Reviews

For review and radio play consideration:

Please send vinyl (preferred), CD, or cassette releases to MRR, PO Box 3852, Oakland, CA 94609, USA. Maximum Rocknroll wants to review everything that comes out in the world of underground punk rock, hardcore, garage, post-punk, thrash, etc.—no major labels or labels exclusively distributed by major-owned distributors, no reviews of test pressings or promo CDs without final artwork. Please include contact information and let us know where your band is from!

Abscam Abscam cassette

Spasmodic and violent synth band from somewhere in Los Angeles, if I were to make an educated guess. Hard to put this one together on first listen—ABSCAM is composed of dueling keyboards, guitar, and live drums; the live energy encapsulated on the cassette is a good approximation of what performances I have seen of the band. GEZA X signed to Three One G would be my offering at a sound comparison. How can the songs take form beyond this first offering? I would like to know…

Afterpill / Double Me split EP

This AFTERPILL/DOUBLE ME split 7″ is a quick and dirty snack of powerviolence done two ways. AFTERPILL, a bass-and-drums duo from Saguenay, Quebec, cranks out seven tracks of no-frills, meat-and-potatoes fastcore tunes that sometimes tended to blur together a little bit. It’s solid, but don’t expect a lot of variety. Then DOUBLE ME, a four-piece from Padua, Italy, crashes in with five tracks in just under two minutes, balancing screaming and Cookie Monster vocals over rapid-fire drumming. Despite an average song length of 22 seconds, each track somehow manages to sound distinct, and the recording quality delivers a serious punch. It’s over before you can catch your breath, but if relentless, no-bullshit powerviolence is your thing, this split’s got you covered. Check out the whole thing.

Arson M​á​s Noize cassette

Brooklyn noise punk massively influenced by Japanese masters such as CONFUSE or KURO. Punishing layers of distortion, pressing down upon more layers of punishing distortion. Everything is mangled and destroyed, with the songs just emerging from the sonic wreckage. Agonizing vocals float above the mix, with wailing painful shouts reverberating through the deforested soundscape. Most of the selections are speedy, brief, treble-driven blasts, but the seventh cut, “Sabbath,” takes a turn down a more plodding, blackened path before kicking the tempo back up mid-flight. A fine example of grotesque “music” guaranteed to frighten your strait-laced neighbors.

Billiam Animation Cel LP

In a sea of singles, splits, and EPs, Animation Cel marks BILLIAM’s second LP. This prolific bedroom musician (who has maybe outgrown that label?) does not disappoint fans, with sixteen tracks of buzz, synth-wobble, and screech. In large font, the inner sleeve reads “Autismcore / Billiamwave LP#2”—so if we were lacking a genre handle, we now have two, straight from the horse’s tongue-in-cheek mouth.  I find some of my favorite moments in this album between bass and synth lines, with little guitar fills, like on “Protect the Emerald,” or on the sparse choruses of “Matinee Show” and “My Metronome,” the latter of which hosts a killer synth line: droning, dizzying, perfect. The whole album is inherently lo-fi, yet so many flourishes are packed into these short songs that they sound full, achieving a definitive economy. This album is fun, irreverent, in-your-face and by your side…it is also selling very fast, get yours now.

Burning Kross II LP

BURNING KROSS is the venture of seasoned musicians from the very important Ghent scene, with members and ex-members of BLACK HAVEN, CHEAP DRUGS, and AMEN RA within their ranks. II is their fourth output, and they have managed to steadily progress their sound. Nearly fifteen minutes of floor-stomping hardcore punk delivered in a very USHC way, like a faster NEGATIVE APPROACH. II acts as a way to liberate the anger and frustration of the injustices felt throughout a dying world. They embody the rage one feels towards the ever-growing failures of the system that was meant to oppress us all along. If you want a better mental picture of what it sounds like, just look at the blood-curdling cover, an amazing depiction done by the talented Keith Caves. This is hardcore for the end times.

Cataphiles Shadow Self LP

Deathrockers CATAPHILES from Bremen, Germany recently released the Shadow Self LP, and it’s pure bliss for those of us who enjoy exploring the darkness. Masc/femme dual vocals is the first thing you’ll notice about CATAPHILES, and in this context they provide a sonic balance as well as an emotional unity. Lyrics provide both strong social criticisms and humor with a dark perspective, while sonically, it feeds upon familiar ’80s goth. Occasional pop harmonies emerge from minor key compositions, while momentum seems to build as the album progresses. The ten songs on Shadow Self are individually strong enough to stand on their own, but as a collection, they make for an incredible listening experience. If you like TEMPLE, NOX NOVACULA, or CIERŃ you’ll want to checkout CATAPHILES.

