar that makes me want to listen all over again. If you liked the Dead and Gone cassette, then you’re going to love this 7”.

Hunger Artist Samsara LP

If Samsara is the cycle of death and rebirth, then that is the story of this album. HUNGER ARTIST consists of Edward Scales, Michael Honch, Tom Messmer, and Carl Silvio, and was formed in Rochester, NY in the mid-’80s. These eight songs were recorded at PCI Recording in 1989, the reels allegedly sitting behind closed doors all this time, just now coming to light on vinyl. The band’s love of DC hardcore, which they grew up on earlier in the decade, shows up in spades on this record—angular rhythms full of rests, followed by crashing drum beats, concise guitar lines screeching over gut-punching bass and strained vocals. From what I can find, they put out the Who Changed? 7” in 1988, contributed to a Flux Records 7” compilation in 1989, recorded the songs that appear on Samsara, and then disappeared. In looking for more on the band, I came across an interview on the Made You a Tape website with Ian MacKaye and Michael Honch, wherein they unearth the 1987 letter that Michael sent Ian, asking him to send tapes of DC bands he couldn’t find in Rochester. It’s an interesting read, and gives a lot of perspective on this record. I can’t find much on the other members, but Michael Honch played in some bands before and after HUNGER ARTIST, including NUNS ON DEATH ROW and POWERLINE in the ’80s and ’90s before taking a musical break, returning in 2011 with ALARMS & CONTROLS and currently NUMBERS STATION, a two-bass instrumental duo. Returning to focus: thank you, Rabbit Rabbit, for rescuing this one-off gem, what else is out there?

Ideal Victim Diary of a Pig cassette

IDEAL VICTIM from Porto, Portugal plays dynamic, rudimental-beat hardcore with floaty, chorus-heavy guitars and an agitator vocalist. The latter—singing in English and against patriarchy—is really pissed-off, and makes the whole sound a lot more aggressive than it actually is. The co-star of the demo is the guitar that creates an all-over atmosphere while playing a lot, lending winding riffs from post-punk, holding out chords, and occasionally being surfy while remaining within the field of hardcore. The contrast between the directness of the vocals and the cleverness of guitars makes them distinguishable. The recording sounds polished while maintaining angst, but it’s a rather modern sound. This is a solid tape that clearly displays a lot of IDEAL VICTIM’s potential.

Ignorance Poison EP

Helsenki’s IGNORANCE’s latest EP consists of seven tracks of raw hardcore punk similar to the darker, grimy side of ’80s Japanese hardcore, like L.S.D. or GUDON to more contemporary bands such as KRIEGSHOG or even Y2K-era PDX hard punkers RELIGIOUS WAR. Thunder-striking lower frequency bass electrocution with boiling blood drum sounds, noisy guitars with maniac vocals.

Interpunkce Nen​á​vid​ě​t Srdcem, Milovat No​ž​em EP

The latest EP by Prague DIY punks INTERPUNKCE, with six thrashing tracks of speedcore hardcore punk fury. Politically-driven lyrics with English translations to get their message across to a wider audience. No hesitation, urgent, raging songs bringing up social issues that many of us face around the globe. The Slavic language vocals offer a unique and distinct type of hardcore reminiscent (yet still different) to some ’80s Polish bands such as DEZERTER and MOSKWA.

Jerry’s Kidz Well Fed Society EP reissue

This is not the Boston band, this is JERRY’S KIDZ from New Mexico, and this is a reissue of their 7” from 1984. Featuring four tracks of standard issue O.G. hardcore, these guys do some tough skate-rocking with clear vocals in a range of tempos. The cadence and foreboding chords of the blazing opener “Marionette” bring the CIRCLE JERKS’ “In My Eyes” to mind, and the introspective sound of “B.R.S.” (apparently meaning “Brandon’s Rest Song, as its slower parts gave the singer a chance to chill a bit between the faster tracks) reminds me just a little bit of the ADOLESCENTS’ “Kids of the Black Hole.” So yeah, this lesser-known artifact fits in alongside some of the best early USHC, and is well-deserving of the reissue.

Kiht Fihsto Kiht Fihsto cassette

It took me a couple listens to appreciate this EP. KIHIT FIHSTO melds a bunch of different styles ranging from D-beat to metalcore to skate punk to Kill ‘Em All-era METALLICA. Sometimes when a band draws from different influences, it comes off as more disjointed than it does eclectic. That’s the impression I got on my first run-through here. But the more I re-listened to this album, the more it all clicked into place. They’re just a group of folks looking to have a good time playing rock’n’roll, and that’s all that really matters. To hell with an aesthetic! The guitars sound huge on this and are impressively tight, even if they are just power chords. As a fellow Illinoisan, I always need to give props to a band from Not Chicago.

Longings Dreams in Red LP

It’s been seven years since LONGINGS from Western Massachusetts have released material. Obviously, a bunch of shit has happened and the world is in a darker and more dire position, and all of this is very reflective in Dreams in Red. Opening with the raging, darkened post-punk of “Expensive Graves,” this album only builds into a level of aggression that begins to two-step a fine line between post-punk, hardcore, and post-hardcore. By the midpoint of the album, the squelching, squeals, and general noise level rips through desperately angry songs with earworm lyrical accuracy that will run endlessly in your mind for hours like mini protest chants. There’s a heaviness to this album that is only attained by staring into the decaying void of our present reality and refusing to descend further into it by shouting, screaming, and fighting.

Loose Lid Loose Lid cassette

Midwest hardcore that’s heavily distorted and poorly recorded, resulting in crazy raw punk. Seems recorded live or at home, which I like. Mad and noisy, filled with crusty vibes close to D-beat but much more chaotic, it seems like something from decades ago. Suggested track: “Unite,” offering us some fresh cuts exuding violence. Really dig the vocals on this messy chunk of hardcore punk. If they were searching for a live vibe, they achieved it. Recommend the use of headphones for this one, or you’ll miss a lot of things—listening first on speakers, I didn’t like it a bit, but then I gave them another chance on headphones and it was way better. Interesting raw darkness impregnated in the songs’ raw energy, delivering extreme sounds comparable to those in glorious ’80s USHC.

Los Invasores Demo 1987 LP

Vinyl treatment for a long-lost demo from Uruguayan punkers LOS INVASORES. Twangy, surf-inflected, and full of spit and piss. The tone of each of these songs will have you asking yourself “did these gents plug straight into the mixing board?”. Maybe…of the fourteen songs on the long-player, start with “Lamentos” and move into “Orguilo.” The tone is like they are using pennies as guitar picks. What!? Buy the vinyl if it’s not sold out.

Lost Legion Autoproduktion EP

Nice catchy Oi! out of Chicago, featuring members of FUERZA BRUTA. This appears to be their second demo from pre-COVID times. It’s recorded really well for a demo tape, and the songwriting is top-tier, often reminding me of the 4 SKINS or some of the newer retro-sounding French bands. I listened to some of their recent material and they’re progressing quite well. “Lacquer And Veneer” is my personal favorite here, but I’m not one to dwell on past glories. I’m looking forward to seeing these lads live now.

