Reviews

MRR #493 • June 2024

22 Beaches Dust: Recordings 1980​–1984 LP

Dust is a curious journey through the four-year lifespan of 22 BEACHES, a six-piece from Stirling, Scotland whose recorded legacy had previously been limited to a handful of tracks on some painfully rare early ’80s UK DIY cassette comps—there’s no insert or liner notes with any sort of background info, or even basic dates on the sleeve to indicate when each song was originally recorded, so there’s still a substantial element of mystery here that plays right into the band’s often otherworldly sound. The LP starts with a handful of previously unreleased studio-recorded demos put to tape not long before the group split in 1984 and then works backwards chronologically from there, documenting (in a reverse aging sort of way) 22 BEACHES’ transformation from the more needling and paranoid post-punk clamor of their earlier material to the sparse and sophisticated dub-influenced reverberations of their later years. There’s some sensibilities that 22 BEACHES obviously shared with many of their more well-known and successful Scottish peers, from the starkly rhythmic gloom of “That Girl” and “One of Us” that recalls the WAKE’s Factory Records phase, to the spiky, Afrobeat-accented jangle of ORANGE JUICE circa Rip it Up likewise channeled in “Somebody Got It Wrong,” while the intersecting male/female vocals and simmering punk-funk groove of “Breathing” hits like a perfect synthesis of GANG OF FOUR and the AU PAIRS, and the dispassionately narrated vocals from Jackie Sharkey over the writhing and driving beat of “Talent Show” is no-nonsense femme art-punk at its best. So great to see this band finally get a little much-deserved time in the (vinyl) spotlight.

Abe and the Shits Demo Vol. 1 CD

Given the band’s name, I was sure I was about to be listening to some sort of garage punk. Then I saw they were out of Tokyo. So, this could be “ABE” as in Shinzo, as opposed to Lincoln. I mean, I know “AND THE SHITS” is doing most of the heavy lifting—still,  the Western version of Abe connotes a garage-y Midwestern-ness that certainly played into my belief, so, I don’t know, this could be anything! Turns out it’s garage punk. But with a decent helping of ’77 flair. Not much out there about the band. Bandcamp lists four members, none of whose names I recognize, but the couple of live videos out there just show a guitar/vocals duo playing with a backing track (maybe to a crowdless audience). All in all, the five tracks that make up this demo are actually pretty good…if also a little forgettable. I’d certainly check back in if they ever put out a proper release. Probably give it a listen.

Agonista Grey and Dry LP

I was unaware of AGONISTA before this review, which goes to show that there are still many fish in the sea indeed, and one is never far from a good surprise (or a terrible one, unfortunately). It would be far-fetched to claim that this band, located between Tijuana and San Diego, had a wheel to reinvent, and I think I like the idea of the band more than I do this album. AGONISTA can be said to belong to the long-running Tijuana crust tradition (or “crust mafia,” as COACCION put it), and from this perspective, I understand what they are trying to achieve—a blend of ’90s Scandicrust with some rocking metal influences (the vocal style points in that direction) and a touch of dark post-hardcore. I’m getting a big ’00s vibe here, as the songwriting is clearly more diverse than your average crustcore band in terms of pacing and transitions. Like COP ON FIRE covering STATE OF FEAR and DRILLER KILLER at an ’00s post-hardcore afterparty. The band is really tight, but the production is too clean for my liking, and Grey and Dry’s sound is lacking in raw punk brutality for a Scandicrust album (from my perception of and expectations from the genre, anyway) and doesn’t really do justice to the songs. I’m sure it would appeal to those who prefer a modern hardcore production in their crust, though. The lyrics are both in Spanish and English, which I enjoy as they reflect the band’s in-between-ness and bring some political context.

Amør Lágrimas Negras EP

Valencia D-beat duo’s debut release. Fast-paced, drum-driven hardcore punk with crusty dual vocals that guarantees to reach to your heart, exuding a cooperative international scene stance and ethos. Filled with its own groove that gives a refreshing take on this kind of sound. Favorite tracks: “Todo Roto” and “Lágrimas Negras.” Chaotically driven and utterly fun, you can see pogo in their future. Recommended.

B.A.D.G.E. B.A.D.G.E. demo cassette

Relentlessly pummeling hardcore punk from New York City. Three songs of absolutely stomping, crushing hardcore. This just plain rules! For the Killed by Death aficionados amongst us, at times the vocalist of B.A.D.G.E. sounds remarkably similar to the singer of TEDDY AND THE FRAT GIRLS, but on top of a revved-up powerhouse of a band rather than the plodding, somewhat nonsensical classic KBD track. Truly, the only drawback is that there are just three songs.

Balta Mindenki Mindig Minden Ellen EP

BALTA exhibits an unwavering dedication to relentless, ear-splitting intensity, with no respite in tempo or volume to be found on Mindenki Mindig Minden Ellen. It propels forward with a consistent fervor, without any breaks or variations—urgent, and the performance is equally intense. BALTA’s sound is aggressive, powerful, and chaotic. I would compare them to PLASMID or PIÑEN due to the complete primitive hardcore stomp they create. Mindenki Mindig Minden Ellen gives you a beating in about ten minutes.

Bato Human Cancer LP

BATO returns after a lengthy pause with a mix that includes early US hardcore and a frenzied, Japanese take à la GAUZE. In fact, the whole album is a bit of a musical tent, sheltering a number of micro-styles. Rapid-fire bass/snare beats and spin-kick-inspiring breakdowns all appear with stop-on-a-dime timing and frequent riff rotations. The sound quality is that of a beloved but ragged cassette.

Beast Killer Dystopian Now/Dystopian Me LP

Two things that I find impressive about this album: first and foremost, the fact that this is a two-piece. Very curious what octave pedals they’re using here, because it feels incredibly full. Secondly, the drummer is fantastic and tight as hell. Otherwise, this band reminds me of those No Idea acts that sound more like FOO FIGHTERS than HOT WATER MUSIC. The kind of band that you might see open for FIVE FINGER DEATH PUNCH or something similar. I might just be biased because the record kicks off with one of those “fuck your scene, fuck your style, fuck you” songs, and I really cannot stand that type of attitude. If you like that sort of thing, this LP is up your alley, because it’s constant throughout.

Benzoate Rival Executioner EP

I have never been prone to pogoing, not even as a teen, the period of your life when it can still be adorable to bump into people at gigs (when you reach 40 it is just embarrassing, and besides, you probably have a bad back these days). Arguably, it is because I have always had the energy level of a dead shrimp. But as I listened to BENZOATE, for a minute I could picture myself wearing my old tartan trousers, dusting off my “Oi!” badge, and just going for it at the front of the gig where wild things are. BENZOATE is from Malaysia and has been going since 2009. I had never heard of them, but it is hardly surprising since I don’t really listen to the pogo punk side of UK82 punk bands and generally do not bother to go too much out of my way to really dig new bands of this obedience. But it is a very enjoyable EP indeed. I can hear some vintage ’80s British punk rock bands like LAST RITES (when they go faster) and the EJECTED (when they lie more toward the fun and boisterous side of the genre), but I am also reminded of ’90s Japanese bands like DISCOCKS and the BOLLOCKS blended with the fast and snotty sound of GERM ATTACK. BENZOATE keeps it raw, energetic, and just plain honest and genuine. And you’ve got the compulsory sing-along choruses to cheer you up and make you smile on your way to your shitty job, and sometimes that’s what you need.

Bermuda Squares Outsider LP

Four-chord punk pop with a notable pedigree, BERMUDA SQUARES bang out a tight crop of ultra catchy tunes for you goobers. This album will especially appeal to pinheads, cretins, and glue-sniffers, along with fans of DARK THOUGHTS, CARBONAS, and MARKED MEN. Hailing from Minneapolis and featuring members of the SOVIETTES and NEO NEOS (among many others), BERMUDA SQUARES add a bit of grit to the formula and move things from the basement into the garage. Running the risk of being written off as generic, Outsider defies convention through the sheer force of delivery. Layers of harmonies are swaddled in a warm blanket of fuzzy saturation, and that gives the production just enough tooth to draw blood. If you’re an outsider, outside of everything, there’s a solid chance you’ll wanna bop to the BERMUDA SQUARES.

Birth Ritual Hell CD

Fantastic three-song EP from Japan’s own BIRTH RITUAL. Thrash punk teetering way more towards the trash end of the spectrum. This album is absolutely brutal straight out of the gate. No frills or unnecessary bullshit. Just pure intensity and raw power. A true throwback to the classic years of thrash and metal in general. For fans of NUCLEAR ASSAULT, MESSIAH, HOLY TERROR, etc.

Black and White We Make the Standards and We Make the Rules LP

Japanese punkers BLACK AND WHITE have come out with their second LP. Quickly looking at the record jacket, I saw the year 1978 above the label info and was very confused—boy, were they ahead of their time! “What a great reissue,” I thought! Upon some research, I assume this is an homage to ’70s British punk rock that they admit to loving in their online album description, as We Make the Standards and We Make the Rules came out this year, our unholy 2024. Distractions aside, you can definitely hear UK ’78 of the Oi! varietal, maybe the COCKNEY REJECTS mixed with off-kilter TOY DOLLS flourishes and speed. Lots of whole-band harmonies and chants, particularly on the B-side’s “Don’t Think Twice” that opens with a great, cutting guitar riff and roils into the super catchy chorus of “Don’t think twice / It’s alright”—admittedly and DYLAN rip-off, but this song is great. High-energy and endless fun, no downers in sight here, folks.

