Reviews

MRR #499 • December 2024

Amor, Muerte Y Leonora Amor, Muerte Y Leonora cassette

A cassette collection of the first two EPs recorded by this Spanish egg-punk band. I am unsure if there was a physical release of them independent of this collection, but seeing as how each is a mere two songs long and the artwork is almost indistinguishable from one cover to the other, I am glad that Knuckles on Stun has done us the service of putting both EPs on one cassette. Poppy, bouncy egg-punk, quite possibly the poppiest of this style I have yet to encounter. I know a lot of people seem to be a bit over the egg-punk phenomenon, but if new projects are popping up and releasing wildly catchy bops like the four tracks contained on this cassette, I will personally never tire of it. Knuckles on Stun limits all their releases to 25 cassettes, so act now or forever miss out on a physical copy of these four killer, scrambled tracks.

Artificial Go Hopscotch Fever LP

They apparently only started the project at the beginning of this year, but Cincinnati’s ARTIFICIAL GO cut right to the chase with their debut LP (and debut, period) Hopscotch Fever. An incessant wiggle of of sparse and trebly guitar, solidly skeletal drumming, and mannered, alternately animated/nonplussed faux-Brit-accented vocals are roughed-up in a charmingly lo-fi and ramshackle recording, placing yet another daisy in the chain connecting today’s Midwestern post-punk weirdos to both the art school new wave eccentricity of SUBURBAN LAWNS and the scratchy naivety of late ’70s/early ’80s Rough Trade—the sort of band that would perform on rollerskates while decked out in loud, upcycled vintage outfits neo-New Wave Theatre-style, as they do in the video for “Pay Phone.” The taut, rhythmic herky-jerk of “Artificial Go” and the spacious brokedown disco groove snaking through “On Off” cast ARTIFICIAL GO as the less rambunctious kid siblings to their Feel It fam SPREAD JOY, as “Walk Like a Dog” and “Feeling Foxy” unwind into an ultra-minimalist, lopsided jangle like a modern BONA DISH, with Angie Willcutt’s too-cool vocal indifference buttoning everything up just so. Can’t really blame them for skipping any demo/single introduction formalities when they had this up their sleeves.

Beef ll Manzo EP

Synth-y garage punk band with a slight touch of horror punk at times. I loved how cohesive this EP was throughout and how the songs continued to build off of each other. That being said, I feel like I wanted a little more variation with the synth throughout the different songs as it seemed quite similar in a couple of them, but I do think that it added another dimension to the songs. The combination of edge and a bit of goofiness, like in “Secondhand Toe Jam,” really made the songs come to life. In “Spell,” it felt like the synths were taunting me and egging me on to go and do something like run into a wall.

Black & White Cat / Black & White Cake Black & White Cat / Black & White Cake LP

This nine-song full-length by Buffalo, New York’s BLACK & WHITE CAT / BLACK & WHITE CAKE is an entertaining rollercoaster. A general post-punk vibe crosses through all the songs, but some are synthesized punk and a few are plodding towards darkwave. When you realize BLACK & WHITE CAT / BLACK & WHITE CAKE is a reference to the 1977 horror film The Sentinel and their favorite band is KILLING JOKE, then things start to make a lot of sense. Two guitars dance around in chaotic repetitions as digital drums and dirty, distorted bass keep time. “Invoke” is perhaps my favorite song with its build-up and very Jaz Coleman delivery.

Boston Babies Boston Babies LP

Not really memorable at all. I’ve never really been a fan of that NEW YORK DOLLS style of punk, and this seems to fit right in with that. Just really boring, felt overly long for an album of that style. Honestly, come to think of it, I can’t remember a single lyric off of this thing. It would be one thing if they actually tried something original with their sound, but no, they continued to water it down with crappy production and mediocre (at best) performances. Yawn.

Catspidar Catspidar CD

Noisy, loud, and chaotic! Twenty “songs,” or bursts of noisy grinding hardcore punk, solely focused on venting about how bad random things are. Song titles like “Knocked Loose is Bad” or “TikTok is Bad” instantly makes one think of ANAL CUNT and Seth Putnam’s hatred towards the world. Sonically, it is tamer than the aforementioned band, and in a way comes close to some of the more punky PIG DESTROYER songs. CATSPIDAR only wants one thing: to tell you that everything sucks!

