Reviews

Beach Impediment

Beex The Early Years: 1979–1982 LP

As its title implies, this LP is a collection of ten early tracks from foundational Richmond punks BEEX, who formed in ’77 and have existed in various states of activity since then, even after original vocalist Christine Gibson passed away in 2007 following a fight with cancer. The group’s first two singles are already established KBD/Bloodstains classics (US division) and they’re presented in full here, along with some previously unreleased and equally killer studio material from those recording sessions, which is honestly the real sell. Gibson’s voice was BEEX’s secret weapon, a slightly raspy melodic snarl that gave some much-needed color to the band’s otherwise fairly straightforward late ’70s approach—”(My Heart Goes) Beat Beat” wanders along the tougher outer edges of power pop (think the SHIVVERS if they’d carried switchblades in their back pockets), the fiery “He Obliterates Me” sounds like a more rock’n’roll, CBGB-spawned version of the AVENGERS, and her increasingly desperate wails in “Guyana” push it beyond dozens of the era’s similarly inspired punk responses to the Jonestown massacre. A worthy history lesson, so study up. 

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.

Canal Irreal Canal Irreal LP

By now, Martin Sorrondeguy should require no introduction. His work with the transcendental LOS CRUDOS speaks for itself in the minds of thousands of young people across the American continent. The queer emancipatory effort from LIMP WIRST is a visceral work of self-acceptance which you can mosh to. Martin got together with members of SIN ORDEN and DROIDS BLOOD to form CANAL IRREAL, and now they present their debut, a 12″ with nine absolutely addictive tracks; one of those materials that the more you listen to it, the more details you discover and the more you enjoy it. Sonically, this is hardcore punk, but the band happily travels a twisted path of their own—it’s trashy but incredibly dark, like Greg Sage taking leads in the ADOLESCENTS. But it’s all that and more. The muscularity provided by the throbbing bass, the often dissonant guitar work with that chorus pedal, and above all Martin’s voice, intense and hostile as always, give the band a truly unique sound. The whole thing is fantastic, sung half in Spanish, half in English. That guitar riff on “Glaze” is incredibly nasty, amazing how it builds and builds and never releases the tension it creates. Get it now!

Condor Singles 2017-2018 LP

You probably know that this is a RIXE (and ex-YOUTH AVOIDERS) member’s solo project—and it’s pretty apparent on the surface—but this has more of a melodic punk sound than Oi! The dude writes amazing songs that I can imagine pretty much anyone liking, regardless of preference. I must point out that aside from his penchant for writing a hook, the reason we’re all enamored by this is the perfectly balanced production. Raw, gritty, and clear, with a dreamy kick-and-snare thud that you feel as much as you hear. “Chacun Pour Soi” is basically an amped-up FLOCK OF SEAGULLS song and is highly addictive, “Condor” shows hardcore roots, and “Vengeance” is a spot-on cover of a deep cut on the 1984 The Second compilation (I used to put this song on a lot of mix tapes, so this is quite validating to hear). I imagine this record is doing fine without my praise, but for whatever it’s worth, you all should get it. This 12″ compiles two short tapes that are likely very limited.

Dame Dame LP

Quality introduction for me to this Boston band. Stylistically, it’s eyeliner-ified ’80s new wave, with a layer of synth cutting through a thick, reverbed production that suits them really well. The album is largely punctuated by the frequent lead guitar lines and vocal-forward approach, although sometimes it feels like those two elements are battling for prominence. The opening track threw me for a loop (in a good way!), a lulling layered instrumental intro that releases into an uptempo surprise once the drums kick in. The overall presentation looks great opened up and spread across my coffee table. Striking artwork goes a long way! If you can’t get enough of the dark and dreamy punk, this will fit neatly into your rotation.

Disarm Existence Demo 1985 LP

My first thought was that this would be DISARM from Sweden, but this band was from Virginia. They played hardcore that at times approached crossover thrash in the vein of CORROSION OF CONFORMITY and sometimes early D.R.I., and even a little first album SUICIDAL TENDENCIES. There are a lot of other influences, but those stood out to me right away. I am always happy to find old bands that I haven’t heard before, so a big thanks to Beach Impediment Records for bringing this to us all. Great listen, and I immediately knew I was listening to hardcore from the ’80s.