Cyco Cyco LP

This one hits fast and it hits hard. CYCO drags me back to the turn of the millennium, to that in-between era after ACME and ZORN blew the roof off of the concept of metalcore but before ZEROID (and later FALL OF EFRAFA) injected internal intensity and stadium crust rage into the mix. CYCO is all of those things as much as they are North American emotional hardcore. And these Germans…these modern Germans do the whole damn thing and still manage to sound like a raw assault and a ’90s California screamo record at the same time. Check “Learn to Use” and then crank “Pulse” and it’s like the past dragging you into the now. “Fiction to Come” is the choice cut, if only for the isolated bass intro and the D-beat > blast > emo sequencing, but literally every minute on this debut is compelling and engaging . Been a while since I have spent as much time with a new release as I have with this CYCO record, and I look forward to repeated listens.

Dukkha Dukkha cassette

The term “dukkha” refers to discomfort, unease, or something that causes pain or sadness in Buddhism, probably a bit like MTV skacore or dad jokes in secular life. I had never heard of either this genuinely interesting concept, or of the band DUKKHA from Ohio, but I will try my best to remember both. This recording is the first offering of the young three-piece and stands as a very convincing effort. It just sounds effortlessly honest and genuine, and there’s nothing flashy or fancy in DUKKHA’s music. The production is raw and punky, almost organic, and fits well their primitive crustcore style. I am reminded of the classics of fast, gruff crust like early DISRUPT, BATTLE OF DISARM or EMBITTERED, with whom they share a taste for crunchy mid-paced moments. DUKKHA’s recipe is also infused with a HELLHAMMER (if not VENOM) influence, which works with both the style and the textures, helps build a creepy but still angry atmosphere, and provides dark and heavy slower moments. I like this one a lot.

Eliminators B.A.S.E. cassette

Convulse continues on its path of destruction with San Francisco’s ELIMINATORS, whose first release B.A.S.E. showcases three tracks of tough-as-nails straightedge hardcore. The vocals are great, the guitars are crunchy, and there’s an Oi! spirit throughout that ties everything together very nicely, drawing obvious comparisons to early AGNOSTIC FRONT. Highly recommended for fans of angrily stomping around.

Grit Perfect Storm EP

GRIT plays melodic hardcore punk and it reminds me a little of bands like NO HOPE FOR THE KIDS. These are really well-written songs that have an Oi!-type of beat like the stomping of boots that also gives the songs a certain toughness. Whether I can hear the lyrics clearly or not, the tone of the songs is evoking emotion from me. This is the kind of record that reaffirms my love of punk. I love this record, and it saddens me to read that this will be their last record.

The Hahas and The Blablas The Hahas and The Blablas LP

Zagreb, Croatia’s the HAHAS AND THE BLABLAS have been on my watch list ever since I came across the music video for their lead single on Tremendo Garaje. Even though it runs just under a minute, it was more than enough for me to fall in love with them. And now, about a year later, their self-titled LP is here to prove that they really are a force to be reckoned with. With bass taking the lead most of the time and toy-ish synthesizers playing the catchiest melodies you’ve ever heard, the guitar and drums take supporting roles and dutifully hold everything together like Super Glue. But to me, the expressive vocals and tongue-in-cheek lyricism are what makes this album extremely addictive. Slice-of-life themes of the album include, but are not limited to: frustration with bureaucracy, the myth of “fixing it in the mix,” wanting to marry Debbie Harry, and—though I have my doubts about this one—Andy Kaufman not being their dad. The whole thing is filled to the brim with childlike wonder, silly jokes, and hooks that are impossible not to sing along to. I’d argue that the HAHAS AND THE BLABLAS are the long-awaited spiritual successor to the B-52’S, but you wouldn’t believe me. So be it. Go ahead, give it a spin and weep!

Kouristus Mielen Ja Maailman Rappio CD

Fierce, ripping Finnish fastcore/grind. Seriously, five words, and you know you’re either going to love this or you aren’t, because KOURISTUS do the damn thing and they do it brilliantly. You aren’t looking for fastcore/grind? Look elsewhere. You’re looking for fastcore/grind or possible grinding fastcore? Well, guess what, young punks?!?! These fukks have got you covered. Harsh, throaty vocals with high-end support, blasts that will peel paint off of your face, and a massive production that sacrifices none of the band’s ferocity. One song out of fifteen kisses the two-minute mark…but if you know what you like, then you’ve probably already started listening before you read that sentence.

