Reviews

MRR #495 • August 2024

(+39) 375-649-94-64 My Telephone Number Demo #01 cassette

Lo-fi, garage-infused pop duo from Brescia, Italy, a self-described “hardcore techno” band. To me, the cassette is half anthemic garage punk bops and half mid-tempo dancy art-punk. However you choose to categorize them, (+39) 375-649-94-64 MY TELEPHONE NUMBER is sure to become a household name. That is, if it can be figured out exactly what the band name is. I have seen it listed by the Italian label that released it locally, Pollice Di Fuoco, as being (+39) 375-649-94-64, the release by US label Knuckles On Stun lists the band as simply MY TELEPHONE NUMBER, and the band’s official Bandcamp page has it listed as the combination of the two. Confuse me all you want, Wilson and Dany, just keep putting out these wacky, zany, catchy punk tunes!

208 Possession EP

On paper, 208 is a noisy guitar-and-drums garage punk duo out of Detroit. But it’s best not to go into this release with that as your primary frame of reference. You’d likely come out the other side thinking it sounds like an unlistenable mess. Because it is…sort of. The production sounds like someone held a cheap microcassette recorder up to a boombox with blown-out speakers blasting one of PUSSY GALORE’s lowest-fidelity songs. It’s extreme. It wasn’t until I got to the record’s instrumental title track that I think I finally got things. I’d zoned out while it was on, to the point of forgetting what I was listening to. When I snapped back into focus, all of a sudden it sounded like I was inside the engine of some rusty steam engine, barrelling through some industrial hellscape. So, being able to recontextualize this as something closer to a pure noise project, maybe something like CHROME meets the DEAD C meets Metal Machine Music, I was able to get into it a little. Not sure if that was their intention. In any event, I think I’m OK with this now. I’m really curious to see how this would translate live.

ADD/C Ordinary Souls LP

Awesome high-energy, lo-fi punk from Chattanooga by members of FUTURE VIRGINS, SQUISHERS, and SAVAGE WEEKEND. Anthemic, heart-on-sleeve, fuzzed-out tracts in the spirit of SEXY and BENT OUTTA SHAPE that keep the optimism of pushing through life in a shitty world, because really what else can you do but make your art? Lyrically, some early SPRINGSTEEN and REPLACEMENTS-inspired tales to keep your head above water in bleak times.

Alarm! Alarm! LP

ALARM! is from Stockholm, Sweden and features members of VICTIMS and OUTLAST. I hear some classic Swedish hardcore, but not just that—I also hear some burly American style in there, such as some POISON IDEA vibes. Thick guitar, powerful bass and drumming, with intense vocals. At times, it also reminds me of LOS CRUDOS on their earliest records. Despite my comparisons, their sound is uniquely their own. They venture into territories most hardcore bands don’t, and they aren’t afraid to do their own thing. A great record by people who have been around for a while.

Alex B Kurbis Never Had a Chance, Mind CD

This is punk rock with layers and textures. It reminds me of PEGBOY in that sense, though I wouldn’t say they remind of PEGBOY otherwise. It’s catchy and melodic, and each of the instruments and the vocals seem to all work together. It’s purposeful in that way. It’s a strong sound that grabs your attention. From Switzerland, if that’s the sort of thing you pay attention to.

Aliento De Perro Más de 30 Años… LP

Villa Rosa’s group of four that’s been around for decades in the Argentinian punk rock scene delivers nine tracks of well-executed, mid-paced classic punk rock in less than sixteen minutes—anthemic and deeply felt, bursting with passion, existentialism, and love adventures, with a twist of nihilistic, gloomier humor and views. Punk rock poetry lessons from the barrio with uplifting but also laconic, melancholic features between the lyrics and music, as the whole album is a progression through feelings, experiences, and situations from touring, lovelife, and the regular course of living. The band replicates highly energetic live gigs with a deep connection with the audience, anthemic palm-muting, and sing-along encores, exuding attitude and feeling that creates a great atmosphere. Favorite tracks: “Antisocial,” “Montevideo Me Dicem” and “Nada de Nada.” Go pogo with them, highly recommended.

Arsenic Milkshake Programme Atomique cassette

Debut seven-track release from Lyon, France. Upbeat, driving, simplistic, RAMONES-esque rock’n’roll. Some pretty catchy songwriting here. A little digging showed that the drummer is no slouch and has one helluva RAMONES beat. Relentless! While I very much enjoy a sweeping generalization and respect the band’s somewhat shitheaded “No God, No Mastering” stance, I can’t help but think the recording would actually benefit from a final EQ-ing and some minor adjustments in the sequencing. If only there was a standard process which might take care of such issues.

Bad Motivator Bad Motivator cassette

Three thrashy garage noise psych tracts that sound like something In The Red would have put out in the early ’00s. I was initially thinking this was the glam-adjacent band BAD MOTIVATOR from Spokane, but this outfit is from Los Angeles and only has a few releases out, leaving me excited for a full-length sometime in the future. Guitar-driven tunes with just the right keyboard accents in the vein of USELESS EATERS and GOGGS. Party tunes for deranged misanthropes.

Böset Sista Varningen LP

Swedish mangel from the same town as legendary D-beaters SKITSYSTEM and SHITLICKERS (something must be in the water)—BÖSET carries on the tradition of fast and loud raw punk on their new LP Sista Varningen, with twelve politically-charged heaters that will leave fans of the genre with little to be desired. Opening track “Rasera Deras Borg” is a strong start, showcasing the band’s ability to touch on every hallmark of this style, including a nice shift into rock’n’roll at the one-and-a-half-minute mark, a move I’m always a sucker for. Throughout the album BÖSET does a nice job keeping things from getting stale, like on the ripped-from-’82 “Vi är Långt Förbi Sista Varningen” and the neat spoken word breakdown on “E Ni Goa i Hövvet Eller?” Lyrically, the band is pissed about shitty jobs (“Avskaffa Arbetslinjen”) and not buying into excessive consumerism (“Krossa Konsumismen”) amongst other things, and while I don’t speak or understand the language, I can pick up what they’re putting down. Overall, a solid album that keeps Gothenburg’s impressive track record intact.

Broken Barcodes Nothing Groundbreaking Here LP

The biggest crime of this record is that it’s boring. I have a feeling, based on their album title, that they are aware. Everything about this is amateurish. That first song’s drumming is atrocious. Anyways, this is the latest occurrence of scraping the bottom of the “punk nostalgia” barrel. Did you or someone you know listen to bands like the QUEERS, SCREECHING WEASEL, and…OK, everyone stop. Hang on a second. They have a song called “January 6 (The Most Idiotic Day in Modern American History).” It’s also bad, but what a title! The pacing is boring and the lyrics are pretty cringe. I feel I need to break it to you that romanticized pop punk is not the best venue to recruit political activists. And in the very next song, you sing about how your girl gets “five stars from your heart.” It’s super tone-deaf. Thanks for being on the right side of history, but, like, make a PROPAGANDHI-worship band instead. Based on their Bandcamp description, they are not taking this very seriously: “Three neighborhood dads in need of a hobby, united united in a quest to fend off boredom, attain unfulfilled juvenile dreams, and make use of those dusty instruments, all while trying not to piss off the neighbors.” Also, by the way, the drumming starts to suck again on “I Don’t Sleep a Lot.” No thanks.

Buio Omega I Wanna Crash My Car (On Purpose) / Highway Star cassette

This is some rockin’ hardcore here out of Minneapolis, Minnesota. My first thought was a slightly more punk version of ANNIHILATION TIME. The first song gives me that vibe, along with reminding me of SCREAMER from England. When the second and final song came on, I was surprised since it is a cover of DEEP PURPLE’s “Highway Star.” I figured there was no way this band was going to be able to pull off that guitar solo, but they really did a fine job; I was legitimately excited by how well they did it. Nice job! Two songs, they are both fun to listen to and I can’t wait to hear more.

Burning Realm Burning Realm cassette

Punks, from the wider Dublin scene in this case, playing what could reasonably be called stoner rock, but keeping enough of their god-given punkness in the mix to maintain the flow of blood. BURNING REALM is a three-piece with two guitarists and no bass player, which doesn’t necessarily translate to there being no bottom end on this four-song debut tape—“From Beyond,” for example, has some heft to its psych/alt/doom chug, and comes off like a cross between TORCHE, JANE’S ADDICTION, and RUDIMENTARY PENI circa Archaic. That hybrid is likely not for everyone reading, but they make it work whatever you think. “Warped One (Arise)” is the EP’s speediest number from its sweet, THIN LIZZY-doused axe intro onwards.

Canal Irreal Someone Else’s Dance LP

Singer Martin Sorrondeguy has achieved legendary status in the American punk scene. He sang about the issues immigrants faced living in the USA in LOS CRUDOS, made Beyond The Screams: A US Latino Hardcore Punk Documentary, fronted straightedge queercore band LIMP WRIST, perfected the craft of photographing punk shows, and is overall a major influence for steering punk in the right direction. CANAL IRREAL is his newest project alongside friends from SIN ORDEN, COLD LOVERS, and CARDIAC ARREST, and they are already on their second full-length through Beach Impediment. It mixes all that we love about hardcore (the fast tempos, the gritty instrumentation, the raspy vocals), but it’s a post-punk band, essentially. Someone Else’s Dance flows easily in 30 minutes, and it keeps you on the edge of your seat. A great record from start to finish, and it will appease the followers of Martin’s work and gather a lot of new fans.

