Reviews

MRR #490 • March 2024

Alamoans Licking the Boot EP

More Pittsburgh power here from ALAMOANS, contributing to the Steel City’s steady rise to becoming the hardcore capital of the US. Comprised of members of SPEED PLANS and EEL, this configuration eschews the pure violence of those two brands in favor of a more distorted and atmospherically foreboding approach. There’s plenty of punch to these tunes, but everything is covered in cobwebs of eeriness that create a distinct persona for the band. With five tracks in about eight minutes, it effectively whets the appetite.

Anima Negra La Sombra de Rengalil cassette

Cavernous, blackened hardcore punk from Temuco, with deeply reverbed vocals and D-beat cadences in a dungeon-like atmosphere. Filled with a vicious energy, their lyrics verse on existentialism, punitivism and the state, and networks of vigilance and shit systems, ranting against inequity. Interesting space-like sounds and a live vibe across this cassette, recorded in 2021 but released in 2023. Junko, if not the most solid, is one of the finest exponents of DIY hardcore punk labels all over Chile, always magically releasing something new and exciting. Their whole catalogue is recommended; it’s filled with the essence of Chile and Temuco—hopefully sometime soon I’ll visit your realms to see your ever-thriving scene.

Antagonizör DCxPC Live & Dead, Vol. 4 LP

I previously reviewed a cassette from this all-female, politically charged metalpunk trio from Gainesville, Florida—on this tape, we find a live side and a studio recording that repeats all of the same tracks except one. The live section got my attention this time, including interaction with the audience that highlighted catharsis and spilling anger Lemmy’s way. MOTÖRHEAD traces are still there, plus a politically charged ranting with compromised lyrics exuding attitude.

Apatia Odejdź Lub Zostań LP

With this record, Nikt Nic Nie Wie continues to re-release the work of distinguished Polish HC/punk band APATIA. On their second LP, they sound better defined than before. Of course, it’s short, fast and (mostly) loud, but the band has always enriched or stretched the genre just a bit. There’s more lead guitar than you’d expect for hardcore, and the charging 4/4 rhythm is often altered in small, effective ways. I’m always a little nervous when punk bands instrumentalize too much. Luckily, on this record it felt of a piece rather than overshooting the mark. APATIA’s ambition (and maybe some good editing?) gives their hardcore a depth that other bands might not have.

Appaloosa Lonely Stone postcard flexi

“Lonely Stone” is a short and sweet track of garage rock, heavily tilting towards the pop end. The barely distorted guitars and vocal harmonies give the song a glam feel. The novel format and the band’s curated image make this a fun work of living nostalgia.

Artificial Joy 100% Pure Joy LP

Woooofffff, this one lands just right. How did ARTIFICIAL JOY inject ’80 Sunset Strip energy into snotty, femme-fronted modern hardcore stomps? I don’t know and it doesn’t make sense (though I did blast RATT for a solid six hours the other day), but ARTIFICIAL JOY makes me feel like that even though they sound like a ripping 2020s DIY punk act. And this, my friends, is wonderful.

Asbestos Wishful Thinking EP

Some nasty and dark hardcore here from Denver’s ASBESTOS. This 7” delivers a speedy, pummeling, and unforgiving punk assault with chunky bass lines and exasperated, raw-throated vocals along the lines of TOTALITÄR. They were considerate enough to separate the six songs with an interlude in the middle that allows you to regain composure from their blunt force pounding.

Ballon D’Essai Woot! is the Word LP

Formed in the early ’80s by a group of schoolboys in Christchurch, New Zealand, BALLON D’ESSAI played arty, bricolage post-punk in the style of so many like-minded projects of the era whose enthusiasm and ideas eclipsed what their technical skills could actually replicate: a slightly off-center mix of menacing, FALL-inspired rhythmic tumble, the anxious and moody post-VELVETS moves of Postcard Records, and requisite serrated, bass-forward danceable agitprop. They were actually one of the first handful of bands to ever release a record on Flying Nun, but their modest output (a pair of 12”s released in 1982 and 1983) has largely been lost in the shuffle amidst the Dunedin Sound holy trinity of their labelmates the BATS, the CHILLS, and the CLEAN, while also never really reaching the cult status of some of Flying Nun’s more noisy and experimental acts like the PIN GROUP or the GORDONS—Woot! is the Word cherry-picks tracks from both of the aforementioned EPs and a posthumous cassette comp, doing some minor leveling of BALLON D’ESSAI’s overall hit-to-miss ratio. At their most spiky and serpentine, like on “Armchair Tourist,” “He Who Kills,” “Smash Crash,” and “Artificial Romance,” they really get the most out of their dual-bass lineup, with some of the best faux-Rough Trade Kiwi post-punk this side of THIS SPORTING LIFE, while “Peanut Butter Jar” flips JOSEF K’s taut jangle to the opposite hemisphere, and “War Effort” clatters with a bit of sparse, sing-song UK DIY naivety. Is there any greater pleasure in life than just-inept-enough teenage art-punk?

Bedspin Liminal Spaces LP

As a fellow Illinoisan, I will always give props to bands from not-Chicago, especially if they’re from the very bottom of the state. I hear Carbondale has a great punk scene, though. Anyways, lovely pop punk outing here. A very nostalgic listen for me. Reminded me of the first time I heard Fat Music for Fat People, which forever changed my life. Catchy vocals, noodly guitar leads, treble-heavy bass runs, and the occasional drive-by ska riff! Feels like the early ’00s for me, makes me want to dig out my old skateboard and pretend like I know what I’m doing again. Great stuff here. For fans of early Fat Wreck and Epitaph.

Bib Biblical EP

Here’s the latest release from long-running Omaha hardcore hippies BIB. In my opinion, a lot of the mid-2010s hardcore punk bands of this ilk tend to have not aged all that well, but I’ve always really liked BIB. This new EP delivers in spades that sound that fans are so acquainted with—the psychedelic tendencies, spitting delay vocals, and dissonant riffage remain intact. If you’re already a fan, you won’t be disappointed by this one, and if you have yet to listen to the band, Biblical is as good a starting off point as any. Thumbs up, jolly well done!

Billy Batts & the Made Men My Empire is Crumbling LP

Sixteen shamelessly catchy and pleasantly aggressive pop punk numbers from this Atlanta outfit. I would file this under the dreaded “if you’re into this kind of thing…” heading, but instead I’ll place it in the “I’m not normally into this sort of thing, but…” category. The songs are short, rarely kissing the two-minute mark, and are consistently interesting enough (think PUSRAD erratic mania, just not as fast) that you kinda forget the rote pop punk parts. Joe Queer produced the thing (and that tracks favorably here), and the result hits QUEERS and early Bay Area pop punk buttons nicely while never falling into a rut. A pleasant surprise from Mr. BATTS and his (made) men.

Blue Elephant and the Seven Snakes Still Waiting for Flying Cars EP

While the band name and artwork deceivingly give off a vibe of silliness, this EP actually has a pretty straightforward ’90s California skate punk sound. It’s fast, tight, and driving punk rock in the wheelhouse of early the OFFSPRING or bands like JUGHEAD’S REVENGE, spiked with some extra heaviness and breakdowns and with humorous themes and lyrics mixed in generously throughout these fourteen tracks.

Bog People Bog People LP

BOG PEOPLE’S long-lost (but recently found and released) self-titled LP makes me think two things: first, thank goodness the fine folks at Iron Lung dusted this off and put it out there for everyone to hear, and second, how many killer LPs have been shelved with no hope of seeing the light of day? Instead of dwelling on the latter, I’m going to focus on the former. Recorded during their heyday back in 2010 and originally abandoned for being “too speedy”(?), BOG PEOPLE laid down twelve tracks of deathrock-infused UK82, sounding like an unholy mix of RUDIMENTARY PENI and CHAOS UK, with moments that remind me of current punk champs ELECTRIC CHAIR. I love the guitars here, they have an almost psychedelic, swirling effect that works so well, most notably on “Constant Torture” and “Illusions.” Highly recommended, this record fits perfectly amongst the current landscape of punk. Maybe in 2010, the world just wasn’t ready for BOG PEOPLE.

Brix! Brix! CD

Seven original cuts of straight-ahead street rock and a by-the-numbers NEGATIVE APPROACH cover. BRIX! keeps things moving along at a brisk pace, which I appreciate. None of the songs crack the two-minute mark, and they play faster than many bands that they might be compared to. While not as refined as CONSERVATIVE MILITARY IMAGE, these lads are cooking with a few of the same ingredients, blending hardcore and Oi! As expected, the vocals are gravely with plenty of gang chants throughout. A touch of pub rock influence creeps in, culminating in a lifted “Back In Black” lick at the end of their eponymously titled song “Brix!”—I could’ve done without that, but it is instructive. They don’t sound like AC/DC, but they do sound like the kind of band that would randomly break into a tired AC/DC riff.

Cel Ray Piss Park EP

These Chicago punks who share a name with a gross New York deli soda have teamed up with French label Six Tonnes De Chair for their second release. CEL RAY is clearly a band who’ve clomped around in the yolk that oozed out of NWI a decade or so back, but they’ve managed not to track too much goo onto the four tracks that make up this EP. By forgoing the brash cartoonishness of a lot of their contemporaries and balancing their DEVO stiffness with some loose, jazzier sounds closer to the MINUTEMEN, they avoid sounding like the straight CONEHEADS-core that is all too ubiquitous these days. It’s upbeat, energetic punk that reminds me bit of what I love about the pre-hardcore punk that came out of Southern California,  anchored by a strong vocal performance—Maddie Daviss delivers her lyrics about the mundanities of Midwestern living in a cool, deadpan talk-shout that every so often breaks into a full-throated song—with just the right amount of C.C.T.V.-esque jitteriness to give it more of a contemporary post-punk-y edge. Absolutely worth checking out!

Chueko Tools of Oppression EP

Portland’s CHUEKO’s new EP Tools of Oppression offers a compelling blend of American hardcore and UK82 influences reminiscent of bands like GBH. The fusion of these two styles creates a raw and energetic sound that captures the essence of hardcore punk. Nothing new, but sometimes you don’t need to reinvent the wheel. The EP’s aggressive and powerful music is sure to resonate with fans of both classic and modern hardcore music scenes. Unpretentious and raw!

Civilian Civilian demo cassette

Extremely promising demo from this Baltimore outfit, packing earworm riffs, larynx-lacerating vocals, and an intoxicating blend of hardcore sensibilities and some of the Second Empire Justice BLITZ worship so oft-used by nous amis across the channel in France. Really great stuff and cannot wait for more.

Cold Cream Cold Cream II CD

Carrboro, NC band of scene veterans that plays SUPERCHUNK-style indie punk with some fuzz-psych and hardcore sprinkles. Tracks like “Cactus Wife” and “North Pole South” are catchy, likeable noisy pop that you could throw on at a backyard BBQ with no complaints. “Fast Fash Treasure Island” branches out with some Kim Gordon-esque vocals and a sneaky lead line that gives a hint of what’s to come. “Fixedair” and “Penelope” are swirling psych excursions with fuzz tunnels and submerged cave-in vocals. Then, as a surprise, COLD CREAM goes hardcore for the last two, channeling the melodic end of HÜSKER DÜ. Upbeat and enjoyable CD with enough experimentation for repeat listening.

