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!

LSG Salvation/Solution demo cassette

The demo art depicts a cartoon punk who is being walked like a dog, or it could be a leashed child that traded the leash for a chain. They look content and mindless, like their name should be something stupid like “Bloopy the Punk.” Musically, it’s nothing original, but it’s a bit more rambunctious than Bloopy would have you believe, with only two tracks getting over the one-minute mark. Sparse vocals backed by bare-bones ’80s Midwest thrashing that could fit seamlessly onto a compilation like The Master Tape Vol. 2. A surprising ripper.

Melt Citizen Dullard cassette

Surfy, poppy, lots of reverb. Lots. Better than most bands of this persuasion, but for some reason, listening to this feels like listening to demos for the next GREEN DAY record or something Billie Joe-related. Did I mention the reverb?

Mentira Nada Es Sagrado LP

This is the debut LP from Kansas City hardcore band MENTIRA. The record bleeds chaos. It’s an overtly nihilistic and punishing listen. A real pummeling wall of noise that doesn’t let up for a minute of it’s half hour runtime. Reminds me of COACHWHIPS as far as the lo-fi recording. The vocals are delivered entirely in Spanish in a real demented and spacy howl. The best thing about this LP, though, is that it’s totally infectious and a record that’s gonna get stuck on repeat for me. This is one of those records that I have to say don’t blink or you’ll miss it. Give it a listen, then give it another.

The Monsters I’m a Stranger to Me / Carpool Lane 7″

These MONSTERS are a Swiss trash-garage combo that started kicking rocks way back in the ’80s and are fronted by the honorable Rev. Lightning Beat Man. Beat Man runs Voodoo Rhythm Records, so the dude is not a stranger to loud-ass dirt rock, but I was still surprised by the grit that’s caked over these new recordings. The A-side is a hi-energy rave-up that shows a generation of Burger-fed youth how it’s done. Gnarly. “Carpool Lane” slows down just a hair so that herk-jerk verses can alternate with heavy bursts of fuzz as an analog synth zaps the aliens lurking on the side of the road. A cassette version slathers on a host of extra tracks.

Mystic Inane Natural Beauty EP

MYSTIC INANE give us a posthumous collection of four songs that were recorded prior to them disbanding a few years ago. If you are late to this group of New Orleans weirdos, they sound like RUDIMENTARY PENI meets SACCHARINE TRUST in a dumpster. Their essential EP’s of M/I collection is always in rotation around these parts. This EP fits in perfectly with their three previous 7″ releases of off-kilter outsider hardcore. The basement spy riffs are here, as are the deranged, always slightly off-beat vocals that make this band so recognizable and endearing. “Death of Disco Spiv” starts off slowly with a beginner’s level guitar line that is met about 30 seconds later with full-band hardcore stomp. “My Life as a Fish” reminds me of their previous trash anthem “I Believe in UFOs” with a similar vocal delivery in the chorus of “I’m a fish, and I want sleep” (at least, I think that’s what he says). “Mystic Ignorance” is as good an introduction to the band as it gets, and we even get a brief guitar solo! Generous! “Peckerwood Nero” has such a catchy repeated vocal line and bouncy bass melody that it could be a new wave hit in a freakier universe. The final track fades out and then slowly comes back in, creating a fitting parting gift from a great punk band. My expectations were exceeded, and I was bummed when it ended.

Nisses Nötter Det Är Krig LP

2020 saw among many great classic punk reissues the vinyl reissue of mean mangel machine NISSES NÖTTER’s jaw-breaking 1983 self-released Knäckta Nötter demo tape (and it sure feels like a demo tape, in a good way). These then-pre-teens from Gothenburg delivered a crushing, sloppy, and “angry at everything” lesson on how to do proper Swedish hardcore. If you are unfamiliar with this classic band, just keep in mind that their age span was eleven-to-twelve years old and yet they managed to play surprisingly fast and write great angry raw songs. The reissued vinyl version includes the complete history of the band and an insert. Cop this one when you need to let off some steam.

Nutrition No EP

The chair featured on the cover of this Vancouver band’s record is the kind you typically see in welfare offices, police stations, and low-rent business waiting areas. The off-putting nature of this visual fits the existential displeasure that is the springboard for NUTRITION’s agitated grown-up punk. The band’s sound is pretty appetizing, delivering a dense and jangly sort of post-hardcore with a spirited vocal performance and even a whiff of HANK WOOD influence. As promised, there’s some sustenance here, but this aggressively pessimistic platter of short songs is a hearty snack at best.