Love in Hell Love in Hell demo cassette

Fun twee-pop demo from Portland, Oregon’s LOVE IN HELL. Draped in floral printed dresses, this all-female trio plays sugary beats with a crunchy guitar, bobbling bass, and syncopated vocals that tell personal stories and ask pointed questions like “What would make it all worthwhile to you?” High school locker-art aesthetic (awesome), fun and heartfelt, a name that’s a little obvious yet somehow perfect, and did I mention floral? Sign me up.

Mass Separation Semarak Api CD

Grind-crust out of Malaysia. Sloppy and noisy as hell, the way the genre is meant to be. As is with a lot of these types of releases, the drums immediately stick out to me, as they are blisteringly fast and never waver. Guitars have a very powerviolence/metalcore tint to them. Lots of crunchy breakdowns, squealing pinch harmonics, and dissonant chords. Vocals have a ton of nuance and range from deep-throat growls to banshee-like screams. All in all, a decent release if you’re a fan of the genre.

Mayge Mayge cassette

What excites me about lo-fi music isn’t because I just love it when things sound obscure or chaotic, it takes familiar forms (in this case, new wave-adjacent punk) and brings an impressionist bent to what was otherwise familiar, like looking at a Matisse painting up close and letting it blur into a psychedelic mess. You get the feeling of the song and your mind fills in the blanks. MAYGE uses production as an extension of the songwriting, creating an enjoyable and disorienting EP that sounds anything but familiar. Strange gibbering vocals, melancholy guitar lines, it all works. The covers here are a treat as well, taking an original from TONY MOLINA and morphing it into something barely familiar to fans of the original, likewise with the SCREAMERS’ track “If I Can’t Have What I Want, I Don’t Want Anything.” The originals, however, are what bring me back to this release, biting and squeaking like a little mutant rat gnawing on your eardrums. Sometimes lo-fi production pisses me off, like it’s an affectation. Not the case here by a long shot, so take a listen.

Moar Baby I Am Cheap LP

It’s funny to me when bands are purposefully herky-jerky. It’s not easy to pull off. This record reminds me of bands like DEVO and AUSMUTEANTS, and you could even throw in the BRIEFS (without the herky-jerkiness.) It’s punk, it’s pop, and it’s new wave, all at the same time. Three of the ten cuts clock in at exactly 1:27 each, and seven of the ten are less than two minutes. That’s perfect for someone with my attention span. Excellent record.

Moat Cobra DCxPC Live & Dead, Vol. 1 LP

This is a cool idea from label DCxPC: record and release live shows on vinyl, and in MOAT COBRA’S case, back it with a “dead” or studio recorded version on the B-side. MOAT COBRA is an Orlando hardcore band that specializes in sludgy, BOTCH-y riffs and gruff vocals. The live recordings are great—you can clearly hear the guitar textures, nasty bass tones, and feel the overall tightness of the band. “Singularity” has interlocking stoner riffs that would make any RED FANG-loving van-dweller or algebra-core nerd swoon. Ripping track “Soffo Cone” chugs with a fast punk beat that gives way to dueling fretboard equations. The studio recordings reveal guitar subtleties and offer some atmospheric qualities, but since the live recordings are so good, you are essentially hearing five of the songs twice. That’s my only real critique here—Side A and Side B work best as separate listening experiences due to the overlapping tracks. Overall though, it’s a good band and cool idea executed well.

Mononegatives Facsimile EP

Dowd Records issues a limited release (150 copies pressed to yellow vinyl) of this prolific Canadian synth punk act’s 2021 cassette. The A-side features two tracks of clanging post-punk with a touch of post-hardcore at the edges, particularly in the guitar timbres. Imagine a cross between SERVOTRON and JAY REATARD at his most mechanical. Not bad. But this B-side is fantastic! The title cut sounds like DEVO teaming up with A FRAMES to cover one of the more tuneful tracks on WIRE’s 154 or something by GARY NUMAN—just an excellent mix of herky-jerk guitar interwoven with an assembly line rhythm section and soaring synth melodies. Also, the record as a whole just sounds great—it’s crisp in all the right places, the vocals are crystal clear and well-mixed, and the bottom end still really packs a wallop. Really handsome physical release, as well. All in all, no complaints!

Morreadoras Morreadoras y Ya Está cassette

Flexidiscos has been releasing some of the best synth punk out of Europe over the last year or so, and they continue the trend with London’s MORREADORAS. This sounds like Halloween punk to me. Like BOBBY “BORIS” PICKETT with one hell of an edge. I mean this in the best way possible, and it is in no way a slight. As with most of the Flexidiscos releases, the synth drives everything, and it is hauntingly chilling. The fun kind, not the scary kind, like the soundtrack for an ’80s Scooby Doo special. Again, not a slight. That’s a compliment! Top-notch stuff here, and just in time for the spooky season.

Nate Dionne Fantasy cassette

The hooks alone could have carried this cassette, but NATE adds some effective changes to the mold. The level of distortion and feedback can vary from standard to swallowing the song whole. The closing number switches the drum kit out for a machine. Sometimes the songs transform on the fly: the opening track is rough-and-tumble pop punk until it slows into a sludgy, dreamy pace and becomes a sort of cover or remix of itself. It’s a unique trip through familiar territory.

Natural End Natural End cassette

Five traditional hardcore anthems from this Raleigh band. Their sound and energy deliver DIY NYHC energy, like a non-corny MADBALL, with lyrics about life’s injustices and the current state of the US. The band frequently switches from fast punk to mid-tempo, fuzz-bass crawls with a few measures of blastbeats powering the intelligible, shouted vocals. “New American Age” finishes out the tape with, “Anger, rage, hatred, malaise / This is now the new American age,” so, yeah, that checks out. Is NATURAL END especially original? Nah, but this well-produced and energetically performed collection might be just the thing if you like your hardcore with some tough-guy vibes.

Novak’s Kapelle Hypodermic Needle / Doing That Rhythm Thing 7″

A repressing of a 1968 single—I initially thought this was a modern recording of a band doing a throwback sound. Austria’s NOVAK’S KAPELLE played psychedelic garage rock, and while it’s a decent little single, I was much more into it when I thought it had been recorded in this day and age. I do appreciate a re-release for those who want this stuff on wax, especially considering that the original 45 has gone for upwards of $400 on Discogs. For fans of IRON BUTTERFLY and doing large amounts of LSD.

Novak’s Kapelle Not Enough Poison / Smile Please 7″ reissue

Pretty surprising to be reviewing a reissue of an Austrian psych/garage record from 1968 in MRR, but hey, punk came from somewhere. That aside, this is really good, reminding me of the OUTSIDERS or Q65. This is their second EP and their first and better one has a song called “Hypodermic Needle” (!) How punk is that? “Not Enough Poison” is pretty swell though, and it looks like this band went on into the ’70s doing interesting-looking stuff. Put down that CONEHEADS record punker, and learn a little history. Prost.