Colère Unleashed LP

Hailing from Belgium is COLÈRE, with a pretty strong LP release in the form of Unleashed. I think it’s pretty cool—strong D-beat influence on some American-style hardcore punk tunes. Not quite as dirty as I think it should be, but overall I like it quite a lot. Usually I find covers on full-length releases as largely pointless, but they do a version of “Face to Face” by the FAITH that I think is pretty cool and they put their own spin on it. Their own tunes ain’t half bad, either. Not an album I’d necessarily go nuts over, but a pretty cool listen overall and I’d recommend it.

Country Jeans Put Your J. On cassette

Some bluesy, scratchy songs taped on a four-track. I believe COUNTRY JEANS is at the moment a solo project. This has some moments that are a good listen and remind me a little bit of the COUNTRY TEASERS (“Put My Jeans On”), however the body of work as a whole is lackluster. It comes off unfinished for all the wrong reasons. 

Cross No Beginning, No End cassette

Faster hardcore bands seem to be often overlooked and forgotten. Seminal outfits like HERESY, ELECTRO HIPPIES, or DEEP WOUND helped to solidify the hardcore genre, but somehow got lost in the vocabulary of today’s hardcore scene. Luckily, there are some modern bands that dust off some oldies and give them a new dimension, like NOSFERATU, the ANNIHILATED, and others. CROSS is a fast hardcore band hailing from New York that brings an intense energy to the genre with blistering drums, gritty vocals, and raw guitar riffs. Their songs are short, sharp, and pack a punch, showcasing their ability to deliver high-octane performances that will leave you exhilarated and craving more. If you’re a fan of hardcore punk and fast-paced music, CROSS is a band worth checking out. And shoutout to Roachleg Records for delivering the goods yet again!

Cruelster Lost Inside My Mind in Another State of Mind: The Singles Collection LP

Cleveland, OH’s crazy lo-fi punkers present this collection of singles from their adventures, compiled here for the delight of the commensals. Made from non-album tracks from their twelve years of activity so far, it’s rough-edged with a kind of garage-y punk attitude, with its own dosage of fury, rage, and nostalgic feelings of being in a youngster punk formation in your early years playing live for the second time. Things of a sincere and chaotic nature.

Dead Years Night Thoughts LP

There seems to be no shortage of coldwave/post-punk/deathrock bands at the moment, and frankly, I love it. Go ahead and add Germany’s DEAD YEARS to the list. On Night Thoughts, they play a cool brand of post-punk, sometimes reminding me of a more propulsive HOME FRONT and sometimes reminding me of an Oi! band minus the saxophones and tough-guy gang vocals. Speaking of, the dual vocals are a nice touch and add some depth and nuance to the proceedings. I will say, the record is a little long for my taste, and some of the tunes do blend together about halfway through. This is no dealbreaker; in fact, it’s probably just my social-media-addled attention span that’s the problem. Anyways, the songwriting is solid, and on tracks like “Into the Dark” and “Mind Circle,” DEAD YEARS really take off.

Dez Dare A Billion Goats. A Billion Sparks. Fin. CD

Solo project from Australia that sounds like MONSTER MAGNET and DEVO caught in a drug bust. Heavy groove riffs and psych experimentation nestle up to chirping 8-bit synths and crunchy beats, accompanied by spoken/barked vocals. The production is perfect: DIY, open-room sound with big drums and bigger guitars and vocals slightly low in the mix. It sounds live, but it also sounds meticulously crafted at the same time. “Got a Fire in my Socket” opens the album with new wave keys and buzzing bass, while the next few tracks, “Matter Vs Matter” and “10,000 Monkeys + An Argument with Time,” bring out the super riffs. It’s an unusual combination of dorky guitar hero power, but it flows so well and comes across so naturally that you’ll question why this isn’t a regular genre blueprint. “Entangled Entropy” features swelling synths and a post-punk bouncing bass line with a vocal melody that recalls the mellower moments of TOTAL CONTROL. Highly unique and highly recommended.

Disinterred Corpse Burial cassette

Holy shit, this is chaotic as all hell. I can’t lie, the moment I saw the length of each song, I knew I was going to love this. Is that a bias? I guess it could be, but I can’t deny my adoration for sub-minute songs. Pure grind insanity here. I’m curious as to how the drums were recorded. It sounds like they were tracked directly to a TASCAM through a karaoke mic. They are blown the fuck out and it really adds to the madness. This sounds like the most organized mess of music I’ve ever heard in my life. It really distances them from other modern grind which sounds a bit too over-produced and clean for my tastes. I did initially scoff a bit at the cover art’s “Extremely Graphic Content” warning, but in hindsight, if any album is deemed worthy of that title, it’s this one. Wonderful stuff here, straddling the line between noisecore and grindcore.

Divine Sentence Demo ’22 EP

Absolute perfect execution. Absolute visceral destruction. Swiss vegan metalcore has never sounded…well, maybe it’s never sounded like anything before this demo leveled its corner of the internet back in 2022, but now it sounds like fucking DIVINE SENTENCE. All of the metalcore tropes are here, but this shit is so unbelievably fierce, and everything that you expect to happen? It happens, but more. The chugs, the moshes, the vocals, the guitar squeals…I didn’t know I needed this, and now I don’t know that I can go on without it.

Döraid The Savage Years 2011–2012 CD

This one’s interesting and filled with raw energy. Obscure and grindy Tokyo metalpunk that flirts with thrash stances, and with some surprisingly powerful vocal work. Crunchy mayhem that sometimes ends in a strident guitar solo from another era that seems to be willing to rip you apart; the riffage here is on-point. This CD summarizes some of their previous releases from 2011–2012. Recommended for obscure Japanese metalpunk addicts and idolizers, get ready to have your ears buzzing after this one.

Drill Permanent LP

A vinyl tombstone for Philly trio DRILL, who have finally resurfaced after their 2019 demo cassette only to release this LP in commemoration of breaking up. Eight tracks of skronky, shouty panic punk that have the art-schooled “household appliances as instruments” electro-wave of the first CRASH COURSE IN SCIENCE single positioned as the angel on one shoulder, and the early ’00s tech-hell dance punk agitation of NUMBERS as the devil on the other—cowbell is banged generously, synth whirrs and squiggles and squeals, and gyration-ready bass lines hold everything together like extra-sticky Krazy Glue. The twitchy beats and frayed-nerve shrieks of opener “Within Reason” untangle into an unexpectedly melodic (but still resolutely off-kilter!) sung chorus, and the doubled-up, sing-song chants from bassist Nina and synth player Sonam on “Pipsqueak” provide a playful counterpoint to the band’s wound-up instrumental squirm; Permanent is a continuous push/pull between anxiety and serenity, but as we all know, anxiety always wins, and so did DRILL.

Drunk Meat Diagonale Du Vide LP

With a name like DRUNK MEAT and a location like Bordeaux, France, I was certain this was going to be some sub-Slovenly Euro garage. Au contraire! This is way more interesting. What we have here is some po-faced post-punk, somewhat in the vein of TOTAL CONTROL. DRUNK MEAT is actually just a duo, and nearly all of the ten tracks on this release are built around a synth and drum machine backbone. However, it doesn’t really sound inorganic—it’s more of a swampy groove that’s halfway between the SCIENTISTS’ “We Had Love” and JOY DIVISION’s “Heart and Soul.” But guitars are the stars of the show here. They break through the muck in shimmery walls of sound or glide on top as echoey surf licks. In that regard, it really reminds me a lot of late-period TV GHOST. I don’t know that anything on this record is as memorable as that band’s “Veils,” but it’s a pretty decent substitute if that’s something you’re pining for. Definitely worth a listen.

Dry Socket Sorry for Your Loss LP

Powerhouse hardcore from Portland—DRY SOCKET sounds confident and aggro on their first LP Sorry for Your Loss. An album focusing on grief, internal struggle, and finding your place in the world; you can hear the frustration in vocalist Dani Allen’s voice, which really tends to be the focal point on the album. The delivery is fantastic, sounding feral and desperate in equal measure, my favorite example being “Cultivated Fore.” Sonically, DRY SOCKET opts for a more angular guitar sound rather than the blunt force usually heard in this style. It’s cool and refreshing, making for a very engaging listen. Check out “Equinox” and “Born Again.”

E.T. Explore Me Drug Me CD

It’s difficult to use the tools of the past to make something that sounds new, coming from its own strange point of view. E.T. EXPLORE ME is firmly indebted to garage rock from all its resurrections, including that of the early ’00s, to refreshingly potent effect. With a crunchy organ highlighted in practically every hook, these Dutch rockers have a sonic palette that hammers home a disaffected-cool boogie. Track after track oozes with alien attitude, helped along by a lush use of synths that squabble and stab underneath hushed vocals and original applications of percussion. It’s all very danceable and never stale, sitting comfortably alongside tried-and-true acts like QUINTRON AND MISS PUSSYCAT and even dabbling in darker psych realms à la MOON DUO. Title track “Drug Me” in particular has a locked-in zaniness impossible not to bop around to especially with an utterly cranked organ sound that is deliciously dank ‘n’ dirty. All in all, a cool time that feels like a throwback to the future.

CMO​Γ / Ergophobia Paran​ö​id Visions split 10″

DISCLOSE worshipping time! You know the drill, this one is for the Kawakami aficionados out there. Nothing new under the sun, just two bands, CMOΓ (“Smog”) from Skopje and ERGOPHOBIA from Germany, sharing their love for noisy, fuzzed-out D-beat. So if you’re ready to dive headfirst into a sonic maelstrom of D-beat, give this one a spin. You won’t be disappointed.

Fear the Spider Hear Us Now CD

There’s something I just don’t like about this one. I feel kind of terrible saying that, but that’s where I’m at. It’s catchy and melodic and all that, but there are just too many red flags that point to the band taking themselves too seriously, starting with the name of the record. Sometimes traditional punk, sometimes almost hair metal (“It’s Time to Rock”), it just leaves me cold. And if you’re going to be bold enough to cover a band like the STOOGES, you really need to make it yours. Don’t do it like you’re a cover band.

Fire Cult The Very Edge of the Sea LP

Debut LP from the Swiss/Spanish trio FIRE CULT.  Fun indie pop sound mixed with sass, whines, and screams that are at times dissonant and at others melodic (often both) within these longer-format songs, as in “The Runaway,” which starts slow, droning and repetitive, then halfway through shifts to fast and upbeat, declaring “I’m running away.” “No One Tells You” is my pick of the album, with blaring attitude and a quick tempo. That said, I think “Static World” is probably the catchy indie pop hit of the lot—it’s tender, sweet, and has enough grit to balance it out. I got to review their first release We Die Alive EP when it came out in 2021, and they have only expanded on their cult sensation that seems to be focused on playing great tunes and having a damn good time while they’re at it.  While The Very Edge of the Sea certainly contains the elastic-snap of indie, they have dropped the synths that were on their first release, giving this album a heavier, and at times more serious feel. This good-time pirate ship of a band may catch your attention, too. Beware!

Fortitude DCxPC Live, Vol. 12: Live at Lou’s LP

FORTITUDE live recording at Lou’s in Orlando on 12” vinyl—DCxPC focuses on live recording releases on vinyl. Stylically, it’s NYHC in the vein of JUDGE, GORILLA BISCUITS, etc., with songs about anti-racism and going back to the core values of HC. The recording documents a specific vibe that won’t be replicated in the studio, but not sure if most people would like to hear live recordings in this format. Might mean something more for people that were involved in their scene to have this in their collection. Limited edition of 200.