Game No One Wins LP

London jangling punks GAME play scathing, hexing, barking hardcore in the style of MUSHROOM ATTACK, the COMES, the STALIN, CHARGE, NEGLECT, and NO STATIK, orated with Polish and English command. Vocals are punctuated with pounding harsh rhythm, while the songwriting varies from anthemic circle pit hardcore to thrashing ’80s punk metal. This LP is powerfully energetic, with surprising changes yet flowing evenly from start to finish. Encapsulating, hasty, bewitching and in complete control. Its production is perfectly clear, as well as engineered to accentuate what makes GAME on top, making it an immediately engaging listen. Bizarrely kvlt art by Nicky Rat.

Gentleman Jesse Lose Everything LP

Melancholy songs always sound beautiful. If you are someone who does not pay attention to lyrics, you will easily be lost in the pleasing, comforting sounds of “Lose Everything.” If you pay attention to lyrics, the disillusion and desolation being sung is wonderfully cathartic. It’s been ten years since the last GENTLEMAN JESSE record. On this one, the pandemic forced him to go it alone and play all the instruments. The isolation and self-reliance adds to the effect. My mind starts going as the music plays and then an interesting lyrical line will jump out of me. The result is an intimate collection of songs that reminds me of some of the more introspective ’80s college rock bands. 2021 was a shitty year and 2022 is starting off worse. As ELTON JOHN once said, sad songs say so much.

Golpe Assuefazione Quotidiana EP

D-beat à la Milano. This is classic bass-and-drums crushing punk. Great EP with a strong track list that will give your veins the fix it needs without taking you for an unexpected turn. Must we give comparative band names? You know this story well. The drummer steals the show and is a standout throughout. Don’t believe me? Start with “Teoria en Practica” and work your way back. Lots of merch from these capitalist-hating punkers…buy a shirt from these dudes.

Graven Image Studio Sessions: ’82-’83 LP

It’s a great day when I get to hear an unknown (to me) 1980s USHC band, especially from the South, in an age when dug-up material that’s better off unheard is spewed all over the internet daily like rancid old discharge (not the band). I immediately recognized “My World” from my well-worn-out copy of  the Party or Go Home comp. Everything else here is new to me, not being from Richmond, VA, where they reigned for a good year or so (a long time in teen ’80s hardcore years). They have a lot in common with bands from the era like WHITE CROSS, NO ROCK STARS, or HONOR ROLE—GRAVEN IMAGE’s half of a ’82 split tape with the latter called Your Skull is My Bowl! (best title) is included here. You also get their Kicked Out of the Scene EP, as well as some unheard gems from each session. Shit. If you’re really feeling it, the band has a live set on their own page for your listening pleasure, and there’s a really good article out there on the tragic demise and death of their singer Dwayne Curd if you search for it. Thanks once again to Beach Impediment for the education and just for bringin’ it.

Hacker Psy Wi-Fi EP

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

Haircut Sensation EP

When that two-step part comes back in with the ringing guitars on “Les Va a Tocar” I figured anyone with a spine would give HAIRCUT a nod of approval if they weren’t already moshing. The drums on “Seeking” hit like “High Places” by ZERO BOYS, and that’s tops baby. After the A-side I was like “yeah, this is fine” but the B has me wanting to hear it again. A good hardcore punk record.

Haircut Sensation EP

Four no-bullshit hardcore tracks each clocking in under two minutes. HAIRCUT delivers high-intensity punk with a super clear recording that still somehow sounds completely inseparable from the context of a sweaty basement packed with freaks moshing and running into each other and knocking everything over. Like, one does not exist without the other. The vocals are totally excellent, in a slightly hoarse and screamy way, like a satisfying texture you can almost touch.

Heaven’s Gate Heaven’s Gate 12″

Fast and furious blasts from HEAVEN’S GATE, a who’s who of thrash/crossover/metal playing thrash/crossover/metal. If you need an idea of HEAVEN’S GATE’s sound, look no further than the impressive resumes of their members—MUNICIPAL WASTE, WARTHOG, CANNIBAL CORPSE, REVERSAL OF MAN. Stuffed with blastbeats, riffs on riffs, sludge-y baselines, and shredded vocals, HEAVEN’S GATE impressively scratches every itch in five songs’ time. Checkout opening track “Smear Crusade” and prepare to have the skin melted off your face like the poor fella on the cover.