Nucler Blud Form Raze cassette

Blistering buzzsaw punk that goes straight for the jugular. More raw than dumpstered T-bone, this slab of hardcore is dripping with vigor and fury. Fans of the noisier side of Japanese hardcore should take note, as I’m picking up on strong influences from CONFUSE, KURO, and FRAMTID. While the tempos vary throughout the six cuts on this tape, things never slow down too much, and none of the songs crack the two-minute mark. I appreciate the unceremonious approach NUCLER BLUD has utilized. No build-ups, intros, outros, or really anything extraneous. Just laser-focused on pumping out the damaging frequencies, and it’s over before you know it. There’s also quite the interesting pedigree going on as well, with former members of NO STATIK, IN/HUMANITY, JUD JUD (!), and END OF THE CENTURY PARTY comprising this beast of a band. To Live a Lie doesn’t tend to fuck around, and this tape is no exception. NUCLER BLUD is a band to keep an eye on.     

Oil! The Glory of Honour LP reissue

Not funny enough to be a good joke, not good enough to be taken seriously. Bollocks then, bollocks now. What a waste of plastic to repress this to vinyl when it could have been made into something useful, like a Happy Meal toy or a petrol station football.

Only Shallow No Way Out But Death cassette

At first read, I was immediately reminded of the MY BLOODY VALENTINE song, and I wondered if there would be a connection. Once ONLY SHALLOW started playing, I was transported to a world of groove and gloom that quickly galloped into a ripped D-Beat hardcore attack. The lines “Drape my organs around a plastic Christmas tree / At the end of life it’s only been me” scathe forth with anguished vocals in “Mistletoe Can Be Deadly.” This is dark deathrock with wild punctuations. I’ve been to Rochester in the winter, and this is the sound of grim dread with warm goth reverberations—“Buffalo 666” would be an additional description. DOOM meets GRIEF meets XYMOX and ROSETTA STONE. The other song themes really emphasize the tape’s title No Way Out But Death. There are some really sick double kick blasts on “No Justice, No Peace.” I love every song title here: very creative, but my favorite track is probably “Welcome to the Hellmouth”: “My heart is filled with spite / For everyone in sight / The texture of worms beneath my feet / Kicking up leaves on wet concrete,” sung sort of like CRO-MAGS and DR. KNOW’s later recordings. I appreciate the visuals, I appreciate the various style expressions of ONLY SHALLOW, I appreciate the upstate NY desperation. Now, at the end of this tape, I think the band name is about a grave and not the MY BLOODY VALENTINE song. P.S.—love a good church bell sample.

Operation Ibis Avian Overlords LP

OK. Let me start off by addressing this one thing: if you are in a ska punk band, perhaps you should reconsider naming your band “Operation” anything, let alone “Operation I-word.” I mean c’mon, really? Now that that’s out of the way…OPERATION IBIS offers up five songs of, as I mentioned, ska punk. Listening to this, three bands immediately come to mind for me: LESS THAN JAKE sans horns, a less crusty LEFTÖVER CRACK, and SNUFF. I’m not a huge fan of this type of thing, but I don’t mind this too much. It’s got that peppy energetic feeling you’d expect, but for some reason it’s not as annoying as I usually find this stuff. I suspect it’s the lack of horns. I don’t really understand this newest ska revival, but for the people that like this sort of thing, it’s something I think they’ll eat up.

Parasomnia Vigilia cassette

Debut release Vigilia by Chilean band PARASOMNIA is a captivating journey into the realms of dark post-punk. Sung in Spanish, the album carries an air of mystique that draws listeners into its hauntingly atmospheric world. PARASOMNIA masterfully weaves together intricate guitar melodies, pulsating bass lines, and ethereal moods to create a sonic landscape that is simultaneously melancholic and enchanting. The interplay of these elements forms the foundation for their sound, an approach similar to DECIMA VICTIMA. Whether you’re a seasoned enthusiast or a newcomer, this album offers a rich and immersive sonic journey that lingers long after the final chords and whispers fade away.

Penny The Bubblegum Tape cassette

Second release from the New York four-piece PENNY. Members Jordan and Liz came from FLEASPOON, and brought some songs from that to their 2019 LP, but here we find four new originals and a cover of HEAVENLY’s “P.U.N.K. Girl.” Loud and fast with barely comprehensible vocals; music to keep you frenzied and jittering. A feat only possible on a self-released tape, each copy comes with a pre-chewed piece of gum stuck between the shell and the jacket, with a “Certificate of Authenticity telling you who chewed your piece and what flavor it was!” While this is a little fanfare-y, I find it endearing and clever. There’s nothing groundbreaking on this lo-fi garage-stomper tape, but at the same time, it hits all the marks and does not disappoint.

Pleasure Center Pity in Jangle City LP

I write a lot about wanting bands to sound dirtier, meaner, like more clear reflections of a fucked-up world. But you know what? I’m full of contradictions, because I also grew up loving pop punk. If I hear a guitar band with solid hooks and heart-on-sleeve lyricism, I’ll usually perk up to see what they’re up to, at the very least. This St. Louis band caught me immediately, striking that same nerve TEENAGE FANCLUB and ASH used to when I was a kid. There’s plenty of jangle, just a kiss of fuzz, and thrumming melodic energy for days. The vocals carry the kind of unvarnished, disarming charm of Jon Brion back when he didn’t just write film scores. Songs like “Cool 2 Crash” capture summer DIY space magic, where everything feels so melancholic and fleeting all while energizing you at the same time. There are tasteful bridges and the band in general just bangs it out where it counts. Power pop often falls short on both signifying terms, but this group embodies the term beautifully. One can only hope they’ve got more golden songs in the song warehouse.

Power of Dusk Demo 2023 cassette

Three years have gone by since the band’s debut release Demo 2020, and little seems to have changed. POWER OF DUSK is still super pissed, playing angry, fast hardcore punk, and they are still dead-on with their politics. To say they were left-leaning would do them a disservice. With songs like “Queer Angry & Violent,” it’s pretty easy to see where they stand on modern issues. Fuck yeah. Five songs of aggressively intense hardcore punk. Get into it!

Pressure Pin Superficial Feature EP

Montreal duo that will make you dance the pogo to the rhythm of frantic egg-punk, with even more garage-y noise than egg-punkers usually advocate. New wave artsy punk, with the use of a real voice with light effects being a highlight. Favorite track: “A New Movie.” Stop’n’go cadences and exquisite use of synth, relentless drums, and psychic trance guitars that combine beautifully. We have before our eyes an extreme form of egg-punk, where sick rawness in the vocals makes it much more interesting compared to DEVO-infused patients. Honorable mention to the experimental nature of “Limited Movement,” adding new sounds to the eggy situation and upping the scale by introducing power chord changes following the never stopping drums, giving this track the status of “eggy symphony.” Highly recommended for lovers of expanded keyboard sounds used smartly. Resourceful duo, indeed.

Private Lives Hit Record LP

Feel It Records continues a white-hot streak of releases with this Montreal act’s latest release, a spiky, lovely, and scuffed batch of garage pop tracks. It’s impressive to hear big, bold ideas captured again and again within two-minute runtimes, blending influences from ’90s alt sounds to ’80s post-punk and convincingly noisy production on tracks like the chilly “Head/Body” and “Misfortune.” It’s a solid outing and doesn’t wear out its welcome, and while it might not immediately jump to classic status to my ear, it definitely claws me back for repeated listening.