Brian Damage Previous Episodes cassette

I gotta say, I really dislike the name of this band. I say “band,” but from what I can gather, it’s actually the solo project of someone named Brian Baker (not the Brian Baker of MINOR THREAT, GOVERNMENT ISSUE, DAG NASTY, etc.) from Columbus, Ohio. One description I read stated that “BRIAN DAMAGE is the Brian child of Brian Baker.” Just yuck. I was hoping that the tunes on this release would transcend the goofy name and make me feel foolish for judging a tape by its title, but sadly, that just is not the case. BRIAN DAMAGE really wants to sound like WEEZER. Maybe if you really like WEEZER, you’ll find this charming, though I suspect not. What we have here is synth-forward, jangly guitar basement pop with an upbeat indie propulsion and irritating, fuzzy, post-nasal drip vocals. The songs are annoyingly indulgent, with many of them approaching or exceeding the three-minute mark. Oh, and to the surprise of no one, the album ends with an acoustic number. Is this just the tip of a gigantic ’90s revival iceberg? Please say it ain’t so.

Burning Heads Embers of Protest CD

Formed in Orleans, France in 1987, this melodic hardcore band has stood the test of time. Without really taking a hiatus, BURNING HEADS have cranked out a lot of music, this being their sixteenth full-length, not including live recordings or EPs. Understandably, the band has gone through their share of labels and members, with this release being lead vocalist Fra’s second with the band, maybe sounding like a less whiny Dan Andriano while the original singer, Pierre, had more of a Mike Ness thing going on. Admittedly, I didn’t listen back to all the hours of music in their catalog, but as the closer of this album suggests, they figured out how to “Keep the Fire Burning” all these years, with whole-band harmonies, endless guitar riffs, and a nod to their Opposite-era reggae album on “Dark Romance.” If you’re a fan of the band, Embers of Protest will not disappoint.

Çayîr Çayîr demo cassette

ÇAYÎR from Budapest just released a demo cassette, and you’re absolutely going to want to hear it. Ballistic-grade hardcore punk of the noisy crasher pedigree is ÇAYÎR’s specialty, which they play with the gusto and charm of bands like GLOOM, ZYANOSE, and CONFUSE. Raw, brutally heavy, and packed with as much noise as possible, this style is not for the weak. Ten tracks packed into about as many minutes are over and done before you’re ready, and will demand a replay. By the third track, you’ll begin to hear the D-beat influence and punk groove, but you’ll still need to wade through a deep layer of noise muck to get there. “What Will You Concent” is just beyond the midway and invites a heavy rocker-fueled rhythm that sounds similar to Scandi punk bands from the mid-’80s.

Ceramik A Life So Bleak LP

Ventura County’s CERAMIK play by-the-numbers hardcore on their LP A Life So Bleak, banging out eight songs in ten minutes. There’s a little thrash, some blastbeats, and some cool breakdowns that probably make for a fun live set. If you’re into GEL, SPY, or any of the other current crop of hardcore bands making waves at the moment, this will be right up your alley.

Chimes of Bayonets Replicator LP

The newest LP from this post-hardcore trio is anchored by a sharp, repetitive bass and stinging guitars. They frame the songs from opposite ends, although sometimes they act as point and counterpoint, a kind of musical call-and-response. The tracks don’t jog along like a standard hardcore song, but start, stop, and snake up and down the guitar neck with nervous energy (although there are some more conventional HC chonkers here and there). Like a lot of post-hardcore and emo, this band crams a lot of riffs into one song. It felt overstuffed to me, but I always say that. It’s a unique, sometimes jarring, listen.

Cimiterium Verdict EP

Aussies delivering their debut 7” achieve a putrid blend of stenchcore and metal forms of punk. Mastering crossover stances with dungeon killer riffage, fast, caustic cadences, and low vocal mayhem on two tracks per side, it sure represents a great first EP effort. Gloomier headbangers, you have been notified.

Circus Lupus Circus Lupus LP

Belligerence and beauty collide on this foundational text by one of this writer’s personal faves from the last decade of the premillennial era. Former IGNITION bassist and FURY singer Chris Thomson had ventured north to Madison, Wisconsin where he hooked up with Chris Hamley (guitar), Arika Casebolt (drums), and Reg Shrader (bass) in CIRCUS LUPUS. In August of 1990, the new band traveled to Washington, DC to record at Inner Ear with Eli Janney. Most of these tracks ended up on a demo tape, but a few found their way to releases, including their debut 7”. If “Tightrope Walker” isn’t already a classic in your household, now is the time to get on the right side of history. Half of these songs were re-recorded for subsequent LPs, but don’t think these are inferior versions, especially as Tim Green’s remaster makes them hit as hard as they were intended to. Waxing the original version of existential punk slasher “Marbles” is enough of a reason for this record to exist, but if this album gets a younger generation into CIRCUS LUPUS, then the future of punk will at least have a chance to avoid completely shitting the bed.

Clifton Lee Mann Ömghost CD

CLIFTON LEE MANN’s latest is half bluesy rock’n’roll unencumbered by punk updates, and half conventional punk tunes with a carefree, shaggy approach. The difference between the two can be a little sharp and made me feel like I was constantly listening to cover songs. I could almost imagine this playing to SHELLSHAG fans. The razor-thin lead guitar screeches over a fuzzed-out rhythm guitar and a farting bass. The unpolished sound quality was a wise choice. LEE MANN mostly delivers a mild sing/talk, but occasionally croons a note.

Coffin Pricks Semi-Perfect Crimes LP

COFFIN PRICKS were a short-lived group from Chicago in the early 2010s. Featuring members of CIRCUS LUPUS, CAVITY, and DAYLIGHT ROBBERY, they made a bit of a splash in their time, but only managed to release a single three-song EP before disbanding. It turns out that the band had recorded a few more songs back in 2011, and following an apparent dose of friendly pestering from the good folks at Council Records, COFFIN PRICKS resurface in 2024 to grace us with all seven of their studio recordings, plus an additional seven cuts taken from a 2012 gig at Saki Records. While I’m often skeptical of both live recordings and posthumous releases by bands with abbreviated lifespans, Semi-Perfect Crimes upends convention on both fronts. COFFIN PRICKS embody the spirit of 1978 post-punk by striking a masterful balance between melody and aggression. The instrumentation is impressive without being too flashy and the vocal lines are catchy without being too obvious. I presume that the FALL is a big influence here, along with WIRE and MAGAZINE. This has me t-t-totally wired. 

Consensus Madness 2023 Demo cassette

Sharp little tape here from these Chicago up-and-comers. Their pointed punk conjures up a tasty first-wave spirit and dabs it in artsy splashes of modern mettle. The sound is stripped-down but rich, smart, and antagonistic. I’m also hearing a vague lineage to Windy City legends like the EFFIGIES in tunes like “Attention.” Respect.

Cruciform Cruciform cassette

A demo tape put out by Toxic State, who have broadened their spectrum and no longer solely focus on NYC, therefore I am no longer sure where this band is from. But as regional sounds have disappeared, this does not matter that much anymore. CRUCIFORM mixes a snottier, thinner, and not as distorted guitar sound that is reminiscent of KBD hardcore and dumb, brain-hammering drums from the outsider lanes of hardcore. It’s a great mix of what is best in USHC—it’s hectic, dirty, a bit chaotic, but not super radical. Sound-wise, it’s closer to CRAZY SPIRIT; it’s nasty, yet you can hear almost everything. My favorite parts are when the already fast music turns even faster and frantic. Hard Nuke York vibes.

Cut Piece Your Own Good LP

This is an absolutely devastating debut from Portland’s ferocious CUT PIECE. Eleven tracks of concise punk that writhe with impassioned anger and pull from sources rarely tapped. Lightly overdriven, chorus-imbued guitars trace the perimeter of a sonic terrain that undulates with departing bass lines, desperately frenzied drums, and searing vocals, binding everything together within a unified field. A bleak coldbeat energy is co-opted by less dour anarcho and peace punk influences, like a melding of PART 1, ZOUNDS, and POISON GIRLS, piped into a modern context. Both imaginative and immediate, Your Own Good feels like a natural synthesis of vision coming from members of heavy hitters such as RED DONS and ERA BLEAK. Every cut is top-shelf, but I found myself particularly drawn to the discomfiting vibration of “Walk the Dog,” and the sax-laden closer “GUGI.” This one will undoubtedly be in heavy rotation for a good while.

Darker Than Through the Cracks cassette

Baltimore, MD horror-based punk. Seven slickly-recorded, driving rock songs with the subject matter of all things spooky. It’s all very well done, I just can’t help but wish the recording was a little scarier-sounding if the band is going to be entirely horror-themed. I think I feel the same way about a lot of goth music too, though, so it may just be a personal preference for nastier recordings fitting of the style and theme of the bands that release them.