Intention Brand New Story LP

Precast and hackneyed Japanese hardcore punk straight from Nagoya. Chaotic yet very well-executed classic hardcore punk cadences with predominantly early ’90s references. Solid vocals mixing both English and Japanese, and excessive crazy solos that make the flow between the songs vanish from time to time. I enjoyed the song with all-Japanese lyrics better than the others—what happens with this LP is that sometimes the mixture of sounds and ideas don’t necessarily blend in the right way.

Invertebrates Sick to Survive LP

INVERTEBRATES are from Richmond, Virginia and include a couple of members of PUBLIC ACID. Speedy hardcore reminiscent of JERRY’S KIDS at their best—’80s-style hardcore done right, with speed, ferocity, and a little bit of melody. This record makes me want to dance and jump around the room; I can’t wait to see them live. My advice is to get this album before it’s gone, it’s great!

Laffing Gas It’s a Beautiful Day in the Gulch LP

Everything from the music to the artwork reminds me of early ’00s Danish hardcore punk, except this is a current band from the middle of America—Bloomington, Indiana to be exact. Musically this is most reminiscent of AMDI PETERSENS ARMÉ, who were themselves doing their best rendition of first wave LA/DC hardcore punk, so LAFFING GAS has got some of that as well. The songs on this LP contain what you’d expect given those influences—tons of energy, snotty and engaging vocals, some quick, cool guitar skronks here and there but nothing too polished or fancy, thankfully. The riffs are good and the songs have enough dynamics to avoid being generic. The endless cycle of hardcore punk continues, may it live an endless life.

Larma Larma LP

If I fell asleep listening to TOTALITÄR (specifically Sin Egen MotstÁ¥ndare, not that that would even happen) and some prankster slipped this 12″ on and woke me up, I might not even notice. Okay, that’s not true; I would, but it’s that authentic sounding. Maybe you’ll argue that makes this inauthentic, and maybe you’re not wrong, but achieving such a high level of TOTALITÄR-ness is quite the accomplishment in my book. I spot two SKITKIDS and one INFERNÖH guy, so that explains a lot. It’s like rabid Poffen-esque vocal phrasing, hypnotizing riffs, and urgent D-beating are all just built into the circuitry of these guys’ brains. Furthermore, they know how to augment the template just enough to distinguish themselves from other soundalikes. Eleven perfect and delightfully excitable tracks.

Long Knife Night of the Hunter / Rough Liver 7″

An absolute monster from Portland’s answer to Portland’s Kings of Punk. As on previous releases, LONG KNIFE wear their influences on their sleeve—POISON IDEA, heavy metal, Japanese hardcore—and they own every fucking note. These two tracks lean heavily on burning metal leads, which rocks (of course) and makes the record feel more honest. And on the subject of honesty, the lyrics read like Bukowski nihilism, taking heady stock of the reality you’ve made while keeping a cautious eye over your shoulder as a reminder of how real things can get. Living fast is fun, dying young is glamorous, but finding your place in the next chapter is the real challenge. LONG KNIFE isn’t dwelling on it, but you can feel the struggle fighting in the grooves. Great band, and this two song slammer might be their best release.

Long Knife Curb Stomp Earth LP

Crucial release from this Portland band that melds the perfect combination of POISON IDEA and early FUCKED UP to kick major ass. This record shreds from start to finish and adds unusual elements that keep it fresh the whole time. It is straight-up exciting. Opener “Modern Fatigue” starts with a goddamn full church choir that matches the epic, grandiose nature of the songwriting and riffs with divine power. Sounding like a gimmick at first, LONG KNIFE brings back the choir amidst the blitz-fast hardcore to awesome effect. The energy never slows from that moment and often uses intricate crossover riffing, time changes, and full-cheese thrash solos on songs like “Blue Rose” and “The Curse.” The thing is, it rules instead of feeling corny or overproduced. Take “Scum” for instance: Castlevania organs underpin the punk and later solo like there is a bat-winged candelabra on the guitar amp. It sounds like MURDER CITY DEVILS meets, forgive me, GHOST, but it rules. Essential, innovative hardcore that never lets up. If you don’t like this, your idea of punk may differ from mine.