Genogeist Technophobia EP

A 2021 recording released by various labels of Portland crust punk in a metallic form. A tank formation with a demonic, driven main vocal, a blasting wall of sound, doom-evoking bass lines, and very well-executed, on-point riffs. Ever-ranting drums and solid metallic guitars achieve a fortuitous ball of noise, with their metal crust nature on display in “Desolate Realm.” Hearing loss guaranteed! Favorite track: “Technophobia.”

Giglinger React 12″

If you’re familiar with GIGLINGER, this may be a far cry from your expectations…React starts off with an eight-minute track (the shortest of the four cuts is five-and-a-half) that mixes post-punk with jammy psychedelic noise rock. Am I at rave? A cavern in hell? Right, Finland.  Looking back on their discography, I found a totally different band—straightforward, lo-fi punk that was great!  Take, for example, their full-length cassette 13 from 2021, that is two sides of riff-driven, fast-paced punk rock, like a group that enjoys the DAMNED. Whether these slower, longer, more spacious songs (with a much cleaner production) are a new beginning for GIGLINGER or an experimental layover, I don’t know.  I like parts of this, and I’m reluctantly pigeonholing the band by saying I miss the heart found in previous releases. But hey, they’ve been at it over two decades; it’s your band, get weird!

Grey C.E.L.L. Cursing Every Lesson LP

Driving hardcore punk that eschews convention by injecting unexpected elements of metal and post-hardcore. The vocals are severe, brutal, and out front in the mix. There’s a complexity to the songwriting that makes me think of something that Ebullition Records would’ve released in the late ’90s, but a bit more straightforward and modern. The drum work on this album is stellar, complimenting the discordant guitars. Overall, a great fit for the revamped Council Records, as they revitalize an amalgam of genres that had grown quite stale.

Grisaille Entre Deux Averses​.​.​. 7″

The importance of melody in punk music is often overlooked. However, it played a crucial role in shaping the sound and impact of punk songs. GRISAILLE, featuring members of SYNDROME 81, presents a debut EP that seamlessly blends addictive melodic punk influences with emotive storytelling. Drawing comparisons to GORILLA ANGREB, the VICIOUS, and early MASSHYSTERI, the band showcases a fresh take on the genre. With each track, they deliver a raw energy that resonates with lovers of the more melodic side of punk, while their poignant lyrics add depth to their music. GRISAILLE’s EP promises to be a standout release in the punk scene, capturing the essence of classic punk while infusing it with their own unique style.

Grumble Demo Spring 2023 cassette

Talk about a funk time warp—Philadelphia’s GRUMBLE will drag you into another dimension. Thought stinky region rock was a thing of the ’90s? Welcome to 2023, my friends. Gruff, catchy, urgent…reared on a diet of SHOTWELL ’80s punk, and ready to lend you a helping hand when you need it. “I’d be a virgin if I only had the time” might be the best lyric of the month…or my life.

Haavat Myrsky Nousee CD

This is one band I somehow totally missed until recently, although they have been going since 2019. I should have my punk radar looked at by a specialist; too much Japanese distortion might have damaged it, or there are just so many new bands to check that it has become humanly impossible to know them all, even with a radar as sensitive as mine. So I keep it simple and just pretend to know all the bands and nod confidently whenever an unknown band is mentioned in public, like everyone else. I don’t want to lose punk points. I was curious about this band since Mid from DEVIATED INSTINCT drew the cover (his style is very distinctive) and I was expecting some heavy metallic sludgy crust, but wrong I was. Mid also plays the guitar in the band, but HAVAAT plays heavy hardcore punk with brilliant energetic female vocals in Finnish (she used to sing in RAKKAUS) and a dash of crust. It is a rather straightforward affair, which is the whole point I assume, and I am reminded of ’90s and ’00s anarcho hardcore bands like OPERATION, PARAGRAF 119, or DETESTATION, and crustier British bands such as EXCREMENT OF WAR or RUIN also come to mind. There are a couple of mid-paced numbers reminiscent of old school Finnish hardcore, and even some slower dirty metal punk ones to bring some diversity, but overall the songs are beefy and fast-paced. There are seventeen tracks on the CD, and to be honest, it does feel a little long at times, because this kind of direct hardcore punk works better on a shorter format. HAAVAT could have easily gone for an album with the ten songs highlighting best of the several tricks the band has up their sleeves and it would have made for a more solid record. Less would have been more here. Not a bad album, the vocalist is an amazing singer, but a little long.

Hacker Psy Wi-Fi EP

On this latest EP, HACKER from Melbourne sticks to their marriage of tech themes and pounding hardcore while showing an updated approach to their songwriting. It’s just as tight as their Pick a Path 12” from 2021, but these four tough tunes feel a bit more creative and catchy than the band’s previous output. It seems like these guys are becoming the diabolical machine they allude to in their lyrics and artwork, and “Scammer” is a real jam if you’re looking for something snappy to get stuck in your head.

Hell is Here Hell is Here cassette

Bringing gruff punk stylings out of Columbus, HELL IS HERE shifts between metallic D-beats and traditional USHC energy on this seven-song tape. They have a penchant for brevity, with songs clocking in at run times of twenty-six and even eleven seconds. They paint bleak pictures in their brief lyrics, and the music is hard but basic. It feels like an embryo that has potential to grow into a monster like Portland crushers NEGATIVE PRAYER or something like that.

Horror Vacui Distressed / The Last Dance 7″

HORROR VACUI from Bologna, Italy has descended again with a dual-track disc of deathrock that is sure to feed the goth in all of us. Heavy with punk influence, this isn’t just some CHRISTIAN DEATH-inspired darkwave, but more like grave-desecrating anarchic rock’n’roll. Opening this 7″ with “Distressed,” a rumbling, tube-screamer of desolate emotion, sets the mood for this disc. When “The Last Dance” kicks in, you’d better have your dancing shoes laced up, because it’s sure to “keep you dancing all night long.” There’s something in these songs that reminds me of LORDS OF THE NEW CHURCH, but with an even drearier delivery.

I.L.L.O. 10 Ill Songs cassette

A member of Leipzig’s ONYON goes solo, and while my patience for home recording projects of this ilk (loopy, lo-fi punk replete with drum machine) has worn extremely thin over the last several years, I.L.L.O.’s take on the form actually offers a focused and tightened-up counterpoint to ONYON’s neo-new wave garage warblings, which I’ve often found to be frustratingly flat. Threadbare, wiry guitar hits the target a few rings removed from a PETTICOATS bullseye—the intro to “Summoning” is an especially blatant “Normal” fake-out, although any further expectations of detuned DIY clang in that track are quickly dashed in favor of rumpled, lilting bedroom pop of the late ’80s/early ’90s K Records variety—whereas the gentle, falling-apart DIY stumble of “Way of the Shrimp” is more suggestive of a post-egg-punk MARINE GIRLS (is that a recorder solo?!), and “The End is Coming” and “The Unknown” have the sort of coolly minimal art-punk jitteriness I’ll always welcome, thankfully much more COME ON than CONEHEADS. Nothing on 10 Ill Songs is going to set the world on fire, but that hardly seems to be the point of it anyway.

Impermanence 9-Song Offering cassette

Powerviolence out of Portland teetering more on the trashier side. Hard for me to not compare these guys to MAN IS THE BASTARD seeing as they’re a bass/drums combo, but that’s what I’ll have to default to here because…well, they sound a lot like them! They also give off a SPAZZ/CAPTAIN THREE LEG vibe, as their riffs are catchy and melodic. For just being two people, they sound massive and super heavy. Drums sound natural, which is always an A+ in a genre that resorts to triggers.

IV Reich Discografía LP+DVD

IV REICH is one of the most underrated Spanish bands. Formed in 1981 in Zaragoza, they were one of the bands that pushed hardcore to its more abrasive side. Their music took cues from DISCHARGE and GBH and was built on viciously raw guitars, fast gritty drums, and an intense anger that persists throughout the lyrics against the powers that be. This LP contains all of the band’s discography, including their two demo recordings, which were self-released in 1984 and 1985 (both on cassette), as well as unreleased songs that were never recorded but saved from wild live performances from 1986 and 1987, before the band split up in 1988. The album comes with an accompanying fanzine, which includes photos, posters, and press clippings. The fanzine also includes the band’s biography and all the band’s lyrics, all of which are translated into English as well. Also comes with a DVD, which contains three live videos from the band, which were released in 1985, 1987, and 1988 (“Cine Venecia,” “Vera de Moncayo,” and “Soraluze”). The DVD also includes an unreleased clip of the group (1985), a photo gallery, posters, and audio discography, plus a full live show from the band (Sala Enbruto, 1987). An important piece of Spanish hardcore!

Jade Dust Grey Skies LP

Why does this record make me think ”grunge and ’90s alt-rock”? Is it the way the rhythm alternates between shambolic and thrashy? The distorted rhythm and strong lead guitars? For whatever reason, I feel this would fit nicely on the No Alternative compilation. The vocals have a gentle sneer that goes well with the otherwise splashy songs. Those songs felt bigger and more realized than their two-minute running time might allow. JADE DUST does more than alternate between verse and chorus, the song structures felt very deliberate and well-edited.

Judy and the Jerks Total Jerks LP

JUDY AND THE JERKS haven’t reinvented the wheel, and truth be told, they may have even dinged it up a bit while taking it out for a spin. But they’ve done so in an undeniably  infectiously fun fashion. Assembling tunes from a handful of previously released tapes into one giant long-player party, this LP provides a comprehensive taste of JUDY & co.’s unique brand of rag-tag punk ruckus. Sometimes agitated and pointed, and often playfully warped, the group’s lo-fi approach and weirdo song subjects ring true as the sound of these guys having a great time. Also, I can’t help but feel a kinship with a band that opts to cover BUZZCOCKS, AGENT ORANGE, GORILLA BISCUITS, and the GO-GO’S (among others)— clearly they have a wide and well-studied spectrum of appreciation. It’s a joyful celebration of all things punk, complete with an MRR reference on “California.”

Kevlar Upper Kevlar Upper demo cassette

Caveman hardcore from California somewhere between a palate cleanse and a pressure wash, KEVLAR UPPER tips their hat to notions of “mystery,” presentation-wise, but not so much that I can’t highlight the presence of dudes from WORLD PEACE, COMPASSION, ULTRAS, and Fear the Walking Dead—as in the TV show, not some band naming themselves after it. Spenser Granese is the guy adding to the long if intermittent crossover history of hardcore punk and acting, and I think it’s him on vocals for these five songs. Charging out the gate with borderline powerviolence intensity—in the ballpark of someone like VACCINE—the five-piece goes slower and longer for “Shackle,” which is kinda like a weightlifter’s version of TOTAL ABUSE. A fine example of the sort of thing it is.

Last Quokka Red Dirt cassette

Real fukkn infectious Aussie punk with serious modern indie vibes—this is a band whose vision and mission are fully realized. The band that by all rights you should hear on the damn radio and think “damn, commercial viability has finally caught up to actual quality,” even though that will never really happen. “My Girl” is the smash hit that will never be, and literally every track here is absolute in-your-face garage punk of the highest order. Snarling ferocity and hooks for days, I’m actually not sure what else you could ask for.