Eyes and Flys All the Tigers in Texas / Seabird 7″

The two-song single can be the ultimate medium to tell potential listeners exactly what your band is about. There’s no world-building, no narratives attempting to be woven, just a single and its flip. The perfect format. And EYES AND FLYS definitely seem to feel similarly, as this single follows the given mold, but it’s only in theory. The A-side is the rocker, the B-side the more exploratory side. As soon as the needle drops, you get what this band is about. Nailed it. The A-side “All the Tigers in Texas” does indeed hit the ground running with fast guitars, dual shouted lyrics, and energy that jumps out of your speakers, but for me, it seems to run out of breath before getting to any destination. The song feels like it’s going to culminate into something awesome, given how strong it starts. Instead, it just slowly comes unwound in a wash of guitars, like they went in without an ending and it just stayed that way. In theory, this EYES AND FLYS single is how the medium is done. In practice, I’m still not sure what this band is going for, even after multiple listens.

Freat I.H.T.U. cassette

Politically-charged Midwest synth punk that is virtually unlistenable. These folks have their hearts in the right place, and sing (vocalize?) about bodily autonomy, the pervasiveness of QAnon-fueled conspiracy theories, and the growing hate group Moms for Liberty, but it is done with such inept musicianship that it runs the risk of losing all meaning. The tracks feature simple drum programming and synth washes with growly, bluesy, out-of-time spoken vocals that sound like they are being read from a notebook. This is backed by rudimentary guitar phrases and occasional gang vocals (I’m assuming from whoever else was in the bedroom at the time of recording) that yell out the song titles. I give FREAT maximum DIY spirit points and applaud their punk effort at creating an outlet for their frustrations. But, sonically, it’s remarkably bad.

Goatzilla Alien Nation LP

Judging by the band name and album art I totally expected this to be doom metal, and while there’s hints of that peppered throughout, this is a pure rock’n’roll record. In fact, this gives off darkened glam vibes. GOATZILLA sounds like a modern day TWISTED SISTER with a singer that cops a sinister Dee Snider-meets-Lemmy energy. Really fantastic production here as well, everything is loud and heavy but discernible and crisp. With huge guitars and soaring solos, this teeters way more on the metal side of things than punk. So if that ain’t what you’re into, this might not be your bag, but for those of us who long for a dystopian Sunset Strip, this is well worth a listen.

Golpe Subisci. Conformati. Rassegnati EP

I put this on and I was greeted with a sonic explosion that I wasn’t exactly prepared for, even though I have heard this before. This is absolutely crushing modern D-beat of the highest order, fitting in nicely alongside bands like VAASKA, RAT CAGE, SCARECROW, DESTRUCT, and GUERRA FINAL. Originally released on a cassette in 2019. If you like the above bands at all, you should run out and get this today, or mail order it right now!

Hyper Gal After Image CD

Following up their 2021 debut, HYPER GAL returns with a further excursion towards outer-bounds sonic experimentation. The Osaka artist duo blasts their way through nine cuts of maximalist drum-and-synth recitations with an unwonted intensity. Atop the throbbing, swirling, noise-laden foundation, the ultra-clean ingenious vocals transmit repeated signals. There are times when the songs will tempt you into thinking they are coming unglued, only to snap back into a locked mechanical groove. It’s an unsettling listening experience that has to be heard to be believed.

Cindy7 / Jimsobbins split cassette

The two bands featured on this split appear to be intermingled, as writing credits for all of the songs are attributed to “Adam + Lucy.” JIMSOBBINS kick things off with a synth-driven garage punk sound that hews closely to the egg-tastic racket being  produced by Aussie heroes GEE TEE. Their four tracks are fun, frenetic, and well-executed. CINDY7 is not as easy to pin down. Freewheeling and unmoored, they do a little genre hopping, flittering from a loose and blown-out BLATZ sorta thing to something approaching crusty D-beat, and back to the egg-punk thing. In theory, I don’t mind the dabbling, but the end result feels half-baked rather than hard-boiled.