Death Culture Deprivation Past EP

This six-song EP is a fucking ripper! Between the lightning-fast hardcore and femme vocals, it’s everything I want from a punk band. Most of the songs are just over the minute mark, so be prepared to play this on repeat. Somehow, DEATH CULT DEPRIVATION manages to fit tidy guitar solos and quick licks into these scorchers. The closing track “Fucktory” even has some sick breakdown action hidden amongst the melee. This limited 300-copy pressing is bound to go fast, so don’t sleep on it!

Deviated Instinct Dance of the Plague Bearer 12″

With DEVIATED INSTINCT being one of my favourite bands, I cannot reasonably be expected to do anything but rave beatifically about how great this new record is. This cult Norwich crust band does not need any introduction, but suffice it to say that they coined the philosophical term “stenchcore” and contributed to making crust pants a fashion statement that all mums hated in the ’80s. Like many old bands (and not always for the best), DEVIATED INSTINCT reformed in 2007 and they have been going strong since, gigging and releasing solid, convincing records. What has always made them stand out is their ability to offer a relevant version of themselves, a progression (sonically and visually) that synthesizes their best traits and updates them, without mentioning playing better overall, rather than just trying to play their old tunes exactly the same as before—this almost never works, and it can make so many reformed bands so disappointing. They are still playing old school, heavy, dark metallic crust, but you can tell the members have been keeping in touch with the evolutions of the heavier side of hardcore music so that DEVIATED INSTINCT keeps making sense and is no longer seen as “the reformed band.” Dance of the Plague Bearer is fascinating for that reason, as it is a rerecording (from 2017) and reworking of five old songs (including my favourite, “Stormcrow”) that highlights the band’s talent to bring their classic ’80s crust into the new age. Dark and heavy ferocious stench-crust with brilliant growling, threatening vocals and dirty, metallic guitar riffs, produced just right and amazing artwork from guitar hero Mid. They invented that shit. Ace.

Distante Cada Acci​ó​n Cuenta EP

Excellent  Argentinian punk coming from a thriving scene I’ve been unaware of until the writing of this review. DISTANTE reminds me a lot of TOZCOS, but with a heavier straightedge influence, citing bands like MINOR THREAT and YOUTH OF TODAY as inspiration. The songs hit hard and fast with wall-to-wall riffs and breakneck drumming, but the stars of the show are the bass lines and vocals, both taking these songs to another level. I recommend flipping over to their Bandcamp and listening to “Circunstancias,” one of the best punk songs I’ve heard so far this year, which is saying a lot.

Distorted Influence Cold LP

DISTORTED INFLUENCE was a five-piece crossover band of the likes of the ACCÜSED, CLUSTERFUX, POISON IDEA, etc. Supreme Echo has meticulously put together the band’s story and laid out each track the band recorded (released and unreleased), packaged along with artwork and interviews. The Cold LP is an early ’90s blast from suburban Victoria and a relic of the scene the band embodied. The quality of the songs is there and still locked in time, only to be unearthed again. Like everything Supreme Echo puts out, I gobbled this up.

Dollhouse I Hate You Don’t Leave Me EP

DOLLHOUSE is a band that has made the social media rounds, toured extensively, and garnered a large fanbase in the past few years. This four-song EP is yet another perfect output from the band—punk as fuck with a sort of GERMS energy, yet still unique and almost beyond compare. The title track, “I Hate You Don’t Leave Me,” almost rings like a pop punk anthem, but has more sneer and anger than most sugary bands are capable of delivering. It’s got the bop and killer guitar leads. The last two tracks are everything I know DOLLHOUSE to be—raw, angry, and just a little more dissonant than most. If you like DOLLHOUSE, then you’ve probably already heard this. If you’ve never listened to DOLLHOUSE, then this is a great place to start.

Dosis Dosis cassette

DOSIS, a band hailing from Talcahuano, Chile, presents their self-titled debut release. Their music embodies a raw and unfiltered post-punk style, drawing inspiration from the timeless sound of classic bands within the genre. A healthy dose of dark energy and gloomy soundscapes that somehow reminds me of a more energetic DECIMA VICTIMA and Pornography-era the CURE at the same time. The Spanish vocals just add a more urgent dimension to the music.

Downwinder Claws of Despair LP

Can it be said that there is currently some sort of stenchcore revival? The genre never really went away since the early ’00’s, and “stenchcore” arguably became an actual genre, solidified, adopted specific traits, and was considered as such at that time, already twenty years ago. DOWNWINDER has both feet in the modern stenchcore camp and, as a sucker who automatically buys any record with this tag, it got my undivided attention, like my dad watching darts on the telly. DOWNWINDER is from Volos in Greece, and is made up of members of UNFIT EARTH, DIRTY WOMBS, and FERAL KIDS, although they are not influenced, in terms of music at least, by the traditional Greek crust sound, and they do not sing in the language (apart from the last song of the LP). Claws of Despair is their second album, and I find it more convincing than the first one. It sounds heavy, mean, and dark, the production highlights what it is supposed to given the template, and the singer sounds like a zombified bear. The band can clearly be mentioned in the same foul breath as current bands like TERMINAL FILTH or CIMITERIUM, but they are even more death-metal-oriented and, not being a massive fan of the genre, I found myself unable to completely connect to some the songs. It is still a solidly executed work checking all the modern stenchcore boxes. I guess you already know if you’ll be up for this.

Driver Fuck You EP

A labor of love started in 1994 by TOTALITÄR and BRAINBOMBS’ own Lanchy, DRIVER recorded ten tracks in 2000, five of which are featured here on Fuck You. A stripped-down, no-frills affair with a dirty, lo-fi quality, per the sleeve this was inspired by heavy-hitters like the FIX, DISCHARGE, MC5, POISON IDEA, RADIO BIRDMAN, and “distorted rock’n’roll guitars in general.” The final product is just that, a fuzzy slurry of dis-beat-influenced proto-punk. If that sounds weird, trust me, it works. “Junkie Corpse” is a favorite and definitely delivers on the POISON IDEA influence, while “Deform Reform” has some tasty blues licks that are unexpected but certainly welcome. Overall, I hear more IGGY AND THE STOOGES than anything else, and for that I am thankful. A gnarly little record that I can’t recommend enough.

Egg Idiot Best of LOL LP

Leipzig-based 8-bit mayhem egg-punkers who even loop coughs and sneezes for one of their tracks. Quite interesting egg-punk filled with electro sounds, dubbed and effected voices talking to each other, and really good synths and keyboard work. Hits all of the spots in the “never seeming to stop” sense in each song.

Faulty Cognitions Faulty Cognitions demo cassette

I have always been drawn to the sound of bands’ demos, or their first album when it’s a mish-mash of the singles and bedroom recordings, more so than polished formal studio albums. Think of the BANANAS’ collection The First Ten Years of… having way more guts and heart than the albums which followed. Maybe it’s that bit of feedback, out-of-tune vocal, or bass flub that gets left in. Often the songs are played off-speed or faster than the album that follows. Don’t get me wrong, FAULTY COGNITIONS stellar album Somehow, Here We Are is already on a lot of top album lists for 2024, but the preceding demo has a gritty charm all its own. The opener “Las Cruces” has the anthemic heart-on-sleeve spirit of SHANG-A-LANG. The only track not included on the full-length, “Thin Blue Line,” bottles the anger of the DICKS as if it’s an homage to the recent passing of Gary Floyd. “Center of the World” shifts to a proto-punk pace like the ONLY ONES. The closer, “Let the Kids Have the Scene,” laments elder statesmen observations in a MENZINGERS-like style. All of this, packaged with cassette art reminiscent of Pettibon’s work on Nervous Breakdown.

Fumist Coaltar LP

FUMIST is a supergroup based in Lyon, known for their seasoned members from HORDUR, CIVILIAN THROWER, LOVGUN, and OVERMARS. Their first album includes fourteen intense, D-beat-infused grindcore tracks with obligatory death metal slow sections that are sure to crush your head. The powerful drumming shines brightly on this album filled with nostalgic moments, creating a unique blend of grinding violence. Featuring both slow and fast movements, this album is a complete banger! Get your smoke on!

General Labor Illuminator / Tastes Metallic 7″

Synth punk/post-punk pioneers GENERAL LABOR recently released these two tracks on a 45, and you need to hear them. “Illuminator” is a noisy, mid-paced song with strange harmonic and electronic drum noises that seem to come out of nowhere and dissolve just as rapidly, and while “Tastes Metallic” is less noisy, it is equally as enticing with its shifting instrumentation. The two songs form an intense emotional juxtaposition, with the former being pensive and tense and the latter being almost dreamy and relaxing. If you like things like SUICIDE or A FRAMES, then you’ll most assuredly be into this.

Genre Genre demo cassette

Martin Meyer, the head honcho over at Rotten Apple and Inscrutable Records (not to mention the now-defunct Lumpy Records), has been digging up cool and/or weird bands for well over a decade at this point. Still, it never ceases to amaze me the amount of genuinely unique stuff he’s able to find that’s also good. Take GENRE for instance: a group of Kansas City punks who aren’t really doing anything new, but nevertheless sound unlike most other acts going these days. It’s hard to pigeonhole their music (I’m sure their name is a dig at folks who try). The Bandcamp copy asks us to imagine the FALL as a math rock band on Crass Records who’ve kicked out Mark E. Smith. I don’t totally agree with that assessment—I don’t think the music they play is nearly as intricate or heavy as your typical math rock band—but I think it successfully conveys the ramshackle restlessness and general ’90s vibe of their sound. Over the four tracks on this cassette, the band ping-pongs from post-hardcore, to dance punk, to slacker rock, to jagged post-punk, never really lingering on any particular sound. And it mainly works—at the very least, it’s incredibly engaging. They sound a bit like a less erudite, less polished PATOIS COUNSELORS (a band I really love). My only complaint is that I wish they had that band’s knack for burying a silly synth in the mix. Even so, it’s a cool release, and I’m really eager to hear how these folks evolve over time.