Laughing Corpse Demented Thoughts Posed as Dark Comedy cassette

DC hardcore that sounds like the best of that city’s punk pedigree. Four short songs in about five minutes that rip with tight bass/drums, solid guitar work, and intelligible vocals. The first three tracks sound like well-made DCHC that could have been on an ’80s Dischord comp, while the final track “Demented Thoughts” stretches out with textural, flanged-out, overlapping solos and screams, lending itself to a much darker sound. Strong release for traditional hardcore hounds.

Leatherman Telephone / Tryin’ 2 4get 7″

Female-fronted power pop from Australia. I’m digging this right off the bat. The riffs are super catchy. It’s got guitar, it’s got bass, it’s got drums, but none of it in excess. It’s got balance. Hell, it’s even got handclaps! Two cuts and both are really working. This one is worth looking for.

Life Scars Pekniete Serca CD

LIFE SCARS from Eastern Poland recently dropped this full-length slab of melancholic, stench-ridden, D-beat-driven crust and it’s pure gold. Simple yet concise instrumentation backs a vocal delivery that is reminiscent of NAUSEA. Lyrics delivered in LIFE SCARS’ native language have a sort of sweetness that feels ancient but alive. Blasting breakdowns and screaming guitar crescendos are ubiquitous and draw the listener further into the pummeling storm. If you’re a fan of NUX VOMICA, ROT//WOVEN, or AGE OF COLLAPSE, then be sure to check this out!

Mad Brother Ward & the Abrasives All Bad All the Time LP

If I were a crueller chap, I might have simply pointed out the nominative determinism in releasing an old man punk record with the title they’ve chosen, but it is a new year after all, and new leaves are to be turned over! It is bad though, that’s undeniable. I’m always wary of records that have the phrase “punk rock” liberally plastered all over their press release; almost exclusively used by shoe companies or people who used to own a skateboard when they are talking about how they are disrupting the cloud-based systems industry. It is, how the kids say, giving “calls themselves ‘procurement rockstar’ in LinkedIn bio.” Linguistics aside, this record basically sounds how it looks. Four old blokes making old bloke music, nothing earth-shattering or vital here by any stretch. Not worth your time.

Main Breaker II CD

This power trio from Buffalo surely distances themselves from the pop punk sound on their prior releases to give us a fusion of classic West Coast-influenced hardcore punk from the late ’80s and early ’90s, but with little pinches of other sources here and there. With solid cadences throughout the ten tracks, the vocals feature a drag that’s on-point and resembles a wide range of performers from Biafra to BLACK FLAG’s Rollins era on some tracks (like “Humanity Without the Human is Just Ity”), with crunchy bass lines that pick up and sufficient guitars. Some songs even have a gloom about them that’s associated in my mind with nostalgia for other times—altogether, it’s a solid album. Favourite track: “Ludicrous Speed.”

Malcría Fantasías Histéricas LP

Recently, Iron lung Records released this album by MALCRÍA out of Mexico City, and it goes so hard! Raging but tidy-as-fuck hardcore that makes me throw hands and elbows in my living room. The vocals are so irate that one can’t help but feel the livid mentality and want catharsis in solidarity. Blindingly fast and grindingly distorted guitars tear through tracks in short order with an average song time of around two minutes. Shifting song structures further dissect these tracks with surgical accuracy to create an album that plays like blistering, OG grindcore similar to ELECTRO HIPPIES or early NAPALM DEATH. Lyrics sung in Spanish highlight weaknesses of the self, desperation, and all other classic hardcore themes without sounding completely derivative. I absolutely recommend this album to anyone that loves any permutation of hardcore.

Mass Extinction Never Ending Holocaust LP

This lot is serious, dead serious. It might just be an impression, but I feel that fewer bands sing about animal rights and the horror of slaughterhouses these days, while the topic was very popular back in the ’90s and ’00s. It sounds a little paradoxical, since more and more people these days question the meat industry and challenge conventional diets by going vegetarian or vegan, or calling their parents cruel murderers at dinner. The growing presence of the issue in the mainstream may have impacted its prevalence in traditional punk discourses: since it is in the mainstream, why bother dealing with it in our lyrics? Or is it just taken for granted nowadays, whereas it was still something of an oddity a few decades ago? Do punks still even care? I would think so—after all, vegan food is highly Instagrammable, which seems to matter a lot. But MASS EXTINCTION still cares about this important topic. A lot. These two brothers (they use a drum machine) are rightfully angry at all the abuse animals suffer at the hands of humankind, and to protest this systemic oppression, the band chose the most furious style there is in the punk universe: gruff, dual-vocal grinding crustcore. The sonic and political tradition that MASS EXTINCTION belongs to is old and obvious, namely EXTREME NOISE TERROR and DISRUPT, but with a significant grindcore influence, pretty much like a militant vegan version of MASSGRAVE. Beside the very apt songwriting, the anger and outrage on this recording are genuine, and that’s what makes it work so well. The band even manages to make you forget that they use a drum machine. Never Ending Holocaust was first released on tape in 2020, but it was just too good not to enjoy a vinyl release.

Mazandaran Estranged EP

Mazandaran is known as “Devil’s Land” in north central Iran. This UK-based band consists of members of the Iranian diaspora playing protest music, reminiscent of Burning Spirits-style Japanese hardcore with epic guitar leads. Estranged is the debut recording by the band, with direct political expression coming from their own complex experiences. Raging hardcore punk with a sense of urgency and a combustion of powerful energy.

Model Workers Cry EP

My initial thought upon putting on this expanded reissue from Northeast England obscuros MODEL WORKERS was that it sounded a lot like an Ed Ball and Paul Weller team-up. I know it’s a bit lazy to compare one band to another when describing an act’s sound, but I’ve never really figured out a good alternative. I’m also a little lazy. That said, I don’t just toss out comparisons lightly—I generally spend an embarrassing amount of time making sure they are apt. Seriously, I’ll waste hours queuing up stuff to find the exact songs that made a band pop in my head as a point of comparison. So, when I saw the label copy for this release specifically mentioning TELEVISION PERSONALITIES, the TIMES, and the JAM, I pumped my fist in celebration, partially in an “I just got a tough question right on Jeopardy!” kind of way, and partially because I knew I wouldn’t need to bother checking my work. Anyway! This is the band’s sole 7” (1981’s self-released “Cry” / “My Winter Of Discontent”), plus two 1980 demos and an eight-page booklet with newspaper clippings, lyrics, and other band ephemera. The studio cuts are two great poppy UK DIY numbers that probably should be more widely known. I particularly like “Cry,” which starts out as an unremarkable, nervy new wave track before a hook carried by an incredible yawny croon that’s equal parts Edwyn Collins and Tracey Thorn kicks in—real good shit! The two demos are much rougher and lean closer to mod pop than punk, but they are super catchy and definitely a welcome addition to what was already a worthwhile release. It’s a cool glimpse into what else this band might have done had they stuck it out longer than the year or so they were in existence. All in all, another essential record from the fine folks over at Sealed!

Modern Man Modern Man cassette

Mysterious guy hardcore is back with an absolute vengeance. Five songs of pummeling hardcore punk with a vocalist who seems to have taken a page out of Max Ward’s SCHOLASTIC DETH book. Sounds just like him at times. The similarity pretty much ends with vocal stylings and amount of feedback, though. MODERN MAN isn’t blistering fast, but instead ranges from mid-tempo down to plodding breakdowns. There’s no lyric sheet included, but judging from the band’s internet presence, they have no shortage of things to be pissed about. Not gonna find this on any streaming services other than the Bandcamp site—hard stance against Spotify and pro-Soulseek. Respect.

Moron’s Morons Go Pop! 7″

First off, what a fantastic band name. Second off, what a great record. This is rock’n’roll first and punk second, but it’s definitely punk. And honestly, doesn’t that describe a lot of the best punk ever? It reminds me of the PREACHER’S KIDS, a band I only discovered somewhat recently. Very garage-y, sometimes bordering on swampy (but not quite getting there), and so, so catchy. The hooks grab you and they don’t let go. From Poland, of all places.

Negative Impact P.L.H.C. LP

Polish East Coast-style hardcore sung in English—reminds me of WILDSIDE with some occasional powerviolence here and there. Vocally, they cover nearly every style possible with five(!) vocalists. Mileage may vary here, as each track is pretty much dictated by who is singing. Opener “PLHC” and “Girl’s Not Grey” definitely hit. “Rich Boys Toys Purge” and “Whore in Uniform” definitely do not. It seems a little silly to me to have this many vocalists shifting the style so frequently, but hey, they’re doing their thing. Overall not bad, but if you want my honest opinion, losing a couple vocalists and focusing on one style would go a long way for NEGATIVE IMPACT.

Negative Prayer Self//Wound cassette

Are you a fan of death metal mixed with a touch of crust and D-beat? If so, then you’re in for a treat with NEGATIVE PRAYER. This band is a powerhouse duo of current and ex-members from renowned bands such as POISON IDEA, ACEPHALIX, INCANTATION, VASTUM, and FUNEBRARUM. With their unique blend of influences and experience, NEGATIVE PRAYER delivers a sound that is both ferocious and captivating. Drawing inspiration from iconic bands like DRILLER KILLER and WOLFPACK, they infuse their Swedish D-beat with relentless death metal aggression. The pounding drums, blistering guitars, and guttural vocals create a sonic assault that will leave you craving more. With a lineup boasting members with such impressive resumes, it’s no surprise that NEGATIVE PRAYER is a force to be reckoned with. Each member brings their own distinct style and expertise to the table, resulting in a cohesive and powerful sound that sets them apart from the rest. This is true sonic warfare!

Nervous Gender Music From Hell 2xLP

I didn’t realize this, but this 2xLP (an expanded version of their LP from 1981) is described as being legendary synth punk—in the end, this proves to be true. The band had a cast of characters that were members at one time or another, including PHRANC and Alice Bag. That’s pretty cool. I’m generally not a fan of the 2xLP format, but when you’re trying to really capture something this significant, it can make sense. Just the genre name of synth punk makes me anxious, and the record itself starts off reinforcing that. Particularly at the beginning, it’s got a frenetic feel to it, and I get the impression that wasn’t accidental. It’s also artsy, which can’t really surprise anyone. As you move into the 31 cuts, it does start to settle down some, becoming almost hypnotizing. As you might expect with 31 cuts, there are some hits and some misses, with far more hits than misses, including a completely unrecognizable cover of the SEX PISTOLS’ “Pretty Vacant.” In the end, imagine a soup that includes synth, punk, and art school, and then imagine an influence of Gregorian chants. Whether or not this is your cup of tea, it’s an important recording of an important movement within an important movement. That’s pretty cool.

Nightfeeder Disgust​ö​r EP

NIGHTFEEDER’s music is a raw, intense blend of punk and metal influences that some would call crust. The fact is that their members helped shape the genre with such important bands as DISRUPT and CONSUME. So, with a resume like that, you should open your ears to this three-track EP! Side A is an anthemic mid-tempo banger with a big chorus hook that almost flows like a VENOM song, and Side B expands on their more straightforward crust past with guitar-driven hardcore expertise. The band’s DIY ethos and commitment to their underground roots add authenticity to their sound. NIGHTFEEDER’s music is a fierce statement that captures the spirit of crust punk, and the artwork creates an interesting immersive MISFITS-like vibe.