Ond Tro Syv Sange EP

OND TRO (“evil belief”) is a punky hardcore band out of Copenhagen, who run through seven tracks (Syv Sange is literally “seven songs”) in around ten minutes on this EP. Now, I don’t know whether to blame this on my lack of Danish hardcore points of reference or a first impression that I just couldn’t shake, but this sounds a lot like a ’90s Victory Records band playing MARKED MEN songs. There are a lot of open hi-hat counts into tracks, and the production is overall pretty STRIFE-y. But listen to “Gra Skyer” and tell me it doesn’t sound exactly like a MARKED MEN track until the vocalist comes in to bark lyrics like a late-era Raybeez. Anyway, silly comparison aside, I had a good time with this.

Ostseetraum Ostseetraum cassette

Gloriously minimal German synth-driven new wave. Stark, cold and mature, OSTSEETRAUM conjures sounds of homemade tapes recorded and duplicated in dark apartments to be distributed by hand in early ’80s Berlin, and they make those sounds feel relevant and unattainable. Stripped NDW bands like STRATIS clashing with Voice of America-era CABARET VOLTAIRE, sonic robotics delivered with a calculated and intentional calm. Nine cuts here, a stellar debut.

Perspex Torch EP

“Straight to the point” is what you feel as soon as you press play on this record by Sydney’s angriest PERSPEX. Weird and twisted hardcore that taps into the deranged worlds of US hardcore legends WHITE PIGS and NO TREND alike, but managing to sound refreshing throughout. Their selling point is immediacy and a not over-intellectualizing approach to hardcore that should be a given in any punk sub-genre, but unfortunately many bands have lost touch with its roots. These five tracks will quench your thirst for no-bullshit angry hardcore.

Pitbul Demo 2020 cassette

These demo recordings offer an exciting look at a new mixtape from American rapper PITBULL! The “Dale” attitude is there but he cranks up the BPM and energy expressing some frustration that I think we can all relate to after such a hard (insert number of years you’ve been alive) years. PITBULL does stray a bit from his Reggaeton roots but finds inspiration in the likes of INFEST and YDI. Club music typically doesn’t make me want to beat the shit out of someone but this is a real vibe! Can’t wait for the PITBULL/Youth Attack collaborative sunglasses and skinhead cap. Personally, I’d prefer human growling over actual dog noises, thanks. Kill yourself to it!

Puro Odio Demo 2018 10″

Dim memories of peeping this one back in the year of its original cassette release, giving it the thumbs up inside my brain and then not pursuing PURO ODIO in any serious way: a fool’s gambit, because this demo nailed the blackened Oi! sound as well as anyone in recent years. Reissued by Oakland metal label Sentient Ruin (Basque skinheads Mendeku also put it on vinyl earlier in 2020), these six songs are fixated on death and hell—both, in the case of “Darby Crash”—roll at a sinister pace, often cranking up the briskness but always coming off like they’ve got an extra gear to really hammer ya, and are recorded impeccably, cold and buzzing but with every instrument ringing through. Crucial shit if SEXDROME, HOAX, early RASPBERRY BULBS, and earlier CELTIC FROST turn your head when appearing next to each other like so. There was a PURO ODIO 7″ in 2019 too, but I could stand to hear plenty more from these two Spaniards.

Purple-X Purple-X LP

I’ve had my eye on Oslo’s PURPLE-X since their excellent 2017 demo tape. This is their third release, a pretty short and diverse 12″. A minute-and-a-half intro sets a tone that’s both snappy and haunting. The three other songs on the A-side are jagged punk with cavernous reverb and other decidedly dark elements, but the aggressive drumming and abrasive vocal style steer this away from genre trappings. After a super chill interlude fades out and back in on the flipside they launch into a few faster thrashing tracks, which I have to admit is where I like PURPLE-X best. The vocal style unexpectedly reminds me of Blaine Cook of the FARTZ/ACCÜSED fame! The last song is sung in Norwegian and has a more classic feel, with a sing-along chorus and everything. The drumming throughout this whole record is particularly masterful, and the guitar tone sounds like it could be poised for both/either a dark post-punk band or surf! It all works and the track sequence was chosen for maximum impact. The layout is old-school collage style and has a cool three-panel fold-out lyric sheet.

Rubble Parts Per Million EP

If any record crossing my turntable in the last year has made me feel extra sad that we can’t be in a room dancing together for the foreseeable future, it’s this one. RUBBLE incorporates the unstoppable enthusiasm for punk that Portland bands seem to be able to perennially channel. They pull from the most fun, bouncy parts of street punk and Oi!, and smash them together with eerie, melodic vocals, reminiscent of LOST CHERREES. This release is more melodic and has a little more nuance than the band’s earlier records. It’s challenging to make songs that are thoughtful and fun, but still have a punk edge, and RUBBLE has definitely done it. Definitely something to check out!