Kalte Hand S​ä​ureblocker 12″

Catchy, moody post-punk band from Germany. As someone who doesn’t speak or understand German, I loved that you don’t have to know exactly what the singer is saying to understand the music; it speaks for itself. KALTE HAND isn’t afraid to go heavy with the drums and rhythm section as a whole, as well as beginning and ending the album with anxious guitar lines that sound like they’re trying to escape something, all of which creates a darker and intriguing vibe to their music.

Moving Targets In the Dust LP

Somewhere in Boston, a divorced dad is excitedly knocking back beers over the release of this LP and jamming to his favorite local band, MOVING TARGETS. However, this is not me. I may not be the intended audience for this release, perhaps aimed at those who enjoy “melodic hardcore,” as the band puts it. They have a very loose definition of what hardcore is, with this album being composed of casual, almost pop-sounding rock—unfortunately, this is synonymous with being “background noise” in my terms. The album is unprovocative and placating, yet it certainly isn’t bad. It’s almost so cohesive and generally pleasing that there’s nothing particularly notable or interesting. This LP is surely better heard live for the full head-banging effect that is missing in the recording. The drums and tambourine in “Sacrifice” are fun. The singing-like riffs of the guitar near the end of “Decadent Side” and “End of The Line” suggest that the band does know how to take things up a level. If you’re into that sort of feel-good sunshine punk, then by all means take a trip In the Dust.

Nafra A Mort LP

Catalunyan hardcore punks NAFRA’s new album A Mort is a wild ride that’s giving me all the right vibes. These Spanish punks have really nailed their sound with this fourth release, blending the raw energy of hardcore with sharp vocals that bite the hand that feeds and leave it bleeding. The tracks are fast-paced and unapologetic, making it impossible not to nod your head or mosh along, and it’s clear as day that they’ve poured their heart into this release. Extra points for the Catalan DISCHARGE cover “No Escoltis, No Miris, No Parlis” (“Hear Nothing, See Nothing, Say Nothing”). If you’re on the lookout for something fierce, A Mort is worth the spin!

Negative Gears Moraliser LP

Over the summer, NEGATIVE GEARS from Sydney released this great full-length Moraliser,  packed with bopping punk energy but also a wide range of sonic exploration. “Attention to Detail,” probably my favorite song on the album, reminds me of the ASTRONAUTS merging with KILLING JOKE, only to be a lilting instrumental towards its end. “Lifestyle Damages,” the song that follows, sounds like it could be a BUZZCOCKS or DAMNED song. I guess what I’m saying is it’s just great quality punk rock from the very start until the very end.

Rearranged Face Far Green Arcade LP

Fourth release from Los Angeles’ REARRANGED FACE. Eleven short and well-textured songs lie within, exuding the cult-like banddom of DEVO: spiky synth and guitar galore, while drab backing vocals dutifully agree with some wild David Byrne-esque moments in the lead vocals. The guitar riffs seem to repeat themselves from song to song—or lead you to believe so—achieving a mesmeric soundscape, propelled by clumpy drums and a steady bass. The rhythms are just as snake-y as they are sharp, the songs just as odd (where’d that bird sound come from?) as they are fun. And in keeping with House of Tomothy’s true-to-analog studio, this was created without the use of a computer. This is good medicine right now.

S.H.I.T. For a Better World 12″

Straight from Canada, a violent and precise telescope to the shit system nowadays, delivering chainsaw mayhem guitars with tasty whips of riffage, solid, faster-cadence drums, and a great mixing job balanced between vocals, electronic effects, and chaotic, ball-of-fiery-sound hardcore punk. Disrupting and touching nerves on socio-political and military issues but also introspecting on themes of the self, vomiting a solid message with great execution on each track. Mental album, solid in the top ten of the year for sure. Suggested: “Corporate Funded Killing Technology” and “KTF.”