NLK Oldbones NLK Oldbones LP

Old-fashioned Cali skate punk here in the vein of early OFFSPRING with a bit of TSOL mixed in. A tight band that I imagine kills at ramp jams, NLK OLDBONES should totally team up and play with BLUE ELEPHANT AND THE SEVEN SNAKES if they haven’t already.

Paint It Black Famine LP

PAINT IT BLACK returns with their first record in ten years. I’m not 100% familiar with their two-decade old discography but if memory serves, this record sounds pretty much the same as they did when they began: fast, breakneck East Coast (pre-YOUTH OF TODAY) HC with a little (just a little) posi vibe. The sound quality is crisp and clear, which typically I dislike, but here it gives them an unsparing, unfussy sound. As an added bonus, “Safe” features a little floor tom/floor tom/snare/floor tom beat, maybe my favorite in all of hardcore. The lyrics are audible, which is not actually a problem for this band.

Frizbee / Pal Splat split cassette

Rust Belt split cassette between PAL from Cleveland, OH and FRIZBEE from Indianapolis, IN. Let’s start with PAL. We already know ‘em, we already love ‘em. Kooky, artsy, hilariously insightful, heavy on the synth, and catchy as all hell. Their first cassette made my 2023 year-end top ten list, and their side of this release might be even better. Two originals and a cover of “96 Tears” by ? AND THE MYSTERIANS, and all three songs are absolutely killer. Moving on to FRIZBEE. Another three songs on their side of the split, also two originals and a cover, the cover being “I’m a Bug” by the URINALS. As far as I can tell, this is the first release for FRIZBEE and it’s a pretty cool start, tho after listening to the PAL side, FRIZBEE kind of comes off like a less kooky, less witty version of PAL. The inevitable issue with splits—the sides will be compared and there will always be a preferred side. In this case, advantage PAL, whereas on their own, a FRIZBEE demo would likely seem all the cooler with nobody else snagging all the accolades.

Panic Defense I Don’t Give a Shit CD

Ahhh…this is a tough one to review. I’m not certain that this is a solo project, but in many ways it sounds like one. This is stylistically all over the map. There’s lots of shreddy guitar work and tons of tempo changes throughout the nine songs on this disc. Some of the tunes are rooted in punk, but there are grind parts, metalcore parts, and even some hip-hop thrown in for (not) good measure. I’ll just come out and say it: I did not enjoy listening to this. The guitar tone is frankly excruciating, and everything sounds very synthetic. I can’t quite suss out if the drums are electronic, but they are really shrill and tinny. Ordinarily, I’d have zero reluctance with my criticism, but there is an aspect of this release that has to be mentioned. Shortly after this project was completed, one of the band members (maybe the only band member?) passed away, and all the proceeds are going to his family to support his young child. While I can’t necessarily recommend picking this up for the tunes themselves, it sounds like a cause worthy of support given the tragic circumstances.

Parallel Worlds In the Comet’s Path LP

Heavy, rocking, full-throated hardcore with former members of VOORHEES and IMBALANCE. The earnest shouted vocals and mostly mid-tempo clean production recall a mix of B’LAST and FUCKED UP; carefully arranged heavy guitar music with enough grit to appeal to metalheads as well as punks. The title track has a three-way guitar and bass call-and-response pattern that adds texture and gives slight post-punk vibes. This is continued in the six-minute-plus “End Song” with JOY DIVISION bass and sung vocals that builds into a loud climax. Solid, straightforward hardcore worth checking out.

Parasite Parasite LP

PARASITE’s new LP consists of eight tracks of epic, canonical raw punk. Melodic parts aren’t as death metal-sounding as the typical melodic crust bands, but have this particular kind of eerie atmosphere to them. Punch-in-the-gut hammering drums with driving guitar and bass tracks that sound extremely similar to Victims of a Bombraid-style raw punk. Seemingly  cookie-cutter, but a unique approach to the melodic side of this genre.

Locura / Pesticide split LP

This record is a bit like a time machine to the mid-’00s for me, an epoch when neocrust was still hot and many patch-worshipping bands started to experiment with epic, dark, melodic tunes, but also screamo and black metal. A time when I listened to and enjoyed the genre, but one that did not last too long in my case, as the genre’s cheesiness quickly bored me (I don’t mind cheesy, just not this kind). Since I don’t follow new neocrust or blackened crust or screamo crust bands, I am absolutely clueless about what’s hot these days in this little niche that still has a lot of devoted fans (the genre appeals to the emo crowd, too). The young PESTICIDE and LOCURA are good at what they do. The former is from Belgium and reminds me of MADAME GERMEN or FALL OF EFRAFA, which I suppose is what they are going for. A lot of different moods and changes of pace with long, narrative numbers. The latter is from the Netherlands, and is more direct and less polished. LOCURA is more balanced between modern hardcore and ’00s crust; they have that generally fast, brooding, and dark hardcore sound with melodies, but also a ’00s crust vibe. Let’s say they would feel at home between Biel’s PACK and Poland’s ANTICHRIST. Both bands have a genuine DIY political punk feel and the job is done. But they are not my cuppa.

Piss Test Don’t Care LP

The foursome PISS TEST takes shit from no one and deserves your attention. At first, I was put off by the “cartoon cop squinting at a urine sample” logo from their first EP 7 Songs 7 Inches, thinking they were some half-baked teen project, but then the opener here, “Don’t Care,” barged in with buzzsaw guitars, pummeling drums, and frontwoman Debra Fetzer’s throat-punching vocals syncopating “I don’t care what say about me / Honey, I don’t care what you think about me,” and I was left with a much, much different impression. Here lies a project steeped in Fetzer’s years in the industry, distilled to a biting yet warming liquor. She got her start in Gainesville in 1983 with the band MUTLEY CHIX, performed for seven years, fronted other bands through the ’90s, and worked on booking shows and promoting the music scene through the Hardback Café. It was at the Hardback during COVID lockdowns that PISS TEST formed and used the empty venue as a practice space. There’s a great write-up about Fetzer in The Independent Florida Alligator, if you’d like to learn more. It’s not often you see a band of this caliber fronted by a 60-year-old, but unfettered by an instrument, she throws high-kicks like she’s fighting for her life (and clearly winning), while telling it like it is with tongue-in-cheek: “I’m a she-devil / An old bag / In it all, I revel!” from “Battleaxe.” Don’t Care marks the second release from this Gainesville based-band.

Przejebane Przejebane LP

A lo-fi and primitive punk artifact from the late ’80s Polish scene, this demo from PRZEJEBANE (“Fucked” in Polish) was allegedly recorded in 1987 and features ten tracks of cut-and-dry punk, with clear influences from the RAMONES, the CLASH, and a little bit of early BAD RELIGION, sometimes inching towards skate punk. Lyrically, from what I found through some internet sleuthing, the band speaks mostly on anarchism and drug use, however I can’t make out if it’s in a positive or negative light. Pretty cool, but not entirely essential stuff. If you want a small taste of some late ’80s punk from Poland, this may be worth your time.

Pure Sport Bigger Business cassette

Las Vegas band whose music barely fits under the punk umbrella, but here we are. Bigger Business sounds radio-ready; QUEEN OF THE STONE AGE-leaning boogie crunch with clean production, frequent wah-wah solos, and “oh yeeeaaah!”s. This is a generous comparison, but “Waterboy” has fast spoken-sung verses that remind of MCLUSKY’s freewheeling vocal style. The music itself, though, is predictable, neutered modern rock. “One Too Much” sounds like that band JET blues-screaming through a plodding song about beer. Catch these folks at your local corporate radio station’s Summer Jam second stage. They will probably be huge.

Pushups Empty Faces / Global Corporation 7″ reissue

As the extraterrestrial glam rockers ZOLAR X began to implode in 1979, two of its members, Ed Dorn and Zory Zenith, split off to form the synthy power pop band AURORA PUSHUPS. After releasing just one 7”, Zory exited the band, and Ed carried on, rebranding as PUSHUPS. What we have here is a reissue of that iteration of the band’s sole release brought to us by the Italian budget label Breakout. It’s two tracks of glammy new wave pop—imagine a mix of GARY NUMAN, MILK ‘N’ COOKIES, and, well, ZOLAR X. It’s fun stuff, for sure, and it probably would have been an essential pick-up had HoZac not released a compilation of the band’s complete recordings just a year or so back. Still, you certainly could find worse ways to spend your money.

Que Lindo Que Lindo demo cassette

Norwegian fringe music has always proved itself to be very nihilistic, and QUE LINDO’s debut demo is no different, as it is a wild ride through unconventional punk sounds. Their bold experimentation with different moods and sounds sets them apart in the punk scene. The raw energy and unapologetic attitude in their music creates a unique listening experience that leaves one wondering what else could come of this outfit. The weirdness is prevalent, and the only band that comes to mind is GISM—even though they sound nothing alike, there are some similarities in their adventurous “no fucks given” approaches to music. QUE LINDO’s demo is a refreshing break from the norm, offering a glimpse into the exciting future of punk music.

R.M.F.C. Club Hits LP

Yet another top-notch band out of Australia. I have said it over and over again at this point, but they really know how to rock in the Southern Hemisphere. Lovely dance punk that reminds me quite a bit of SHOPPING, CHERRY CHEEKS, and all things ADAM ANT. I am smitten with the guitar tones here. Very natural, but unique and ethereal. Lots of care and patience went into this recording and it really shows. Great work here, and well worth a spin!

Acaustix / Ready Armed System Military Grade, Vol. 1 split LP

Military Grade is a split series that aims to pair the best of the best in modern extreme music on 12’’ of wax. It’s curated by Roachleg, who vehemently stirred up the contemporary punk/hardcore scene by putting out dozens of interesting new bands from all over the world, as happened in case of READY ARMED SYSTEM and ACAUSTIX, whose demo tapes were released by this label. READY ARMED SYSTEM (R.A.S.) plays less distorted but totally frantic hardcore that’s clever rather than chaotic while getting super angry. They play ultra-fast, although their dynamism is varied with stops and changes creating powerviolence-ish vibes while their rather wild punk music is all over the place and never slows down. ACAUSTIX plays in a more established sound, loud and noisy D-beat, low growling vocals, doomsday preacher-style lyrics. Such music depends on the energy and sound, where ACAUSTIX manages to create the full speed without any breaks, blasting spirits with enough dirt. It works well, even if the frames are well known. So what? They sound to be fans of this type of music they have mastered playing. R.A.S. in this matter is more inventive, which comes with a strangeness that needs more attention. Both bands are great and this is a solid record, a great start for a hopefully long-term series. The cover looks great, recalling naive art of early hardcore records, bad but still good. Good stuff. 