Screaming Fist Templanza EP

This is how you do it. People from TØRSÖ, VAASKA, and NEGATIVE STANDARDS (among others) doing rough D-beat with raw sound and political lyrics in Spanish. It’s a perfect combo: manic drums that don’t follow the same beat for more than twenty seconds, loops of skilled riffs punching your head over and over, and a voice that glues everything together. The strong personality of the vocal style supports the whole composition, with an attitude of “we’re gonna eat you alive” that has won me over. The dusty treatment of the guitars fits perfectly too, creating an aura of old and cheap punk, a harsh texture that’s really charming. Nothing new here, but there’s no need, SCREAMING FIST delivers catchy and rash hardcore punk just fine.

Spectres Nostalgia LP

The unironically-titled new LP from SPECTRES exists in a world where the ’80s rule, with sonic nods to the CURE or MY BLOODY VALENTINE (sans distorted guitar), and it’s executed so flawlessly that it’s almost a problem. This backward-looking record, complete with authentically retro cover art, suffers from overly lush production. It’s just a bit too shimmering, too sparkling to the point you get an impression early on that nothing unexpected is going to happen (and then nothing does). I’m not saying that old-school-sounding synthwave isn’t up for grabs, I just prefer more urgency. Like when a band like HEKÀTÄ’ does it, the genre sounds vital to what they’re trying to express (and their songs are in Greek, no less). SPECTRES sound more like they’re building atmosphere while not particularly adding something novel to it, and it’s an all-too-familiar atmosphere. If this record were a piece of furniture, it would be an immaculate glass coffee table. There’s no doubt they can play, but I like to see a bit more grit and dirt with my post-punk. I guess we’re nostalgic for different things.

The Spits VI LP

After a lengthy wait, the streets again run red with a fresh spill from Kalamazoo’s finest. In this eagerly anticipated episode of the SPITS, the band cranks out a few new classics whilst retaining their classic VHS Horror-esque groove, complete with 8-bit keys and sci-fi vocals. As soon as the opener “Up All Night” kicks into its unholy buzz, you know it’s on. Most of the songs tread in familiar SPITS territory, but some of my favorite tracks here are the ones where they break the mold a little bit like “Creep” and “They.” This thing is sold out all over with a second press coming soon, and rumor has it that the guys are launching a new fan club in 2021. Stay tuned for more spine-tingling adventures.

Staffers In the Pigeon Hole cassette

STAFFERS play lo-fi poppy rock. The rhythms are quirky and sound like they are off-balance. The contemplative lyrics are enthusiastically spoke-sung. It’s part outsider rock, part straightforward indie rock. It’s odd, yet familiar.

Teenage Halloween Teenage Halloween LP

This record is hard for me to write about. On the surface it sounds like a bunch of “folk punks” traded in train-hopping and alcoholism for the ability to write hella catchy “pop” songs, although I understand that’s a pretty shitty analogy and I feel it’s a disservice to a band that has written a great fucking record. I will say this…in a perfect world, where the radio actually played real music still, TEENAGE HALLOWEEN would be fucking huge! I could listen to this record everyday and find something new I like about it every time.

Total Wolf Nobody Loves You LP

Canadian hardcore along the ways of SICK OF IT ALL and AGNOSTIC FRONT. Not as iconic as those bands, but these guys do crank out the negative vibe in short blasts. I can see this band going over well on one of those multi-band hardcore shows.

Violent Christians New Blood for a Dead City EP

Following last year’s amazing sold-out-before-it-existed No Speed No Punk tape, Austin’s VIOLENT CHRISTIANS make the long-lasting commitment to wax thanks again to Roachleg Records. They continue with their classic yet modern take on ’80s US hardcore via JERRY’S KIDS, NEOS, DIE KREUZEN, and a bit more of the almost but never totally falling apart rhythms of VOID on this release. You can almost hear Jeff Bale’s whiny voice saying “totally thrashing stuff,” as this would be right at home on the old KPFA show. Kicks ass throughout, and can’t wait to see them live if that’s ever a thing again. Now get away from me. You’re way too close.