Loose Nukes Behind the Screen EP

Yesss. Fast, raw, snotty hardcore that isn’t trying to be anything other than what it is. I almost never play the ex-members game because it’s largely lazy rockstar bullshit and rarely relevant to the tunes, but people from DIRECT CONTROL, BLOOD PRESSURE, and DARK THOUGHTS are at the helm here, and despite the relatively straightforward sound, you can hear it. Songs about phones, paranoia, punishers, and of course, nukes. Please tour the West Coast.

Mercenary Demos Collection LP

Atlanta’s MERCENARY was active from around 2013 until 2015, playing a particularly vicious and virulent strain of D-beat. They never released any vinyl records in their time, but put out two blistering demo tapes that have since become underground classics—one in 2013, and 2015’s Atlanta’s Burning—along with one compilation appearance. Former members would go on to play in bands such as NAG, EXTENDED HELL and ANTI-MACHINE, just to name a few. Tragically, vocalist Michael “Ruby” Rubenstein passed away in March 2021. One year following, this record compiling all of MERCENARY’s recorded material was released, finally immortalising this underrated, blistering group—and the visceral vocal styling of Ruby—on wax. Demos Collection is an absolutely ferocious listen, drenched in echo, dissonant riffage, and tortured howling; it is a must-listen for any dis-rocker worth their salt. And, on top of all this, all digital sales from this record are being donated to the Atlanta Harm Reduction Coalition, with other proceeds going towards a mural in memory of Ruby—what’s not to love?!

The Chisel / Mess split EP

The sound of the new wave of Oi!—the CHISEL and MESS are leaders of the pack, and this is a perfect snapshot of some of the best of what this genre has to offer. MESS fares excellently on their side with “Don’t Look Back” and “I Don’t Like You,” the former proper BLITZ-worship and the latter a catchy belter with some nice BUZZCOCKS-style guitars. The CHISEL’S contributions are fantastic as always with “Keep it Schtum,” a hard one that reminds me of something off their first EP Deconstructive Surgery, and “Ain’t Seen Nothing Yet,” their catchiest and most celebratory since “Not the Only One.” Don’t be a square, shave your head and listen to this!

Moment of Fear Covid Sessions 2020 EP

MOMENT OF FEAR does not let up on the assault for a minute. Three tracks of scorching, exhaust-fuming hardcore lacking any form of dazzle camouflage. Side A offers an in-your-face blast of aggression and frustration, with the vocals from Bartek (REACTOR, RELIGIOUS WAR) reminding me so much of those on the obscure MORAL SUCKLING LP. Strained, tense and harsh. Side B formulates a more post-punk somber sound, echoing a depression further in the distance, but equally to Side A: torn through by pissed off punk rockers. MOMENT OF FEAR is craggily, rough, scraping hardcore from what feels like a cold PNW ocean, although they are from Long Beach. Covid Sessions 2020 storms in and drags you out to extinction.

Money Money LP

Collecting material from the band’s two previously released cassettes, the new 12” from MONEY features some of the most blatant cocainery I’ve seen on a sleeve since the first GANG GREEN EP. Lo and behold, behind the geeked-out demon on the cover lies a fittingly fast and gnarly eight-track attack. It’s a chaotic sound of blackened metal punk, loaded with distortion, chainsaw guitars, wailing leads, and the singer’s cracked growls and bellows. A solid documentation of this nasty Texas hardcore band, the record is also offered in a limited edition on powder white vinyl, because of course it is.

Mujeres Podridas Muerte en Paraíso 12″

Austin TX’s MUJERES PODRIDAS return in time to end your plague-filled summer with the perfect feel-good record for a vacation in hell. Their sound is fuller, the vocals and musicianship are stronger, and they veer out of the land of shred into some post-punk, surf, and darker themes of misery. Don’t get me wrong. You’ve still got members of CRIATURAS, VAASKA, and KURRAKA, so you know it’s still punk as fuck. They might  be compared by soft minds to SoCal’s STRANGERS and MACABRE, or they might easily be matched on a bill with Oakland’s DESEOS PRIMITIVOS or Brooklyn’s EXOTICA. Still, there is a certain weirdness and bleakness that only a band from Texas can provide, setting them in a class of their own and carving a deep cavernous path that lesser bands can sink in as they attempt to follow.  From the Craig Lee-like guitar thrasher “Te Odio” to the maybe JOY DIVISION-inspired hit single “OVNI,” you’ll be wearing out needles of all kinds from repeated listenings. Hot-ass packaging with a nauseating color scheme that only the sickest of minds can dream up makes this a must-buy for new loves and future enemies, so grab one up now.