Cave Sex Cave Sex 12″

CAVE SEX is from Singapore and features members of some very well-respected bands like SIAL and PROSPEXX. This time, we are treated to some outstanding post-punk. The music can be dark yet sharp and hard-hitting. They seem to play with the urgency of a straight-up fast hardcore band, while sounding more like the first couple of KILLING JOKE albums than hardcore punk. My one and only complaint about this album is that I wish it was twice as long! Wow!

Caveman Something’s Got to Give EP

CAVEMAN is the ideal music for any hardcore pit. It has the perfect formula for a good time pushing, shoving, or slamming: groovy, mid-tempo stompy parts that may be a direct result of having a SPY member, fast powerviolence-esque blast parts, the human equivalent of a rabid dog on vocals, and the slamming always comes full circle for a climactic resolution. These six songs are not too short and not too long, just the right length to get the blood boiling. The lyrics deal with a range of subjects, from the malaise of modern living to strawberry banana smoothies?!? Knuckle-dragging hardcore fanatics will want to add this one to the collection.

Celebrity Handshake Earth Last LP

This newest recording from Portland, Maine’s prolific skronk-blues outfit CELEBRITY HANDSHAKE is definitely an acquired taste. Imagine BIRTHDAY PARTY stripped of any sense of songwriting or musical prowess, leaving only raw, chaotic energy. Layered on top are vocals that meander between stream-of-consciousness jazz poetry and the unfiltered oddity of WESLEY WILLIS. Most people are just going to hate this, but if you appreciate the truly weird, give them a shot. Highlights for me: these songs all blur together, so feel free to dive in anywhere.

Cicada Something Else flexi EP

For the first time since 1803, two distinct broods of periodical cicadas emerged during the same season this year. Trillions of these noisy bugs dotted the Midwest and Southeast US over the past couple of months, emitting a maddening, high-pitched buzz while engaging in a mating frenzy before littering landscapes with their discarded carcasses—a shameful, disgusting, and carnal affair. As it turns out, a third horde of nasty CICADA has been discovered, and it’s these ripping gents from Richmond. With haggard growls commanding whipping fits of catchy, menacing hardcore, this flexi presents three snappy tracks in less than four minutes. With any luck, we’ll hear more of this much sooner than the next expected invasion of the band’s namesake pests (they won’t be back until 2037).

Clickbait At Your Leisure LP

At Your Leisure is the debut record from Chicago’s CLICKBAIT, a self-contained minimal DIY disco dance party to heat up even the chilliest Midwestern basement. These thirteen songs are all unwavering testaments to rhythm, propelled by roundabout, ESG-descended bass lines and four-on-the-floor, hi-hat-rattling beats, with sparse shocks of single-note guitar dropping in judiciously alongside equally concise lyrical missives from vocalist Sandra, whose matter-of-fact deadpan delivery periodically slips into more animated shrieks. The neo-no-wave needling of “Audacity” leaves plenty of negative space for posing rhetorical questions (“What do I want? / Do I need it?”), while the GAUCHE-like “So-So” digs deep into a perpetual motion groove as Sandra’s coolly detached speak-sing gets increasingly intense, ultimately breaking into a pointed, impassioned wail (“Being a woman is not a competition / That I want to play in”). The dry, frills-free recording imparts the LP with a certain out-of-time feeling, like listening to a years-weathered cassette capture of a clandestine PYLON rehearsal in the studio art building of a state college circa 1980—there’s a scribbled precariousness and sense of spontaneity in CLICKBAIT’s wound-up sound that’s particularly refreshing in a modern world of BODEGAs and GUSTAFs sanitizing this sort of funky art-punk for IPA-drinkers at gentrifying rock clubs; bless them for that.

Contracharge Est 2023 CD

Now, there are only two options when you are confronted with a band that has the word “charge” in their moniker. They either have a plan to go on a pilgrimage to sunny Stoke-on-Trent in order to take pictures of the famous chimneys, or they haven’t listened to a single punk band since the SEX PISTOLS. Of course, CONTRACHARGE belongs to the first category, as this Chicago band plays D-beat hardcore (duh). This CD includes their first three digital EPs, Clutching Keys, Dead Weight, and The Tower, that were all recorded in the past twelve months. I make no secret of my love for the D, and for unoriginal hardcore punk music done well in general. D-beat is a deceptively easy genre, but, as my punk sensei used to teach me, “simple is difficult.” CONTRACHARGE takes the more rocking approach to D-beat hardcore (sometimes too much) rather than the straightforward, orthodox path. The sound is raw and the songs have a “live in our practice space” feel, and it does get a little sloppy in places which I don’t mind for the genre, but don’t expect anything too fancy production-wise as they are clearly a young band having a go. I love the hoarse, aggressive vocals, and some riffs point to Scandicrust bands like UNCURBED or CONSUME (especially on the last recording) which I would say is the way to go, and on the whole it does the job well. I’ll be keeping an eye on CONTRACHARGE.

Crepuscular Dawn The Fire Tomorrow LP

Post-punk of the heavy-to-soft exploration variety, out of Manila. I had to look up the word “crepuscular,” and it’s not remotely what I thought it meant. CREPUSCULAR DAWN has vocals that range from a little bit of DANZIG mixed with Jaz Coleman to a swoon like MORRISSEY. Guitars build and shift dramatically on this album when given the chance. The song “Pilgrim” is my current favorite, with its hook of proverbial wisdom. If you’re into dark post-punk with a tendency towards a heavier vibe, then absolutely check this LP out.

Dandelion Adventure John Peel Session LP

DANDELION ADVENTURE was a late ’80s UK band whose members went on to a host of significant endeavors (bands like DONKEY, the COMMON COLD, and STRETCHHEADS, labels like Pumf). DANDELION ADVENTURE put out a couple of great, overlooked records with songs that smile at you sideways with an infectious glee, as if the band is just as surprised as you that this spastic chaos actually makes some kinda sense. In 1990, they had the honor of recording a session at Maida Vale for John Peel’s radio show. Excited young lads that they were, they wrote four new songs for the occasion. Decades later, bassist Ajay Saggar revives his Wormer Bros. label to pair up these never-released tracks with their 1988 demo and some rehearsal takes. No surprise that the Peel Session sounds fantastic, showcasing the pinging logic that DANDELION ADVENTURE channeled like lab rats fed methamphetamine and let loose in a maze. Bursting out of the gate like the FALL after a good night’s rest, “Exit Frenzy Revisited” leads into “Bing Crosby’s Cathedral,” which starts like a consumerist daydream before tearing up the receipts and unleashing something like SONIC YOUTH trying to cover the MAGIC BAND. “Don’t Look Now” is chock full of the manic yet groovy rhythmic tussle that the bands on the Ron Johnson label excelled at, with nice, echoey vocals to let some air in. “All The World’s a Lounge” feeds an array of TV-tapped samples into DANDELION ADVENTURE’s avant-punk mulcher. The demo tape gives some early looks at tracks that later ended up on wax. While you’re definitely going to want to hear the studio version of “King Burger Autopsy,” the fairly straightforward punk of “Chickenfeed” sounds particularly great here.

De Rodillas Implacable EP

Five hard-charging hardcore tunes, coming to you from the punkest city in the USA: Pittsburgh, Pennsylvania. DE RODILLAS dispense with the pleasantries and set directly into the bone-breaking and ear-splitting. I got to catch their citymates PEACE TALKS recently, and this is cooking with a similar spice, which is to say that the heat is cranked way up. These tracks are nearly combustible, ramping up the tension from one song to the next until the closing cut “Quiero Ser Buena,” which slows things down a touch and introduces some melody to the vocal delivery. There’s not a lot of window-dressing or ornamentation on this EP. It’s lean and to-the-point, with a strong undercurrent of UK82 nastiness. Four-chord, pogo-worthy, pissed-off punk. What more do ya really need?

Dead and Gone The Beautician LP reissue

This remastered reissue of the Bay Area quartet’s third and final album, originally released in 2002, balances mid-tempo hardcore with noise rock, covering 28 minutes across 13 tracks. The pacing shifts from quiet moments to explosive outbursts, all delivered with a quivering intensity powered by their tight rhythm section and Shane Baker’s gravelly vocals. As a precursor to contemporary bands like ILS and drawing well-earned comparisons to JESUS LIZARD and NEUROSIS, this album fucking rips. I’m bummed that I never got a chance to see them live. Highlights: “Smile” and “Rats the Size of Rats.”

Deef 脳 (Nou) LP

DEEF existed for a short period in Sapporo at the beginning of the ’80s. They played fast-paced, primitive but bouncy hardcore punk that was more guitar-centric with radical rock’n’roll elements than focusing solely on ear-torturing noise, which is present in their sound but probably unintentional due to limited recording tools. Imagine a wilder style of rocking-era STALIN; it’s slashing, wild teenage angst rock played pretty tight, but with enough filth that is equally raw and has a secret society sort of bedroom raging vibe. Not the screaming into your pillows, but “setting up a rehearsal in your room” type of noise, behind locked door vibes. But most likely, everyone who loves this sort of punk already knows them, and we are now happy their music can be listened to outside of the dubbed-to-digital punk tape realm. Knowing the dedication of the General Speech fanzine and label, the members have been involved in the creation of this reissue, so I guess it’s good feedback that people still want the music that you made while you were young and find it relevant, even if hardcore is great because it’s about the present. But DEEF is great because the urgency and the wild admiration of speed is in every second of their record. Their youth angst has been recorded and speared, and now it takes a new form. Also, it is another great example of how the deeper you dig in hardcore, the more interesting records you find. The unfiltered and underproduced charm makes me excited, and I simultaneously try to theorize what their actual influences could have been while they capture my attention—I feel as if they are the only band that exists while the record spins. An accompanying info sheet briefly concludes the band’s story, but it also mentions how slow records/influences traveled back then, and how isolated DEEF was from the rest of the scene. This record collects their tape, a comp, a few unreleased songs, and a couple live tracks in chronological order, so as we move along, things get wilder. This is a great record, but most likely it’s not a surprise for most of its listeners and future owners. But for these fans, its release is a labor of love for sure.