White Stains Make Me Sick LP

I don’t really know where to begin. I expected great things from this band, but Make Me Sick has knocked me out. Why? Because it is the perfect punk record. It sounds like a street fight, lost beforehand, between a gang of scrawny and stoned punks against the local jocks. Like one of those weeks when everything goes berserk, life beats you down, and you just need to vent your bad blood, go out, roll up the lapels of your jacket and look hateful at your neighbors from above your sunglasses. Look hateful at old women dragging their purses across the sidewalk; at the children who play in the park; at the families who are out for a walk and look like the people in those disgusting car commercials. It sounds like a society reject, drinking cheap booze straight out of a brown bag in the snowed parking lot of a lonely gas station in the middle of a boring and dead suburban neighborhood. It sounds simultaneously urgent and carefree, loose, like a threat veiled with indifference, as if you were trying to look unworried, but something is devouring you alive. The guitars wobble back and forth, like in an eternal question/answer dynamic. They sound like razors being sharpened, like a whistle loaded with intention, of bile and poison. It reeks of alleyways, basements, train stations, liquor store back rooms, squats. It sounds as if ’77 punk met Midwest ’80s hardcore punk. Provocative but decisive. A maelstrom of noise and drum rolls. Albeit they pretend to look as amateurs, you can see years of experience behind each song. I can imagine the singer, hanging from the microphone, falling and rolling over the stage, spitting at the public. The guitarists, concentrated, immersed in their own world, intercalating those barrages of distortion, as if they were passing a ball from side to side, deliriously, sickly, as if the riffs were a hot globe that burned their hands. At times, the songs contract, concentrating all its strength in palm mutes and dry blows, just to suddenly explode soon after, provoking sonic avalanches. At the second listening, I already knew it would end up being one of my favourite 2020 records. For true punks.

Youth Regiment Youth Regiment cassette

Geed myself up to wax posi about how the Stucco label (of which Impotent Fetus is a spin-off) is currently doing a killer job of chronicling all these new raw Olympia HC bands on tapes with badly photocopied inlays. Then I noticed that YOUTH REGIMENT, who would otherwise be a glowing example of the form, recorded these four songs in late 2017 and are presumably long done by now, with two (both?) members carrying on in ELECTRIC CHAIR. Youth Regiment is still a worthy document if you dig the Pacific NW scene or geeky mid-paced-and-above hardcore in general. They (and the people who buffed this recording, notably Will Killingsworth on mastering) get that cruddy bass sound and slightly too springy toms just perfect; the bursts of speed kinda remind me of ADRENALIN O.D. and a guitar part or two could grace a LIQUIDS record. In summary, glad this got dug up.

V/A Thesaurus, Vol. 5 2xLP

The fifth installment in the Thesaurus series, which presents a cross-section of what was happening in punk/punk-adjacent spheres in France from ’78—’86. Focusing on punk, post-punk, garage, and coldwave, the material ranges from bands like RAVACHOL and ACTEURS who play dark, synth-heavy punk in true Killed By Deathrock fashion, to COCKPIT, who sound like the FEELIES collaborating with the NORMAL, to SURPRISE’s manic No Wave noise with spiky guitars and elephant-like sax interludes. Still others, like STRIDEUR, fall somewhere between JACQUES DUTRONC and the CRAMPS with keyboards. There are 25 songs on this double album, and though there is variety, there are some throughlines. A lot of the songs are pretty synth-heavy. There are loads of strange guitar sounds and other cool noise shit that could be filed under “experimental.” Not much straight up ’77 punk, but that’s not really what the French are known for anyway. Comps like this can be a gamble, but I would recommend this one (if you are able to snag an affordable copy)—it’s a period piece with a lot to say, and a chance to get familiar with some of France’s more obscure artists.

Activistas A is for Activistas CD

A nine-track effort (a mini-LP?) of what sounds like a British cabaret band, almost. Or sort of a “Knees Up Mother Brown” musical hall variety act. Male and female vocals, drums, guitar, bass, and keyboards. It’s all rather amateurish sounding, which is a little off-putting to these ears, though suddenly, the last three tracks (starting with a version of WOODY GUTHRIE’s “This Land Is Your Land” with BILLY BRAGG lyrical embellishments) really kick it up a gear, and sound rather more polished and hence eminently presentable! Perhaps with the addition of some more keyboards, it all falls into place? Lyrically, they seem to hit all the right spots (and targets) from Emma Goldman to Boris Johnson.

The Adicts The Sound of Music LP reissue

The clown princes of clockwork punx are back…in reissue form! For the longest time, I actively avoided engaging with any of these droogy bands for the simple reason that the fans got on my tits to an almost cosmic degree—crystalised by one legendarily punishing pisshead at a COCK SPARRER show in Leeds, replete with plastic bowler hat and jockstrap. I, quite naturally, assumed it was annoying joke music for dickheads. Was I wrong in that assumption? To a certain extent, yes. While there is space for some joke music on The Sound of Music with a paean to Chinese takeaways, it’s an enjoyable camp romp through the poppier side of UK82, like the BLOOD and PETER AND THE TEST TUBE BABIES had a scrap in a circus tent.