Muro Pacificar LP

Unsurprisingly, an amazing record. It seems like Bogota’s MURO has been on the tip of everyone’s tongue since their last LP from 2017, along with touring/live appearances to crowds of eager hardcore punks worldwide. Every aspect of Pacificar is appealing. Sound, layout, the printing of the sleeve, songwriting and its overall impact. “Fantasia del progresso,” “Clasismo domino…clasismo, estructural,” and “Mundo infesto” are some churuses that should provide lyrical context. I’m not going to do them a disservice by interpreting the meaning of their songs with my shitty understanding of Spanish. MURO sounds more unhinged this time around, like a not-sloppy WRETCHED. They play with different counts and timing in a way that adds intrigue and unique power. The approach is stripped down and direct thrashing punk, but there’s something epic going on. The angst is authentic and infectious. A rare band that lives up to the hype. I hope this virus succeeds at permanently debilitating the entire worldwide right-wing/fascist movements so we can contain it and start punk again and I can see MURO do their thing in the flesh. In the meantime, if you are a punk definitely buy this record.

Peace Decay Death is Only… 12″

The internet kinda melted when this record dropped last month. And then, because we live in the digital age of instant gratification, the internet started melting about some other cool-ass record that came out and PEACE DECAY just existed in some present past realm…and this is why the internet is great and also totally sucks, because you need to spend time with this record. Austin’s PEACE DECAY was born out of COVID, but their genes are pure Texas punk. If you take the sum of the parts (SEVERED HEAD OF STATE, PROGRAM, STORM THE TOWER, VAASKA, CRIATURAS…and on and on and on) and consider that these chaps hail from the land of WORLD BURNS TO DEATH and SPAZM 151, then brace yourself, because that’s a lot, and Death is Only… is more than all of that. Sonically, the recording embodies majestic and anthemic energy that’s only reinforced by near-constant guitar leads ripped from ’00s Burning Spirits hardcore while vocals nail Nerve Damage-era Burdette snarl without ever suggesting that they belong anywhere that’s not inside these fucking grooves. This record charges, it’s pure force from start to finish (a finish that comes way too fast)—the modern embodiment of whatever “anthemic hardcore” is supposed to be. Highest recommendation.

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.

Phantasia Ghost Stories LP

NYC’s PHANTASIA drops a very well-rounded debut LP. Riddled with sentimentality (“Falling Falling”), darkwave bliss (“Out of Spite”), and poppy interludes (“All the Flowers”), this album is a culmination of noted influences like BRUCE SPRINGSTEEN and PYLON, to name a couple. Mixed with an original styling, I find a debut that captures this band at its rawest, and most close to the heart. The closer “Leftover You” reminds me of the REPLACEMENTS’ “Answering Machine,” or any of their B-side reveries, for that matter. The vocalist warbles through elongated notes of heartache, sounding like she’s hanging on to the microphone for dear life. This is worth your time.

Psico Galera Le Stanze Della Mente LP

The eerie riff in the beginning of this record sets the mood instantly. You’re in for a journey into the darkest corners of the mind. With members of FUCKED UP, CAREER SUICIDE, EU’S ARSE, and NINOS DU BRASIL, these seasoned musicians craft something new and exciting but rooted in the ’80s hardcore sound. There is obvious channeling of Italian hardcore like WRETCHED and NERORGASMO but through the mind of BITOUSHA and G-ZET. This unsettling album further proves that the Italian hardcore tradition is alive and well.