Gnarnia Thin Ice / Crimetown LP

From Providence, Rhode Island, GNARNIA plays a sharp and fast nod to “OG heavies DEAD KENNEDYS, BLACK FLAG and GERMS” (from their Bandcamp page). Both Thin Ice, from 2023, and Crimetown, from 2024, make up this 12” vinyl and play through pretty quickly, with only a few songs over the two-minute mark. “Breakballs” is probably the catchiest of the album (Crimetown side), with a gang-like energy in the OP IVY realm. The following track “Underwater” comes out of nowhere and sounds like a 311 song with jam-band guitars, reverb dialed high, and a slow tempo—which, to be fair, does break into a ripper with the distortion pedal stomped back on. That said, these references aren’t meant to dissuade you from GNARNIA’s clever economy of ’80s-inspired hardcore.

Gylt Shoved / Spiral cassette

GYLT is a four-piece crossover hardcore band from Los Angeles. This release is two feral style hardcore tracks that are over and done in as many minutes. Heavy drums with searing guitar lines and vicious vocals tearing through acerbic lyrics is the fast and dirty description. “Shoved” opens with a little taste of guitar, some quick grunts, and then proceeds to tear it up, while “Spiral” enters with a bit of chugging bass and hits the throttle even faster, and is completed in well under a minute. Too fast for breakdowns and sans any sort of posturing, GYLT might just be my new favorite hardcore band. This two song release definitely whets my appetite for more.

Hans Condor Big Breakfast LP

Pure rock’n’roll madness with a little bit of a Southern/stoner rock edge to it. Reminds me of a less doomy SWORD mixed with MOLLY HATCHET, AC/DC, and a dash of latter-era BUSINESS. Production is incredible and everything sounds massive, especially the drums. Soaring harmonic guitars and sweeping bass-walks. This is great stuff right here. The kind of album I’d throw on during a super hot day while I grill out, drink beer, and take a dip in my inflatable pool. White-trash-core in the best way possible. Highly recommended for those who like to party and sweat their asses off deep into the long, summer evenings.

Homeless Cadaver Champale Wishes and Cadaviar Dreams EP

Fun and gross punk rock stripped right down to the KBD garage essentials that fits in well with ERIK NERVOUS or the SPITS. “Cadaviar” adds some squiggling synth and tambourine jingles as finishing touches on a great rock opener that tastefully beeps out the curse words. “Baloney Hands” is like a lost WEIRD AL punk experiment with nasally vocals about snacking on (behold the conceptual genius) hands made of baloney. It’s dumb and awesome. “Emergency Circumcision” features call-and-response vocals and fulfills the promise of the song title. It’s also dumb and awesome. Really, the whole record is—if you want to turn off your brain and get loose for a few minutes, HOMELESS CADAVER has you covered.

Hood Rats Crime, Hysteria & Useless Information LP

Hardcore out of Montreal with a cowpunk twang. No shit. Catchy as hell with an attitude that matches. Reminiscent of the golden era of GG ALLIN, but much faster with a much better lead guitarist. Fantastic stuff here, and well worth a spin. I’ve played through this like five times in one sitting.

Hubert Selby Jr. Infants Have You Ever Been a Crow… or an Eel? 12″

There are plenty of rousing, memorable choruses here, supported by a familiar blend of alt-rock guitars and somber crooning. You’re likely familiar with all that, but HUBERT SELBY JR. INFANTS arrange it all in some engaging ways. The second track begins with the chum! of metal guitars, and I was just easing into its ALICE IN CHAINS-esque angst when a catchy, sing-in-the-shower chorus rolled out. But the stylistic gap is seamless, not jarring. It exemplifies the band’s ability to take some left turns while staying stylistically on track.

Inzest Violence Not Words CD

Prepare yourself for a brutal thrashcore assault straight from Osaka! The short-lived but impactful INZEST combined blistering hardcore with furious, thrashing riffs and intense screams. If you’re a fan of bands like S.O.B., OUTO, and GUDON, and crave the relentless speed and aggression they offer, you won’t be disappointed with this release. This CD is a reissue of the previous LP by F.O.A.D Records, and it features the early collection of tracks from INZEST from 1987–1988—the cult flexi disc Another Religion Another Violence and the rare Motive of Genocide demo tape. Just play it and brace yourself for a blood-soaked onslaught of manic ferocity!

Itchy and the Nits The Worst of LP

More stripped-down than a nudist on holiday, ITCHY AND THE NITS blast out twelve cuts of cave-beat rock’n’roll simplicity. Absolutely minimalist in their approach, it turns out that the “worst of” their output is actually pretty great. No time for bozos or searching around for that fourth chord, this power trio from Down Under gets straight to the point with their brand of budget rock bangers à la THEE HEADCOATEES or the DELMONAS. Not a single song breaks the two-minute threshold! Gritty, charming, and imminently replayable, there’s even a GIZMOS cover. What more could you possibly need?

Janky Live at Yokosuke 1987? CD

The prolific label Black Konflik from Malaysia is at it again, this time with a new release of obscure Japanese hardcore from the ’80s, namely a live recording (presumably from 1987) of JANKY from Yokohama. The band is something of a minor classic for Japanese punk nerds (also known as “the hardcore nerd elite” in the scene), what with having an extremely rare, and actually very good, flexi released in 1984 on Hold Up Records, crucial criteria in the making of a true hardcore classic that no one really knows. Musically, the band epitomized the early raw energy, speed, and intensity that characterized the genre and made it so popular in the mid-’80s through bands like GAUZE, KURO, and many others. Still, this live recording is tough to listen to and I haven’t been able to sit through it. Radical devout fans might be able to, and I am sure they already grabbed it, but I am not one of them and it just sounds really rough.

Joey Nix Another Way to Do It LP

Cleveland’s JOEY NIX, also of MA HOLOS and SHITBOX JIMMY, presents fifteen songs in the garage/power pop wheelhouse. Originally out on cassette from HM R&T in 2019, Just Because has put Another Way to Do It on vinyl. With the use of an acoustic guitar throughout, this album brings to mind the carefree qualities of Muswell Hillbillies-era KINKS, with NIX’s “Small Reward” even having some lyrical similarities to “Alcohol.” “Purple Peet” gets the most experimental with a nervous rhythm, a squeaky fiddle, and Mark E. Smith-styled vocals.  “Jousting” blasts that acoustic guitar through a blown-out amp and has the most grit, with snarled vocals—at a minute-and-a-half, I want it to keep going!  “I’m a plumber at night / And a janitor by the day” is crooned softly throughout “Jobs,” with a melancholic harmonica in the background producing a tender love song and another dimension to this multifaceted album.  Admittedly, we’re a little late to the party, as this re-release came out in October of 2022, but not so much that we can’t shine a light on this excellent album that is lighthearted, heartfelt, clever, and catchy.

Katupartio Apatia cassette

At first listen, I admit I was a bit confused by this cassette. KATUPARTIO is from Barcelona, Spain, but all song names and lyrics are seemingly in Finnish. There was a band from my neck of the woods years ago that was obsessed with Finnish hardcore and attempted to learn Finnish so as to sing badly in the language. Too much of a gimmick for me. I did my research and found a ripping live set of KATUPARTIO where the singer looks like a true madman, a wild punk that inexplicably seemed slightly out of place. That all made further sense when a bit more research discovered that he was originally from Finland. No damn gimmick here. Weird, plodding, mid-tempo punk with killer barked vocals drowning out the lackadaisical “woah-oh”s sung by the backing band.

Kiégett Föld Kiégett Föld cassette

Anarcho-punk from Budapest that throws everything at the wall with mixed results. This recording might be a new level of lo-fi. Bandcamp indicates that this was recorded in a bedroom; now imagine walking down the street about a block away from said bedroom and hearing the band through the window. That is the level of fidelity on display here, but it doesn’t necessarily take away from the echoing vocals and guitar and the dribbling basketball bass. Several of the tracks have an ear-catching surf twang that recalls the quirkiness of SHADOWY MEN FROM A SHADOWY PLANET. However, once the chorus to “Élelmiszer” kicks in, KIÉGETT FÖLD rips through fast punk rhythms and reveals a tightness and ability to rage. Three out of the nine tracks are short instrumental pieces that incorporate sound collage, field recordings of a farm, and strummed acoustic guitar. While they sound interesting enough, they come across more as undercooked sketches of songs not yet fully materialized than meaningful interludes. Not bad overall.

La Llama La Llama cassette

Was extremely ready to hate this, as the cover art had a strong whiff of the eggier end of punk about it, and I was prepared to mentally file this in the dustbin of history along with all those other poorly-dressed oddballs who can’t write tunes—however, how wrong I was (someone should come up with an idiom about not judging covers)! This is a tidy little cracker of a debut; scuzzy, taut garage rock that genuinely sounds like it was recorded in an actual garage. Songs fizz and whip past at a rate of knots, and never stay around too long to stay boring. Really good.