Reckless Upstarts We Walk Alone LP

Canadian flat cap botherers RECKLESS UPSTARTS land with their debut LP of meat-and-potatoes shorthaired rock’n’roll. Opening track nails their politics to the mast by clearly stating their unequivocal SHARP-ness, which I will always appreciate. As for the record itself, it’s more tuneful than I expected, clearly pitching at the more anthemic end of the Oi! spectrum. However, toward the arse end of the record, there’s a totally inexplicable and absolutely honking rendition of the MAXINE NIGHTINGALE classic “Back Where We Started” which made me pull a face that I last did when I accidentally trod in dog shit, and quite frankly, if I wasn’t a prison abolitionist, I’d be calling for a custodial sentence. That being said, while it’s certainly not going to be a bona fide classic by any stretch, it’s perfectly fine and I’m sure it’ll make some lads in sambas and West Ham scarves happy enough.

Rejoice All of Heaven’s Luck LP

The first new release from this Columbus quintet in about two years, REJOICE reminds me a bit of what NEGATIVE APPROACH would sound like if its members were born within the last quarter-century, mainly because the singer sounds like a modern-age John Brannon. Otherwise, this a pretty groovy record, and teeters more on the metal side of the hardcore see-saw than punk. I don’t know how else to explain this, but this record is chock-full of what I’ll call “spooky” guitar leads that you often hear in black metal. Actually, this whole album has a blackened edge to it. It would probably sound like it came directly from the Arctic Circle if the recording quality wasn’t so top-notch.

Repression War Comes Home EP

Complete noise mayhem with sickening, growling vocals and an in-your-face, blown-out recording. Plenty of dirt in the mix, yet still audible without losing any punch of power. An output of pure aggression, without having to resort to the stylistic replication of already validated styles, War Comes Home is hard to compare to anything. Vocal style is reminiscent of Amy from NAUSEA, while the instrumentation is a product of the modern breed of Boston/NYC punks.

Riesgo Remolino de Muertos LP

This Chicago project’s debut LP delivers aggressive raw punk with somber tones and solid cavernous, reverbed screaming vocals, strident riffy as hell guitars, and sharply pointed drums. With former members of anarcho-punk beasts SIN ORDEN (who played once in my backyard on Argentina back in circa 2009, which I will never forget), they exude South Side Chicago attitude and scream about social inequities of the shit system as a very fast-paced ball of sound and mayhem. You are welcome to play here at my house again whenever you want! Recommended.

Savage Beat Tomorrow (Might Never Come) / Used to Be a Tiger 7″

Ha, the vocals immediately remind me of Stiv Bators and the DEAD BOYS. That can’t be too bad. Snotty and growly, this is very much old school punk. The guitar work is sometimes a bit much for me, but it’s also done in that DEAD BOYS style, so that helps. From Amsterdam, if you keep track of those sorts of things.

Scared Earth Death Comes Tumbling Down LP

Ready to have your speakers blown away by some raw, unfiltered Swedish D-beat music? SCARED EARTH’s second album is here to bring that gritty, high-energy sound straight to your ears! Drawing inspiration from legendary bands like ANTI-CIMEX and HEADCLEANERS, SCARED EARTH’s music is a powerful blend of old school Swedish hardcore vibes and modern intensity. They stay true to the roots of Swedish D-beat, delivering that signature sound with fierce passion. With members from DOM DÄR, SVART PARAD, MARTIAL MOSH, and DISSOBER, you know you’re in for a wild ride!

Scraps Demo ’85 12″

Part of a series of reissues for this long-running hardcore punk powerhouse, Refuse Records has dug deep in the vault to bring these demo recordings into the light of day. Compiling songs from three iterations of demos, this is the most raw, chaotic version of French pioneers SCRAPS. Seven songs of sheer noise and aggression, delivered with total abandon. This early incarnation of the band bucks against any sense of melody and dispenses with worn out traditional notions of musicality or talent. What is left is pure rage and unbridled anger, channeled into political punk that sounds something like KAAOS showing up at Dial House on a rampage with CRASS. There are times when the drummer and bassist seem to be playing totally different songs from the rest of the band. Sloppy, frantic, and pissed-off. Killer cover art. This rules.

Sexpill Demos 2xEP flexis

This release consists of demo sessions from Houton’s own SEXPILL. Waging warfare of unrelentless noise bombardment with the H-town royalty, Big Swerv’s Sakevi-style barking vocals rip your skull throughout the record. Feels just like grinding up some rare vintage GAI and CONFUSE demo tapes from the ’80s, crushing up some Hot Cheetos you got at the gas station, mixing it together, and snorting it up your nostril. SEXPILL’s got some real tracks, and I think we all already know who’s going to win the next Grammy Awards. My favorite track on the EP is “Barry White.”

Shitshow -+#!?$ EP

Seven songs on a 7”. That is the proper usage of the format, in my opinion. A nice little slab of hardcore punk. The vocals are mostly sung with a nice attention to melody, which makes this much more of a pleasurable listen than if they were mostly screamed/shouted. It also avoids falling into the trap that a lot of bands like this tend to fall into by sounding dated. You can hear influence, yet it still manages to sound fresh. This one’s gonna get a lot of time on the turntable, I reckon.

Silicosis Bocetos LP

Silicosis is a pulmonary fibrosis of the lung that is caused by breathing in silica dust during the mining process. SILICOSIS is also a dark punk band from the mining town of Lota in southern Chile, and Bocetos is their latest release. This LP is rich with anguish and grief from every angle. Atmospheric synths mix with sorrowful guitars while the rhythm section maintains the plodding pace of a funeral procession. Deep, rich vocals sing lyrics about the meaninglessness of life, depression, and other nocturnal emotions. The title track “Bocetos” is a driving, gothic anthem that builds in intensity and is absolutely beautiful in its agony-ridden delivery. It’s one of those songs that gives you goosebumps, draws tears to your eyes, but also keeps you stepping to the beat. In all, this album draws more from music of the Southwestern Hemisphere than from traditional goth and deathrock sources, and ends up being absolutely unique and incredibly hypnotic. This is for sure one of those albums that I can keep on my turntable for an extended amount of time.

Scum Shots / Skappository DCxPC Live, Volume 16: Live at Mr. Beery’s split LP

Another live recording from DCxPC, this time featuring a skacore and melodic HC split. It’s not hard to see how these two ended up together. Their combined knuckleheaded angst sounds like something lifted directly from a mid-’90s pop punk sampler. Like their skacore peers, SKAPPOSITORY’s upstrokes, blue beats, and keyboards are a kind of musical insert to an otherwise punk affair. They’re driven by distortion and aggression, ska’s just along for the ride. SCUM SHOTS are equally loud and melodic (some of these riffs will burrow into many an ear), but have some of the bouncy rhythms of a skate punk band. The two guitars are putting their hours in, providing a big, chunky sound.

Sklitakling Sklitakling LP

This full-length by Norwegian punk band SKLITAKLING is really, really good. It blends riot grrrl influences with a sort of early hardcore punk delivery into a bopping sound that is tempered by the Nordic perspective—a raucous but refined approach that often calls to mind Swedish greats REGULATIONS, with that sort of toeing the line between really good hardcore and pop sensibilities. Catchy lyrics and furious riffs that fill your mind for the rest of the day are abundant, while the indignant mentality creates an emotional cloud of incensed focus. The predilection towards sonic experimentation leads songs to occasionally take on a post-hardcore bent with quick, over-and-done jam session moments sprinkled in. The instrumental track “Stonerboner” is a wicked slice of guitar-and-bass-driven exploration that captures the multitude of influences that gather to create SKLITAKLING. This single instrumental is enough to garner attention with its spontaneously evolving rhythm and minutia of rock inflections, but there is still a whole album worth of tracks to enjoy and obsess over. Taken as a whole, this album is well worth the trip!

Slevy Vol. 1 cassette

Alright, I’ve got a lot of numbers to throw at you and it may seem a little confusing, but stick with me because it’s more than worth it. SLEVY is a solo project (one man) from Irun, Spain. This Vol. 1 cassette is part of a two-cassette series which has the artist’s entire discography on it. Vol. 1 has his first couple EPs, comp tracks, and unreleased songs all recorded around 2005, it seems. This cassette was originally released in Spain in 2014, but a run of 100 tapes was just done by two Mexican labels at the end of 2023. SLEVY seems to truly be someone who loves all aspects of music within the punk umbrella. Ranging from darker, moodier, goth-adjacent synth-heavy tracks to catchy synth pop to driving garage rock, and some crust punk and hardcore influences on songs as well, SLEVY does it all without it feeling like a novelty. Here’s hoping these labels are working on Vol. 2 as well.

Small Steps Breakthroughs/Breakdowns LP

Cookie-cutter pop punk out of Kentucky. Reminiscent of DIGGER, GAMEFACE, and early ATARIS, but lacking a lot of the charm those bands had. Very lukewarm lyrics that range from the utmost corny (“I’ll learn to take long walks with you / As I forever stand beside you,” as heard in “Rome is Where the Heart Is”), to straight-up tired cliches (“I was born at night / But not born last night” from the track “Three Button Sweater”). The lyrics are probably what kills the band the most for me. The music is actually pretty decent. Catchy at points, sentimental at others. Production is great and everything is very clean and mixed well. But with songs like the ironically titled “Skip This Song,” in which the singer laments about playing a poorly attended show in a wishy-washy scene, these guys make it hard to like them. We’ve all played bad shows, man. It happens. This just comes off sounding more entitled than anything. SMALL STEPS could be a great band if they took a little more time on the writing process. I look forward to seeing what they come up with down the road.

Somerset Meadows Recycle Your Dreams LP

An album from this Portland, Oregon-based band that was stalled by the pandemic lockdown finally makes it out on vinyl. The album is split into a “studio side” and “live side,” giving a special raw looseness to the latter half. The band’s anthemic mid-tempo sound feels equally influenced by garage rock, power pop, and an early ’90s college radio lineage. The lyrics and vocal delivery are what set the band apart from its peers, with a mumbled hesitant optimism for an increasingly dysfunctional existence.

Speed Plans Speed Plans cassette

Three lean and mean cuts of hardcore à la NEGATIVE APPROACH from SPEED PLANS, who continue in the wake of last year’s excellent Statues of God. Blown-out and grimy, the lo-fi recording definitely works in favor of the proceedings, in particular adding a gnarly sheen to the already gnarly vocals. Fast, catchy, and angry, with song titles like “Shut Up” and “Shut the Fuck Up,” this is all I really want from this style of hardcore.

Step Sister Façade cassette

Façade, the second release from Minneapolis-based STEP SISTER, hits with a commendable force. Rapid-fire lyrics are spat over an inferno of bass, drums, and guitar, roiling yet fairly technical for the speed they’re working at. I hear riot grrrl, hardcore, and Midwest DIY meets an Australian chaos, like a Stateside AMYL AND THE SNIFFERS. Grade-A thrash and energy on display here—not much I can find on this band that formed in 2018, but I sure like what’s happening, with seven songs that immediately claim your attention.

Stüds Ice Pipe EP

STÜDS is a project run by Conner from SNOOPER and a member of Australia’s RESEARCH REACTOR GROUP during the pandemic. Style changes from track to track: ’80s Japanese-style noisecore to something in the Lumpy Records catalog to a bedroom post-punk project…it almost sounds more like a compilation release than one single project yet still feels like it’s one thing, especially the feeling of confusion and being on the very edge of sanity. Contains a recording of a death threat towards the band by someone with an Australian accent.