Deef Real Control LP

Real Control is DEEF’s second individual release, originally put out on tape in 1984. They started as teenagers, a time when within a short period, significant changes can happen within your taste of music. Luckily, they did not approach songwriting drastically differently. It is still aggressive, exciting punk, in its most raw and primitive way without being overly noisy or filthy. Again, it’s speed that introduces most of the vehemence, but intensity is present in slower jams such as “We Kill All Punk Rock Heroes.” The same info sheet that is included for the Nou reissue is also present here, mentioning DEEF’s isolation. Sonically, this makes them rootless in the sense that it’s so visceral that sometimes it sounds as if they have only read about hardcore punk and tried to reproduce it from imagination, not that it is so out-of-place or sort of avant garde, and it’s rarely reusing lifted gimmicks from other classic records. This is why these reissues are relevant and still sound fresh, because the music on them, even if heard many times, remains new because teenagers made it without having a clue or caring too much about whatever things current bands consider when playing music. The bass sound is more meaty; the distortion has been turned up on the guitars yet they are at the back of the mix, so you have to pay attention to get the real noise-punk element. I like the mid-tempo evil songs and the overdriven vocals, but it is still very rock’n’roll. It’s not only an interesting artifact from an old scene, but this record would be a hit even today. The goal of today’s bands would be to make something this fresh after having heard this record, too. The LP includes an info sheet, a photo booklet of the era, a postcard, and a sticker. One of the great second acts of hardcore punk is the possibility that decades after your existence, maniacs like General Speech could re-release your stuff.

DMZ Lift Up Your Hood EP reissue

DMZ was part of the thriving late ’70s garage punk scene along with bands like the REAL KIDS and the LYRES. The band also included members who played or would play in the LYRES, the MODERN LOVERS, the CARS, BARRENCE WHITFIELD AND THE SAVAGES, the QUEERS, and more. This record gives us hard-hitting garage rock just a little before a punk influence really started to push its way to the forefront. At this stage of their career, they really remind me of the 13TH FLOOR ELEVATORS. Perhaps that is because they both did great versions of “You’re Gonna Miss Me,” but it goes beyond just that song. Real-deal garage rock from 1977. Very nice.

Dotrash Dotrash CD

Stripped-down, raw, blisteringly fast female-fronted punk out of Japan. Sharing as much in common with X-RAY SPEX as with Seattle’s SUX, or the late CLEVELAND BOUND DEATH SENTENCE. Little glimpses of pop melody with some backing vocals and a touch of keys balance the banging guitars and thrashing drums. Lyrics are in Japanese, but it’s that kind of perfect punk production where you probably wouldn’t be able to understand the lyrics even if they were in English. Like a femme-fronted Japanese SEXY. A definite must-listen.

Drivel A Gracious Favor From Our Creator cassette

Samples! This is enough to get a powerviolence enthusiast excited! Powerviolence and samples go together like peanut butter and jelly. They are used to set an atmosphere and “say” what can’t be said in the songs. This helps to paint a visual picture, in this case, of decadence. DRIVEL is a raw powerviolence project that follows the guidebook written by NO COMMENT, adding a bit of the MAN IS THE BASTARD weirdness, with characteristic super slow and super fast dynamics. It is not overproduced, which is something that is great for old school powerviolence enjoyers, as modern bands tend to homogenize productions so it all sounds the same.

Drug Czars Compendium CD

With nineteen studio tracks and eight live cuts, this CD compiles what I believe is the entire recorded output of ’90s South Florida weirdos DRUG CZARS. Commandeered by former members of the EAT and ROACH MOTEL, the band played punchy outsider rock with indie and pseudo-country inflections. The tunes cover a wide spectrum of energies. Some display a driving kind of post-punk, but then they’ll break out into the rootsy hardcore of “God’s Got a Gun,” slip into a sordid din like on “Let’s Go Satan,” or reveal a Doc Dart-esque sinister side on “Someday I’ll Crush Them All Like Bugs.” They also do some covers ranging from JEFFERSON AIRPLANE to WIRE, and some of the best songs here are buried in the raw sound of the live recordings. It’s dank and infectious stuff, a strangely compelling soup that may appeal to fans of later-era GUN CLUB and THOMAS JEFFERSON SLAVE APARTMENTS.

Easy Kill What a Blow! cassette

Not awful. Though it does seem like the production is the only thing to phone home about, the short length saves me from completely eviscerating it. I kind of had fun listening to it. The vocalist has some lines that made me laugh, and the guitar tone is nice and clear. I think if they work on it, they could be something special. However, some of the drum parts felt out of place, and I just don’t find anything super engaging going on here. It’s a decent listen if you just have it playing in the background, though.

Encierro Doomsday Still Bleeds Red LP

ENCIERRO is a blackened crust band from Melbourne who recently released their first full-length, and it’s a fantastic album if you’re into things that sound like NUX VOMICA, AGE OF COLLAPSE, and perhaps especially MURDERESS. Stenchcore epicness combined with vocalist Nettlenet unleashing their ferocity really makes for a great listening experience. The over eight-minute-long song “Doomsday” might be a bit much for the pogo crowd, but is perfect for those who enjoy the riffing. Lyrically, ENCIERRO is very hardline with their stance, which I dig, and poetic in a blackened sort of way. “Alerta” is probably my favorite song off Doomsday Still Bleeds Red, with its anti-fascist lyrics and heavy tones. I’m definitely looking forward to spending some winter afternoons with this album.

Fen Fen National Threat LP

In a move similar to acts like INSANE URGE or the SCHIZOS, Detroit’s FEN FEN have decided to scrub most of the garage punk gunk out of their sound, opting instead to play their hardcore straight. And it was absolutely the right move—this record rips! They’re not doing anything here that you haven’t heard before; this is essentially Fresh Fruit for Rotting Vegetables/Adolescents/Wild in the Streets worship with some beefier guitar timbres, but it’s extremely well-played and the production is just so crisp and immediate. I think what really sells this one for me is the vocal performance. My dude’s really going for it! It ends up sounding like Jello Biafra dialed back to non-cartoony levels mixed with—and I’m sure I’m going to lose everybody on this point of comparison—NAPOLEON XIV (the teetering-on-the-brink-ness of it all and the quickening cadence really gives me “They’re Coming to Take Me Away” vibes). I love it. Also, as residents of the Motor City, they’re apparently required to NUGE it up every so often—listen out for the excellently out-of-character hard rock guitar solo that wraps up “Nothing to Say.” My one complaint is that this LP has about five more songs on it than I (and I imagine most punks in the 2020s) have the attention span for. But otherwise, yeah, killer shit!

Flegma Dead Angels Abyss LP

Crossover/D-beat with squeaky-clean production. This seems to be a maiden voyage for FLEGMA, who bill themselves more in a D-beat vein while covering all the metal bases you really can on this projectile. FROM ASHES RISE meets NILE? You could name the usual lineups of both genres. At times, it even comes off a bit proggy. Not sure where to start or end with this without conjuring some real bro/AMA-type shit in my head. I’m going to leave this here.

Flower Hell of the Next / Physical God 7″

FLOWER is old school. They walk the walk, and it feels good to have a band that values the proper anarcho-punk lifestyle and politics over Instagramability. Speaking of which, we should all be grateful no one has come up with a crust filter yet. That would just be the official end of punk. The first album of these New Yorkers, Hardly a Dream, took our microcosm by surprise and by storm. Was a band ever quite as bombarded with NAUSEA comparisons? Probably not, but then there are much worse bands to be compared to. Anticipation and expectations were quite high regarding the follow-up and, where most bands would have gone for a cleaner, rounder sound, which would be a logical step, a conventional progression, FLOWER decided to go crustier and rawer. That’s probably a poor career choice, but one that I salute solemnly. The basis of the music remains the same, rooted in dirty, old school metallic crust with Danny’s half-shouted, half-spoken vocals conveying a serious anarcho-punk vibe—I am reminded of NAUSEA obviously, and of ’90s crusty anarcho bands like RESIST AND EXIST or HOMOMILITIA at times, at least in terms of intent—giving FLOWER an original edge and emphasizing the political nature of their lyrics, which you can actually understand (you won’t need a Grizzli dictionary here). Musically, this is pretty much heaven for me, if angels wore crust pants. The late ANTISECT influence prevails here, and FLOWER manages to recreate that primitive, dark metal punk vibe with ease. The production is raw but still highlights the interplay of the instruments, and the music is not lacking in aggression. There is a cracking atmospheric introduction on “Physical God,” top chugging riffs, and some creepy bass lines that make me think that early EXTINCTION OF MANKIND, SKAVEN, and weed must have been involved in the creative process. The 7” has one long crust song on each side, rather traditionally, and comes in an impressive foldout cover (drawn by guitar hero Willow) displaying in great details a nightmarish and demented (post)modern war-obsessed dystopia, full of dark symbolism befitting a tortured and abused world. Both the music and the visuals complement one another, expand the meaning and contribute to telling a great punk story. A very strong and cohesive single.