Puffer Iron Hand EP

Roachleg, like Mendeku Diskak, is rapidly becoming a kind of Motown-esque hit factory for Shit I Like. This release by PUFFER is no different. Another hard-as-fook release from these Montreal rockers, with all the fun of the fair. Riffs? They’ve got them coming out their arse, mate. Tunes? Knee deep in them, son. “Sister Marie” in particular is so full of swagger and a sense of fun that is often so sorely lacking, I had to listen to it about five times. Essential purchase, and I cannot wait to see what they do next.

Raw Peace No Hope LP

With such a strong record, I can imagine a lot of people will get into RAW PEACE. I had seen the name before but never listened to this Belgian powerhouse, and with such a moniker, I was expecting unabated shitlicking DISCLOSE worship with too much reverb on the vocals. RAW PEACE is clearly a band of their time, as they play a blend of beefy American hardcore (the singer also growls in the long-running band REPROACH) infused with D-beat hardcore. It is an objectively mean-sounding album with a thick production, and it sounds about as ferocious and subtle as a charging boar—listening to the band reminds me of that one time when I was chased by a massive goose on a school trip in 1989. As powerful and effective as No Hope (the band’s second album) is, I don’t love the thing. I enjoy it, and its hardcore intensity and relentlessness makes it quite compelling, but I cannot really love it. RAW PEACE sounds like US hardcore vets trying to play heavy Swedish D-beat. Even if a lot of D-beat tricks are indeed present and executed well enough, it still does not have a proper dis-feel songwriting-wise. And to be honest, this is probably the sound these guys are going for, an American hardcore perspective on dis things and as I said, this will definitely appeal to a wider audience than your average DISCHARGE clone would. This is still very solid and packs a serious punch. If they were actually American (the country where gods are made), I am sure they would be more widely-known.

Rejekts Manmade Hell EP

Boston hardcore punk pogo exciters. Angry vocals, simple yet classically effective punk, blasting with a messy craziness of stabbing guitars and never-ending ranting drums. Favorite track: “Manmade Hell,” for some very well-executed stomping hardcore. Nice frantic cadences filled with the violence of classic USHC punk and strident guitars. Give ‘em a go. I will check out No Norms Records after this one. Fresh-feeling for pure raw punk with slightly faster tempos, full of traces of classical times yet enforced by newer turns.

Retirement Buyer’s Remorse LP

RETIREMENT plays fractured BLACK FLAG meets PAPRIKA negative hardcore that rips. From the pounding drum cadence of opener “No More” to the repeated chant of “No Refund” that closes the record, the band creates an intimidating and feedback-laden atmosphere that never dips below fully exciting. The guitar chugs out dissonant chord progressions and spits atonal noise solos as good as Greg Ginn at his most relevant. The drums (which sound great, full and front in the mix) move from galloping fast beats to mid-tempo stomps and back again. “Pull the Shades” is a great example of this, with a rhythm that moves from near-crossover speeds to creepy-crawl, backing one of the few intelligible vocal lines: “I pull the shades / I lock the door.” The raspy, almost blackened and reverbed vocals are perfect for the band and drip with malice and contempt. “DD.MM.YYYY” adds a harsh noise dimension to the sound with a minute of grinding guitar drone. If you like noisy, in-the-shadows hardcore like HOLOGRAM or FASHION CHANGE, check this out immediately.

RJ and the Riots RJ and the Riots LP reissue

Surf rock’n’roll from the Philippines in the early ’60s? Exactly, and this is a gem. It’s smooth and catchy and melodic and really nicely done. It’s a reissue of their second album, originally released in 1964, but it’s not like anyone reading this review has an original. I have no idea if it was remastered in any way, but the recording is excellent. Drawing comparisons to the BEATLES would be too obvious.

Road Soda World’s Greatest Disappointment LP

From Davenport, Iowa comes some hard-rock-infused brewery punk for an older crowd. The lead singer makes this stand out with an interesting/annoying vocal style, similar to a country-twanged Stiv Bators or a softer Alan King (HELLSTOMPER). The songwriting is creative and forays into almost mainstream territory with the catchy tearjerker “A Sad Door,” but I find myself skipping ahead to the raunchy familiarity of “F.U.1.2.” leaving less to the imagination. The better songs have a CANDY SNATCHERS feel, which I wish permeated the whole platter. They end with a song named “Bong Vader” complete with a Yoda impersonation, so you kinda see where they’re coming from here. Idiots Out Walking Around, indeed. Cheers!

Rose Glass Demo 2022 cassette

Killer demo from ROSE GLASS, featuring various players from Santa Ana and New York. Three cuts of meat-and-potatoes hardcore punk with frantic drums, crunchy guitars, and snotty vocals that kind of remind me of the ANNIHILATED. This tape feels so lived-in, like something that’s been around much longer than a year. Closer “Cold War III” (and the rest of the tape for that matter) could easily be mistaken for an early SST release. Great stuff.

S.U.G.A.R. II LP

Wow, this is straightforward, grinding and pounding garage punk from Berlin. It’s got an intensity not often encountered in the melodic punk/power pop world. Sure, it’s catchy and it’s easy to bounce your head along, but the real story here is the energy they bring and the sense of urgency that comes with it. Eight tracks, but that’s all you need for now. At times, they bring me back to Australia and what was going on there in 1978/1979. Other times, they remind me of the STITCHES. Excellent record.

Shawnis and the Shimmers Shimmer Shake EP

A three-song 7” from a shambling five-piece out of Richmond, VA. At first listen, the lo-fi garage-abilly sound brings to mind the ghost of HASIL ADKINS and the early ’00s bands out of Oakland like NOBUNNY, CUM STAIN, and PINK SLIME. But repeated listens (which are pretty much unavoidable, as this stuff is catchy as hell) bring to mind queercore vibes in the vein of HUNX AND HIS PUNX or PANSY DIVISION, and also the humor that riot grrrl bands could bring. I’m thinking of the first track “Eat A Dick” and BIKINI KILL’s songs “Suck My Left One” and “Carnival” at the same time (“I’ll win that MOTLEY CRÜE mirror if it fucking kills me!”).

Silicon Heartbeat MT0001 cassette

Fantastic Great Lakes beach punk from Kalamazoo, Michigan. Real surfy vibes with a hint of horror punk, like a poppy MUMMIES or a rustic EPOXIES/SOVIETTES with deeper, growling vocals. The synth completely drives this band and it’s the immediate focal point of this whole EP. The guitar and bass have tones that mesh insanely well and are locked in sync throughout. Lovely slab here, and pretty solid autumn jams if I may say so myself.