Alien Nosejob Suddenly Everything is Twice as Loud LP

For the uninitiated, ALIEN NOSEJOB is the anything-goes solo project of Jake Robertson (AUSMUTEANTS, HIEROPHANTS, SMARTS). So far he’s put out records covering KBD punk, indie pop, straightforward hardcore, new wave, and disco. While previous releases have been more genre-focused (like the excellent USHC workout HC45 EP), this LP takes a more whimsical route through a handful of similar sounds. We’ve got some straight up RAMONES-core (“Television Sets,” “Black Sheep”), earnest indie pop (“Weight Of The World,” “Blending In”), and even some Horrendous New Wave-y new wave (“Spin Cycle”). Not every track is great, but when you take as many shots as this dude, you’re bound to chuck up a brick or two every now and then. Even still, this LP highlights what a gifted songwriter, musician, and producer Jake is. I’m stoked to see what direction he takes the project in next!

Bathouse Bathouse LP

Debut record from Sweden’s BATHOUSE, featuring ten noise rock pounders, drenched in feedback and fuzz. The tracks blast with tinny guitars, blown-out distorted bass, and that familiar AmRep-inspired crunch. The shouted vocals and fairly traditional rock structures place this in pleasant company with MCLUSKY and PART CHIMP. Through the filth and slime, there are some melodic vocal lines and major key chord progressions that have one dirty shoe in garage rock (maybe even grunge) territory. “Hell” sounds like a lost NIRVANA In Utero B-side with a downtempo refrain of “I bore you / You know I adore you,” while “Ghostly Figurine” has some “la la la la’s” in the mix. These anthems of frustration aren’t breaking any new ground, but they are definitely worth a listen on your way to that job you hate.

Big Laugh Manic Revision EP

I reviewed this record for Undergrounz Zine the first day it came out ’cause I thought it was too much. I think I must’ve listened to it twenty or so times in a row. It’s kind of a cyclic album; the instrumental fade-out in the last song, “Fazed,” works as a transition to the epic drums that open the EP in “Imposter.” The whole vibe of this reeks of the ABUSED, from the artwork, which pays tribute to the Loud and Clear aesthetic, to the sound. Or, better, the ABUSED meets This is Boston Not L.A., because BIG LAUGH merges heavier passages with more fluid ones, but always without losing strength and presence. I said it before, I’ll say it again, their strength is how they managed to combine that overfall of dizzy, hectic guitar riffs and omnipresent drum work, hard as nails, that sweeps everything else with the power of a cascade. BIG LAUGH is the best example that Milwaukee hardcore is alive and kicking.

Big Rig Expansive Heart EP reissue

1-2-3-4 Go! has reissued this overlooked gem. BIG RIG was a short-lived project whose members went on to play in SCREW 32, the NERVE AGENTS, and DANCE HALL CRASHERS, and featured Jesse Michaels of OPERATION IVY on vocals. This four-song offering is decidedly more punk (whatever that means) than Michaels’ previous band; in fact, there’s nary an inkling of ska heard here. My only complaint about this record is that I wish there were more songs! This is a perfect document of a moment in time, and I’m glad it’s been reissued so that more people have a chance to hear a perfect record.

Boofin Tylenol Symptoms of Life cassette

I’m not sure what makes a truly good-sounding hardcore punk release. Sometimes people try too hard to ape their influences (sometimes that’s fine and good) and sometimes people fight too hard for modernity and originality, becoming unrecognizable from the original form (also fine, I guess). I feel comfortable saying that BOOFIN TYLENOL is a decent representation of good current hardcore punk. The influences are apparent (TAR BABIES and SST Records) without being overly paraded. Simple yet forward-thinking, all-around great playing, fast and aggressive, surprisingly melodic and refusing to be pigeonholed.

Buck Biloxi and the Fucks Put You in the Gulag EP

It takes a special talent to write super catchy pissed-off songs. This EP contains three. Minimalist trashy garage punk with biting lyrics that cause you to sing along while also looking over your shoulder. The topics are mindless consumerism and herd mentality. “I Would Rather Die” uses the riff from “Nervous Breakdown” for a humorous anti-technology tune. The title track reminds you “Money is your shitty God.” Great stuff as usual from BUCK BILOXI AND THE FUCKS.