Empire Down / Liberty and Justice We Want Revenge for Every Minute Lost split LP

Split LP from two stalwarts of street punk here. Straight off the bat, it’s clear that the LIBERTY AND JUSTICE side is the more interesting and compelling. The EMPIRE DOWN side is a perfectly workmanlike, metallic-influenced hardcore-y Oi!-ish affair, which is fine, just fine really. No earths will be shattered, no epochs defined. Flip over to LIBERTY AND JUSTICE and we take a tour round a number of genres, some to great aplomb with a country-infused rocker and some THIN LIZZY worship; some to not-so-great aplomb, in particular a ska tune which raised an eyebrow from yours truly. However, the standout track is a stomper written in Tagalog, which is extremely great.

Machine Go Boom Your Skin’s Been Peeling Off EP

The five songs that comprise this EP were recorded way back in 2010. I’m always curious about these posthumous releases from bands that made a regional splash before getting sucked into the vast and encompassing void of non-existence. At the heart of my curiosity is a burning, one-word question: “why?” Why do bands from yesteryear feel compelled to scrape the barrel of nostalgia over a decade later to see what detritus they can dredge up? Perhaps it’s what their fans demand. Maybe there are legions of MACHINE GO BOOM-heads out there just pining for a few more songs to help them relive the glory days. In 2007, NPR said they “pound out high-energy, upbeat pop.” Sure. To my ears this is the kind of generic ’00s indie rock that I would have actively avoided when it was fresh. How has this aged fourteen years after its conception? Do I really need to answer that question? If you have a soft spot for this band or loved them in their heyday, I’m sure you’ll be thrilled that this is seeing the light of day. Personally, I’d rather literally peel my skin off than have to listen to this again. 

MKVulture Terminal Freakout cassette

Four-song debut cassette of dark, moody, goth-infused mid-tempo punk from Richmond, VA. Incredibly catchy songs, almost addictively so. Hell, I’ve listened to these four songs about five times in a row now. The Bandcamp page for MKVULTURE leans into claiming they are both psych and darkwave, but I honestly don’t hear either of those things. I think there’s synth on a few of these songs, but it certainly isn’t the focal point, and the band isn’t anywhere near out-there enough to be self-identifying as being psychedelic. The project comes off as a very sincere moody garage punk band to me, and I really dig it.

Napsack Trust / No Rest cassette

If you’re a fan of female-fronted pop music that’s both pretty and quirky, you’ll like this. If you’ve got a little thing for folk music, even better. Imagine taking parts of MAZZY STAR, the BREEDERS, and COURTNEY BARNETT and creating something new. Maybe I’m crazy. Maybe. But I love this cassette.

Negatives Whole Lotta Shakin’ EP reissue

Early ’80s Boston was ground zero for a certain strain of tense, wiry punk by and for art freaks and eggheads, and this long-lost EP from NEGATIVES hews so closely to that particular sound that I was completely taken aback to learn that the band was actually from New York City—cue the ’90s Pace Picante commercial. Originally released in 1979 or 1980 (apparently the band isn’t even entirely sure), Whole Lotta Shakin’ is basically the stuff of “punk records as retirement fund” dreams: band exists for under a full calendar year, records and releases one poorly distributed single, doesn’t even bother to put together a sleeve for it, then vanishes without a trace. “Mind Scan” is a sneering, snotty rocker and the most classically KBD of the EP’s four cuts, albeit on the nerdier/weirder end of that spectrum (the one occupied by the SCIENTIFIC AMERICANS, DOW JONES & THE INDUSTRIALS, PLASTIC IDOLS, etc.) as opposed to the fuck-up/dum-dum side, but that said, the real hits are the ones bookending it. The dark, desperate harmonies of “Paradise” and jagged, stop/start rhythm pushing right into the soaring, anthemic chorus of “Whole Lotta Shakin’” conjure the dissonant post-punk beauty of Boston’s best—think MISSION OF BURMA, NATIVE TONGUE, and various deep cuts on the great Propeller label—which only makes it even more wild that NEGATIVES (just barely) predated all of them. New York for the win!

New Math Die Trying and Other Hot Sounds (1979–1983) LP

NEW MATH was a New York State band from the late ’70s to the early ’80s. I was listening to punk starting in 1981 or 1982, but I don’t remember knowing them. They were on a San Francisco label (415) at one point. Being from SF, you’d think I’d have heard of them. Nope. My loss. This is some good shit, I’ll tell you that. It reminded me of another band, but I couldn’t place it. Then I finally did place it and I couldn’t stop hearing it. The FORGOTTEN REBELS! Very rock’n’roll-y, mid-tempo, and super catchy. This is great.

Night Slaves Acceleration Prose cassette

NIGHT SLAVES is David Kane and John Toohill from Buffalo, New York. NIGHT SLAVES play a minimalist post-punk style that harnesses its power from synths and other electronics. The four-song Acceleration Prose cassette is full of danceable darkness with screaming organs, noisome, angst-ridden vocals, and crashing drums. The song “Wisdom of a Chain” is perhaps one of my favorite tracks off this recording, with its chaos-ridden synthesizer work, howling vocals, and driving bass drum. Fans of PRIMITIVE FIGURE or CROCODILES might be really into this cassette.

Ódiame Demo ’23 cassette

Hardcore from Spain. Fairly generic riffs played competently over fairly cringe-worthy lyrics and mosh calls. If that sounds appealing to you, by all means, have at it, but personally I don’t think your life would be missing anything if you skipped this one. Next!

Omega Glory Offerings LP

New York project that mixes death metal with hardcore moments, fulfilling satanic rituals. Steady gloom and sludgy cadences face strident strings tied to the lower tones of the bass lines. Solid vocals and solid riffage, reaching dense sounds. Recommended.

Persecutor Global Prison Experiment EP

Raw and aggressive, sick anti-racist and anti-punitivism powerviolence quintet from Naarm, with shockingly blunt-force-driven riffs, mad, unnerving drums, and a creation of momentum through the songs which is really good. The vocals hit overwhelmingly, but might be a bit disorganized in the mix. It seems that Australia is not only filled with eggy eggs or garage rock’n’rollas, and let me say that I’m glad. Blunt. Force. Project. Keep. On!

Phil & the Tiles Double Happiness LP

Here’s something that’s been bugging me since this Melbourne act dropped their debut, 2022’s Health/Body EP: what up with this band name? It feels like a pun (along the lines of PHIL ‘N’ THE BLANKS), but not one that makes any sense, and of the six whole-ass people in the band, nobody is named Phil. Then there’s the track “Ode to Phil,” one of this record’s gentler tracks and one seemingly about a superhero named Catgirl. Wut? Thankfully, in doing research for this review, I found that Gimme Gimme Gimme (an excellent zine shedding light on Aussie acts) had gotten to the bottom of this! Turns out Phil was a cat the singer lived with (while rooming with Lewis Hodgson of CIVIC) who often cooled off by laying on the kitchen tiles. Feels good to have that cleared up! So, yeah, this album picks up where they left off on that debut EP. Their core sound is very much in the vein of EDDY CURRENT SUPPRESSION RING or UV RACE—chatty post-punk with some new wave and garage around the edges—but, with six folks in the band, they’ve got too broad of a pool of musical influences to ignore. So, you get stuff like the working class psychedelia of the COSMIC PSYCHOS bleeding in, or tracks where they bump up the aggression and new-wave-iness to LOST SOUNDS-ish results, or even a track where they strip back their typically big sound to a something approaching ESG’s minimal funk punk. Personally, I think they sound best when they play it straight—”The Watcher,” which sounds like a more tuneful version of peak UV RACE, is one of my favorite songs of the year. In any event, whatever they’re playing, they sound like they’re having a blast doing it, making for an immensely listable record.

Plexi Stad Siren Dance EP

Antwerp’s PLEXI STAD reinvented themselves so quickly and dramatically in the time since their debut EP last year that it’s a little whiplash-inducing. 2023’s Probation Baby was a fairly nondescript and generic mishmash of loose garage strut and post-egg angularity (think early URANIUM CLUB after a caffeine crash), but if the lean mutant funk of Siren Dance is any indication, these guys must have just recently discovered the CONTORTIONS and seen the light. There’s still remnants of PLEXI STAD version 1.0 in “Returning,” which throws in a few disco beats but otherwise travels in a fairly straight line paralleling dozens of contempo scraggly/shouty bands caught between post-punk and garage (and who are more likely than not based in Australia), but otherwise the tone has changed sharply—“Your Parade” is like a sax-free rewrite of “Contort Yourself,” with some particularly unhinged James Chance-style vocal exhortations and a furiously staccato rhythm, “Stand-By (Stuck On)” is all chicken scratch guitar, elastic bass lines, and rigid beats modeled after prime GANG OF FOUR, and the menacing, elliptical groove of “Siren Dance” echoes caustic Benelux greats like the EX and COÏTUS INT. Hopefully they’ll sit down and stay here a while, rather than it being just another stopover on the way to their next sound.