Giuda Louder Than Action / It’s Not About the Money 7″

After roughly five years, the Italian royals of bootrock return with yet another pair of soaring anthems. The driving verses of “Louder Than Action” pull you in right away and reward you with a big chorus replete with handclaps and the group shout of “gun it!” On the flipside, “It’s Not About the Money” manages to raise the bar even further with a classic mid-tempo stomper, letting you put those boots to good use. If you haven’t been introduced to GIUDA in the last fifteen years, you can’t go wrong picking up any of their singles, but this is a perfect entry point.

Glitter Litter Shocks to the Sleeping Beauties CD

I like glitter. And I like litter, like kitty litter. And I love Spain. I feel like I’m jinxing myself here. Yes and no, as it turns out. If you’re looking for something that’s going to change your world, I’m not sure this is it. But if you’re a fan of old school, melodic punk rock and want to put on something new, this could be your ticket. So, for me, it’s good, but not great. Separately, I wish I understood the draw of publishing your record on YouTube. It’s a head-scratcher for me.

Graveyard of the Pacific Sorcerer LP

The spacey orange and purple cover art tells me this is headed into the land of psychedelia. And the first cut confirms this. But wait, as I look more closely, I see words like “Moog” and “synthesizer” and, god forbid, “various software instruments.” This isn’t psychedelia at all; it’s new wave. And not just any kind of new wave, it’s that first-wave stuff like BAUHAUS, or ULTRAVOX or ECHO AND THE BUNNYMEN. It’s mid-tempo and moody and I am really digging it.

Guiding Light Guiding Light cassette

First recorded outing from this new group of Austin punk provocateurs, with five tracks whipping by in a flurry of jangly hyper-strummed guitar (bordering on early WEDDING PRESENT velocity), incessantly bobbing bass, breakneck drumming, and mile-a-minute bilingual German/English femme vocals—it’s the dream world collision of BIG FLAME and HANS-A-PLAST that I never knew that I needed! I’m especially partial to ”Lost in Voices,” which careens for a minute-and-a-half like KLEENEX if they’d existed in the age of Lumpy Records, so restless and wired that it’s almost easy to overlook how intricate and complex the songwriting truly is, as well as the dusty lo-fi tumble of “Spiegelbild,” where GUIDING LIGHT ties knots in the loose threads left hanging by the two-headed dog of 2010s Lone Star art-damage excellence (VIVIENNE STYG/BLUE DOLPHIN) with the addition of some highly Neue Deutsche Welle-inspired off-kilter melodies and warbling synth. Get on it, mess(thetics) with Texas.

Hall Last Days of Youth LP

Gothic, dark garage rock by a three-piece from Berlin. Hall sounds as if BAUHAUS and the ORWELLS had a baby; they utilize a variety of tempos, mostly midrange, in combination with haunting vocals. The instrumentals didn’t “wow” me, as they mostly seemed to be in support of the vocals rather than standing on their own, and some of the songs seemed a bit repetitive in terms of melody. However, the songs overall are all very catchy and slightly off-putting, in a great way. The standout track on this album to me is “Last Days of Youth,” as it has a stronger presence than some of the other songs and delves into a slightly heavier vibe.

Hayes Noble As It Was, As We Were CD

There’s a generally believed legend that the best punk-inspired music, in its heyday, came from Washington. HAYES NOBLE has proved this tale extends past the ’90s on his sophomore album, As It Was, As We Were. Upon listening, the album cordially invites you to a marriage between wonderfully layered shoegaze soundscapes and the hurried noise of post-hardcore. HAYES NOBLE provides the vocal hallmark of any indie band, singing of young, sultry summers and dreamy disillusionment with reality. There are many great details in the album’s composition, such as the smooth transition from the opener “Escape” to “In Search Of,” or the lovely scenic imagery evoked by “On Montrose.” The album is peppered with magic moments of gritty feedback, auric revivals of MY BLOODY VALENTINE, and an atmosphere of bedroom danceability. As for musicianship, solid bass by Everett Noble and catchy drums by Brett Noble excel on tracks like, “Blue To Grey” and “The End.” I wonder if they’re a family-comprised band, which would be cool. This June release is a definite addition to my summer soundtrack.

Heather the Jerk Surreal Good Fun Exciting Tape cassette

I’d say this is some solid, catchy pop music backed with an electronic drum kit. And given the name Heather and the fact that they’re from Wisconsin, I’d say this is Heather Sawyer, formerly with the HUSSY. It’s mid-tempo and catchy as all hell and the vocals just draw you in. This is perfect for dancing without even having to leave the couch. You just bounce around. Fun fact: when the HUSSY was a thing, they stayed at our place! And if this isn’t Heather Sawyer, you should just feel honored that you even got mentioned in the same breath.

Hög True Romance EP

Damn, this EP kicks a whole lot of ass. Heavy-hitting, organ-laden rock’n’roll outta New Zealand that would fit right in with all of those Confederacy of Scum bands like HELLSTOMPER, RANCID VAT, and ANTISEEN. Also has a BLUE ÖYSTER CULT vibe, which might not be the type of band you’d want to cop to in an MRR review, but I can never say no to that type of energy. Pretty decent production here, while maintaining that raw edge you’d expect from a band called HÖG. Lovely work.

Illuminati Illuminati cassette

Santiago punks ILLUMINATI breathe new life into a project started back in 2001. This self-titled EP has four songs from a combination of this January’s En Vivo Sala Master EP, their 2003 demo, and one new track, “Recursos Humanos.” Inside, we find fairly aggressive hardcore with shouted/screamed vocals and riff-heavy lead guitar, with the rhythm and bass guitars chugging to keep up with drumhead-annihilating percussion. High-energy, great blistering summer music. Two EPs of new material are set to follow.

JJ and the A’s Eyeballer EP

Really blown away by this EP. High-energy garage punk that reminds me of MARKED MEN/MIND SPIDERS and all those similar Texas bands. The addition of the synth brings it to a whole other level, sounding as if DILLINGER FOUR was smashed together with QUESTION MARK AND THE MYSTERIANS. Production is super crisp and the drums sound massive but not too overpowering. Great stuff here, I’m looking forward to what they do next.

Käräjät Maailman Onnellisin Kansa EP

KÄRÄJÄT is a ugly Finnish noisecore band that follows the classic audio terrorist footsteps of SORE THROAT. Short blasts of what sounds like a desk being used as a drum kit in, noise-driven punk, accompanied by chaotic riffing and throat-damaging screamed vocals. The “songs” are really, really short, in the good fashion of noisecore, and go for full intensity. As per tradition, these types of bands focus more on making people feel disgusted than on musi, per se, so Maailman Onnellisin Kansa (“Happiest Nation in the World”) is more of a critique of Finland set to a soundtrack of hellish noise.

Kriegshög Love & Revenge LP

KRIEGSHÖG return with their unpolished but anthemic D-beat in working order. Personally, I like this middle ground between the overproduced, two-minute-mark-breaking stadium crust of years past and the wave atonal noise just now receding from its 2014 high water mark (no disrespect to either, just a personal preference). It’s satisfying to hear a familiar but well-done D-riff delivered with just the right amount of schmutz on top. All that and a run time of just over twenty minutes, which is just as long as a punk LP should be.

Lika Blame Game cassette

An insular, moody powerhouse, Blame Game is for those who love Finnish punk music’s gloomy yet exciting nature. LIKA lays out the album with a “come and see” eclectic attitude, treating the listener to a medley of noise, screaming, and fun. Each song has its flair, such as the almost gothic guitar in “Monkey Money” escalating to a fast-paced riot, then back again into the depths. The album is hyphenated by a mix of Finnish and English lyrics, the vocalist using her great, compelling voice for a range of singing or screaming “mad boy!” The drums and bass offer a great heavy-blanketed backdrop to her raving in songs like “Komero” and “Whatcha Gonna Do?” Ending off the adventure, LIKA uses “Last Page 23” to divulge into a weird and wonderfully experimental sound, reminiscent of BJÖRK. Being LIKA’s third self-released album, Blame Game is a nice break from traditional sounds.

Lion’s Law Si Le Ciel Vient à Tomber LP

Pulling together all of their French-language tracks from the span of nearly a decade, Si Le Ciel Vient à Tomber could act as a thesis for Oi! stalwarts LION’S LAW. A friend once told me they think of Oi! as power pop for skinheads. Let’s call this Exhibit A. Packed to the gills with hooks, walking bass lines, big sing-along choruses—the songs in this collection are as catchy as they are tough. Overall the production is big, beefy, and crystal clear. A lot of bands lean on saturation from behind the board to impart grit and aggression, but LION’S LAW let their tunes do the dirty work. The level of raw talent on display here is remarkable. Ferocious, biting guitar work is underpinned by some of the most devastating bass playing you’re likely to encounter. Queue up “Destin Criminel,” and prepare to retrieve your slackened jaw from the floor. Simply put, LION’S LAW delivers world-class street rock on a level unrivaled by most of their contemporaries. If you have even a passing interest in Oi!, then this is mandatory listening.