C-Krit C-Krit cassette

Debut tape from new band, likely from Olympia (not that anyone involved lifts a finger in the service of biographical info) and delivering some of the wrongest-sounding hardcore I’ve heard in a while. Six songs, one an incongruous SCREAMING SNEAKERS cover and (most of) the others an absurd blizzard of teen-tantrum vocals, transistor-radio guitar tone, and drums that sound like someone trying to invent the blastbeat. They’ve called one song “The Kids Will Have Their Say Pt.II,” but come off like they’re trying to pay homage to “How Much Art Can You Take?” on the wilful sub-FLIPPER joint “Army Of Cru.” There’s another curveball at the end with “My Eyes Melt,” baked-sounding dub/synth-pop with no punk to be heard—but C-KRIT, whoever they are, makes the transition work. High recommendation for shit-fi stans!

The Culprits The Culprits LP

Killer Portland punk from the early 2000s, unearthed and given the treatment in a criminally limited run of 100 pieces of splatter wax. Wildly catchy and raw hi-energy—think KRUPTED PEASANT FARMERZ and TOXIC REASONS, that kind of catchy energy, hooks that pierce skin. As a staunch advocate for documentation, I’m glad nuggets like this are given the attention they deserve—and I have a hunch that 2020 ears might give the CULPRITS more accolades than they received in that downtuned black-clad crust oasis fifteen years ago, because fast snappy punk never goes out of style.

Death Cult Spiritual Conundrum cassette

The latest tape from San Antonio’s DEATH CULT delivers four cuts of menacing, metal-tinged punk with dark themes, thrashy guitars, and exasperated vocals. Interesting production makes every song stand out in its own unique way and these guys aren’t afraid to get a little weird with the effects. On the final track, “Flesh Prison,” the band flexes their eccentricity as we get some unabashed ACCUSED influence paired with a melodic chorus before the whole thing just collapses into an echo chamber of screams and feverish laughter. Good times.

Desastyr Danting Megazus CD

Twenty-seven tracks of one-man Casio D-beat. I keep listening, but I don’t know what to say…it’s unlistenable, and that’s the point. Noise is, in fact, not music…but at what point does nonsense become art? DESASTYR is like SOCKEYE deconstructing BEYOND DESCRIPTION. I’m gonna send this to Ear of Corn fanzine and see what Food Fortunata thinks (and if that means anything to you then you’ll likely be scrambling for a copy of this CD).

Eat That Dirty Roach! cassette

Over many years I’ve come to realize that I do not give a shit about a ten-minute guitar solo. Seriously, if you ever find yourself on a stage slappin’ that ol’ six-string for longer than it takes to get through airport security, it might be time to become a banker or something. EAT, on the other hand, has no time for noodly guitar solos; in fact, I don’t think they’ve ever written a song that’s longer than two minutes. This batch of songs are short flashes of unrestrained noise and aggressively poetic lyrics. The band pulls off a really interesting mix of genres here. It’s partly pure No Wave and another part straight hardcore. Think the CONTORTIONS or TEENAGE JESUS AND THE JERKS if they were twice as fast and twice as loud. The drums are chaotic, the guitars are angular,  and the saxophone wails in the background. Honestly, I really hope this is where the Philadelphia punk scene is heading, because this cassette is experimenting with punk, noise, and No Wave in a really unique way.

Eyes and Flys New Way to Get It EP

Are you wistful for, like, 2009? You know, the halcyon days when lo-fi garage pop and shitgaze ruled the (Myspace) airwaves, “Be My Baby” drum beats were de rigueur, your local Sparks and Four Loko-littered basement might host a bill of PSYCHEDELIC HORSESHIT and the BARBARAS, and your favorite band’s latest release could be put out by a hip economy car company? If so, have I got a release for you! To be fair, EYES AND FLYS, a recording project out of Buffalo, is a little more BLACK TIME (good!) than WAVVES (bad!), and it’s not like they’re singing about pizza parties or fake dance crazes. Really, it’s a solid take on this kind of sound. But it’s a sound that nevertheless reminds me of a feel-good time that doesn’t quite match the world’s current tenor. It makes it tough for me to enjoy. But that’s more on me than it is these tunes, which I suspect would have appealed to pre-doomer me. So, give it a listen!

HuraÁ±a Brujas, Cholas E Inventadas EP

Iron Lung Records seems to have all fingers on the pulse of modern punk, as they manage to consistently release new and exciting bands. HURAÁ‘A is one of those bands that manages to sound fresh but never lets their influences and love for the genre be overshadowed by production. The guitars scream in a weird and unsettling mixture of the CRAMPS and early DEAD KENNEDYS but with a hardcore punk rhythmic section pummeling in the background, while the echoing voice howls at a distance the ills of being dysphoric in Chiapas, Mexico. Includes a cover of “Me Gusta Ser Una Zorra” by the legendary Spanish punks VULPESS, which in turn is a scandalous take on “I Wanna Be Your Dog.”