Poison Boys Headed for Disaster LP

Compilation of odds-and-ends from these Chicago long-haired rockers. If you like your jeans too tight and your hair unkempt, then this may be the snotty little record for you. This mob worships at the altar of STIV BATORS, and they are preaching their little winklepickers off on this release. More keys than a gaoler’s back pocket, and daft solos are the name of the day. STOOGES and NEW YORK DOLLS influences abound, presumably powered by industrial levels of Silvikrin and leopard print. Will it change your life? Not unless you’ve literally only started listening to music in the past two months, but it is an awful lot of silly business and, shock horror, a laugh? It’s not been made illegal yet mates, so enjoy it while you can.

Rabid Few Rabid Few cassette

Following in the footsteps of classic ’80s Italian hardcore acts WRETCHED and NEGAZIONE, this demo from Massachusetts’s RABID FEW is a blistering listen. Great riffs, great leads, and memorable vocals; this lot would fit right in at punk fests like K-Town or Have a Good Laugh. While the guitar work and vocals leave nothing to be desired, the drumming is my favorite part here—it reminds me of BOOTLICKER, just pounding, pounding, pounding right up front in the mix. Get into this shit.

Billiam / Revv split EP

Naarm minimal weird punk split effort between BILLIAM, fixing you with a dose of mid-paced drums in a new wave synth creation, ever-ranting, lo-fi “recorded on used VHS tape” vocals, and softer than average keyboards, and REVV’s new wave-y rock’n’rolla garage tunes and interesting vocals. Both bring a hyperactive vibe to bedroom punk entrepreneurship. DIY synth punk solo projects from Australia that share their cathartic angles (surely kangaroos are laying eggs now).

Ritual Warfare Poison Death Noise EP

You know, there really isn’t anything that stands out to me about this EP. It’s pretty cut-and-dry blackened death metal with some decent riffage, pummeling drums, and the typical themes ranging from gore to anti-religious iconography. However, it’s charming in its own way. There’s a palatable sort of passion that oozes from it. This is the kind of band I’d have a really great time seeing live, but probably wouldn’t listen to much in any other setting. I think it’s because there’s absolutely no low end on this recording. If there’s a bass player, then they absolutely buried them in the mix. Some metalheads dig that kind of thing, though. If that’s up your alley then this is worth a spin.

Rouge Rouge LP

Providing a seemingly endless supply of attention grabbing music, Phantom keeps the bar high with ROUGE’s debut LP. With nothing to scale it, I thought the cover photo was a crack pipe, but liner notes explain that it was a homemade bat crafted from a shopping cart handle that was used “during riots after a demonstration against the financial policy of the European Central Bank in Frankfurt”—while this sets the tone for the abrasive music within, the lyrics definitely fall less on the political and more on the personal. Take for example the caustic “I take pictures of myself ‘cause I need destruction / Give me a zero or a ten” from “Images,” or the scathingly self-critical “01 / 01” unabashedly singing “Friendships turned out unstable / Cold coffee cups on the kitchen table / Months passed—it felt like dreaming.” Post-punk is clearly on display here with these personal lyrics, paired with a front-of-the-mix grumbling bass and reverb-heavy guitars. Don’t miss the boat on this latest offering from Berlin’s ROUGE.

Ruined Virtue Ruined Virtue demo cassette

Every now and then (usually once a month or so), the music review gods look down upon me, smile, and say “Eric, here’s a tape to review that you’re really going to fall in love with.” This month, that assignment is RUINED VIRTUE’s demo, a five-track banger that is my new favorite thing. Coming from the same swamp in Sheffield as the magnificent RAT CAGE, RUINED VIRTUE’s demo sounds like WARTHOG, GOLPE, and the rest of modern punk’s finest. They even have a little bit of medieval charm, heard most prominently on standout “Flowers of Flesh & Blood.” If that intro isn’t enough to make you want to suit up in some chainmail and go to battle I don’t know what is. I’ll be eagerly awaiting some wax from these guys, really, truly killer stuff.

Schedule 1 Crucible LP

It’s hard for me to avoid the CURE comparison here, so I’ll just embrace it. Yes, SCHEDULE 1 is more than a touch faster than most of Smith and co.’s work, but the lower-register melodies and lines like the titular “You melt me down, just like a crucible” make this sound like an aggro version of Disintegration. It’s propelled by an anthemic quality which felt almost glam or like some early Oi! bands. Not a combination I would have predicted, but here we are.

Scraps Noise Not Music: 1986–1989 LP

France has never exactly been known for its hardcore bands. In fact, I’m sure most of you would struggle a little to name five French ’80s hardcore bands. Sure, we never had any shortage of terrible Oi! bands (a sorry tradition), but few inspiring fast bands in the ’80s. SCRAPS were an exception. They played that kind of really fast and raw hardcore thrash with extreme vocals that grew in Europe in the mid-’80ss with bands like LÄRM, NEGAZIONE, HHH, or ASOCIAL. Imagine DISORDER covering GANG GREEN in a Bristol squat in 1984. SCRAPS embraced the super punky “noise not music” philosophy, although they were not as radical as their fellow countrymen, the mighty RAPT, but more direct and vicious than the equally mighty HEIMAT-LOS. The lyrics are mostly in French and tackled the topics of the day (apartheid, animal liberation, the arms race), but also some that focused on French politics, like the rise of Le Pen (famous leader of the far-right whose daughter currently heads the most popular far-right party in France) or torture during the war in Algeria. Angry political words that fit the music perfectly. The LP includes the early records of a band that celebrated its 40th birthday in 2023. That’s what you call dedication and true passion for hardcore punk. This is a pretty essential record if you are into abrasive and fast political hardcore punk, and an essential piece of history. Guaranteed completely Oi!-free.

Sectarian Bloom Strategies of Tension LP

SECTARIAN BLOOM has a sound that is all their own. If you haven’t yet checked them out, well, here is your chance. Bass-heavy with searing guitar leads, and powerful yet almost spoken vocals are their hallmark. Punk rock’n’roll. Strategies of Tension is eleven songs harvested from their 2020 self-titled release and 2022 New Spring recording. A fresh mastering provides the songs with new energy and packages them all into a single record which makes playing their to-date material a bit easier. In all, this is a great collection of songs created by a band that wishes “a hundred sects bloom.”

Shazy Hade Triumph Returns Again LP

Ah wow, another “long-lost album” by a band that I presume has been largely forgotten by whoever the folks that knew them in the first place might be. This one was recorded sometime around 2008 and was (most interestingly) thought to have been destroyed in an unannounced bulldozing of the studio that housed the master tapes. I take that as a sign that these tunes were never meant to be released. But, lo and behold, a sole copy emerged from the wreckage, and here in 2024 we are given the chance to marvel at the album that fate couldn’t kill. Perhaps for some this will fulfill an indie rock prophecy of mythical status. My impression is that myths rarely hold up to the bright light of reality, and this collection of songs belongs on a busted tape under a pile of rubble. Triumph Returns Again is boilerplate jingle-jangle indie pop, graced with whiny, grating, off-key vocals. It’s pretty excruciating stuff. In a day and age when there are so many new and exciting bands pushing the frontiers of music, why waste your time on something the forces of nature were clearly trying to eviscerate?

Cimiterium / Slavery split EP

This EP is a record that does not lie. We’ve all been disappointed with lying records, especially before you could stream everything beforehand. I remember getting a supposedly “crust-as-fuck” LP from an American band once, and it ended up being boring metallic hardcore. It looked crusty, the label said it sounded crusty, the distro said the same, and yet, it was not—the record did not do what it said it would and it was most upsetting. No such treacherous fannying around here: it looks like a stenchcore record, the bands proudly claim they do the stenchcore thing, and indeed, it sounds like stenchcore. Great customer service here. CIMITERIUM is a relatively young band from Melbourne I had the pleasure to see live last year, and they deliver what you’d expect from a band that uses a “battlecrust” logo. Perfectly executed ’00s-style stenchcore with an emphasis on the BOLT THROWER side of the spectrum. Heavy, super gruff, cavernous, downtuned filthy metal crust reminiscent of SANCTUM, CANCER SPREADING, or STAGNATION. Totally unsurprising. Of course I love it. On the other side your date will be with SLAVERY from Praga. They have been going for a while now, and their 2022 LP was a definite success in the always stable stenchcore category. They are thrashier than their Australian tag-team partners, and more epic I’d say, somewhere in the devastated neighbourhood of mid-’00s HELLSHOCK, early FATUM or early ’10s CANCER SPREADING (again). I particularly enjoy the moshing, mid-paced moments here, how aggressive the Czech vocals sound, and the fact that the song really keeps a punk production, warts and all. Another victory for soap-dodgers released on the always reliable Phobia Records.

Spells Past Our Prime LP

Driving and pounding melodic hardcore, this has a lot going for it. I find male/female harmonies that are done well kind of irresistible. There’s plenty of that on this record. I wouldn’t say that there’s anything terribly unique or groundbreaking about this record, but it’s really well done and easy to listen to. And the title of the record is obviously worth a chuckle. Be serious about what you do, but don’t take yourself too seriously.