Public Acid Deadly Struggle LP

PUBLIC ACID self-released a demo, a flexi, and even a mini-LP prior to their recent 7” which came out at Beach Impediment. Condemnation was so good—paired with their crushing live sets, it gave them momentum. Then La Vida Es Un Mus re-released their 12” four years after it initially came out, because it was so good that it needed another chance to reach attention. This proves that good music does not disappear; it might need some time for recognition, but it is worth sticking around (and self-releasing does not diminish the quality of your records). After Condemnation, they recruited a second guitar player, which triggered anticipation for a record to come out. It has arrived, and it destroys. It’s great because its energy and constant urgency elevate the record, even when they go into palm-muted death metal riffing territory. Do not worry! It’s chaotic and heavy, as a hardcore sort of meta, but it’s rather the extra feature of the record which is an ultra-tight, totally blasting riff overdose. Both the tempo and the wall-of-sound effect recalls ANTI-CIMEX but double the speed, amount, and density of those riffs, with tons of sweet distorted and screaming licks. Not in style but in the overwhelming energy of the record’s sound, they recall KRIEGSH​Ö​G’s LP or IMPALERS’ Cellar Dweller. No mercy, just a constant buzzing stream of hardcore. They are clever with stops and twists, it’s not gimmicky and maintains the intensity. The sound is huge, everything can be heard but all the layers together give a great chaos. This chaos is a mix of meticulous songwriting that mirrors the love of hardcore, the obsession with noise and sick riffs, and playing as fucking hard as you can, and when you think something is brutal, then pushing it a bit further to be even more brutal. It’s one of those records that makes me want to run down to rehearsal—while I am excited to do my own thing, I can listen to this because this is for the listeners. I wish the members of PUBLIC ACID could enjoy this just as much as I do, because I’m sure it’s entertaining to perform these songs, but it’s so much fun to hear them, too. The cover looks like this was a bootleg of a basement demo death metal or powerviolence band, but the music transforms it, because it’s such an amazing record. 

Public Acid Condemnation EP

This one’s gonna be on a lot of fukkn year-end lists, and for good reason. You think that Condemnation is shaping up real nice when the trudge of “Nuclear Child” really settles in, and you think that they just dropped a ruthlessly dark and heavy beast. And then the music stops, and that buzzsaw kicks in and they are just fucking gone…you won’t know what even happened until “Flag Fetish” fades out and your ears are ringing and you’re wondering what the fuck kind of guitar solo you just heard. Rarely has the descriptor “urgent” felt more applicable, even (especially) as these freaks gear down for determined BATHORY-tinged stomps like “Electric Plague.” It’s a record that is wholly demanding from start to finish. And the demand is punishment. If you only have 90 seconds available to listen to hardcore punk music, I recommend the title track.

Red Cross 1981–1982 No Message LP

Richmond, Virginia’s RED CROSS serves up a potent dose of early ’80s hardcore punk with their album 1981–1982 No Message. Originally intended as their debut LP in 1982, the album was shelved when the band broke up before its release. It later appeared in a very limited cassette run, but this marks its first appearance on vinyl after over 40 years. The fourteen tracks, clocking in at about twenty-five minutes, are a straight-up blast of early hardcore energy, with some songs sounding like they could have been missing tracks from This is Boston, Not L.A. The singer’s voice sometimes carries a bit of a Tesco Vee snarl. The album kicks off strong and fast, but the momentum stutters a bit on Side B. It wraps up with a live track and a humorous radio spot, providing a touch of nostalgia. Members went on to form the mighty WHITE CROSS, making this release an interesting document of Richmond’s hardcore lineage.

Sexpill In Dust We Trust LP

SEXPILL is not your average hardcore band. You can feel it when you press play. Can’t quite put my finger on what it is, but you get a sense that SEXPILL doesn’t give a fuck about what you think! They just do what they love and that’s that! In Dust We Trust instantly delivers raw energy, unapologetic anger, and a sound that pushes all the right buttons. Japanese skank-driven bands like L.S.D. or KURO come to mind with their infectious pogo-inducing beats. The noisy, industrial-esque snippets help build an oppressive atmosphere that soon discharges in all directions once the hardcore kicks in. A sonic punch to the teeth.