Los Bluffs Give Me Time EP

LOS BLUFFS offer up guitar-centric garage power pop that’s really nicely done. That’s not to suggest that the drums and the bass aren’t well-integrated, just that I feel like the guitar is the focus. I’m also a fan of the understated vocals that are pleasant, but not overbearing. You just kind of find yourself bouncing along with all three cuts, including an excellent JOY DIVISION cover. Really nicely done.

The Miller Lowlifes Pinch Hitters LP

Who the, what the, when the, where the, are MILLER LOWLIFES? The singer reminds me of the DILLINGER FOUR songs that Erik sings, and the band BROCCOLI from Scotland. These songs all have a plucky spirit and a crisp, clean finish leaving you wanting more, and these ten tracks don’t leave you bloated and feeling overindulgent. Anyone looking for that classic A.D.D. and No Idea Records feel will not be disappointed. MILLER LOWLIFES’ formula is as clean and simple as mixing barley, hops, and water, yielding a full-bodied aural experience. This isn’t going to shatter your world, but it will 100% get you through a pleasant evening of porch-sitting and having sips with your best pals.

Oust Rather Be a Fuck Up 12”

A geographically multi-located project that erupts with bizarrely cathartic and urgent D-beat-driven hardcore punk, dispossessed and filled with a particularly darkened fury that also deals with metallic forms of punk, brought to us by the maniacs of Discos Enfermos. Frantic hatred merging ever-ranting, expressive drums and maddening vocals. Filled with raw angst, and recommended for contemporary hardcore seekers.

Positive Thinking The Power of Positive Thinking cassette

Given this band’s name and the artwork for this release, I couldn’t help but be a bit concerned when dropping this cassette into my tape deck. The modern trend of hip hardcore bands claiming to be “psychedelic” and repurposing ’60s-style art gave me pause. Add in the through-the-roof cheesiness factor of straight-up naming a band POSITIVE THINKING, and I was doubly on guard. As a straightedge punk with a love for ’60s psychedelic rock, surely one can understand my apprehension at this point. Lo and behold, my concerns were completely unwarranted. POSITIVE THINKING absolutely rips! A timeless approach to hardcore punk. There are moments that sound just like second-tier ’80s hardcore acts like 76% UNCERTAIN. Occasionally, the overly positive aspect present in eyeroll-worthy youth crew lyrics comes through a bit, but those moments are short-lived, and the band just as quickly moves on to topics of self-deprecation, disdain for society, gripes on the health care system, etc. I will say, if you are interested in getting a copy of The Power of Positive Thinking on cassette (which you should be), be sure to do so through the label that released this, as the band is charging a whopping $12 plus $6 shipping for a cassette online, with it being $10 for the digital recording only. Yikes! I absolutely recognize that everything is wildly expensive in the modern day and that I probably still way undercharge for releases on my labels, but $12 just feels offensively expensive for a cassette, especially when the label is charging $7 (debatably still too much).

Pyrex Body LP

Killer release following a series of likewise killer releases from this prolific group. Body creates an atmosphere of dread and paranoia in a tight eight-song parcel. Overdriven vocals suck the listener into an unsettling void and taunt with an unrivaled perversity of damaging tunes. Creeping elements of post-punk claw through the wreckage, but it’s all too snotty and punk-forward to fit too neatly into that box. Noisy, effects-laden instruments are in service of the overall sound, propping it up rather than masking deficiencies. Energetic one-two beats burst out of motorik grooves, and riffs twist in unusual ways. SCHEDULE 1 and NAG are stomping on similar terrain, but PYREX wields a more wrathful blade. They’re a great live band to boot. Exceptional.

Krystian Quint & the Quitters Something Like That cassette

I like this. A lot. It’s super lo-fi, but also super catchy (those two can go hand in hand. for sure). It’s fuzzy, but jangly at the same time. It’s got a somberness to it, but it’s not a downer. In terms of the sound, I guess I’d call it “indie,” if that’s okay with you. The production is perfect for the sound. This is pretty outstanding for a debut effort. Great guitar sound. These guys are from Detroit, so you know they’re tough. The mood they create reminds me a bit of the DANDY WARHOLS. Really great shit here.