Imperial Leather Leatherman / Spa Country 7″

This is the second release from Melbourne’s IMPERIAL LEATHER—their first was a cover of the classic BONA DISH track “8 AM,” which they nailed. This latest 7″ gives us a feel for the band’s songwriting. The A-side has a garage revival/new wave feel to it, surf beat with deadpan vox and a vintage keyboard sound that wails, bringing to mind the DELINQUENTS or GOMME. The B-side has the bones of a cool rockabilly ballad, but feels a bit sparse. Though their simple song structure lends a charming quality, I look forward to seeing how this band evolves musically, I can see them exploring some interesting terrain.

Kobra Confusione LP

KOBRA brings us some no-bullshit Oi!-tinged hardcore with a fresh and gritty feel. On this striking debut 12″ from the Milan four-piece, some of the songs have this cool production where the “meat” of the music is blown-out and in the red, while other components like vocals and saxophone are dubbed in more cleanly (like on “Confusione”). And then on other tracks, everything seems to be turned up to batshit-loud in one big clamor (“Stella Morta,” for example). The lyrics are in Italian and the songs are generally about resisting authority, staying sharp, and thinking for yourself in a world enslaved by consumerism, which somehow comes across even without using Google translate. It’s a fucking good record.

Landowner Consultant LP

People, I am here to tell you how much LANDOWNER absolutely fucking rules. They play tightly-coiled rock music that is in constant motion while appearing to remain perfectly still. It’s a neat trick, this hummingbird punk trip, but these guys got songs too—LANDOWNER nags you with their flitting, arid smart aleck takes. Imagine NOMEANSNO stripped of their exaggerated bluster (to be sure, a large part of that unit’s charm) or the MINUTEMEN time-warped into the 21st century. “Victim Of Redlining” corkscrews into your head with a relentless bass riff, a D. Boon guitar lick, and lyrics spat out like the speaker has been sitting stewing in anticipation of five minutes of facetime. “Swiss Pavilion” dissects city planning with wit and brevity, addressing public spaces, parking concerns and the narrator’s desire to achieve urban nirvana. In the context of punk, LANDOWNER’s music is understated yet contains an undeniable ferocity. Despite its lack of a “sick riff,” “Being Told You’re Wrong” is closer in spirit to MINOR THREAT than a thousand generic straightedge bands. LANDOWNER utilizes clean tones, repetition, and interlocking guitar/bass lines to build spaces that are there to serve a purpose, more tool than structure. On album highlight “This Could Mean Something,” singer/mastermind Dan Shaw is “Talking to the wall / ’Til it starts talking back” as the band veers into US MAPLE territory. “Confrontation” adds synth and shares sympathies with PATOIS COUNSELORS, while “Mystery Solved” sketches an existential story of an IT worker over seven tense minutes. But don’t get it twisted—Consultant is occupied with churning, propulsive music. Hardcore is inverted. Pointillist-brutalism is engaged. Patterns are melodies and whispers are screams. This album leaves invisible bruises like pillowcases filled with bars of soap. A bright spot during these last dark months, no doubt.

Lazy Rock n’ Roller / Am I Dreaming 7″ reissue

This is a rerelease of the 1980 single from Washington, DC’s LAZY. An infusion of bubblegum-chewin’ fun with a razor blade in its boot heel—come for the angelic harmonies, and stay for the ripping guitar solos. With the melodic expertise of bands like the RECORDS and POINTED STICKS, they nail the building blocks of power pop: perfect guitar tone, tight snare fills, double-tracked and catchy-as-hell vocals. LAZY can also be seen to draw from more of a hard rock/glam sensibility. Lurking behind the jangling melodies are some seriously nasty riffs. Side B, “Am I Dreaming,” kicks off with a backward cymbal track, and is reminiscent of SLADE or even EXPLODING HEARTS. Thrilled to see this resurface.

Lebenden Toten Synaptic Noise Dissociation LP

The mighty Iron Lung Records has bestowed a gift upon us with this release, a live set from Portland’s LEBENDEN TOTEN, recorded during a tenth anniversary event for the label. Twenty-five minutes of absolute raging hardcore with blur-fast D-beats, constant sheets of swirling feedback, and shredded vocals pummeling the listener (and that lucky live audience) into submission. At first, it was a little overwhelming—noise chaos to the point of breaking apart—until I realized how tight the band is. What seems disorienting takes on an almost psych feel the more you listen to it and hear the layers of noise coming together. I hear some slight CONFUSE influence here and there, but this is its own manic beast. Standout tracks for me are “Inferno,” “Static #1,” and “Vampires,” but they are honestly all standouts. I can’t imagine not listening to this as a whole album, anyway. The artwork is cool too (looks like a ’70s Italian horror/sci-fi mashup), and it comes with a die-cut Halloween decoration. Get this, crank it, and blow your speakers out— it will be worth it.