Soup Activists Live at Sharon’s cassette

This comes from the mind of Martin Meyer, most notably of LUMPY AND THE DUMPERS and Lumpy Records, who brought us eggy tracks on records like Huff My Sack and Music to Hump a Trashcan To. SOUP ACTIVISTS turn down the distortion and chaos some, and provide a sweeping, shambolic sound: synths playing merry-go-round tunes, chug-a-lug guitars, and steady, mid-tempo drums. I get the brattiness of DEAD MILKMEN in the vocals, mixed with the oddball lyricism of the FLESH EATERS, but the comparison already stands to the whole body of work Meyer has been involved in, his Discogs bio listing countless St. Louis projects—I’ve brushed by this music, but I’m excited to take a deeper dive. Live at Sharon’s comes out in front of a studio LP slated for release this fall, so be on the lookout. I’m wondering how this recorded-live-to-tape raw sound will translate to studio production, but I have faith they’ll keep the edge intact. Don’t pass this one by.

Spells What the Hell is Caution / Some Would Say flexi 7″

SPELLS are back with two new songs for your listening pleasure. The first thing that struck me while listening to this is how well they can craft an enjoyable, listenable song. I really enjoyed their last LP Stimulants & Sedatives, so this is a nice way to follow that up. While both songs are great, the first one (“What the Hell is Caution”) is the winning track here for me. It’s got a quality that melds great melodic punk with an almost ’80s pop rock vibe. Nice work!

Spike Penetrator Rarities Volume 1 cassette

Here’s one for the record nerds out there. Bear with me as my knowledge of this may be limited. These are the one-man recordings of Eliot “Spike” Kagan from the early ’70s, recorded in a lo-fi bedroom style in Syracuse, NY. Spike would later wrangle his pal Jack Lipton into upping their punk game as a two-piece in the more well-known (but vague to me) PENETRATORS. There’s some stray rockabilly and country numbers, but most of this falls into a snotty, sometimes theatrical ’60s novelty-song-like style. Think the STANDELLS playing “Purple People Eater” with Metal Mike Saunders on vocals. Spike got a little punker in his next project and continued on through many more decades. Overall, I would call this an easy listen but in no way easy listening. Sick.

Spiral Dub Spiral Dub LP

Sanctuary Moon got my money as soon as I learned this was a project fronted by Chad Kawamura of the great Bay Area bands OUTDOORSMEN and LIFE STINKS. The output of those two groups constitutes a good chunk of my favorite music from the past fifteen years, so I trust any adjacent act to be right up my alley. But the teaser single “Rise and Shine” had me a little concerned. It’s not that I wasn’t a fan of the tune, it’s more that it was shockingly melodic and uplifting compared to, say, “Pornographic Stockpile” or “Endless Drag.” I’d seen that the band also features members of DIIV—a band that I’d written off as Pitchfork darlings, assumed the worst about, and never listened to—so my worry was that this was their influence tainting what could otherwise be more of the bummer punk I crave. Turns out that may as well be true, but insofar as it is, it’s also irrelevant. While this is certainly not another LIFE STINKS record, I cannot stop listening to it. The eleven tracks on here are some amalgam of, like, ”60s sunshine pop, STONE ROSES-esque neo-psychedelia, BRIAN ENO’s rock records, sneering glam punk, and ’90s alt-pop. And Chad’s hallmark pessimism isn’t totally absent. One of my favorite instances comes in form of an irresistibly dumb hook on what’s somehow one of the twee-est tracks on the record (it actually reminds me a lot of Melbourne duo HOT TUBS TIME MACHINE), where he talk-sings the lines “Punch me in the face / Once for luck, and once for the fuck of it.” Perfect! It’s hard to overstate what a compelling record this has turned out to be, and it’s one that I can’t recommend enough. I might even have to go back and give DIIV a listen!

Spirito Di Lupo Vedo La Tua Faccia Nei Giorni Di Pioggia LP

Although I know very little about the actual overall activities of the Occult Punk Gang and Sentiero Futuro Autoproduzioni, these Milan-based collectives have been busy and consistent in recent years, putting their scene on the map and making great hardcore/punk records. Italy has a legacy in hardcore, but after the legendary bands burned out and faded away, for distant foreigners like myself, it seemed that the country’s punk scene sort of lost its vitality. However, these aforementioned collectives rekindled my excitement. The SPIRITO DI LUPO LP is another great gem. It remains close to the artifacts of radical punk; they mix the different elements tastefully. The guitars resonate with post-punk-esque, chorus-pedal-infused sharp tones, while the rhythmic flow maintains a sense of urgency akin to hardcore. The male/female vocal duo delivers an anarcho/peace punk spoken-singing style, their voices loud enough to emphasize their significance, reminiscent of acts like SOGLIA DEL DOLORE or BEDBOYS, yet the riffs are more dynamic and include clever flicks other than being a wall of sound. The album’s eclectic fusion of ideas lends it a massive sound, oscillating between tradition and innovation, already imparting a timeless quality. A great, complex record that also looks great, including two fold-out posters as lyrics sheets, both in the original Italian and an English translation.

Spring Forward Still Care cassette

Several parts of this release sound like skate punk to me: rapid-fire bass/snare beats and a catchy guitar, but in a lower key. That last part felt weirdly sad in such a driving sound. The guitars have the satisfying crunch of a crust band, which gives everything a nice, percussive feel. When things slow down, the band is quiet and mournful with words to match. Sonically and lyrically, it’s equal parts despair and outrage.

Squander The Western Nightmare Continues… cassette

Halifax’s anarcho deadbeaters start with a great classical bass line in the UK82 tradition, but frankly, afterwards I utterly disliked the reverb or delay (ab)used here to create the ambience, lowering the quality of the vocals, instruments, and force that we could have otherwise encountered here. It all comes off as a messy, reverbed and delayed version of D-beat that doesn’t appeal to me. It lacks precision and equalization, losing the vibe of the drums and guitars. Nice artwork for the cover, though…

Step to Freedom Step to Freedom CD

STEP TO FREEDOM’s self-titled CD is a non-stop barrage of riff-y metallic crust with brutish and mean vocals. It’s music as intense as you’d expect from a Russian stenchcore band, especially considering the turmoil unfolding over there these past couple of years. Perhaps what’s more impressive than the fiery delivery is how catchy each of these grime-coated songs are, each filled to the brim with hooks that keep the listener’s attention in spite of the long-running track times. Standouts “Bad Karma” and the seven-minute odyssey “Revengeance Altar” are both thrashing headbangers with vicious backing vocals and guitar solos that will (not to be too cliché) melt your face. A powerful listen and highly recommended.

Steve Adamyk Band Live cassette

Primitive Screwhead. That name mean anything to you yet? It is the cassette subsidiary label of the mighty Big Neck Records which releases exclusively live cassettes for bands. And that’s what we have here for STEVE ADAMYK BAND, a collection of tracks from a slew of different live shows. The recordings range from crystal clear sound to very acceptable quality, being that it is a mix of different live recordings. STEVE and his band play a blend of pop punk, power pop, and garage rock, all mushed into its own amalgamation. The band has a slew of releases, many of them on Dirtnap, to give you an idea of what they’re all about. It’s super poppy and catchy, and if that’s your thing, jump on this cassette, as they don’t seem to last very long.