Roberta Lips En Plein Coeur EP

Super fun poppy rock band. These guys are so upbeat and peppy, their songs gave me feelings of summer, specifically songs you’d play at a picnic with your close friends. I loved their combination of keyboard with guitar, both distorted and cleaner, to create a unique energy entirely their own. I think one of my favorite aspects of these songs was the backup vocals, specifically in the track “9 Meses,” it definitely felt very ’60s. Already added their songs to my spring playlist.

Rocking Chairs of Piss Shit Your Ribcage Out CD

This band and album name had a lot to live up to. I wanted to love this record. Instead, I was bemused and baffled. The music is your typical punk affair, but the vocals are absolutely unhinged. It sounds like they recorded the singers to an isolated track and then laid them over the music later on, as if they took a spoken word album and spliced it with some of the most generic punk backing tracks you can find. There’s just no rhyme or reason to any of the cadences, and it leads me to believe this is all ad libbed. You know something, though? I think I actually do love this album. It’s just so off-the-wall and ridiculous. It would be a stretch to call these lyrics brilliant, but they definitely made me laugh, especially the final line in the song “Hendrix Clock”: “I want to hear the sound of the robin! Get me one right now for Christmas!” Honestly, it’s like if Jasper and Horace from 101 Dalmatians started a rock’n’roll band. If you’ve got 30 minutes to kill, this is worth checking out.

Sachet The Seeing Machine cassette

An indie rock quartet hailing from Sydney, SACHET offers a delightful and angular perspective on progressive pop. Their newest album, The Seeing Machine, was released as part of a pair of cassettes promising mellow melodies, carried by the sweetness of the vocalist. Her light voice paired with the jangled instruments makes for a great carefree atmosphere, detailed by Nick Webb’s wah pedal, Kate Wilson’s bubbly drums, and saccharine lyrics. “Redecabbaged” and “The Lodger” capture the essence of airy post-punk imbued into the album, similar to the CARDIGANS in mood but distinctly alternative. A great addition to their discography, this third release, running short of fifteen minutes, unfurls a welcome mat to those looking for some good fun.

Slander Tongue Let it Snow / Rock & Roll Bed 7″

I’m not a fan of the band name, but I’ll get over that. Mid-tempo and catchy, this is power pop/rock rooted in the late 1970s. I’m not a fan of lots of extracurricular guitar work. I just find it too much sometimes. These guys push that envelope, but they manage not to cross the line. I like the tempo, which is peppy, but not overly fast. Super catchy. Almost reminds me of the FORGOTTEN REBELS. High praise right there.

Sloks Viper LP

Some nasty garage work from Italy here on the new SLOKS LP. With distorted stomp and insidious groove, these veteran rockers cast quite a spell, swinging from hypnotic psych dirges to swampy voodoo jump as if compelled by Old Scratch himself. The gravel-throated carnival barker of a vocalist injects just the right dose of 1950s camp into the proceedings to make it suitable for inclusion on a John Waters film soundtrack, but it’s too powerfully raw to be mistaken as dopey cosplay—this here is real rock’n’roll, a blackened kind of blues with a rugged punk soul, filtered through able hands and killer instincts. Recommended for those who are comfortable in the dark.

The Thingz From A to Z LP

I wasn’t familiar with Chaputa! Records until I reviewed another of their releases last year. This THINGZ record being my second exposure to the label has me realizing that I need to be paying more attention, because I had the exact same initial reaction to this one—this music is fun. And that sounds far too simplistic, which it probably is, but it also just seems accurate. Sixties garage sounds with plenty of organ and keys, From A to Z is horror-tinged without being over-the-top, not too unlike a West Coast version of HUNCHBACK. This isn’t a record that’s for everyone, or even for most, but if this kind of music hits for you, then this should easily land in your rotation.

Warcollapse Deliberate Indoctrination LP

This is epic crust/D-beat hardcore punk. I am pretty sure that I’ve been listening to this band since their first record, and I think that they are just getting better. The music has many different textures to it. It ranges from their classic D-beat crust to something slower, slightly metallic, and dark-sounding, almost similar to 45 GRAVE mixed with ZYGOTE. When they switch back to their epic D-beat/crust sound, it is devastating. This is an intense record, and I am looking forward to their next one already.

