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!

Tough Age Which Way Am I? LP

Although I have been aware of TOUGH AGE for quite some time, for some reason this is the first I’ve actually heard them. At first listen, I was quick to write this off, but upon further investigation this record started to grow on me, and now it seems as though I have been missing out all this time. There’s a big time post-punk influence here underneath definite power pop vibes. Now if that sounds like a strange combination of sounds, it might be, but it works. I especially enjoy the contrast of the two vocalists. This is definitely gonna be in heavy rotation on my stereo for a while.

Unruly Unruly LP

Miserable, crawling punk from Wellington, Aotearoa, UNRULY debut with a nauseous-sounding sludge record that channels a very particular kind of anxiety. They stay at a constant crawl but it’s when they finally break through into mid-paced territory that they really hammer a riff right into your skull. “Knuckle-dragging” is an often used whilst seldom accurate epithet ascribed to punk like this, but it really does fuckin’ pull ya along. Think blood stains and foul bucketbongs, black mould and chronic bronchitis.

V/A Achtung ADK cassette

Thirteen tracks of synth-heavy weirdo punk from Berlin, Germany. If I’m understanding things correctly, all the songs were recorded specifically for this sampler. This is incredible and all over the map within genres that I thoroughly enjoy. There’s fast punk stuff, raging hardcore, No Wave weirdness, and post-punk dirges, with synth being present on a majority of the tracks. After a few listens, I think my favorite tracks are by DIE BONZEN, GESTURE, and NIGHTMARE. I can’t wait to do my research and find out if any of those bands have more to offer as their tracks are super good.

Become A Live Exercise cassette

Recorded live on KCSB radio on 10-25-2012. Hailing from Santa Barbara, CA, BECOME has the throwback Revolution Summer sound down perfectly. These songs are beautifully crafted, instantly familiar, and super well done, and all of this comes across even being performed live on a radio show. Personally, I probably would have cut out all of the horribly awkward banter with the radio host from the tape release of this, but to each their own. I see that the only other thing the band did was a demo tape on German label Take It Back Records, and I will be attempting to track one of those down now.

Bent Blue Between Your and You’re cassette

Fast, emotive, melodic punk with elements of crew and a heavy ’90s drive. An excellent mash of DC and SoCal hardcore with a solid ’90s > ’80s influence ratio—it’s great when they unleash in the middle of “Influence Me,” but the fleshy part of the song owes more to Revolution Summer than TEEN IDLES, if you know what I mean. And then there’s “Rungless Ladder,” which is just a top-notch, hook-laden Y2K burner…in-your-face guitars and a classically thin bass punch, while you can practically see the singer clutching his shirt in earnest while he screams. Presentations are on-point with doses like “We live a life of misinformation / They call us the lost generation”—these dudes know exactly what they are doing.

Beyond Pain Born to Die; Why Are We Waiting? EP

Pummeling hardcore out of LA that throws in some notes of death metal and powerviolence. For the most part though, this one is a mosh-inducing beatdown from chug number one. Now, metalcore isn’t normally my favorite style, but these breakdowns are so tough that even I’m feeling the urge to start throwing some karate kicks and punching the floor. The overall theme of embracing death cause life sucks comes off pretty well, too. I say give it a spin!

Big Bite Trinity LP

BIG BITE hails from Seattle, Washington and that fact is abundantly clear on their latest release Trinity. Eight tracks of fuzzed-out rock ’n’ roll that wouldn’t be out of place mixed in with your DINOSAUR JR. and SUPERDRAG records.

Broadway Calls Sad in the City CD

This is BROADWAY CALLS’ fourth full-length. They mix hard driving melodic pop-punk with catchy-as-hell hooks, and a nice line in sophisticated politics, with wordplay to match. They don’t like empire and authority, for all the right (as in left) reasons, and couch it in emotional anthems that wouldn’t sound out of place on the FALCON’s debut, or the LAWRENCE ARMS greatest hits roster, for that matter. Dark, yet poppy soundtracks for these times, for sure.