Street Gloves Street Gloves cassette

Smashing drum machine beats combine with shredding guitars and equally shredded vocals to form an E-beat sound all its own. If you’re a fan of L.O.T.I.O.N. or SCUMPUTER, then you’re going to want to hear this. Pure punk indignation channeled through decaying wires and patch cables make this eight song tape an intense but enjoyable experience. Between the bashing, you’ll catch lyrics about animal and human liberation, destruction of the state, and a strong ACAB stance. If contemporary protests had a soundtrack, it might sound a lot like STREET GLOVES, so the next time you’re fighting the fascists, maybe pop this on.

Sultry Promotional cassette

This promo cassette from Virginia’s SULTRY is three tracks of fast hardcore punk with furious speedcore energy, but also acid-dosed vocals as well as chorus-driven guitars like worn-out wobbly cassette tape sounds—reminiscent of bands on the ’80s Italian HC comps BCT Tapes put out. For true weirdos.

T.A.C.K. T.A.C.K. cassette

Stomp-and-crash duo from New Orleans, rattling the bolts off the garage door and red-lining their four-track on this wonderfully lo-fi recording. Stella keeps a nasty, splashy beat while taking on most of the catchy, screechy, and shouted vocals, while Roach sings back-up and pushes his guitar through a blown-out amp, performing lead fills between rhythm chords. Each listen draws me closer, and I think the opener “P.L.F.” is a fucking hit: “I’ve got a car, treats me kindly / It’s got wheels and that’s all that I need.” Any chance you’re doing a Northeast tour? Think these two would be a blast live. The Feed My Ego tape I got has the bonus single “Lunch” as the closer, and so does the Blä version, but the XTRO version does not. Each release also swaps around the track order, so you decide? Feed My Ego appears to be the band’s own label, so show some support!

Tatxers Tatxers LP

In the last warm days of summer, I love listening to a record like this. There is a shimmering sadness, like dappled light on a body of water while the sun goes down and you didn’t think you’d need a sweater. These songs have a yearning core to them, melody and longing being the driving themes perfectly suited to the clean guitar tones that drive home lovely, mopey pop songs. With the stabbing guitar of the stunning second track “Labanak,” I realize it might well have just been called “Pamplona Calling.” There are even traces of what we used to call “college rock” in songs like “Iruñea,” with a staccato jangliness I’m always thirsting for. Song to song, though, this isn’t a band retreading old ground, but rather bringing a bright vitality to melodic punk rock with an old-school cool. I feel like there are plenty of bands right now that bring out this feeling of nostalgia for an era that never really existed. Or nostalgia for the now? TATXERS is exactly the kind of band I reach for to rebuke someone telling me they “stopped listening to rock music” a long time ago. The good times are still here (musically anyway), and they’re fleeting as always and full of joy and sadness, just like good rock music should be. A tender little record I’ll be spinning for a long time.

The Boneheads Single 1978–79 EP

Punky garage rock band the BONEHEADS sloshed around the Philly punk scene in the late ’70s alongside acts like PURE HELL, SIC KIDZ, and the AUTISTICS. Their claims to fame seem to be frequently opening up for a slew of more beloved punk acts—RICHARD HELL AND THE VOIDOIDS, the B-52’S, and the FEELIES to name a few—and eventually evolving into the better known, though still relatively obscure, post-punk band BUNNYDRUMS. They had the intention of releasing this, their one and only record, back in 1979…until the masters disappeared and the songs were lost to time. However, someone recently unearthed a cassette recording of the same sessions, and ferried it over to the good folks over at Good Times Rock ‘n’ Roll Club, which is how this release came to be. So, do we now have some sort of a lost classic on our hands? Not quite. Nevertheless, it’s a pretty good time! There’s four tracks on here, the first three of which are a mix of CRAMPS-y rock’n’roll Americana, straight up surf, and new wave pop. They’re fine. But the final track “Yesterday” is probably worth the price of admission by itself. It sounds like a wild mashup of HUBBLE BUBBLE’s “New Direction” and LOVE’s “7 and 7 Is,” over top of which the vocalist is singing more (better!) new wave pop in the stuffy-nosed style of EDWYN COLLINS. It’s fantastic! The record, pressed to green vinyl, also comes in a stylish silkscreened sleeve. My only complaint is that I wish it had come with some liner notes.

The Dweebs Goes Without Saying EP

This EP from Plymouth, UK’s the DWEEBS is ten tracks of British punks playing fast ’80s-style USHC akin to the earlier Dischord catalog and bands like YOUTH OF TODAY or UNIFORM CHOICE. Reminiscent of another USHC-inspired band from the UK, the STUPIDS, but despite having a similar fast approach to their sound, it’s still quite its own thing, a product of its own environment. Still nasty-sounding enough for the MRR realm, yet it’s straight-up circle pit music. Straight-ahead, full-speed attack of action-packed hardcore.

The Neanderthals The Modern Stone Age Family LP

We start right off with a KINKS riff. Given the name of the band and the album, it shouldn’t be a surprise that I’m using words/terms like garage rock, ’60s rock, ’50s rock, surf, and even rockabilly to describe the band. It’s good, for sure, but I find this kind of stuff a little schticky. With song titles like “I Go Ape,” “Flintstone Flop,” and “Neanderthal Twist,” you kind of know what you’re getting yourself into. But if this is your sort of thing, you should like it. It’s catchy and melodic, they’re tight, and they’re all talented musicians. Throw another brontosaurus burger on the grill for me, and that’ll probably need some sort of a tiki drink. Thanks.

The Steves Jerk! EP

Here’s an interesting pearl dredged up from the deep chasm of the early ’80s Boston underground. Jerk! is the third EP of STEVES material to be released this year. Unlike the reissues of Making Time and In a Room, Jerk! features previously unreleased songs that were recorded during the original sessions around 1980–1981, and have been unearthed and repackaged by Iron Lung Records. The STEVES played an eclectic blend of punk, proto-metal, and proggy power pop. I hear elements of BLACK RANDY AND THE METROSQUAD, DEVO, and the ZIPS, mixed with RASPBERRIES, FOCUS, and QUEEN. The ripping guitar solos and operatic layered vocals make the STEVES more interesting than a lot of the KBD-style punk they’ll inevitably get lumped in with. The three songs on Jerk! are not quite as potent as what you’ll hear on the two previous EPs, but they still pack a wallop. Recommended for anyone with a penchant for the quirkier side of obscure underground punk.

The Steves Making Time / Mechanical Friend 7″ reissue

Iron Lung presents a reissue of this long-forgotten 1980 7” record from Boston’s the STEVES, a synth punk duo that was definitely of their time sonically but has enough to separate them from other punk/new wave groups. The drums and synth set-up was not especially fresh in 1980, what with bands like DEVO getting MTV play and cult heroes like the SCREAMERS and LOS MICROWAVES employing a similar approach, if not attitude. Underground music has come full circle enough that the electronic whooshes and electro-bass sound as contemporary now as they did back then, but what strikes me the most about “Making Time” is its economical, straightforward songwriting and vocal delivery. It’s a short, well-written song that is performed without the affect or provocation of much of that era’s punk. When the chorus of “Making time for making time” hits, it’s a perfect melodic moment, reminiscent of ’60s pop as much as a robotic KBD curiosity. “Mechanical Friend” is the first-person account of a “robot lover” describing itself and how it’s “here to serve you” over slow, ESQUIVEL-leaning instrumentation. So, it’s weird, but the melodic, earnest vocal performance wins again. If the early days of synth punk or new wave get you moving, check out this unusual disc, and keep an eye out for two more STEVES reissues from Iron Lung.