Abaddon Live at CBGB LP

I shouldn’t have to talk about ABADDON in the time of the internet, so I won’t condescend to you when you can use search engines…but please know that they are fucking important. This is probably the only recording of their 2003 US mini-tour you will ever hear ,and to say that it is worth your time would be a criminal understatement. Fierce and honest Polish hardcore originally active in the early ’80s, this recording captures a reformed ABADDON at CBGB blasting through tracks from 2004’s Godzina Krzywd instead of Wet Za Wet or the REJESTRACJA split (aside from opening with “Rewolucja”), and honestly, it’s a really good move. The band was on absolute fire, and the gruff vocals get a little rougher as the set progresses, just like the guitar gets a little looser and…this is what you want from a live recording. Legendary band, amazing set, grateful it was immortalized. Wild that ABADDON, ARMIA, and DEZERTER all toured the US in 2003—it was like our own Jarocin, and we just didn’t know it.

Abolitionist The Long Slide cassette

Out of the dampness of Oregon comes ABOLITIONIST with a ten-song cassette full of synth-driven, melancholic, post-hardcore-inspired political punk. Between the blasting E-beats, you’ll catch lyrics that tell a story pertaining to a potential future world. The Long Slide is a bit of a concept album in that regard. The Long Slide is also a sonic departure from previous ABOLITIONIST recordings with its electronic-driven rhythms, droning synths, and distorted vocals. “Smoke” has a great post-punk-influenced intro, then rips into a snotty vocal delivery of lyrics critical of accelerationism. There’s a Cold War-era vibe that permeates a lot The Long Slide, as it cites ’80s new wave but without an ounce of respect. I really dig the lightning-fast energy of “Where the Bad Folks Go.” All in all, The Long Slide reminds me of a late night dub session where PROPAGANDHI takes over the turntable with a collection of new wave singles and remixes them into some great punk rock.

The Anomalys Down the Hole LP

With over two decades in existence, Amsterdam’s ANOMALYS emerge further evolved on this latest LP, delivering a ragged and blackened garage punk sound with a warped 1960s lean. The frenetic freak-outs that filled much of their previous output are fewer and further between here, making way for heavier and moodier moments, but there’s still plenty of electricity in the sound. Tension peaks on numbers like “Despair” and “Slaughterhouse,” and the killer, decompressed instrumentals of the opening “Anxiety” and “Flat Top” round this outing nicely. Marvel at the calamity of their wailing, otherworldly racket—Down the Hole is the band’s crowning achievement.

Bleakness Living Shadows LP

Excellent live record from this Paris band. Recorded on tour in Georgia (the country), BLEAKNESS plays anthemic deathrock-inspired post-punk, captured flawlessly on this two-track LP. I don’t know if I have heard a better sounding live record, for real. For fans of POISON RUIN or ARCTIC FLOWERS, the songs feature heavy chorus on guitar, earnestly sung politically-themed vocals, and driving bass and drums. There isn’t much information regarding song titles or lyrics (other than stage banter), but it kills. They are so tight, and the energy is palpable. It sounds like there were maybe fifteen people in the Tbilisi audience, and I wish I was there. Dark punk for the ages and highly recommended.

Blind Alley Live Tuxedo 1982 LP

From the little I can gather, BLIND ALLEY was a “cult” mod/power pop band from Torino, Italy, active in the early ’80s. I think the description works, but I’d say you could also throw ska into that mix. And while they may be from Italy, you could easily mistake them for being English. I’m not sure they were a cult band, but they were certainly very good. There’s very much a JAM sound going on and, in fact, they do cover the JAM in this live set. And for a live recording from 1982, the quality here is very, very good. Good stuff.

Cemetery Girl / MDOP Asymmetrical Warfare split EP

Solid little slab of Michigan hardcore right here. MDOP plays classic heavy, mosh-oriented powerviolence with a hint of youth crew energy. Good stuff, but nothing you haven’t heard before. CEMETERY GIRL, on the other hand, teeters more on the early ’80s hardcore vibe and sounds a hell of a lot like a punk version of UPSIDEDOWN CROSS. I absolutely adore the vocalist, combining screeching yelps with charismatic toasting, almost like a hardcore Flava Flav! How can you not love that? Really, what’s important here is the messaging, as these are the anthems of our times. This is one of those records where the liner notes are just as crucial as the music.

Crippling Debt Depletion cassette

CRIPPLING DEBT from Fort Lauderdale, Florida plays old school grindcore/powerviolence, but with a decidedly more brutal approach, so sans electronics, samples, or bullshit. The Depletion cassette has nine songs, and each is well under the minute mark, with most clocking in at less than 30 seconds. FUCK ON THE BEACH, but a heavier CAPITALIST CASUALTIES with more metal and aggression. CRIPPLING DEBT also integrates a death metal vocal styling with guttural grunt work, so think something like CATTLE DECAPITATION or OCEANO. Perhaps the most general comparison I can make is imagine a raw punk version of INSECT WARFARE.