Marvelous Bareno!!! cassette

Raw, tight, and flawlessly fast fastcore like in the old days from Ashikaga, Japan, with serious connections to positive attitude and anti-nuclear hardcore punk from the late ’80s and early ’90s, and some forms of skate punk for sure with their anthemic and melodic impasses. The vocals are effusive with frantic, energetic, powerful attitude, while the drums organically blast and create excellent sections. In this particular style, it has been some time since I’ve heard something that triggers that happy violence feeling. Greatly surprised.

Merked Good Night cassette

Latest release by Oakland grindcore trio MERKED. CARCASS/NAPALM DEATH-style grindcore, but also reminds me a bit of a less crusty version of pre-DYSTOPIA death/grind band CARCINOGEN. Heavy yet intense short bursts of sickened energy. No piccolo snare or slam parts here, to which punks can better relate.

Motorsav Dødsløse Nætter LP

Copenhagen punks MOTORSAV released this fifteen-song album earlier this year, and I’ve only now gotten around to listening to it. K-Town-style hardcore punk that incorporates synthesizers, and has a bleak, post-punk sort of vibe: I’m in. The opening song has a long, atmospheric opening that spontaneously becomes a punk song, and that’s just the first track. Creative arrangements emerge throughout this album, with MOTORSAV using their instruments’ full capabilities. Towards the end of the album, there are a few cover songs, with one being “Girl U Want” by DEVO. I guess what I’m trying to say is that Dødsløse Nætter is a good time.

Møld Dajcie Mi Żyć EP

Poland’s MØLD sounds like a golem-crushing destructive machine. Most may pigeonhole them as a powerviolence or grindcore band, but there’s a unique texture in the recording, reminiscent of Peru’s DIOS HASTIO from years back. Rather clean and technical-sounding, but definitely on the hardcore punk edge of things rather than metal.

N.E.O. N.E.O. 12″

Hailing from the frigid northern reaches of Finland, N.E.O. channels the raw, untamed spirit of being punk into a musical maelstrom that’s both exhilarating and cathartic. Their blistering guitar riffs, thunderous rhythms, and relentless vocal delivery (which is something that is very much a Finnish punk signature) coalesce into an uncompromising sonic assault. I don’t understand Finnish, but singer Jossu sounds pissed-off as hell! Recorded by Ville Valavuo from KOHTI TUHOA and YLEISET SYYT, one might even draw some comparisons between N.E.O. and these bands. A defiant middle finger to the ears, and a testament to unadulterated hardcore. Expect mosh pits erupting and fists pumping.

Neutrals New Town Dream LP

NEUTRALS follow up their awesome 2022 EP Bus Stop Nights with their second full-length, New Town Dream. Picking up right where that EP left off, we’re treated to thirteen tracks filled to the brim with wonderful pop tunes in the lineage of TELEVISION PERSONALITIES, classic-era Sarah Records, and early Creation Records. All that is to say, an absolute no-brainer for the mighty Slumberland Records to have put out in the US. Throughout the record, there is plenty of variety to keep your ears tuned in and the volume set high. Tracks like “Travel Agent’s Windows” and “Substitute Teacher” detail the humdrum lives of these new town inhabitants so clearly that the mundane transcends to humor—“He was a triumph in the Scottish play / He’s only here for a day.” These details throughout the album make for a truly satisfying listen that will have you returning to check in on the new town’s population again and again.

Osbo Say It to My Face EP

USHC-inspired downer punk from Down Under. Sydney has cultivated a reputation for producing eclectic acts, and OSBO maintains that tradition in a wholly distinct way. Following up their 2020 demo, the band has honed their sound some, but make no mistake, this is just as heavy, noisy, and unhinged. They eschew the standard hardcore formula in a way that has me imagining what PISSED JEANS would sound like covering NO TREND. There is a tension arising from their oscillating tempos, where just when it seems like things have gone completely off the rails, the meandering instrumentation will snap back into a focused assault. Atop it all, the snot-addled, back-of-throat vocals propel the songs forward. OSBO pulls off the rare feat of being frenetic, unpredictable, and tight all at once. An ample reminder that it pays to keep it freaky.

Pardoner Paranoid in Hell EP

New EP from San Francisco’s prolific PARDONER. This is their fourth EP, with just as many LPs since their first release in 2015. With noted influences of POLVO and YO LA TENGO, I also hear ARCHERS OF LOAF and LUNGFISH to round out the slacker-rock sound that PARDONER puts their own spin on, with sections that fade into a slow fantasy, only to be pummeled to death by hardcore and even D-beat moments of brutality, seen more on previous albums but still on display here on “Distant Star.” “Over the Moon” is the most experimental of the four songs, and features a flute (maybe?) and steel drums, producing a nostalgia-tinged anthem that feels longer and more spacious than the 1:57 play time. Overall, a really great EP, and glad to see Max, River, Colin, and Trey are still making this fine brand of punk.

Peace Decay Peace Decay LP

On their debut LP, Austin’s PEACE DECAY infuses their ass-kicking burly hardcore with a hefty dose of metal power. The howling guitars and adventurous melodies might remind you of classic NWOBHM bands, but there’s a core element of punk pounding throughout these ten tracks that keeps the album grounded in a down-and-dirty energy. On their previous EP, the band was sketching furiously, and now they’re painting, including an actual gnarly neon painting by the singer on the album cover.

Fuckcrusher / Penny split LP

Listen, I’m a huge fan of unique vocalists, especially in a genre like punk music which requires you to think outside the box if you ever plan to shine among the crowd. And I’m really sorry here because, again, I absolutely love when bands try something different, but both of these acts are marred with grating and unlistenable singers, which is a real shame because the music is fantastic. FUCKCRUSHER plays classic multi-vocal powerviolence akin to MAN IS THE BASTARD. One of the singers sounds fine, but the other one loves to hit this piercing shrill that I cannot handle. Maybe I’m just getting old? It seems like they’re trying to go for an ULTIMATE WARRIORS vibe, but it just sounds like they’re blowing a referee whistle. PENNY plays sloppy punk rock that I was pretty excited about at first, but their singer sounds like Mickey Mouse on a bender. You know what though? The more I listen to this, the more I kinda like it. It’s oddly wholesome and charming. The whole band joins in on gang-vocal duties for their track “Tree,” and it’s truly the breakout single of this whole ordeal. Fuck it, this album is an experience, and I recommend you listen to it at least once. Maybe there is a little bit of shine here.

Pershing Boys Versteckt EP

It is always very tricky to review a band like PERSHING BOYS. I assume that because of their longevity and because they formed in 1985, they must have an aura locally that cannot quite be grasped from the outside, and therefore the perspective that someone familiar with their status holds is necessarily different to mine. I had never heard of the band and was never much of a Deutschpunk expert, so here we go. They are from Konstanz, South Germany, and this is their new EP, with four songs of beefy hardcore punk with lyrics in German. The production is probably too polished and clean for its own good and is lacking in aggression, especially in the band’s faster moments. However, the clever songwriting highlights the band’s energy, reminiscent of the classic German punk bands that combined melodies with direct angry punk. PERSHING BOYS manage to remain quite catchy, whether through dark choruses or epic guitar leads (there are quite a few of them, be prepared), and the songs are never dull—overall, the mood is quite dark and the EP works. I love the introduction to the last song “Fortschritt” that sounds incredibly epic and triumphant and could have been lifted from a legendary Japanese hardcore record. I suspect fans of Deutschpunk, those who have a genuine connection with the genre, will enjoy this, because it is objectively a fine EP.

Pisse Jammertal / Vetschau 7″

Synth-laced indie jams out of Germany. Really dreamy and crisp, yet rustic and raw. Rhythm section tightly drives each track while the guitar layers an ethereal atmosphere throughout. The A-side kicks things off with a theremin solo, which in itself is impressive as most people don’t have a clue how to use those things. Reminds me of all those twee bands from the early ’00s like the SHOUT OUT LOUDS and CLAP YOUR HANDS SAY YEAH. Nothing really groundbreaking here, but it’s a pleasant couple of songs if you dig this type of thing.

Poison Idea Feel the Darkness 2xLP reissue

POISON IDEA from Portland, Oregon are the kings of punk, and this is what many consider to be their best album. This is an all-time classic record, and when you add in that the sound on this reissue is bigger and fuller-sounding, you can’t go wrong buying this! You can hear POISON IDEA’s influence in bands like LONG KNIFE and SPAZM 151, just to name a couple that wear their POISON IDEA influence on their sleeves. The truth is that they influenced too many bands to name. POISON IDEA is equally at home playing a fast hardcore song or adding some steamroller rock to their sound. One of the best guitar sounds I have ever heard. The bonus LP includes remixes, alternate mixes, original mixes, and 7″ tracks, and it comes in a really nice gatefold jacket. This is an amazing record by an amazing band.

Positive ID Live on the 27th Hour cassette

With fourteen cuts from Canadian rockers POSITIVE ID, this thick set was originally broadcast on Montreal college radio. It’s lo-fi rock’n’roll that you can imagine blaring out of someone’s garage in the late ’70s. Fed through a noxious wall of distortion, this is first-wave punk getting the ’90s budget rock treatment to take you on a cheap, gnarly, and timelessly fun ride.