Subvert A Simple Solution to a Complex Problem EP

Originally released on cassette in 1987. Washington State’s SUBVERT came to be in the period after the initial American hardcore golden age, when bands started injecting metallic influences in their fast speed assault. Recorded by future grunge kingpin Jack Endino, this demo perfectly exemplifies the hardcore/metal crossover period and also its proto-crust tendencies, not unlike fellow Washingtonians the ACCÜSED. In 2022, 35 years after it was recorded, this demo cassette finally received the 7” vinyl treatment, and it’s well-deserved in my opinion. Fans of bands like CHRIST ON PARADE, ATTITUDE ADJUSTMENT, and the aforementioned the ACCÜSED will likely dig this one a lot, as well as fans of UK crust bands making noise around this time like CONCRETE SOX and ELECTRO HIPPIES.

Bent Blue / Sunstroke split EP

Two songs from each band, one original and one cover. BENT BLUE offers up some melodic hardcore with vocals that are reminiscent of Ari from LIFETIME a bit. They cover a ONE LAST WISH tune. SUNSTROKE is in a similar vein, although here, I enjoy their side a bit more, or at least their original tune. It’s a bit more energetic than the offering of their counterpart. They cover the CRANBERRIES, which is…OK. The vocals are a bit more gnarly. Almost, but not quite, full-on hardcore vocals. They are very reminiscent of something but I just can’t put my finger on it. Overall, a solid split. My only complaint would be that I would have liked one more song from each band.

Surplus 1980 Illusion of Consistency LP

Quarantine project led by Moe Staiano of SLEEPYTIME GORILLA MUSEUM that uses an exquisite corpse technique to form a loose and expansive post-punk record with fun, low-stakes results. Ideas, no matter how initially goofy they may seem, are given space to breathe in proggy exercises that still adhere enough to post-punk’s angular rhythms and jerky vocals to maintain interest. For example, “Some Few Facts (And One False One) About Birds” has a lot of semi-interesting facts about birds and includes the lines “I like to look at the birds—tweet! / Humans are a bunch of turds—cheap!” It sounds completely dumb on paper, but it’s a rollicking good time with upbeat TALKING HEADS energy. More poignant is “Last,” which runs through the last instances of mundane events in life, like “This will be the last day to have regrets / No turning back now.” It’s a sobering reminder delivered over off-kilter syncopated drums (the drums are amazing on the whole album) and vocals reminiscent of URANIUM CLUB. If we have to walk towards the light, at least we can dance a little.

Parasit / Svaveldioxid split EP

Powerhouse Swede D-beat split. SVAVELDIOXID and PARASIT both bring two insanely blistering tracks. PARASIT has a metal diet…if you need to know what XASTHUR on vocals fronting SKITSYSTEM is, this is a starting point. I will not bore you with any more inside analogies for SVAVELDIOXID, let’s say there is a lot to love. I think this is around the twelfth release that the band has produced, and each one is consistently solid in its ferocity.  Someone please buy the drummer a beer for me. 

Banda Des Femer / Svnya Talaiotik Attack split cassette

Two bands from Barcelona that I have absolutely never heard about (damn, I do get older) do a split tape together, and well, you’ve got to like it when local bands team up to release something. Sadly, this is not my cuppa at all. SVNYA reminds me of late ’80s Deutsch punk or early ’90s Mexican hardcore back when both genres were starting to become boring. The band definitely sounds like a Spanish band (especially the very special vocals, half spoken/half shouted). I am not really sure what the band is trying to achieve—you’ve got straight-up punk songs, some with a crossover metal punk feel, and the production is heavy but somehow lacks energy and aggression to really work. I am a bit harsh and I can see the band has a worthy political message, but their side is not for me. On the other side, BANDA DES FEMER delivers 21 short hardcore songs, and I actually quite like it. Simple and unsophisticated old school hardcore punk in Catalan with a raw sound that fits the genre. I am reminded of classic Spanish bands like HHH or ANTI DOGMATIKSS, and more recent bands like OTAN when BANDA DES FEMER goes fast, but I am unconvinced with their slower, snotty punk songs. You can tell the band has a lot of fun and they’ve got that youthful energy that makes their side worth giving it a try if you are into raw Spanish punk. This is the first recording for both bands, so they are bound to improve (or are they?). The artwork is punker than you.

Terminal Απολυταρχικές Απολαύσεις LP

Some people take the concept of DIY absolutely literally, and the man behind TERMINAL is one of them: he did it all by himself. TERMINAL is a solo project from Kifisia, Greece, and it is its second release after the rather good Θύμα Προπαγάνδας EP last year. It can be convenient to be a one-person band, as you manage everything without having to wait for your bass player who is always late or drunk or both, and therefore you can write a lot of songs fast and release records on your own one-person label. Απολυταρχικές Απολαύσεις is very much a continuation of the EP, with a heavier production and more guitars (the rocking vibe is more present). In terms of songwriting, TERMINAL aims at creating a käng-influenced hardcore punk sound, and overall, it is executed well enough and the LP makes for an enjoyable listen. The music is fast, but lacks a little pummeling power at times. I guess current bands like GOLPE, NUKIES, or RAT CAGE would be influences, but the atmosphere is somewhat different. I am a massive sucker for punk music sung in Greek, as this very peculiar language and its unique flows and sonorities always confers an angry vibe. Good, I love the vocals, but I find myself wishing for more aggression. I am confident that the next recording might provide just that.

The Breath 道理なき憎悪 Reasonless Hate EP

Here’s another banger from the prolific-as-fuck Convulse Records with the BREATH from Tokyo’s 道理なき憎悪 Reasonless Hate EP. Taking inspiration from bands like WARZONE, YOUTH OF TODAY, and the rest of the Revelation Records roster, the BREATH is fully cranked up, with catchy, muscular riffs and distorted, screeching vocals that are totally out of control. Each track here is worth a listen, but “Reasonless Hate” and “Harmful Classification” are standouts that demand to be heard live. With so many bands playing this style of metallic HC right now, something needs to stand out, and boy, does the BREATH stand out. Highly recommended.

The Covids Bust to Bits LP

Debut record from the Amsterdam four-piece the COVIDS.  From end to end, this record delivers straight-ahead poppy punk rock harmonies and power chords. Topics cover the typical: not wanting to work in a factory, forced authority, socioeconomic clash, etc. It’s standard fare with a touch of TEENAGE HEAD and some rather annoying vocals. What gleams from this quite ordinary listening experience is the production, the drumming and crunchy guitar tones in “Get Up” and “Night Tight” in particular. Sound quality becomes a slight inducement, a rarity…

The Zeros They Say That (Everything’s Alright) / Getting Nowhere Fast 7″ reissue

Munster brings us the first reissue of the ZEROS’ third (and final) 7”, which initially came out on Test Tube Records back in 1980, two years after the “Wild Weekend” / “Beat Your Heart” 7” and right as the band began imploding—Robert Lopez had left by this point, leaving the band a trio. It’s clearly the third best single these dudes released, but that’s not to say the tracks aren’t worth your time. “They Say That (Everything’s Alright)” is one of the few tracks both penned and sung by Hector Penalosa—it’s a cool little slice of CREATION-esque mod rock. And “Getting Nowhere” is a classic Javier Escovedo RAMONES-worship. I mean, it’s the ZEROS, y’all know who they are and that they’re great. Now, do you need to shell out the $20 this thing is going to run you when you can still find vinyl copies of that Bomp! comp floating around for just a few bucks more? You do not. But 7”s are cool, so I’d understand the urge to pick it up anyway.

Toasty! MK PV Demo 2023 cassette

Hmmmm…anyone in the mood for a Mortal Kombat-themed powerviolence band? I’d love to say that this was surprisingly good, but sadly TOASTY! is uninspiring and altogether mediocre. Yes, the songs are very short, and yes, tempo changes and blastbeats abound. Heck, there are even the requisite Mortal Kombat sound clips (“Fatality!”). The problem is, they don’t sound enough like SPAZZ to pull off the novelty—unless the band members are literal children. There is no indication that this band is comprised exclusively of pre-teens, but if by some chance that happens to be the case, then this is actually quite ripping and awesome and I take back all the bullshit I said about this demo being mediocre. Otherwise, I’d say listen to more LACK OF INTEREST, CROSSED OUT, INFEST, MITB…and give it another go.

Todestrieb DEsperAte THanatology CD

Listen, I’m gonna be honest here. If you’re someone who likes conventionally “good” hardcore—polished, on tempo, and in tune—then you’re not going to like this album. However, if you’re someone like me who likes the sloppiest of the slop, who loves musicians that sound like they’re attempting their instruments for the first or second time, then this record is for you. TODESTRIEB may not have the technical chops of their crust peers, but to say they don’t have the correct attitude is straight-up false. These guys just go for it and kill it. I love seeing this kind of confidence in punk. Less solos and more noise is what I say! Big fan of this album.

Trash Knife Weird Daze LP

With their first release (the Trash Life EP) having come out in 2016, and a slew of other EPs and singles along the way, this marks the first LP for Philadelphia’s undeniably crusty TRASH KNIFE. Only a few tracks wander over the two-minute mark, so it’s over with while you’re still reeling from the fury-meets-fun, stomp-and-crash garage soundscape. Lauren’s vocals often harmonize with guitar leads, kind of a thread throughout, only to surprise you by breaking off into snotty diatribes, spat and shouted. They kind of have a FDR skatepark aesthetic, and I’m all about it. This recording was done live in their practice space, which speaks to the tightness of the band, and works perfectly to give the production that rough edge this music deserves. Do enjoy these Weird Daze.

Tripper People Die Every Day cassette

Typical generic hardcore from Baltimore’s TRIPPER. Plenty of required breakdown-y bits to get your mosh on, or whatever. There’s some more math rock-y bits in the mix sometimes that are a bit interesting, and the musicianship is certainly competent, but overall it doesn’t interest me. The Bandcamp page also has “female-fronted punk” in the tags, which as we all know is not a genre and is overall a terrible tag.

Twelve Cubic Feet Straight Out the Fridge LP

Originally released as a 10” in 1982, Straight Out the Fridge is as succinct and perfect a representation of early ’80s UK DIY as you’re likely to find this side of a Messthetics CD-R: spiky enough to serve as a logical successor to the golden age of Rough Trade art-punk, sweet (but not saccharine) enough to lay down the initial bricks of a (wanna buy a) bridge to the jangly bash of C86. Sally Andrews’s chirpy vocals are the most obvious element connecting TWELVE CUBIC FEET to their proto-indie pop contemporaries like GIRLS AT OUR BEST! and DOLLY MIXTURE, bursting with giddy enthusiasm over the junkshop disco beats and bubbly keys of “Blob” and switching from breathless shouts to dreamy, sugar-coated melodies amidst the dark, moody swirl of “Mary’s Got the Bug.” Bassist Matthew Vosbergh takes the lead on “Escaping Again,” which slowly unwinds with a looping throb of post-punk bass and the otherworldly homespun minimal wave atmosphere of his SOLID SPACE project, before crashing into an pseudo-mod rave-up with Sally’s ecstatic backing harmonies and lilting keyboards, while the mind-bendingly hooky chorus of “Hello Howard” is borderline new wave in its synth-forward warble—it’s not difficult at all to imagine it being a ridiculous hit in a world less stacked against DIY pop oddballs. If you weren’t already a TWELVE CUBIC FEET believer, you can (and will) be one now.