Socio La Defekta Kreski EP

This is really interesting. SOCIO LA DIFEKTA, from Tokyo, Japan, is a band formed by members of UNARM and MALIMPLIKI, among other bands of the big and effervescent scene of the region. This EP contains six songs of rabid and at times brutal hardcore, almost on the verge of falling apart.  The musicianship is top-notch, they have two vocalists, each with their own style, register, and tone, something that helps a lot to make the music grab you and never let go. The best thing is that they sing in Esperanto! The EP is so good that it’s sold out, but you can buy the digital version and enjoy this little work of art.

The Chisel Come See Me EP

Fucking alright, yeah!  Your favorite yobbos from various UK bands unite for the best kind of good-time, feel-good classic Oi! You know…REJECTS, ABRASIVE WHEELS, 4 SKINS…ANDREW W.K.(?). Every song is the dog’s bollocks, even the cover of the original CRIMINAL DAMAGE’s “Criminal Crew.” Brilliant! It’s on Beach Impediment so, what the fuck, don’t be a wanker. I’m out of cliche British colloquialisms. Just buy it already.

Vaaska Inocentes Condenados EP

Austin, Texas’ VAASKA play six ripping tracks of high-pitched, ’80s Finnish inspired hardcore, echoing brutal flavor and a buzzing guitar tone that is stinging, with confident lyrics in Spanish spat forth with furious power. Crushing hardcore along the lines of MELLAKKA, RAJOITUS, and LAMA. I can’t say anything bad about the release, and yet I struggle to find a particularly stand out thing about it. It clobbers with D-beat fire, and the tones are freakishly coarse static hissing. That’s the big takeaway. My hearing loss.

Vanity Rarely If Ever / We’re Friends 7″

Two energetic new jammers from this gang of NY rockers. On these tracks, VANITY have tempered the glammy, foot-stomping hooligan rock’n’roll of their previous efforts with an emphasis on melody and hooks. Leaning into their power pop tendencies, “Rarely If Ever” especially bounces along on ’60s jangle, to the point that MONKEES references kept popping into my head (not a bad thing, in my book). “We’re Friends” is on the tougher side, but this single demonstrates that VANITY has clearly outrun any references to a certain Chiswick group… except I’ve gone and made one, oops.

Vidro Upp Till Dans EP

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

Witchtrial Witchtrial LP

What do you get when you mix the more “extreme” NWOBHM like VENOM with modern D-beat like IMPALERS? Washington DC thrashers WITCHTRIAL is what! As you probably guessed from their name, this band is heavy fucking metal that runs an influence gamut that includes SLAYER and CANDLEMASS, among others. That being said, the D-beat vibes persist throughout, making this one a dangerous gateway for punks who dabble in metal. Be careful with this stuff, kids. It’s all fun and games until you’re forking over $80 to see JUDAS PRIEST and DOKKEN on a Tuesday night. Highly recommended!

Мир Mindecision LP

This unsung classic of ’80s USHC has me absolutely floored. Roanoke, Virginia’s Мир (pronounced “mihr”) are the archetypical small-town punk band that made a singular, killer recording that was nearly lost to the sands of time. The story essentially writes itself. Mindecision was recorded in 1984 by four high-schoolers from the middle of nowhere. Dredging up the forgotten gems can be a dicey affair, though. Often enough, the context is more compelling than the content—but not in this case! Мир is absolutely savage. The level of craftsmanship in the songwriting, coupled with impressive technical chops in the rhythm section, really sets this apart. The guitar tone is lush and colored just enough to make it sound unique. There are surf elements to the riffs that gesture toward some West Coast influences. I think of Мир as occupying a space that is the midpoint between BATTALION OF SAINTS and ARTICLES OF FAITH. They fit right into the regional context, with bands like the LANDLORDS from Charlottesville, and Richmond’s WHITE CROSS. Мир shared a bill with CORROSION OF CONFORMITY a number of times, as well. Add in what was happening at the time a few hours north in DC, and it makes sense that Мир would emerge from the cultural void of Southwest Virginia. Full disclosure, I live in Roanoke, and seeing this release get a proper treatment, including a fold-out insert with tons of photos and fliers, resonates in a significant way for me and takes me back to a time in the mid ’90s when as a teenager, I’d hear about bands like Мир from the older punks that were still kicking around. But trust me, this far exceeds the nostalgia-inducement factor. Beach Impediment has truly done us all a great service with this release. Any fan of ripping USHC will want to pick this up. Unquestionably one of the top releases of 2023.