Disciple B.C. Blood, Power, Sacrifice LP

Excellently executed doomsday crust punk filled with satanism and blasphemous whips. Featuring members of DOOM and AGNOSY, and led by an unholy reverend who merges Biafra with Vanian in the most literal way possible. Theatrical to the core in the vein of MERCYFUL FATE, but with a horror crust punk sound. Tight, strict-grip drums and ripper guitars. “If there is a Hell, we’ll see you there!” Favorite track: “Pray.”

Fear of Extinction / Warcollapse split EP

This split EP is a perfect example of punk lexical fields. With the bands’ names being made up of words like “fear,’’ “extinction,’’ “war,’’ and “collapse,’’ one can easily guess that they are not going to deliver retro ’90s ska-punk, which, to be honest, is a relief for humankind by and large. I missed out on this even though I follow Phobia Records closely in its divine mission to convert the masses to Swedish hardcore, so I was fairly curious. WARCOLLAPSE has been a favourite of mine forever and their brand of gruff Scandicrust effortlessly exemplified the classic crustcore sound, and they have kept producing solid works until today. I sadly have to confess that I could not get into their latest album, but the two songs on the EP are more in line with what I expect from the traditional WARCOLLAPSE sound. The first number is a heavy and metallic mid-paced old school crust number, while the following adheres to the typical fast and dark Swedish crustcore blueprint. On the other side you will be faced with two songs from the long-running FEAR OF EXTINCTION, the most Swedish-sounding band of Czechia. I would lie if I claimed to be conversant with all their discography, but this is excellent. This merry bunch worships at the altar of late ANTI-CIMEX and WOLFPACK, and they do so with the utmost devotion. Punishing, intense, and proper angry. You can tell they know what they want to achieve and how they plan to go there. Whether you want to embark on the journey is completely up to you, but at least neither of the bands lies about the destination.

The Gents / Klint split EP

Goodbye Boozy is giving me consolation in the current garage punk landscape. I don’t think there is a release by the Teranesian label where I am not finding the perfect balance of compelling and filthy. Case in point, this new split by Hamburg’s the GENTS and Schleswig’s KLINT. The former is a band of off-duty elementary school teachers ripping into four tracks of snotty, working-class (and I can’t help but think a bit pent-up?) punk, made to be played in front of drunken friends at the pub. How could this not be good? Listen to “Leftovers” first. KLINT brings an open hydrant full of synth aggression that can only be summed up as savage. The band has a long discography of reliable, sonically assaulting releases, which this split continues in perfect step. I love “Toiled for Nothing,” in particular.

Hedge Better Days LP

Straight out of the gates, HEDGE starts kicking you in the chest with a catchy tune that builds on all the better melodic bands from the late ’80s and ’90s. Imagine the first time you heard MOVING TARGETS, RADON, the LEMONHEADS (Hate Your Friends to Lick, none of that solo Dando crud), TILTWHEEL, middle-period HÜSKER DÜ, and even JR. JUGGERNAUT. This record has a comfortable and familiar sound while retaining its newness, entwined in well-crafted and memorable songs.

Kar​ō​shi The End of the Illusion of Freedom LP

Not being totally encyclopedic with Japanese culture, I had no idea what “kar​ō​shi” meant before listening to this humble and overlooked record. It can be translated roughly as “overwork death,” so basically a poor soul who dies from working too much (which is pretty fucking horrible, indeed). Who said punk couldn’t be educational? You can thank KAR​Ō​SHI for this trivia-worthy piece of wisdom. They are a studio project with Brian from DISAFFECT and SCATHA, as well as two members of the legendary ULTIMO GOBIERNO from Spain, a fairly unlikely collaboration. I have to admit I was a little suspicious and not particularly optimistic, but this is really good and quite unique in its own way. KAR​Ō​SHI plays somber hardcore punk with a metal influence, but they rely more on anarcho-punk angst and anger rather than the brute force, perms, and punishing heaviness you would commonly associate with metal punk. This is punk rock first and foremost. I like the political nature of the lyrics and how melancholy the album sounds at times. The stronger point of The End of the Illusion of Freedom lies in the groovy, epic, mid-paced metal punk numbers reminiscent of AMEBIX or AXEGRINDER in the writing, but using the more progressive, psychedelic “post-crust” mood and tones of bands like BAD INFLUENCE or ZYGOTE. The faster, ’90s-flavoured anarcho-thrash songs are pretty basic, classically executed; DISAFFECT or ΝΑΥΤΙΑΣ come to mind. Overall, you could argue the production is lacking in intensity and impact, that there are some slip-ups here and there, and it could all sound better, especially in the light of modern production, but then I think the LP has a charm and a je ne sais quoi that makes me come back to it and that most bands are unable to create. The guitar work is brilliant here, there is always a catchy melody, a hook that makes the song stick with the listener. It pushes all the right buttons and I did not expect to like it that much.