Stiv Bators It’s Cold Outside / The Last Year 7″ reissue

Munster reissue of this stone-cold classic from STIV BATORS. Originally released by Bomp! in 1979, “It’s Cold Outside” is a cover of the garage classic by the CHOIR, but BATORS’ version takes the song to new heights. If you’re not already familiar, and late ’70s Bomp! didn’t already give it away, this is apex power poppy punk music. The B-side, while not a classic on the level with the A-side, is a lovely, contemplative tune that continues the sounds of its respective flip. I’m not exactly sure if this record was in dire need of a reissue, as copies aren’t exactly tough to come by, but Munster always does a nice job with their releases so I’m not here to question. If you don’t have an original copy, now you have no excuse not to snag a copy and fix your oversight.

Strangelight Material Conditions LP

The Oakland-based four-piece STRANGELIGHT features a lineup of veterans from bands like ALL YOU CAN EAT, KOWLOON WALLED CITY, TRANSISTOR TRANSISTOR, TRAP THEM, SWINGIN’ UTTERS, the NEW TRUST, and WESTERN ADDICTION, among others. Their latest effort Material Conditions is a tightly composed collection of nine songs and an intro track clocking in at twenty-three minutes, blending post-punk, post-hardcore, and indie rock influences. The mid-tempo songs channel ’90s DC vibes and sprinkle in some atmospheric interludes reminiscent of bands like MOGWAI or EXPLOSIONS IN THE SKY. The recording quality is good and highlights the strong musicianship, but honestly? It just wasn’t my thing. Check out “Two Masters” if your interest is piqued.

Detroit 442 / Superdevil split LP

Solid split here from these Eastern Michiganders. DETROIT 442 sounds like an Americanized version of the DAMNED if they adopted the vocal styling of LEFTOVER CRACK and the HOLD STEADY. Yeah, I know. That’s a wild combo, but the singer has a lot of range and bounces between brutal screaming, melodic mumbling, and Fred Schneider-esque sprechgesang. Great guitar leads laden throughout glue everything else together. Old school, dystopian punk’n’roll. “I’m Not Crazy I’m On Drugs” may as well be our national anthem at this point. On the flipside, the vocalist from SUPERDEVIL has an impressively deep growl of a voice. It’s like if Tony the Tiger decided he wanted to take up a pack-a-day habit, and start singing in a band that took all of the best qualities from DEAD KENNEDYS and ANTISEEN and molded them into one big rock’n’roll monster. There’s a pretty great STIFF LITTLE FINGERS cover here as well. Both bands sound different enough that this makes for a pretty satisfying split LP.

The Exile The Real People EP reissue

Exposing a new generation to obscure Scottish first-wavers the EXILE’s second and final 7” from 1978, this reissue from the awesome Italian archivists at Breakout Records allows you to claim another forgotten fragment of punk history. The title track is tuff stuff, compounding a ’70s hard rock charge with a rhythm section that vaguely recalls RAMONES’ “Commando.” “Tomorrow Today” is standard UK pop punk of the era led by a slinky guitar line. Finally, we land on “Disaster Movie,” a snappy, STOOGES-lite affair that’s the most solid cut here by my estimation. The band’s debut EP has also been granted a new pressing, but if you had to grab only one of them, The Real People is by far the punker of the two records and the one I’d recommend.

The Ichi-Bons Get Away / Heart Attack 7″

Great, old school rock’n’roll played how it’s meant to be. The first side is just really fun and has a lot of top-notch soloing that’s very LINK WRAY-inspired. The second side is a radical instrumental with some spirited shouting in the background to give the song that extra kick in the ass. Not really much to say other than get your hands on this single if you can. This is the shit I’d rather be hearing in stores across America instead of whatever the sick bastards that queue the music in there play.