Chronophage Th’ Pig Kiss’d Album LP

CHRONOPHAGE’s 2018 debut LP Prolog for Tomorrow skillfully synthesized a whole host of outsider pop influences from the past half-century (New Zealand’s Flying Nun/Xpressway scenes, scratchy UK post-punk, the weirder strains of vintage college rock, ’90s lo-fi indie, etc.) without it ever falling into a haphazard pastiche, and its follow-up Th’ Pig Kiss’d Album only further refines that kitchen-sink approach—a band clearly operating on a contemporary DIY punk wavelength and all that goes along with that, but sounding more like a deep cut from the late ’80s Homestead roster alongside SALEM 66 and MY DAD IS DEAD or something. “Absurdity” and “Any Junkyard Dreams” tilt toward brittle and skittish art-punk, with bassist Sarah’s soft-but-deadpan vocals drifting out over of squeals of damaged keys, “Talking Android” and “Siren Far Away” are slightly twangier Texan takes on the HUMAN SWITCHBOARD’s wiry ’60s garage/’80s post-punk duality, and “Heartstone” starts out in hyper-minimalist YOUNG MARBLE GIANTS/MARINE GIRLS territory and ends up (not far away) in the K Records-adjacent early ’90s pop underground. If you spent your formative years staying up all night to obsessively record tapes of college radio shows and/or 120 Minutes episodes (or if you imagine that you had, if you’re not of a certain age), it all makes perfect sense.

Danziger Hate Us! CD

Satanic Queer Pizza UFO Punk? Not exactly. These northern Polish punks actually deliver a very progressive and anti-authoritarian message through a polished pop punk style akin to JAWBREAKER or pre-mainstream GREEN DAY. All the lyrics are translated to English and appropriately criticize the abhorrent ultra-conservative Polish government and a placated society. A bit of hopelessness, some humor, but altogether honest and in DIY fashion. Singer/guitarist Tytus does these great rocket-launch jumps, and they covered “Devilock” when I saw them on tour in 2018, both memorable attributes. Not the new hot shit you’re lookin to fly out with your Mastercard for the next punk-tourism festival, but DANZIGER seems to have established themselves as a staple of the Tricity (Gdańsk, Gdynia, Sopot) DIY punk scene.

Druj Druj cassette

If you don’t already know, Oklahoma City is a hotbed for hardcore punk. Wild, inventive, no rules—when no one cares, then you have the freedom to do what you want…and then people start to care. DRUJ dropped this (their third) tape earlier this year and I had listened countless times before it entered my “review assignments” email, so why am I at a loss for words? The guitar intro over the drum roll that starts “Die In Flames” sounds as shit-hot as it did the first time I blasted it, and the vocals are somehow even more disorienting, and I still sit slack-jawed at full volume, just blasting…and seething. DRUJ needs this, and you can feel it when vocalist آزيتا unleashes howls in “Jesus Wept,” setting the tone for four pieces of sonic nihilism. I could dissect each track, but an academic examination would cheapen the experience and this band deserves better than that. Give it to them.

The Harness 1st Demo cassette

Two-piece, lo-fi hardcore punk/queercore from Serbia. I was shocked to see that a drummer is listed as a member of the band. Considering how nasty the recording is, I had assumed it was a distorted drum machine. This is a wild ride. Four songs of incredibly pissed-off hardcore punk with song topics like calling for all the queer punks to come out and be proud, and being upset about not being able to masturbate in your room without getting in trouble. I think this is beautiful and I am honored to have one of the mere 25 copies that exist of this masterpiece.

Jiffy Marx She’s My Witch / Warning Sign 7″

This record delivers two terrific power pop numbers that take me right back to 1979. The A-side is a mellow, sort of funky little tune, with a bass line that draws you in and won’t let you go. It makes even an old dude like me feel like he’s got soul. The flipside is equally as catchy and also mid-tempo. It’s got a somber feel to it and leans heavily on the “pop” in power pop. You really owe it to yourself to go out and look for this one. Snappy Little Numbers is firing on all cylinders these days.