Life Has Soured / Squelch Chamber split cassette

I absolutely adore SQUELCH CHAMBER, so seeing this come through my to-do pile was an exciting moment for me. Their full-length Eater of Self was one of my favorite albums last year, and their side of this split continues on with the punishing sludge metal for which they’ve come to be known. Very reminiscent of KILSLUG and other Larry Lifeless projects. It’s like MELVINS if they were even more unhinged. Great stuff as always on their part. LIFE HAS SOURED also plays slow and low noisy doom, but almost sounds tame in comparison to SQUELCH CHAMBER. Good stuff, though. A split that’s well worth picking up if you can find it!

Status Seekers The 1980 Lost Tapes 12″

From the OC in 1980, and it’s amazing how different this is from most of the punk/hardcore that would come from that area just a couple years later. This has an early punk, even new wave sound going on. You’ll hear traces of the ENGLISH BEAT and the STRAY CATS, among other things. A lot of the “lost” tapes stuff that gets released seems like it was lost for a reason. This one actually deserved to be found.

Straight On View Gotta Step Up demo cassette

Lace up your high-top Nikes and take a little stroll with me, won’t you? STRAIGHT ON VIEW plays by-the-numbers throwback youth crew. No reinventing the wheel here, nothing particularly original added to the formula (except maybe the couple wildly shredding solos peppered in through this eight-song debut demo), but who needs originality in this day and age? New genres of music are all crummy anyways, why not find the subgenre of hardcore/punk that really speaks to you and completely ape it?  Chuggy guitars, gang vocals, the weird plink-punky bass that somehow is prevalent in this genre, STRAIGHT ON VIEW has everything on this demo, if your everything happens to be youth crew-style hardcore which absolutely oozes positivity.

Strikeslip Stuporstar / Terribly Tangled Up 7″

This is a really lovely single. Tongue-in-cheek power pop that brings to mind NATURAL CHILD, SPACE PHLEGM, and even a little bit of early ROLLING STONES. Incredible production here as well. Everything sounds clean and natural. I love hearing poppy music like this that isn’t compressed to all hell. This might not enter the rotation of the typical MRR reader, but I’m smitten by it. For fans of Matador Records and people who think indie music peaked in the mid-’90s.

Swan Wash Shadow Shadow LP

This first full-length by Bloominton, Indiana band SWAN WASH is dense: gothic moments intermixed with alternative rock from the ’90s, with heavy emphasis on things like L7, the GITS, and BABES IN TOYLAND. When you realize SWAN WASH is a three-piece, you’ll be amazed at the wall of noisy sound they’re capable of producing, with moments as thick as the MELVINS. The nine tracks on this album feature a lot of variance in rhythm and instrumentation, but all somehow come out in harmony. If you’re into dark-toned rock music that edges into a lot of underground sounds, then check this out now.

Teini-Pää Mietin Minne Meet EP

Female-fronted power pop from Helsinki, drawing the cuddlecore vibe from Mint Records circa the mid-’90s (CUB, MAOW) through a Finnish filter to make it their own sound. There are also strong ’80s twee vibes here, thinking of BLACK TAMBOURINE, SHOP ASSISTANTS, and TALULAH GOSH. All lyrics are in Finnish, which amplifies the dreamy and atmospheric spirit of the music. The short four-song EP had me rewardingly search out the rest of their discography.

The Ar-Kaics See the World on Fire LP

Well, if the first track is any indication, this certainly has a feel to it. It plods along, very deliberately, slowly, and darkly, almost conveying a sense of helplessness. Jesus, look at some of these song titles: “Chains” (the opener), “Land of the Blind,” “Outsider.” All of the cuts mostly have that measured pace, but they’re also mostly not as harrowing as that first cut, although they are dark and brooding. Think of LOU REED getting really dark if he got stuck in a garage. Then add more twang. I kind of like it, just in case that wasn’t clear.

The Dracu-Las Fall Asleep When I’m Dead EP

This is tasty. Starts off with a sort of synthy-sounding thing, which is dark and moody. The tempo is measured; steady, but deliberate. Pretty female vocals blend seamlessly with the garage-y, moody pop music. There’s almost even some surfy lead guitar. The second and third cuts are a little less moody and they pick up the pace quite a bit. I like this EP.

The Hamiltones In Space LP

For their second LP, these Buffalo punks boldly go where…actually, quite a few instrumental rock acts have gone before. The HAMILTONES, fresh off a stint playing for a convention of draculas a couple hundred years back, are joining the SPOTNICKS, the VENTURES, and MAN OR ASTRO-MAN? (not to mention countless lamer acts) out in space. So, you should know the deal: surf guitars plus bleeps and bloops, scratchy mid-century NASA samples, and maybe even a theremin. They’re by no means reinventing the Saturn V here, but I’ll be damned if this record isn’t just great. The guitar melodies are super compelling, and they’re often accompanied by soaring, lyric-less vocals (think the theme from Star Trek: The Original Series) or John Carpenter synths, giving the record more of a movie score vibe. And like their previous release, this thing is full of cool artwork and inserts adding more dumb fun band lore—the physical release even comes with an extra 7” by some mystery band that goes by MOON PEOPLE. Real cool shit!

The Scenics New Part in Town LP

Some 1976 recordings from Toronto teens who managed to knit together the scrappy pop of the KINKS with the freewheeling storytelling and raw edges of the VELVET UNDERGROUND into something new and exciting. The mood here is fun and loose; strummed, harmonized odes to Jonathan Richman meet the proto-garage punk of the title track. The songwriting confidence, which weaves classic suburban wasteland observations with odd cultural touchstones, is incredible. Take the ROLLING STONES-style ballad “O Charlotte”: “Your mama is a swinger she’s a party doll / She said ‘son, you better take good care of my little girl’ / Mama, don’t you worry about your teenage girl / She was in good hands with Allstate / She’s in better hands now.” It’s kind of sweet, kind of grimy, and all rock’n’roll. The band’s ability is on full display as well, even though the production is clearly DIY. Thoughtful arrangements are flush with arpeggiated guitar and three-part vocal harmonies. “In the Summer” touches on TELEVISION-esque guitar interplay that nears sonic perfection. Check out this first entry in a series of SCENICS rarities and reissues for excellent, forward-thinking proto-punk.

The Shitfits Collateral Damage LP

From the very first second, this record comes at you strong and clear. They’re poppy and high-energy with a female vocalist. I’ll be honest, I had a much different assumption about this band based only on their name and album art. Something about it made me think this was going to be a super-serious, political street punk band. Certainly a style they could do; their song “Collateral Damage” is only seventeen seconds long and it feels even faster! Overall, they trend towards the themes of romantic relationships with a heavy resemblance to the band THIS IS MY FIST! But then there’s also songs like “My Right,” which is about abortion access and is fierce and angry, as it has every right to be! It’s a helluva anthem that screams about reproductive rights being taken away by men who will never find themselves pregnant. Then the very next song is about PMS!! That made me so happy to see. The SHITFITS are on the frontlines talking about feminist issues unapologetically. Plus, they have a song called “Opposites Attract” that is totally “Nazi Punks Fuck Off” with different lyrics.

Thee Syck Bubblegum Introducing…Thee Syck Bubblegum cassette

Both of the band’s first two demos on one singular cassette, self-released on one of the members’ Floating Skull label. THEE SYCK BUBBLEGUM scratches a lot of damn itches for me. Eight songs of lo-fi, noisy, nasty garage punk, but like the DEAD MOON kinda garage punk. But also if DEAD MOON was a bit less palatable to the masses and had an unhinged-sounding vocalist shrieking about ghosts and werewolves and hauntings. Wait, is that just describing DEAD MOON? Hmm…it’s really just nasty, driving, gross rock’n’roll, and I can’t help but be a sucker for such things. If these eight tracks aren’t enough for you, dig through the wild mess that is the guitarist/madman vocalist Waylon Thornton’s other recorded output. It’s a bit more out-there and psychedelic, but there’s some disturbing moments of brilliance.

Trapped Like Rats Anger Flares EP

I know you can’t always judge a book by its cover, but let’s be real, it’s usually a good indicator of what you’re getting yourself into. Usually, cool music is accompanied by cool artwork/presentation. It is what it is. I hate to say it, but the cover of this TRAPPED LIKE RATS EP really didn’t give me high hopes. It’s got a nu-metal vibe that I don’t care for. Now that that’s out of the way, let’s get to the music. The band plays pretty standard hardcore that has a lot of guitar noodling, a lot of gruff gang vocals, and is overall unremarkable. That’s all I’ve got. I don’t find pleasure in writing this sort of review, but that’s the job and someone’s gotta do it. I’ll give these guys credit for hating the cops, but beyond that, this one’s a pass.

Traumatizer Release Fear EP

Relentless, thrashy, incisive, and violent outbursts of fast-paced hardcore punk on the debut EP from this Dutch band. Pure raw hardcore punk and even a pinch of synth work here and there (like in the track “Traumatizer”). Sharp, riffy guitars that couple with tight bass lines and non-stop drumming make this a corrosive blend and solid record. Sonic violence is guaranteed, on behalf of Spain’s underground battle label Discos Enfermos, and their allies in Canada, Neon Taste. Give it a go, eager to hear more from TRAUMATIZER.