Qiik Qiik demo cassette

Fast, pummeling hardcore punk from Honolulu, Hawaii. A demo living up to how I imagine their band name is pronounced, cramming all eight songs into a mere three minutes and twelve seconds, with the longest track on the demo clocking in at a whopping forty seconds. QIIK stomps through song after song, barely giving you enough time to comprehend what just transpired before clicking immediately into the next track. The physical cassette is somewhat hard to follow along with, as the tracks are recorded on a loop with each side not necessarily starting with the first track. Nobody is manning the rolley-coaster, so buckle in, turn it on, and enjoy the ride complete with bonus laps.

Refuse Very Best of Hero CD

REFUSE was a noisy Japanese punk trio from the Fukushima prefecture, formed in the early ’00s and consisting of members from EFFECT and DISCOMFORT, to name a few. Their sound (or rather noise!) follows the same line as Kyusu punk bands like SWANKYS, GAI, and CONFUSE, who in turn were highly influenced by CHAOS U.K. and DISORDER. The guitars are a wall of noise, the only perceptive melodies come from the wonky bass, primitive yet effective drumming leads the way, and a distorted voice utters all kinds of profanities. Love it! Very Best of Hero is a compilation of tracks taken from all their releases, so essentially, this has their full body of work .I highly recommend the tracks from the Punk Save the World??? EP, which is a really fun, pogo-inducing noisy hardcore gem, complete with covers of GAI and the SWANKYS. For noise addicts!

River City Rebels Pop Culture Baby EP

Long-running pop punk New Englanders RIVER CITY REBELS return with a new four-track EP that’s brimming with cultural and societal critique, just as they’ve been doing since the turn of the millennium. Tracks like “Rock a Cross” and “Unless You’re White” are outward-looking indictments that could be about one specific person or a broad gesture to half the damn country. The big payoff on this record is the closing track “Abuse Myself.” Here, the critique turns inward and we are treated to a sub-90-second scorcher. Ending with the mirror flipped on themselves, RIVER CITY REBELS remind you what can happen to yourself, perhaps as a byproduct of the dumpster fires happening all around you.

Rotura Al Otro Lado LP

The Oi! label is predisposed to a certain musical monotony, despite being formed against the status quo, which infects this LP. While melodic and political, each song on Al Otro Lado is punctuated by nothing, it all sounds the same. Listen to “Al Otro Lado,” followed by “Nadie Escucha” to understand my point. Spain-based ROTURA is idyllic in theory, with fast-paced instrumental pop energy and a powerful vocalist, Silvia, yet they fall flat in practice. The frenetic drums were enjoyable on most tracks, but it’s hard to appreciate them between the guitar’s almost-buzzing quality and the one-note vocals. I applaud the album’s production and creativity and perhaps others will enjoy it, but Al Otro Lado, translating “to the other side,” may just have to stay on that side.

Saddam Death Cave Planned Obsolescence 10″

SADDAM DEATH CAVE, a hardcore punk outfit hailing from the streets of Atlanta, is a musical force to be reckoned with, featuring members that play or played in PRIMATE, OTOPHOBIA, and RENT BOYS, just to name a few, which just might catch your attention. On their second release, they reshaped their focus and re-recorded the songs from their The Third Battle of Tikrit demo and added three songs, including a great rendition of NAKED RAYGUN’s “Rat Patrol.” Planned Obsolescence demonstrates an honest band that just wants to be able to express itself, and play some POISON IDEA-influenced hardcore. This band shows a cohesive sound and leaves no ambiguity about their bleak worldview and nihilistic tendencies. As abrasive as it is captivating.

Shop Regulars Shop Regulars LP

With seven self-released cassettes and six years behind them, Portland, Oregon’s SHOP REGULARS now put out their first LP. I hear vocals akin to the dourest moments of a STROKES song, and tricky rhythms that rattle on and on like White Light/White Heat-era VELVET UNDERGROUND. The latter comparison comes to mind with song length—at the shortest, “Off Season Walker” comes in at 2:22, while the B-side opens with the 11:09-long “Emerson Run Down” that jangles and ker-lumps along, dismissive of harmony, all the while lead-line side bars and quirks sun-flare over an uncompromised rhythm guitar and drum repetition that sounds like the dogma of the band: repeat, repeat, skew/deliver, repeat. Founder, guitarist, and vocalist Matt Radosevich fronts this experimental band, with drummer Patrick Barret being the only other constant since the group’s inception. Seven other musicians are credited in the notes, lending themselves (in a sound and structure) to the sort of freewheeling hippie punk thing of FAMILY FODDER. Comparisons aside, SHOP REGULARS have created their own mélange of art, oddball, electric, irreverent, and at times irksome music, in the best way possible. I’m feeling a little wobbly after so many listens, and to lift a line from the LP jacket, “it can happen to you.”

Silicone Values How to Survive When People Don’t Like You and You Don’t Like Them LP

Hook-laden synth punk that doesn’t shy away from embracing a melody and juxtaposing the sweetness with some seriously bleak lyrical content. Appropriately lo-fi, How to Survive When People Don’t Like You and You Don’t Like Them compiles a series of disparate online releases and commits them to vinyl, courtesy of Parisian label SDZ. SILICONE VALUES pull off the rare feat of making their songs feel monumental and understated all at once. Harkening back to the seminal acts of first-gen post-punk, the Bristol collective shakes out fifteen cuts that would make STEVE TREATMENT blush. Like a more restrained SWELL MAPS or a more agitated TELEVISION PERSONALITIES? Yeah, SILICONE VALUES paint from the same palette, but the rendering is stark and defoliated. Despite the references this collection doesn’t sound dated. More the product of timeless influences piped through the damage of a depressingly modern world, executed with incisive wit and off-the-cuff charm. The limited pressing of 200 copies worldwide may make this hard to come by, but easily worth the effort to track down.

Small Doses Small Doses LP

Debut LP from Asheville, NC-based SMALL DOSES. Seeing Asheville on their Bandcamp page, I assumed I was going to get some peace punk or zany hippie-cult thing, but rather found something closer to the turn-of-the-century RVA sound; ANN BERETTA comes to mind. Founders Matt and John, formerly of DAWN OF THE DUDE and OFF WITH THEIR HEADS, reunited after a 30-year hiatus, coming together with bassist Crystal of ZOMBIE QUEEN to form this powerful trio. Pretty straightforward punk/post-hardcore at work, with lots of palm mutes, pinch harmonics, bass that’s hooked into tom-pounding drums, and higher-register, near-gruff vocals. It feels like SMALL DOSES would be right at home on any of the early Warped Tour bills. Solid eight-track debut, with writing already started on their next album.

Snitfit Snitfit demo cassette

Nothing screams punk more than a group of teenagers making hardcore music, and SNITFIT, a group from Newfoundland, is a testament to the importance of it. With classic punk and garage-y instrumentals combined with riot grrrl lyricism, they bring a fresh style of punk feminism reimagined. Reminiscent of the yowling screams of Amy Taylor of AMYL AND THE SNIFFERS, combined with a deep passion bloomed from youth, SNITFIT has an enticing edge. Songs like “Bitch” and “Grope” show how SNITFIT uses blunt lyricism to strike through to the listener, as it feels like their instruments are somehow going to burst through the speakers and, quite literally, hit you in the face.

Snow Trail Abandoned Capsule LP

From Jena, Germany comes SNOW TRAIL: synth-laden post-punk with a punk rock sneer. If you’re into HOME FRONT or DIÄT, you’ll definitely like this. Abandoned Capsule is full of lengthy jam moments that rapidly shift and churn, but are completed as quickly as they started. Elements of no wave creep in around the edges, with saxophones occasionally making an abstract appearance. There’s also an element of PUBLIC IMAGE LIMITED. in the experimental play with recording techniques and instrumentation. In all, probably not for the diehard punks, but definitely worth picking up if you’re into post-punk.

Solvent Mockery of Life cassette

The debut EP from Brooklyn post-hardcore outfit SOLVENT is a captivating and visceral introduction to the band’s distinctive sound. Post-hardcore can be more of an umbrella term—in this case, as the tag may serve several distinctive bands that sometimes sound nothing alike. In this case, I am referring to them as post-hardcore in relation to bands like SACCHARINE TRUST or UNWOUND, and maybe some of the SST and Dischord titles. In under eight minutes, SOLVENT delivers three tracks that are impressively nuanced, and showcase their songwriting abilities. With its raw emotional power, technical prowess, and uncompromising vision, this release is an essential listen.

Sooks Moral Decay LP

From Perth, Australia comes SOOKS. Their first full-length Moral Decay is fourteen tracks of hardcore punk that explore a variety of contemporary issues. Vocalist Ange delivers a vast range that highlights various emotions in the lyrics. Occasionally, the guitar work reminds me of early Stig Miller. SOOKS throw a lot of variety into this album, with each song having a fresh presentation and multiple shifts within a song. Hands down, Moral Decay by SOOKS is worth owning.

Sound of Disaster Välfärd 1984–1985 CD

The complete discography of Swedish sonic tormentors SOUND OF DISASTER. These guys ate battery acid with TOTALITÄR and shared a scene with all your favorite Swedish D-beat pioneers, with this CD being a conveyance to that crusty motherland. There isn’t much throwaway here, it’s pretty abrasive shit and does not come up for air at any point. The drumming is akin to windows smashing in time, guitars are hammered in a tuning unknown to any, and there is mayhem in each song with an earnest and cracking scream coming from a floor vent. Each ballad on this is pure and intense. Highly recommended.