Lethal Means Zero Sum Game LP

LETHAL MEANS force their hands to mechanically tweak a naturally simplistic Scandinavian hardcore approach with decent ability. In other words, they squiggle around the frets to ring out a few extra notes and adjust the verse-chorus structure a bit (see the aptly titled “Ad Nauseam”). The subtle technicality of the opener “Break Free” gave hope that LETHAL MEANS would offer something intriguing, but overall there were maybe three attention-grabbing moments here. I’ve never listened to stadium crust cause the good lord didn’t plan that in my life’s trajectory, but LETHAL MEANS’ catchy riffs, endlessly pounding drums, smooth production, and more technical playing inevitably creates an “epic” sound that I assume is indeed stadium crust. “Break Free,” “Serve No Man,” and the closer “Life Cannot Be Owned,” which feels inspired by but lacks the swing and ease of DEATH SIDE’s “Crossfire,” could’ve served as an acceptable 7″. Low points are an instrumental track featuring video game-like sound effects of decommissioned military planes and album art featuring the Grim Reaper stroking a phallic atomic cloud, which seems appropriate for presumably older punk men doing their take on music written by children 40 years ago.

Melt Citizen Life’s a Joke, Then You Croak cassette

From out of El Paso, Texas. I am enjoying that the band sounds like a bunch of disparate instruments that don’t quite go together, but manages to make it work. I picture a few friends getting together to play music with whatever instrument they had closest at the time. The guitars blast fuzzily and noisily, but then a tinkling organ pops in for a while. The drummer is getting out every frustration possible. Everybody is playing at full speed. The vocals don’t quite go with the music either. They are stylistically closer to those of a ’70s prog rock band. They float on top of the cacophony, but are just weird enough not to be as annoying as that would seem. To quote the song “Exhumed 2 Soon,” “It’s a sense of joy and impending doom.” Yee-ha!

Melting Walkmen Pelikan cassette

This was a nice surprise. I first heard Copenhagen’s MELTING WALKMEN from their track on the very enjoyable This is Copenhagen comp. They also seem to have a wealth of older material to check out via the idiot box (internet). The title track “Pelikan” is more of the excellent post-synth-punk hoo-ha Á  la NEW ORDER or maybe XMAL DEUTSCHLAND as heard on the aforementioned compilation. They are extremely Euro, and I mean that in the most endearing of ways. This tape is eye-opening to me in the fact that it reveals a punker and more rocking side of the band than one could maybe hear by checking out their back catalog. In fact, the second track starts off with a riff so familiar as being “Alcohol” by GANG GREEN that I was instantly thrashing from muscle memory. It’s not a straight rip-off though, but a pretty swell original tune which, along with the other two, makes this a worthy purchase to listen to on future rail adventures in Scandiland. Skol!

New Berlin Magnet LP

The new offering from Texas’ NEW BERLIN has this intense, black-and-white collage cover art that does not quite fit the music it contains. I’m not normally a stickler for consistency, but I don’t find these tunes fit as seamlessly as the songs on the Basic Function LP that I thought worked well in a stripped-down, BUCK BILOXI AND THE FUCKS kind of way. The Magnet LP tries out different sonic approaches from song to song and they don’t always jive together so well. You get fuzzed-out power chords but then jangly guitars and power pop licks, distorted vocals then earnest clear vocals, natural sounding drums then antiseptic fake drums—you get the idea. You don’t know which NEW BERLIN is going to show from track to track. You can’t deny the quality of some of these hooks and witty lyrical turns, but it left me with an uneven and unfinished feeling. That said, I really dug the DYLAN cover.

No Negative The Darkening Hour 12″

One of the illest psychedelic punk purveyors out there has some detritus left over from when they recorded their most recent album, 2019’s The Last Offices, and some more from a while before that, and they think we should hear it. Call me a mooning fanboy, but I happen to agree! That being said, I can see why the two A-side numbers got shelved, because they don’t really jibe with the finished item’s vibe. “Perverbial Grave” [sic…I guess?] is barrelling, stumbling blooze sludge I could imagine having come from the same ’80s Aussie scene as, say, VENOM P. STINGER; “Upside Down World” is even more impeccably hamfisted, kinda CHAIN GANG-via-FUGS talky rabble rousing. From a 2015 session, meanwhile, “Raw Deal” is a reverby and vaguely mournful instrumental which precedes “Mon Obsession Personelle”: a French-language quasi-cover of “Louie Louie” with vox handled by Bernardino Femminielli, who seems to be a weirdo pop dude of some kind from Montreal.