Thine Retail Simps Strike Gold, Strike Back, Strike Out LP

On this third full-length album, the RETAIL SIMPS remain an anomaly, serving up an uninhibited procession of jams that impedes succinct description. Christened with a new iteration of their ever-evolving name (which Discogs has mercifully compiled as a single artist,) this record is decidedly less traditionally cohesive than the previous two LPs with its mix of zappers, stewers, and instrumental breaks. Here you’ll find elements of old-fashioned boogie-woogie, barked poetry invoking the spirit of HOMOSTUPIDS, the herk and jerk of an off-kilter sonic threshold not unlike that of TYVEK, and other unlikely ingredients, all bookended with themeage including a rousing rendition of “Disco Duck” on the outro. But the space the SIMPS serenade is a grimy way station for rock’n’roll holdouts from decades past; a weird zone where shaggy 1960s garagers, cigarette-lipped 1970s longhairs, 1980s art school students, and guys who look like the saxophone player from the Muppets brush shoulders in passing with drinks in their hands. In this brilliant swamp of sound, they sometimes come across as the world’s most delusional party band, sometimes like a fentanyl-laced GRATEFUL DEAD, and occasionally like art-punk auteurs in the vein of LE SHOK (see: “Prismic Dangle”), always keeping you on your toes and never resting on their laurels. It’s exactly the type of curiously addictive concoction you might expect from a band that covers both UNNATURAL AXE and NEIL YOUNG.

Tú La Llevas Tú La Llevas LP

There’s a certain nostalgia at the core of this band’s sound, harkening back to when indie was a methodology and labels like Matador were standard bearers of guitar pop that stood left of center. The band’s name is even an homage to YO LA TENGO, so the mission statement is pretty clear. There’s a sort of dreaminess to the shimmering guitar and plaintive vocal melodies that really lands, lending depth and substance to what is ultimately a brisk listen. It’s not exactly life-changing, but it will bring a nice breeze to your day. It’s definitely exciting to hear music that calls back to a particularly rich era of indie rock that seems all but forgotten in today’s landscape in which “indie” can fill arenas. This harkens back to something simpler, personal, and expressive.

Ukabilkada Guretzat LP

Long-term readers may know that I, generally speaking, absolutely adore Basque punk, and specifically the Oi! that this region pumps out with a near clockwork regularity. This release from UKABILKADA promised a lot: a classic Oi! laurel wreath, a skull wearing a beret, a name that literally means “fist;” I was anticipating a good time indeed. But you know, they can’t be all heaters. It’s perfectly fine, workmanlike street punk. It’s not going to set the world alight, but that’s okay. Sadly, I think the most damning verdict I can give is that I can imagine it would be enjoyed by the sort of flat-cap-wearing, camo-shorts-bothering, and flesh-tunnels-sporting Euro skins who love this kind of thing.

V/A Punx for Gaza: Benefit Compilation for Mutual Aid In Gaza cassette

As heartbreaking as the situation in Gaza is, I have to take some slight comfort in the fact that the punks have stepped up in a big way and raised a lot of money to get food and other needed things to the people of Gaza. I have seen people working tirelessly to make a difference in Gaza, and I have personally seen these punk compilations make a difference as well. I suggest that you buy this and donate what you can, it is saving lives. My favorites on here are NARKAN and GOLPE. If you like hardcore punk, then there is definitely something for you on this compilation, so buy it! Free Palestine!

Wet Specimens Dying in a Dream EP

Excellent release from Albany’s WET SPECIMENS, whose brand of deathrock-tinged hardcore punk never disappoints. Dying in a Dream features four tracks that see the band sounding cohesive and powerful, leaning into goth territory without ever sounding like a novelty act. In particular, the buzzsaw guitars on the opening title track and the doom-and-gloom of “Curtain Call” sound great, but this one’s a banger from start to finish. Highly recommended for fans of other evil punks ZORN and NURSE.

¡Miau! ¡Miau! LP

Histrionic project from Madrid presenting an electro-charged LP of synth punkers—crazy, explosively-tweaked songs with even crazier vocals that seem dissonant and with a crybaby attitude, merging beautifully with the tightest electronic drums given outstanding space in the mix, and deep synth and keyboard work. Onion-layered, they verse on different existentialist themes but also execute Spanish folk-related songs, and I personally very much enjoyed the social-critique-focused tracks like “Pepita Pantalonera” and “La Cruel Inocentada.” Gracefully executed egg-punk with a distinct identity and solid grip of its own, a merit not always found in many synth punk projects. Eager to hear more.