Unabomb Cabin Fever cassette

Ripping hardcore from Michigan that goes hard from start to finish. These five tracks blast by with lyrics commenting on corruption, organized religion, racist punks, and martial law. I have a feeling the members of UNABOMB have some classic thrash records in their collections because they have riffs, and when the Big-Four-style, palm-muted, galloping power chug starts up on songs like “Blind Patriot” and “Old,” the songwriting arrangement soars past the confines of your everyday one-minute HC song. The vocals surge into a blackened holler at times, and the drumming is locked-in and super tight with a high-pitched snare tone that blazes through the buzzing guitars and ups the intensity. Also cool is the simple line-drawing cover art, which looks like the background setting for an EXTORTION record.

V/A Life Long Garbage: 15 Band Detroit Female Punk Compilation LP

This record is brought to us by 442 Music, DETROIT 442’s own label dedicated to their music and compilations of Detroit-based artists. While I usually struggle to find succinct words for a release chock-full of so many artists, Life Long Garbage is a pretty consistent gathering of lo-fi, scuzzy, and buzzy bands that take no shit, and are, if you didn’t read the album title, all female-fronted. Without listing all the contributions, some favorites are MILKBATH’s “Steamroller” that features some lovely, deep and rich vocals, ROUGH PATCH’s “Shit Day” that describes just that, making you feel alright about your own mess and sung over stripped-down drums and bass, and DEAR DARKNESS’s “You Wanna Beat Him Up” with soaring melodies and big, meaty guitars. After a few listens, I could go on to mention more favorites—all to say, this record contains a lot of powerful women from Motor City making excellent music.

V/A Groucho Marxist Record Co:Operative LP

Once again, Sealed Records has achieved a brilliant feat of punk archaeology by documenting the small but lively Paisley punk scene (that’s in the Glasgow area) from the late ’70s and early ’80s through the prism of Groucho Marxist Records, a small DIY label responsible for four releases that have all been included on this LP. The project here is admirable, not necessarily because all the songs on the record are amazing, but because of the genuine passion and dedication that pervades the enterprise. You do need a lot of those qualities in order to document so thoroughly the work of an obscure, tiny Scottish label that was around for about two years and was responsible for releasing records from a band called XS DISCHARGE (how could they have known that one of their contemporaries with almost the same name would arguably become the most influential punk band ever?). The quality of the recordings does vary a bit throughout the compilation and, not being the most devout fan of ’70s British punk, some songs are a little lost on me. But there are some genuine gems here, like the one-hit wonder URBAN ENEMIES and the aforementioned XS DISCHARGE (especially “Confessions” with its CRISIS-on-glue vibe, and “Across the Border”), but the real winners are by DEFIANT POSE (yes, like the CORTINAS song), a band that clearly had it all and wrote three catchy, anthemic early UK punk songs bringing to mind the infectious energy and tunefulness of Ulster punk rock and the CLASH. I rarely listen to ’77 punk rock, but such a record reminds me of how brilliant it can be and how young it makes one feel. Now Sealed Records really has to reissue London’s CHAOS UK.

Vaxine Frontal Lobotomy LP

An absolute cracker of a debut from NYC’s own VAXINE, taking the decrepit old corpse of UK82 and injecting a vital dose of arse-kicking into it. No wheels are being reinvented here, but when it sounds like this, why would you want to?  Fans of the snottier end of UK82, yer CHAOS UKs, yer PARTISANS, yer EXPLOITEDS, etc. will find a lot to like here, as track after track stomps along with a sneer and a pleasantly stateside fury, with no wasted energy.

Vedenpaisumus Eläma Peruttu EP

This one is a very bizarre listen. This Finnish band has a very lo-fi recording quality, and it also sounds like they really like bashing on pots and pans in rhythm. The fact that “sloppiness” is in the Bandcamp tags should say it all really. It’s certainly pretty out there, but I dig it quite a bit!

Violetas Violentas Ensayo 2023 cassette

Staking claim to being the first all-female punk group in their city, VIOLETAS VIOLENTAS is a legacy act from the early ’90s who play lo-fi and rudimentary punk on their Ensayo 23 cassette, a collection of five newly recorded songs as well as six older tunes they’ve deemed worthy of recording and releasing. Straightforward tupa-tupa is how I’d describe VIOLETAS VIOLENTAS, and on songs like “Me Estaran Buscando,” “El Bulto,” and “Veneno,” they deliver the goods. They’ve obviously got a formula that works and I love it; there will always be a place in my heart for pure punk like this.

Virus X 1983 Vol. 2 (The Final Vinyl) LP

Originally formed in the early ’80s in Niagara Falls, New York, VIRUS X lives on. One side of this record has some old recordings from 1985, and the other has new tunes from 2023. The ’85 tracks showcase an ominous, outsider rock sound that leans into ghoulish themes in the vein of early T.S.O.L. and the FREEZE, and the band carries their strange sense of humor into the new songs as well. They’re sounding like old pros on the new stuff, and the songs are more densely-composed, but these guys are obviously still having fun.

Wednesday Week Fan Club E.P. #1 EP reissue

This punky pop band out of Los Angeles was active in some form or other from 1979 through 1990. The project centered around sisters Kriti and Kelly Callan (daughters of actress K Callan, who voiced Hank Hill’s mom, Tilly, on King of the Hill from 2000 on!), but also featured, at times, Steve Wynn and David Provost of DREAM SYNDICATE, Kjehl Johansen of URINALS, and David Nolte of the LAST. Early on, they played a brand of jangly pop that seemed to be heavily influenced by sounds coming out of the UK DIY scene (see their great 1983 debut Betsy’s House). Over time, though, they morphed into an act somewhat adjacent to both the Paisley Underground and the Valley-friendly new wave pop rock scenes of the day, failing to fully fit in with either. Their commercial success peaked in 1987 after signing a record deal, putting out an LP, and having a couple of tracks featured on the soundtrack to the comedy slasher Slumber Party Massacre II. What we have here is a reissue of their 1986 self-released fan club EP, which they put out to the disdain of their record label. It kicks off with a cover of “No Such Thing” by AGENT ORANGE, stripping it of all the aggro posturing and proto-thrash production that was requisite of a gang of teenage boys putting out punk music in 1981 and replacing it with sweet BANGLES-esque harmonies and a bare-bones Teenage Shutdown-ish production. It absolutely rules. So much so that I don’t feel the need to go into the remaining three tracks to let you know the release is worth picking up…I mean, they’re fine (except for “Businessman’s Wife”, which sounds like a generic 1987 rootsy bar band number)—Kjehl Johansen even helped write one! They’re just barely notable next to this cover. Limited to 300 copies, so grab one fast!

Why Bother? Serenading Unwanted Ballads LP

Wow. WHY BOTHER? made another album. Another very, very good album. This prolific band comes from Mason City, Iowa, and this is their seventh full-length record since 2021. Serenading Unwanted Ballads hits all of the marks of their signature sound: Terry’s foreboding-doom vocals and hallucinogenic synth, Speck’s shimmering guitar that’s drenched à la country western ballad in reverb or full of crunch and fuzz; Pamela’s growling bass (check out “Some Don’t Dance (Post Modern Mix)”); and the equally precise yet destructive drumming from Paul (check out “Frothy Green (Live Dec. 2020)”). The A-side comes off as a darker and at times slower version of the band, like on my favorite of the album, “Come on Inside”—absolutely haunting. The B-side gets a little more energetic and feels akin to previous releases, yet still has some dark reveries like “Thanks for the Ride” and “Testify,” the latter written and recorded by Aaron H in the Anamosa State Prison. In full disclosure, A City of Unsolved Miseries made my year-end top ten for 2023, so I come predisposed to loving this band, and I’ve been listening to this release on repeat since it came out in March. But I digress, as I’m gushing at this point—if you like post-punk cloaked in a gothic shawl set to horror synth, then do yourself a favor and listen to WHY BOTHER?

X Aspirations LP reissue

Out of press for the last decade, Dirt Cult and Green Noise have collaborated to reissue an absolute mammoth of ’70s punk, the debut album by X. This is desert island, “grab it off the shelf in a house fire” kinda shit right here. One hates to see terms like “classic” bandied about, but this is the rare instance in which the label truly applies. Story goes that these tunes were committed to tape in a nascent five-hour recording session, meant for the purpose of cutting a single. Fourteen blistering tracks later, we have one of the seminal documents of first-wave Australian punk. Aspirations goes harder than 90 percent of what passes for punk these days, and at half the tempo. Unbridled, raw, and absolutely savage, this bass-driven masterpiece laid a blueprint for many bands to follow. “Good On Ya Baby,” “Suck Suck Suck,” and “Delinquent Cars” are untouchable anthems that feature some of the most memorable vocal hooks to have ever wormed into my undeserving earholes. Wildly unhinged guitars being unsanctimoniously tortured dapple the bruising soundscape created by the rhythm section. It really doesn’t get much better than this. If you’re not familiar with the band or this record, stop reading and make that change. This is a heavyweight slab of pure punk perfection.

Zorn Zorn CD

ZORN releases a knot of stellar, binge-worthy metal/punk. Billed as “Philly’s creepiest cult sensation,” the band brings satanic stage rituals and theater in various forms, such as carrying band members onstage via coffins and other wholesome behaviors. The stage presence is brilliant, as is the crusted, blackened punk spewing from this release. Much comes to mind—I want to look towards BATHORY, VENOM, NEGAZIONE, and some of that D-beat for comparison. The record is tough…tough and long! Lots of value to be had, and it’s on Black Konflik!  It has become my master’s call.