Svaveldioxid Världselände LP

Världselände was quite probably my favourite käng album of 2023, and I am very happy to be attributed this monster of a record for review. I have been a massive fan of SVAVELDIOXID since they started in 2015, and this latest production has to be their strongest, most powerful effort yet (and the band is actually prolific). We all know that the TOTALITÄR style of Swedish hardcore has become more popular in recent years, but this band takes a different, more primitive, darker, harder-hitting but still old school approach, one that has the delicate subtlety of an angry charging mammoth on speed. You can tell that the members are experienced, that they have been involved with the genre for a long time and therefore know how things have to be done in order to convey that sense of galloping relentlessness and gruff anger that defines this very busy genre. What makes Världselände stand out is the perfect production— the balance between raw aggression, hardcore heaviness, and punk energy is ideal. I love how the instruments blend with one another, the pummeling drums, the mean vocals in Swedish, the thick riffing, the density of the guitar sound, as it confers onto the LP a genuine organic feel, a natural thickness. You can hear the scorching power of vintage SKITSYSTEM, the brutality of WOLFPACK, the primitive hardcore fury of BOMBANFALL, ANTI-CIMEX or ASOCIAL—there are also a couple of moments where a creeping death metal influence shows its head—not unlike a Scandicore synthesis. SVAVELDIOXID’s roots can be found as much in the ’80s as in the ’90s, and this new LP exemplifies how epic and ferocious käng can sound when done with such virtuosity. The only criticism I have is that the cover may look more fitting for a REPULSION-type band, I suppose. A very minor issue. This was released on Blown Out Media, a label with a pretty flawless discography so far.

Teen Cobra Buzzkill LP

This is right up my alley. It’s a husband-and-wife rock’n’roll duo on a budget, with crunchy guitars and primal drums. This formula can become one-note very quickly, but they’re able to switch up the pace very nicely, like the slow stomp of the intro to “Closer (Satan’s Watching)” and the upbeat chorus of “I Don’t Wanna Walk Alone.” I love the female backing vocals, they almost remind me of BEAT HAPPENING and they add a lot to the music. I don’t think the LP would be what it is without them, because it would be harder to ignore the fact that the singer sounds a lot like KING KHAN. They don’t reinvent the wheel, but this group is very good at taking the limited skills they have musically and just playing with as much energy as possible. Good LP, but I bet they sound even better live.

Tension Pets Cubey CD

Six tracks of synth-accompanied punk from this Chicago band that nestles close to the DEVO tentpole of the egg-punk umbrella. These songs are fairly traditional in their careful and accomplished arrangements, not unlike the hook-laden garage punk of TEE VEE REPAIRMANN with added interlocking synth and guitar lines. Whereas some of this genre can head down a noisy, buzzing nerdcore path, TENSION PETS deliver melodic verse-chorus-verse songs with backing vocals and quick solos. The only slight exception is the near-hardcore stomping beat of “Mansion,” although it too is catchy. It’s all very accessible and likeable, if you don’t mind some sugar in your punk. Enter the heart-tugging “Magnolia (She’s Back),” a never-was new wave classic that sounds like the CARS in the best way. Had it come out in the ’80s, its sweet melodies and lost-love lyrics would have played in every car and over countless romcom movie trailers. Total melodic gem. Check it out if you like bands like CHERRY CHEEKS and have some romance hiding out in your jaded punk heart.

The Balboas The Pandemic Singles LP

Horror-themed surf punk from Ohio that delivers dueling reverbed VENTURES-style guitars over ten songs with some notable guests like East Bay Ray, surf icon Dave Wronski, and fucking Dez Cadena (more on him in a second). The accomplished musicianship is impressive, especially on the instrumental tracks. Inventive leads intertwine through propulsive bass and drums, and although very polished, they sound gritty, inspired, and fun. The band has a very specific time-capsule niche—maybe like 1995? We have press photos of the members dressed in Tarantino-esque black suits and shades, kitschy references to Planet of the Apes, Don Ho, and Pat Boone, and that godawful cover art that recalls mid-’90s melodic hardcore. The vocal tracks adhere to this shtick and ruin the rest of the record for me. The spoken/sung lyrics come off as smarmy and goofy coffee shop poetry. Take “Karrot Water Mind Control”: “I have a scratch in my skull that never heals / I got an itch in my head I only scratch from inside / Your solution is toxic and caustic pollution,” delivered in a kind of condescending sing-song. I cringed a little hearing it. Even worse is the cover of BIG BLACK’s “Bad Penny.” Without the dripping menace of Steve Albini’s vocal approach, it comes across as a novelty cover, which is risky when you’re messing with one of punk’s sacred texts. Now back to Dez—when I saw his name, I assumed the track would highlight his broken-glass-gargling rasp, one of the most incredible voices in hardcore history, arguably the best singer of BLACK FLAG. Nope, he doesn’t sing. I guess he’s playing guitar somewhere in the background. WTF?

The Kulprits The Kulprits CD

Wow, on that first cut, the vocals immediately remind me of the FASTBACKS. The first track is kind of a power pop gem and just fun to listen to. It’s not crazy original, but it’s really well done and the vocals set it apart. Only four cuts, but they’re all different enough to make the record really interesting. The second cut has male vocals. Then it gets sort of country-ish. This one is really worth checking out, and I’ve got a new label if anything like this ever comes around again: power country pop punk. It’s a thing.

The Plane Crash Nostalgia for the Gutter CD

This record kicks off with a classic blues riff and I held my breath as I waited for more hallmark Americana sounds. But instead, they pivoted into power pop, and for that, I thank the pilots of the PLANE CRASH! The rest of it kinda plods along with a garage-y lo-fi sound reminiscent of the VIBRATORS, though also carrying the rock’n’roll through with CHUCK BERRY-like solos. But hang on a second, the song “Nothing on My Mind” is a screwball, out of left field (to extend the baseball metaphor, ‘tis the season)—DEAD MILKMEN and the GROOVIE GHOULIES come to mind at the same time. Then we go right back into JOHNNY THUNDERS raucousness, only to be met with a DEAD KENNEDYS homage with the song “Killing Fields.” Overall, the record lacks a homogeny. Now before you come for me, I mean the songs are all under the same umbrella, but that umbrella has holes in it and isn’t consistent in keeping things dry. I think all the songs are absolute bangers, out of sequence as I may think they are. I have a feeling that this is a newer band, and if they’re still finding their groove, I’d say they’ve got a super solid footing already.

The Pox Graveyards I Have Robbed cassette

Four songs of spooky-themed, garage-tinged rock’n’roll from Montreal. A blown-out recording done “in glorious mono,” with long “scary sounds” clips between songs. This is super fun and seems like it would be an absolute blast to see performed live, especially if the POX really ham up the horror-loving aspect in their live show. An incredibly low number of these seem to have been made; mine is number 15 of 23, and while I am stoked to have a copy, I can’t help but be a little jealous that a deluxe edition of the cassette exists, which includes a bunch of different inserts as well as a “suspicious bag of dirt” all packaged within a plastic VHS clamshell case.

The Stench The Stench LP reissue

From the vaults, mostly unabashed ’90s pop punk. They occasionally add in some quasi-thrash metal guitars, but there’s no need to split hairs here. The band hits all the expected notes: power chords and palm mutes, treble-heavy bass, and adolescent longing. The vocals are a snotty whine. It all would have been right at home on Lookout! Records. Who knows, maybe it was!

The Vamps Used to Be Cool LP

A glaring omission in typical proto-punk conversations, the VAMPS began penning their original jams in the early ’70s and are regarded by some as “the first punk band from San Antonio, Texas.” Playing a soulful take on ’60s garage, classic R&B, and looser rock’n’roll acts of the era, the band’s music was adept but delivered with a marked irreverence for critical expectations. These early-to-the-game dudes left us with the eight smooth tracks on this archival LP collecting their four 7” releases. Fusing smoky blues (“I Need Somebody”) and CHUCK BERRY-style piano jump (“Nowhere to Go”) into their world-weary and organic rock stylings, they forged a compelling sound that has aged particularly well. Whether intentional or not, singer Frank Pugliese’s vocal intonation is strikingly Johanasen-ian, making the NEW YORK DOLLS one of the group’s most apt comparisons, though the STOOGES influence is also particularly obvious. Cementing their relevance in the history of the burgeoning punk movement, they landed a gig as the sole opener at one of the SEX PISTOLS few US gigs at San Antonio’s Randy’s Rodeo venue in 1978—the stuff of legends. Standout songs on this comprehensive compilation include the wildly catchy title track (whose sentiments are all-too-relatable for myself and most others who would be interested in this record) and the scathing cool of “What’s Your Excuse,” but every tune here is solid, and I can safely deem this an excellent and essential slab for fans of the oldies.

Toxitolerant Extremophile cassette

A toxitolerant, by definition, is an organism able to withstand high levels of damaging elements; an extremophile that thrives under “extreme” conditions. There is a theme here that permeates the second release from this Richmond, Virginia punk hardcore band, and it is being hardened by extreme conditions of living. In this second effort, the band leveled up their sound, considering that the first demo was recorded with two iPhones. With each distortion-drenched chord and the vocalist’s venomous screams, TOXITOLERANT unleashes a sonic catharsis that resonates with listeners craving an outlet for their own disillusionment.