Two Words Rejoining the Forces LP

To say that Italian youth crew group TWO WORDS wears their influences on their sleeves would be quite an understatement—this album literally begins with a montage of snippets of songs by the likes of YOUTH OF TODAY, UNIFORM CHOICE, and JUDGE. The intended effect is probably to transport the listener back to the glory days of straightedge youth crew;  however, it basically just reminds me that maybe I should be listening to the bands TWO WORDS are influenced by instead of continuing on with their own LP. Taking cues from the masters of their craft, Rejoining the Forces is a competent stab at that sound, and big youth crew fans will probably get quite a bit out of it. It’s not bad, but it’s not something that stands out either—a common complaint I have for other bands that sound like this in the modern day. If you’re a huge fan of the aforementioned bands, you’ll probably enjoy this quite a bit; if you aren’t, stay very far away.

Ultimate Disaster Demo 2024 cassette

Before I even listened to ULTIMATE DISASTER, I already knew that I was highly likely to love it. Not just because the name is an absolute cliché (just like myself), or because the band is from Richmond and has members of DESTRUCT and HORRID PEACE, but because I knew that it would comfort me and validate my tastes, which is pretty much why I listen to new bands these days. ULTIMATE DISASTER plays orthodox D-beat, meaning they don’t stray far from the “te amo D-beat” philosophy. In fact, they stick to a very pure version of the formula, not so much aping DISCHARGE but emulating those aping DISCHARGE. Know what I mean? D-beat bands like ANGER BURNING or DEATHCHARGE or even HORRENDOUS. The sound is raw with a “live in the studio” feel, but it still sounds aggressive and impactful—not unlike ’80s peace punk, maybe. D-beat raw punk at its finest, and you can tell that ULTIMATE DISASTER knows exactly what they want to do and how to do it. The D-beat path is a well-trodden one that many think is easy but it is hard to do well something as seemingly and deceptively simple as a good DISCHARGE rip-off. It requires taste and faith in the beauty of the D, and this band has both.

Utopian Homicide Detective Utopian Homicide Detective demo cassette

This demo cassette from San Fran punks UTOPIAN HOMICIDE DETECTIVE is fucking great! Instrumentally, it has a lot of proto-punk sounds that rock like MC5 or early STOOGES material, but the unhinged vocals are more like GOVERNMENT ISSUE or FLIPPER, and it all comes together in a perfectly noisy way. It’s a kind of arty noise that isn’t trying to be. The five songs on this cassette each have quick moments that are absolutely rocking, and even quicker moments that are psychedelic blasts of distortion that are otherworldly. In all, Croat, Guam, Kiko, and Mutt come together to make some of the best punk that you’ve probably never heard.

V/A Compulsive Agitation EP

While there are only six songs and five bands on this EP, there’s a lot to unpack here. All of the bands feature members with musical ties dating back to the ’80s, some of whom have taken substantial leave from playing; a renaissance at hand, if you will. KRUST WORTHY, from Basingstoke, UK, gets tracks A1 (“Protect & Serve”) and A4 (“Sab the Hunters”), and features the songwriting and guitar of Neil Duncan, chief editor of IssuePunkZine. Both songs have sort of a krautrock thing going on: syncopated, in-your-face, heavy, politically offended. RHI & THE RELICS get the closing track “Urban Disease”—I mention this one next because they are also from Basingstoke, and also have Neil Duncan behind the songwriting and guitar. This closer is definitely my favorite; Rhian Gove’s vocals are reminiscent of Steve Ignorant, and the song has that flavor of late ’70s UK punk in general. In the middle are some bands connected from the southern Netherlands, first up WASTE with their track “Everything is Grey”, which—maybe the titles are just similar—reminds me of the atmosphere of “Everything Turns Grey” by AGENT ORANGE (without the surf guitars), I don’t mean to say that as a slight, as it’s a great track. WASTE originally put out their first EP History Repeats in 1982, and came up touring with (next on the EP) the SCOUNDRELS, who formed in 1979. SCOUNDRELS contribute the track “Reptile Brain,” a fast and chaotic ’80s hardcore sound penned by guitarist Patrick Delabie, like early DAMNED mashed up with the mind of the CRAMPS. “A Messed Up Situation” is last to be mentioned here, played by FORD’S FUZZ INFERNO, featuring guitarist and songwriter Hans F. Ford, also amongst the founding members of aforementioned WASTE. “A Messed Up Situation” plays at the general milieu of the state of things here on Earth, which I’m sure they thought was dire in the 1980s, and what do they think now? Listen and find out. If all these musicians, who were at the bedrock of the movement in the late ’70s/early ’80s are still coming out with new music, and have reinvested their time and energy into it, then I’d take a look at the collection on offer here.

Vidro Upp Till Dans EP

VIDRO, from Stockholm in the sense of a base camp, throws some American, Brazilian, and British grounding into the mix (that last one is pushing it, but before vocalist Vendela was doing this band she lived in Manchester and sang in a rad no wave thing, QUEER’D SCIENCE). Their lyrics are in Swedish and are sometimes as brief and blunt as their early ’80s hardcore forebears, but musically speaking, they brood more than thrash: “Allt Brinner,” which is also the title of their first LP but does not feature on it, is played at hardcore tempo while its three companions are slower. The guitar sound is a gnarly plughole swirl triangulating between punk, goth, and anarcho, and Vendela’s vocals get more baleful and antagonistic with every VIDRO release.

Warchrist Deafening Silence cassette

This recent release by UK’s WARCHRIST is brilliant, and let me tell you the many reasons why. WARCHRIST’s crusty, D-beat-driven hardcore is captured perfectly on this four-song release, striking a precise balance of studio versus raw aesthetic that creates the feeling of a chaotic but high-quality, live basement vibe. Grindcore influences similar to HIP COPS or FUCK THE FACTS present themselves within moments of pressing play and permeate the entirety of this cassette. The second song “Iron Fist” presents a sort of “Bömber” rhythm, but maintains a blistering pace and somehow still delivers those blown-out, throat-shredding vocals. Towards the end of “Iron Fist,” a melancholic guitar tone emerges and continues soaring wails of anguish into “Dismantling the Illusion” which still delivers the rage-filled vocals, creating an amazing sonic display of the juxtaposition of emotions. A quick vocal swap on “Dismantling the Illusion” also yields something reminiscent of AUS-ROTTEN. “Fuck the System” follows and closes the recording with a song that opens with a middle finger of a sound sample, continues into a ripping track of mosh-ready hardcore, and then reemerges midway through as an epic gang vocal/pile-on/grab-the-mic sing-along. The crust war mentality of this album is not to be understated—if I were to use a recording as a sonic offensive against the imperialist bastards, it might just be this one.

Wasted Denim Wasted Denim cassette

Power trio of some real RAMONES-heads from Leeds, UK. I’m not entirely sure what this band wants, but I have a damn good idea of what they don’t want, as, in true RAMONES fashion, three out of the four songs begin with the line “I don’t wanna be…” Four-song demo of self-proclaimed “chainsaw basement punk” in a mere seven minutes. I love everything about this. “I don’t wanna be a dickhead / I can’t help myself.” Truly my only gripe about this release is that the B-side of my tape was blank so I had to dub it myself off the band’s Bandcamp page, where the tracks were listed in a different order. It took me longer to figure out these issues than it did to listen to the demo a second time, which I was more than happy to sit through.

White Beast Suffering Time LP

Getting old is strange. Listening to new(er) bands draw from disparate and foreign influences to create something that sounds familiar in the context of DIY punk is interesting to say the least, and WHITE BEAST is this feeling in spades…’90s grunge, dark indie songsmiths, SYSTEM OF A DOWN, and infectious modern punk anthems will all find a place to nest here, and the Richmond, VA bass/drums duo owns all of it in a way that’s impossible to criticize. When’s the last time you heard a band conjure GODHEADSILO and INTERPOL?

World I Hate Years of Lead LP

This is raw, unapologetic hardcore music that pushes boundaries and challenges the status quo! Look no further than Milwaukee-based band WORLD I HATE. Their sound is a violent concoction of no-bullshit hardcore and powerviolence that will leave you exhilarated and energized. Drawing inspiration from groups like THINK I CARE, the ENDLESS BLOCKADE, and HATRED SURGE, WORLD I HATE has carved out a unique sonic identity that sets them apart from the crowd. Their music is intense, aggressive, and unrelenting, with lyrics that tackle issues of anger, frustration, and disillusionment with society. From the moment you press play, you’ll be hit with a wall of sound. But it’s not just the sheer intensity of their music that sets WORLD I HATE apart—it’s the passion and authenticity that shines through in every note. Whether you’re a hardcore purist or a casual listener looking to expand your musical horizons, this is a band that deserves your attention.

Yakuza極​道 Yakuza極​道 LP

YAKUZA極道 is a fairly new band from Greece, with members who are involved in multiple other bands and have the sheer intent to play D-beat/raw punk. They succeed putting together a record with blasting D-beat songs that meet all the expectations from the genre, although nothing more. So I guess it is entertaining for them because they wanted to do something that they are able to, and those who always seek for new bands above a certain quality could be happy, too. Without this background info, you too would hear that this is an honest work from fans of the genre that respects all the borders and boundaries of the style. From our perspective, taking the time to write about records and culture, it could be a fair question: why bother? But one of the layers of punk is inclusivity and functioning as a hobby, so if someone wants to play in a sort of uniformed way of a very specific sound, I guess it should at least be respected. Also, this is the worst I can say about this record, since it has been put together well, sounds cool, and the songs are rather close-to-great good than anything else. It’s distorted and manic, but you can hear all the riffs and instruments distinguished from each other, with the atmosphere reminiscent of battlefield desperation. All in place, except nothing sticks out, and that is what makes good things great. Only a tiny part is lacking, but I miss it a lot. Still, if they tour close to you, book them or go see them (they are probably great live), and if you like buying records, this is a safe pick. If you are picky, this record will not hurt nor impress you too much, yet it has all the features to affect you, so maybe it’s about timing and mood.

Zerodent Human Races LP

Third LP from these Perth rockers that mixes the scrappy guitars and melodic vocals of early punk like the SAINTS and the SCIENTISTS with the slippery post-punk bass lines and serpentine guitar of WIRE. “Better Believe Me” is a truly great song: it sounds classic but fresh, all bouncing bass line, catchy vocals, and dynamically played guitar. “Feeling Alright Again” ends the record with clean arpeggiated guitar that bleeds into jangly C86 pop without losing the urgency of the earlier tracks. No wheels are reinvented here, but it is all done very, very well. Highly enjoyable and recommended.

Zimna Wojna Zimna Wojna LP

Melodic punk rock from Wroclaw, Poland. This album reminds me of something Epitaph Records would’ve released in the ’90s. Slightly more aggressive than a band like PENNYWISE, ZIMNA WOJNA bears the hallmarks of that regrettable era of commercialized punk, when it wasn’t out of the ordinary to hear gratuitous “whoa-oh-oh”s and random ska breakdowns. This is a bleak reminder of the dark ages of punk, when RANCID was a mainstay on MTV and the OFFSPRING could be heard blaring from speakers in malls across the land. Basically, the soundtrack to my worst teenage nightmare. I found this album to be a truly painful listen. There are forms of torture that are more enjoyable than being subjected to this drivel. Do yourself a favor and avoid this at all costs. Yuck.