Dion Lunadon Systems Edge LP

This record really is strong. It’s raw, but it’s catchy. It’s brutal, but it’s melodic and kind of pretty. It’s got a grittiness and pounding beat that demands attention. You can’t ignore it. There’s also an uneasiness about it. That doesn’t always work for me, but it definitely works here. And it doesn’t really sound like the STOOGES, but that band does come to mind for some reason. Maybe it’s the energy. Anyway, this is totally worth looking for.

Mentally Parasites …To Live LP

There isn’t that much information on the obscure Slovakian grindcore band MENTALLY PARASITES, other than that they formed in 1989, released the obligatory split with AGATHOCLES, and a couple of other records. Upon digging a bit deeper, in 1997 they recorded a dozen songs for their planned debut album …To Live. However, the official release never happened, as the band broke up shortly after. Fast-forward to 2025, when Papagájův Hlasatel discovered this lost album and decided to finally give it a proper release. “The Last Nation” begins with an unexpected, thunderous tribal pounding of drums that erupts into mid-era NAPALM DEATH groovy grindcore, with some semblance of what SEPULTURA was doing on Chaos A.D. and even Roots (with all the tribal elements). The punk elements in this record come mostly in the form of lyrical content that focuses on ecology, animal rights, anti-racism, and all those important topics. For fans of groovier grindcore and even death metal acts like OBITUARY.

No Spoiler Ghosting LP

A snarling buzzsaw of an album from Italy that has equal parts ’77 punk, ’80s power pop, and ’90s grunge. There’s an UNDERTONES-inspired track with “When It’s Over” and a BUZZCOCKS-sounding song with “Aubrey Plaza.” “Straight from the Heart” sounds like it could have come from the OUTCASTS singles collection. The album sounds strongly cohesive, and every one of the ten tracks is solid.

Promaja Bravo Brava LP

Ethereal post-punk band PROMAJA has achieved a very complete, well-rounded, and full sound. They’re melodic and lyrical, with sort of distant-sounding vocals that wrap around you like a swirling mist. Each song flows from the next in a subtle but lovely way. I really enjoyed the track “Cinematic TV Static,” as it started with a faster drum beat, which was a bit different, but then built to their classic, powerful post-punk sound.

Punter Australienation LP

High-quality production on this one. It’s not that often I hear something recorded as well as this. They sound like they travel in the same circles as AMYL AND THE SNIFFERS, although I like this band more. The playing on this is great as well. At their best moments, they remind me of LEATHERFACE a little bit. If you’re a fan of melodic hardcore, there is a lot to like here.

Rainswept Demo ’25 cassette

RAINSWEPT’s name might sound poetic, but don’t let that fool you—this four-piece out of Rome, boasting members of STRENGTH APPROACH, FIRST BLOOD, and BLVD OF DEATH, is clearly chugging from the same bottle as 1990s NYHC bands like MADBALL and BIOHAZARD. Groove is the name of the game here, and there’s plenty to mosh to if metallic hardcore is your thing. But the first song, “137 Anthem,” is a seemingly pointless instrumental that eats up about a quarter of the whole release. Bold move, guys. This isn’t really up my alley, but if any of the bands mentioned above do it for you, check ’em out.

Skull Cult Can You See What I Mean? EP

Let’s get something out of the way real quick. We all agree that this is the best album cover on this godforsaken planet, right? Yes? Good. From the epicenter of egg-punk (or weird punk, if you’re too cool for that), Indiana’s SKULL CULT has proved again and again that they mean business, and has been a staple in my personal hall of fame ever since I first heard of them. This year’s Can You See What I Mean? sounds like they’ve dialed down the weirdness a bit and leaned into the catchiness element. Don’t get me wrong, all the things that made SKULL CULT great in the first place are present throughout the EP. Blown-out guitars, hyperactive drums, sick bass lines, nice synth melodies, and batshit insane vocals are still front and center, just a bit more modest. To me, Can You See What I Mean? signals a slightly new direction for the band, one that I’m curious to see where it leads.