River City Rejects / Triangle Fire HFY Split Series, Vol. 1 cassette

Split effort with four tracks per band. Nebraska’s RIVER CITY REJECTS execute classic hardcore punk flirting with anthemic street punk, fierce, fast-paced, and straight-to-the-point with a twist of irony, and even some palm-muting trances to continue the fast drum beats. Live vibes all around on “Blacklisted,” filled with angry vocals that remind me of GG ALLIN from time to time. On the B-side, there’s Georgia’s TRIANGLE FIRE delivering some kind of crust powerviolence with faster blastbeats and high-pitched, doomy vocals, and then some fast-paced classic hardcore punk with a formula of singing to the beat. Depending on the track, it gives a feeling of some crazy crossover—sometimes it is a demon from hell, and sometimes it is Beki Bondage from VICE SQUAD. Perhaps too much of a mixed cocktail on this side.

Ultra Lights Nostalgia / Clockin Out 7″

I was driving around with my wife the other day, listening to a playlist of my MRR review assignments, when this release came on. It followed up the latest album from FEN FEN, and the transition from tight, unhinged hardcore punk to languid power pop apparently got my wife’s attention, because she blurted out “What is this? It sounds like the STROKES.” She wasn’t wrong. The two tracks on this Atlanta four-piece’s debut don’t sound a million miles away from what you got on Is This It. Maybe mix that with an extremely sanitized version of the EXPLODING HEARTS, and you’ll probably get a good enough picture. In any event, it’s much less contrived-sounding than anything you’d associate with the indie sleaze set, and these are two genuinely catchy numbers. I don’t know that I’ll be dipping back into this, but I’d still be interested to see where they take things.

Union of a Dying Sun Union of a Dying Sun CD

Tulsa trio of crust punkers who merge sludgier forms of hardcore punk with a pinch of thrash in the mix. Tempos are mid-paced all the way with few stops, deep pinch-screaming vocals with some chorus on the back of what appears to be their first published work, and almost mirrored string sections that never stop ranting. Complex and extensive lyrics that are politically compromised and crudely felt, and that are included on their Bandcamp page, so extra points for that. Keep on!

V/A No Genocide: A Benefit for Mutual Aid in Gaza cassette

The brutal mistreatment of Palestinians at the hands of the Israeli government is not something that started in 2024. For decades, the people of Palestine have been on the receiving end of ruthless displacement, and as of October, that displacement accelerated to full-blown genocide. As we now live in the age of social media, these atrocities have been pushed to the forefront of our minds, as they should; these are real people being killed on a daily basis, with the death toll reaching approximately 39,000 with many more likely unaccounted for. It’s difficult to wrap your head around, especially as many of us live thousands of miles away from the conflict, seeing it streaming from our phones alongside our usual daily content. It’s surreal and soul-crushing in equal measure, and ultimately leads to the question: what can be done locally to show support for Palestinians whose lives are being systematically annihilated? Fortunately, I’m proud to say I’ve been able to find humanity and inspiration in the punk scene. From bands speaking out and displaying the Palestinian flag during shows, to printing “From the River to the Sea” in liner notes, it’s no surprise to know that the punk community cares (mostly, there are always shitty exceptions). In addition to the aforementioned instances, over the past ten months there have been a plethora of pro-Palestinian comps released featuring countless bands proudly throwing their support behind the cause. One of the first on my radar was No Genocide, a cassette put together by the DISSIDENTS from Philly and featuring a variety of punks offering something for everyone. Every track here is a heater, my favorites being the vicious “Rabid Dogs” by SCARECROW and RAT CAGE’s excellent cover of the VARUKERS’ “Another Religion Another War.” If the raw punk stuff isn’t your thing, there’s plenty of post-punk, anarcho, and hardcore to be enjoyed as well. Regardless of taste, head over to the Bandcamp and download, donate, share, and support. Thank you to the DISSIDENTS and all of the bands involved here, thank you to all the punks standing up and giving a voice to those who don’t have one, and thank you to anyone who has contributed to the Palestinian cause. Free Gaza, Free Palestine!

V/A Uncivil Disobedience, Vol. 1 cassette

A cassette compilation from Bellicose Records, Uncivil Disobedience brings a who’s-who of crazy Florida hardcore bands together in support of the Atlanta Solidarity Fund. Proceeds will help to oppose a current proposal that would tear down a bunch of forest land in order to build a massive new police training facility in Atlanta. And it’s a ripper, packed with gems like ARMOR’s pummeling ANTI-CIMEX cover, a new tune from the formidable SQUEEZE USA, and a searing medley from Jacksonville-based sonic terrorists SOURPUSS. In addition to its worthwhile purpose, this tape provides a good overview of current scenes in the sunshine state and a happy slap on the ass for anyone who likes hard punk.

V/A Dot Dash Mixtape, Volume Two cassette

A follow-up to last year’s sampling of this NYC niche label. If I were told these tracks came off a ’70s French coldwave comp, I wouldn’t bat an eyelash. But for something so specific, there’s still considerable breadth here. The TRENDEES and C.A.D. AND THE PEACETIME CONSUMERS offer some fun garage-esque bops. NAPE NECK’s atonal funk is a hoot, reminiscent of DELTA 5. There are also some left turns like WEEGEE’s gothy waltz. The whole collection is a nice mix of the fast, the fun, and the froide.

V/A All Hell Breaks Loose: A Tribute to the Misfits LP

This record raises the age-old question: do we really need another MISFITS tribute comp? Does that band, who long ago moved from cult favorite to Hot Topic mainstay, truly warrant more attention? I mean, we’re talking about a band whose “crimson ghost” shirt became so ubiquitous by 2010 that it threatened to undercut the value of the North American Punk Point. Well, whatever your view, it exists, so let’s deal. A lot of these songs play it straight, so if you enjoy a loving rendition of a popular standard, you will find it here. There’s an acoustic take on “Some Kind of Hate,” which will remind you, as if you needed it, just what a remarkable ear for melody these guys had. There are also some truly head-turning interpretations by the LOST LOVES and ST. DIGUE which I will not soon forget. So, like it or not, the MISFITS and their legacy will continue to lurch through the subculture like the living dead.

Waldo Faldo Nueva Especie Humana EP

Madrid-based histrionic new wave-y synth punkers filled with energy. This is their second piece of work, pinching up the synth influence in their music. Lyrics verse on new world order and biotechnology applied to humans, carrying such prospects to the table in tracks “Año 2033” and “Nueva Especie Humana.” Monotone clean vocals follow the drum machine but especially the synth lines mixed with keyboards, which tend to be addictive and create a great atmosphere for egg-punk lovers. All four tracks carry a similar intention, giving a feeling of passing through videogame levels in the same tones. Interesting enough, eager to hear more from them.

Walled City World Pain LP

A combination of late ’90s melodic hardcore like LIFETIME and KID DYNAMITE mashed with vocals that can only be described as blackened crust; as if DARKTHRONE started catering to the No Idea crowd. The vocals are absolutely brutal in the best way possible. Energetic, passionate, and heavy. The music sounds like prog-punk. Blisteringly fast at times, while also showcasing some maximum harmonic riffage. It’s like K.K. Downing joined up with the NONE MORE BLACK crew. This is really great stuff and well worth a spin.

Whippets Whippets LP

WHIPPETS have a very distinctive-sounding singer—he reminds me of a combination of the singer from ALICE DONUT, Doc Dart from CRUCIFUCKS, and maybe a little Jello Biafra. I think he sounds great. The music is mostly a dark-sounding combination of post-punk, goth, and hardcore punk, with some modern hardcore at the end of the record. Moody and moving. They’d fit well with bands like WET SPECIMENS and KILLING JOKE. Good stuff.

X Hate City EP

Hate City is a collection of previously unheard material from ’77-era X (not that X).  This is the band that Ian Rilen was in; he’s the guy that briefly played bass in ROSE TATTOO for a bit, having written one of the band’s earliest songs, “Bad Boy For Love.” Aside from X’s Aspirations LP, Hate City seems to be all from this period that is out there for these cats, and it’s near perfect in its sleaze and swagger. In another world, they could have been a drunker DEAD BOYS, who wouldn’t take themselves seriously and light a fart on fire for giggles. Kind of a cousin to PETER AND TEST TUBE BABIES? I don’t know…this is a limited run that Green Noise/Dirt Cult put out, buy one for your neighbor.

Ye.Stem Ye.Stem LP

From Warsaw, YE.STEM is here with their monster sixteen-track debut LP. This follows a 2021 EP which was also self-titled, and all four of those songs made the cut here. As a listener not native to Poland, the lyrics are lost on me—but that’s OK, I enjoy hearing the energy and anger without context. I couldn’t find much on the band or its members, but I imagine there were other projects that preceded this given their seasoned stage performance from the few videos I found. Lots of whole-gang sing-alongs, snaking guitar riffs, gut-busting bass, and ceaseless drumming, keeping the energy high the whole album through. They do slow down a bit on parts of “Tatiana” and “Szela,” the latter being my favorite track, even though they trade in their fast-driving mold for melancholic reflection (sonically, anyhow, if not in lyrical content). While it’s a lot to bite off, this album does have its gems.

Yield to None Both Demos LP

A collection of a couple of demos from YIELD TO NONE on one LP. Sonically reminiscent of the hard streets of the Lower East Side in the 1980s, but they’re from Tampa, where I’ve never been. If squatter-era Harley Flanagan’s dog Lucifer had a band in the ’80s, it might have sounded like these vocals. For fans of OUTBURST and BREAKOUT.