The Wirms III LP

First notes in, you can tell there’s something special about this record. Memphis garage punk still hits the hardest, and this band fits right into that lineage. With blown-out vocal delivery and nasty licks that slither in and out like the snakes in a traditional skull tattoo, there’s no bullshit on display here—just real-deal, manic hot-dialed rock’n’roll. The cover of jazz standard “Lover Man” (originally popularized by BILLIE HOLIDAY) is a standout, if only to hear such a beautiful song turn so ugly. The whole album slams with that exhilarating unhinged quality of a band that is tight as hell but can convincingly sound like they’re on the brink of self-destruction, reminiscent at times of MEAT PUPPETS’ first (and my favorite) record, which feels like some sort of country drug mania from hell. But the tunes stay strong, never fully falling apart and just hitting the mark cut after cut. If you like your meat bloody, don’t skip this one.

Townies Revolver CD

TOWNIES are a band that do no real harm. They’re nice enough folks, and a competent bar rock band who exude a tough grittiness in terms of attitude and aesthetic that just doesn’t make it to the songs themselves. I don’t wish they were meaner, but their sound could use a little genuine nastiness. For a start, the drums and guitar both sound flimsy on these tracks. The guitar in particular just sounds compressed and far away, leaving almost no impact. Vocalist Suzanne Magnuson also comes off as unintentionally camp in her delivery, weighing the band down into an almost musical theater take on garage punk. None of this is offensive or unforgivable, but also maybe that’s what it needs? Otherwise it leaves little impression, a gentle breeze off the coast of punk rock when I’m wanting something that will cause some big waves.

Toy Tiger Take a Trip on the Tiger Side LP

Another edition of “don’t judge a record by its cover.” At first glance, I thought “Oh great, some uninspired Oi!/street punk stuff.” Again, thankfully, I was wrong. A solid mix of street punk and glam rock mixed up with a dose of heavy distortion on everything. This is rad. It’s got just enough elements from all of its influences that you can’t really pigeonhole it one way or the other. This one is gonna get some solid time on the ol’ turntable for sure. This is the type of record that should appeal to anyone into punk, no matter the subgenre. It’s a fucking banger.

Uphill Avenue Uphill Avenue CD

This is an interesting one. I don’t necessarily enjoy the recording, but I do think there’s something here. At times, this sounds like it was recorded on a boombox, especially when the vocals over take the music, but the songs are (mostly) strong enough to make me kinda ignore that. Usually I would be of the opinion that something would benefit from a better quality recording, but in this case I don’t know if that is valid. The recording is kinda what gives this an identity. That said, this isn’t something that I would go back to for repeated listens.

Upside Upside LP

Now this is one for the true lovers of Italian hardcore, those who can pretend to speak Italian because they can half-pronounce the titles of WRETCHED songs and show off at dinner parties by pointing out that NERORGASMO actually rose from the ashes of BLUE VOMIT. Avoid these boring bastards at all costs. UPSIDE can barely be considered a classic band of the amazing Italian hardcore punk scene of the time—I was familiar with the band for their delightfully snotty Nato Per Sofrire EP from 1983, but never took the time to properly listen to the rest of their discography. The aforementioned EP was a perfect example of an Italian take on the vintage UK82 sound, and this demo originally recorded in 1981 is (a little) more versatile, with songs convincingly exhibiting darker overtones and others sounding like furious proto-hardcore. I have to say the production is, well, raw, if not rough or non-existent, so that it will appeal to the aesthetes of old-school hardcore music (those who do not fear bands who could not tune their instruments but still did solos), but it might alienate other audiences. There are some great, catchy songs on the demo, reminiscent of CANI or even NABAT for the punkness and the aforementioned BLUE VOMIT for the eerier and darker influences. I personally love Italian hardcore, so I believe this record is important for two reasons: first, it is a testimony of one of the most powerful hardcore waves in punkstory, and this project matters because it is an archive, something that preserves our collective past because punk belongs to the punks. Second, because I just like, on a very primitive level, raw, snotty punk from Italy. I suppose the first reason makes me sound a bit more clever, though.

Uzu Uzu LP

UZU draws its members from our global community, but calls Canada their homebase. Darkened punk fuses with lyrics sung in Arabic to create a sound that has an ancientness to it predating recorded history, as if UZU has been watching from the shadows for eons and has chosen now to deliver their message. Occult imagery blurs with contemporary struggles as the descent into the abyss accelerates. If your soul contains a dark patch, then you should definitely give this album a try.

V/A Dot Dash Mixtape, Volume One cassette

A brand new label’s debut release, and an all-around cool idea. A compiled mixtape of bands on the label’s radar, all doing unreleased/live/cover songs. Super fun. I always love when labels do things like this, because it is a beautiful way to expose people to a ton of new bands. Featuring tracks by the already-known and beloved RETAIL SIMPS, GG KING, and IBEX CLONE, as well as fifteen others to open your eyes to. Love it. Will certainly be keeping an eye out for what Dot Dash ends up releasing next.

Global Despair / Victor Charlie Fuck Qazaq Indie / 20000 split cassette

The bands on this tape are from Kazakhstan, and they are great. It’s two recordings from 2022 and 2023 put on a tape by No Name distro from Ukraine. GLOBAL DESPAIR plays loud and noisy hardcore that has hints of industrial and D-beat, although these are references rather than clueless genre worship. The sound of their recording is filled with mechanical noise played in an echoey cave. I love how the guitar sound turns each riff into a buzzing pulp, and the drumming is not that far from a hammer accurately hitting my brain. It’s a great recording with a non-stop momentum that pushes me through the great noise mist. The lyrics mostly reflect on scene intrigues, which is the only bummer about this release—otherwise, it is great material. VICTOR CHARLIE is a solo project of one of the members from GLOBAL DESPAIR, defined as middle-Asian Burning Spirits hardcore against Russian imperialism. Compared to the other side of the split, it is a much more melodic and less distorted bunch of songs. In general, Burning Spirits is way too epic and melodic for me, and these songs will not change my opinion. The lengthy songs give a lot of room for all the usual elements, especially large-arched solos. They also remind me a bit of MÖTÖRHEAD, although it’s more nasty and less rock’n’roll-ish. The unpolished nature of the recording keeps it interesting though, even for such picky assholes as myself, but VICTOR CHARLIE comes in second on this split. To balance it, their lyrics are heavily political, reflecting on the Russian government’s war criminal tendencies. Even in spite of the uneven strength of the split, this is a truly great release, and hardcore is best when international.

Manacles / Viimeinen Virhe split cassette

The MANACLES side of this split features four songs by the Lithuanian band that capture their hallmark sound, which is somewhere between raw punk and bass guitar-powered hardcore. The opposing side features five tracks by Finnish band VIIMEINEN VIRHE playing their style of D-beat hardcore. The split joins the two bands together like a perfect dystopian union: the similarities are there, but the unique differences of the bands is also highlighted. This might actually be one of my favorite splits in recent years, so give it a go!