Snörkler Sleven Songs cassette

Disjointed, riff-less art-punk from Memphis, TN that’s as angular as the cassette’s isometric artwork. Each of the seven songs takes the listener on more of a wild ride than I would ever willingly sign up to be a passenger. I don’t think I fully understand the intention of a band like this. Everyone is clearly good at their instruments, but between the showboating, the herky-jerky start/stops, and the quirky vocal growls into yelps, it almost feels as if each member is fighting for the spotlight. From what I can tell, SNÖRKLER is very novelty costume-heavy in their live performances. Think of it as something of a noise rock SLIPKNOT. Hell, some of the licks don’t sound that far off from that comparison, from what I can recall. To me, this comes across like much more of a confusing art project than a punk band. I was excited when I saw that the singer also plays flute/piccolo in the band, but after three listens, I still can’t find it. A shame. I don’t think there’s a song in existence that has a discernible flute on it that I don’t find strangely beautiful.

The Speedways Triple Platinum LP

This collection of tracks from the SPEEDWAYS’ first five years has everything you want in this style of power pop—hand-claps, catchy-as-hell choruses, key changes, you name it. A perfect rendition of early ’80s power pop, when new wave sounds were starting to creep in but nothing was ruined by major label pariahs just yet. Even better, as this is a collection of mostly singles, you don’t get any of the filler that was almost a gimme if you decided to snag a full-length by, say, FOTOMAKER, the SCRUFFS, or (to a lesser extent) 20/20. Some of these are re-recordings or remixed versions, and it adds to this collection of hits almost feeling more like a deliberate album. Forty-five years ago, the SPEEDWAYS would have been lapping their peers, and honestly, they still do today.

Thighs Total Dejection cassette

Sonic weirdos, check this one out. Boston art-damaged misfits take traditional rock, no wave, and sound collage and transform them into eleven short mini-skronk epics. Churning loops of baritone sax weave around spoken and shrieked tag-team vocals. My brain picks up signals from the CONTORTIONS, ERASE ERRATA, and MORPHINE mixed with a little Poly Styrene vocal spice. “City Incinerator” and “Humans” are warbly ’50s rock throwbacks like jukebox 45s distorted from melting in the back seat of a hot car. More playful than, say, TEENAGE JESUS AND THE JERKS, but just as confounding upon first listen. Great tape. Catch them live never because these rascals already broke up!

Youth Crusher Youth Crusher LP

Excellent set of demos from Athens’s YOUTH CRUSHER, one from 2018 on the A-side and one from 2017 on the B-side. YOUTH CRUSHER plays politically-charged hardcore punk inspired by early Greek punk bands like NAFTIA, XAOTIKO TELOS, and ADIEXODO. Both sides rip, but I prefer the A-side (2018) as it’s a little more streamlined and concise than the rough and gruff B-side (2017). This is a cool way to be introduced to the band (who have been active for a decade now) and sees a neat evolution of their sound; I’d recommend starting with the earlier stuff and working your way towards the later. Regardless of which order you spin it, this one is highly recommended.

Πλεκτανη Κ​α​λ​λ​ι​τ​ε​χ​ν​ι​κ​έ​ς Α​ν​η​σ​υ​χ​ί​ε​ς LP

We have some pretty raging hardcore punk from Athens, Greece here. It wouldn’t have surprised me if they were from Sweden, because they play that style of hardcore. “Plektani” is how their name translates into something I can try and pronounce. Two-guitar attack that makes it sound thick and full. Good production, good songwriting, excellent riffs, I couldn’t ask for much more. I will listen to this again and again.

Angel Face Take Me Back / Night and Day 7″

From Tokyo supergroup ANGEL FACE, “Take Me Back”/”Night and Day” is a classic one-two rock punch. With Fink (TEENGENERATE, RAYDIOS) and Toyozo (FADEAWAYS) handling the strings, the band’s impressive pedigree sets expectations high, and this tight single rises to the occasion. The A-side is an awesome upbeat pop-punker with a sickly-sweet hook; the kind of tune that does that neat trick of making heartbreak seem kind of fun. On the B-side, “Night and Day” comes in sounding like it’s about to be a cover of “Detroit Rock City” before breaking into a formidably infectious boogie complete with sing-along chorus. Flip it over and over and over and over.