 

Simbiose / Visions of War split EP

I’ve said it in a previous recent review, and I’d say it again: VISIONS OF WAR keep getting better. From my perspective, the band was on hiatus for some years around 2013, but when I actually look into it, they seem to just put out a quality recording every few years. It is not oversaturated, but this is another split within a year or so, and again, I’m impressed! They just get heavier, tighter, and faster each time. Three tracks, and what can I say, this perfect Euro-crust like it was 25 years ago, yet polished in all directions. SIMBIOSE plays a more technical percussion angle while ripping through with metallic fury. There is a more hypnotic thrash attack going on here and the editing is tight. This is hardcore punk played with experienced skill. Neither side is all-out raw—the overall flavor of the split is brutal crust punk with some harmony but more grinding displeasure. Well-balanced, but clearly differentiated sides. I love this washy ink illustration on the cover. Yes, I believe they are skulls, but not entirely human. Come to think of it, both logos look really well-crafted here, too. Excellent stuff, I need to learn more about SIMBIOSE (Portugal), as VISIONS OF WAR has been my second favorite Belgian punk band for quite some time (see second sentence).

The Dissidents / Vitrolic Response split EP

Cool split between bands from the US and England. The DISSIDENTS feature MISCHIEF BREW’S former bass player on drums and play your typical sloppy punk rock, but the vocalist is so intense and charismatic that it brings everything together. A true pissed-off poet, and the kind of singer I’m sure a lot of bands wished they had. Seriously great stuff. VITRIOLIC REPONSE plays classic UK hardcore and sound like a modern GBH with barking vocals, but also incorporates doom/black metal elements, like slowing the tempo and using sinister arpeggios. Both bands sound different enough that it creates a great dynamic.

Warcycle Manifesting Barbarity EP

This is a D-beat barrage from Australia that is like a sonic scavenger on fire—that was actually meant to compliment them and describe the rad cover art. Drum fills cascade with intense fury, vocals are bellowed out until the last gasp, with a powerful range. Distortion is crasher-level red. This is hitting like ENZYME, FRAMTID, KINETIC ORBITAL STRIKE, ANTI-METAFOR, or SYMPTOM. It has all of the ingredients to be served up generically, but it is not at all. Various rhythms and songs are linked together like an exhausting, raging raw live set with a dense production value, and moments of pause before the bombardment adds a unique quality of thoughtfulness for the style. This is the second EP from WARCYCLE and a first for me. Impressive crustcore D-beat!

Water Machine Raw Liquid Power EP

Last year’s four-song demo from Glasgow’s WATER MACHINE alternated so evenly and sharply between threadbare minimal pop songs and shouty primitive post-punk numbers, it was almost like the work of two completely separate bands, a push/pull of influence between late ’80s K Records and the mid-’90s Slampt scene (vocalist Hando Morice is actually in the most recent iteration of LUNG LEG, while drummer Goda Ilgauskaitė also plays with neo-Slampt upstarts SOURSOB). This new EP digs deeper into the shouty, PUSSYCAT TRASH-ed side of that split affinity, as the warbling, decayed synth squeal that starts “Water Machine Pt. II” gives way to raw-throated sloganeering somewhere on the HUGGY BEAR spectrum and a deceptively melodic chorus counterpart, and the barely minute-long “Bussy” goes even harder, with stomping drums, frenetic bare-bones guitar strum, and gang vocals bluntly railing against the unreliability of public transport (“That’s why I’m not on time!”). Sandwiched right in between, “Stilettos” and “At the Drive In” nudge back in more of a UK DIY/early Rough Trade direction, with minor ELASTICA undertones in the cool vocal detachment of the former juxtaposed against a disjointed, almost COUNTRY TEASERS-esque cowbell-spiked rhythm—the sort of thing that I eat right up. Viva la punka.

Whisper Hiss Shake Me Awake cassette

Portland, Oregon, garage pop quartet WHISPER HISS recently released the Shake Me Awake cassette, their first proper full-length. Rocking similarly to DC band SLANT 6, and with familiar harmonies that recall sounds from BLONDIE and the EXPLODING HEARTS, it would be silly to not give this tape a try. Poppy as all get-out, Shake Me Awake slides around the rock spectrum with bits that surf and meld with fuzzy-toned edges. “Trouble in the Mansion” feels like a dystopian dream from the ’60s, then “Party Dress” kicks in with a sort of riot grrrl bend. In all, it’s a good time through and through.

Without Defeat Absurd World CD

Excellent new grindcore punk from Tokyo. Featuring members of deathcore mammoths KRUELTY, WITHOUT DEFEAT blasts forth nuclear ’80s-style with ripping intent—brutal, slaying grind with crust punk leanings. WITHOUT DEFEAT nails the styles of TERRORIZER and HERESY with some GISM detest and SOB rage. This is a highly recommended debut EP-length CD of eight super heavy tracks, as an exclusive from Black Konflik Records. Contemporarily, I’d compare them to KLONNS, COFFINS, DISCRIPT, or GUILLOTINE TERROR, however playing much faster with levels of D-beat and crushing mid-tempo breakdowns. Slowburner measures hit hard and retreat before it gets stale. I like this and think it will only get more interesting with each listen—’80s grinding thrash and ’90s death metal make for a killer hardcore punk debut. Nasty art adorns the bleak matte black sleeve.

Wristwatch II LP

Following up their 2021 debut, Wisconsin’s WRISTWATCH continues mining the vault of melodic, synth-heavy garage rock. The songs oscillate between straightforward gritty numbers like the opening track “Rules,” and more saccharine indie-inspired tunes such as “Sweet Tooth.” The unavoidable comparison is to the output of Jay Lindsey, particularly Lindsey’s contributions in LOST SOUNDS and as JAY REATARD. It’s so blatant that there are even “once removed” correlations at play. For example, the vocals on many of the songs don’t just sound like JAY REATARD—they sound like JAY REATARD trying to sound like T.V. Smith. The same could be said for the instances in which WRISTWATCH evokes SCREAMERS…they’re actually more evocative of when LOST SOUNDS would ape SCREAMERS. Not to discredit the deftness of songwriting exhibited by the two members of this band, Bobby Hussy and Ty Spatz. There’s clearly a lot of talent and creativity in the mix, even a glimmer of erudition to be found. I’m just left thinking there may be untapped ingenuity lurking just beyond the confines of pastiche.

Zero Boys Don’t Shoot Can’t Breathe / Long Way to Go 7″

Possibly irrelevant now, but their 1981 album Vicious Circle remains a classic and has some of the best hardcore songs ever. I’m generally not a fan of bands that are playing almost 40 fucking years later (that’s rich coming from a dude who is approaching 60), but I really like this one. This isn’t hardcore, but it is punk and it’s good. The A-side is methodical, almost MISSION OF BURMA-like. The B-side isn’t quite as good for me and leans more towards a trashy rock’n’roll number, even kind of funky. Honestly, if it was some other band, I might not like it at all. But the A-side alone is worth it. I’ve got a lot of respect for bands that keep at it but also just don’t keep doing the same thing. Nice job.