Monoshock Runnin’ Ape-Like From the Backwards Superman: 1989-1995 2xLP

A reissue of a reissue, really: that ol’ SS Records singles/demos CD from a decade or so back gets a proper vinyl enshrining. No complaints, as this is some of my absolute favorite music from the era. Peripheral outsiders-among-outsiders, MONOSHOCK, along with compatriots like THREE STONED MEN and ICKY BOYFRIENDS, loitered SF’s early ’90s punk scene with their far-reaching, loud-ass psych-punk swirl. I mean, c’mon: they backed up VON LMO! What’s key to note here is that the same energy current and spirit heard in the locale’s finest punk/garage “Budget Rock” offerings are also central to MONOSHOCK’s sound—it’s instantly recognizable and forever endearing. Sonically, it’s all throbber/pumper rhythms, pure non-stop push and this jaw-dropper up-top guitar mindset that sprouts from Detroit but reaches for the spaceways. Real feeling, pure expression, no rules and lotsa fuckin’ power. Too many hits, too: “Hawkwind Show,” “Change That Riff,” the best RADIO BIRDMAN and MIRRORS covers ever, on and on across four sides. Kudos to Feeding Tube for re-releasing this mandatory odd/sods compendium for us to boil ’bout (again). Incurably loose and so fiercely punk. Highest recommendation!

Newtown Neurotics Kick Out! LP

In the years immediately following World War II, Clement Attlee’s Labour government passed the New Towns Act 1946. It was emblematic of the Attlee ministry, typified by a series of post-war rebuilding projects including the establishment of the welfare state and the nationalisation of large swathes of industry. One of these post-war “new towns” was Harlow, home of the NEWTOWN NEUROTICS. It’s perhaps the perfect place for a band like them to be from; a living monument to the last great socialist government projects, now left to rot by a Thatcherite systematic dismantling of society. This compilation contains NEWTOWN NEUROTICS’ first six singles, and tracks their movement from bop-along ’77 acolytes to the nakedly political polemicists they became. Steve Drewett’s BILLY BRAGG-esque syllabic contortions are the perfect vehicle for his three-minute manifestos railing against the injustices of the increasingly fascist society in which he found himself. Stand out tracks like “Kick Out The Tories” and “Fools” still remain sadly relevant and resonant, but it’s the version of “Mindless Violence / Andy Is a Corporatist” with ATTILA THE STOCKBROKER from the Son of Oi! comp which stays with you. The follies of being a far-right skin, and one perhaps for all the silly boys at the shows wearing their naughty merch thinking they’re a big man. An utterly vital record.

Piss Crystals Spielt Nicht Zum Tanz cassette

Noisy punk out of Budapest. Starts off promising enough. “Problem” is a ripping (if a tad generic) slice of garage punk with fantastic production—it’s trebly, sharp, immediate, and really fits what I imagine they’re going for (something along the lines of BLACK TIME). But that production is pretty much the only constant running through this cassette. It’s all certainly noise punk in some general sense, but it is as if they’re slathering that sound atop a different subgenre on each track. “AcsarorszÁ¡g” is noisy hardcore, “Glasshaus Zwei” is noisy metal, and “Promises (Still) Unkept” is noisy…emo! While that might sound interesting on paper, it never really clicked with me past the opening track. I don’t quite know what element to pin this on, but the whole tape kinda stinks of the late ’90s. I’m fine with that when it brings to mind late ’90s Load Records, but not so much when I get a whiff of AT THE DRIVE IN.

Pölykuu Historia Palaa LP

PÖLYKUU has an interesting sound. It’s ’80s college rock meets new wave meets jangle pop. Those go together, right? PÖLYKUU manages to make it work. It’s peppy, then it’s mellow. Add some distortion or an acoustic guitar. Now it sounds like the FEELIES or the EMBARRASSMENT. Is that a BAND cover? Whoa.

Scholastic Deth Bookstore Core 2000-2002 LP

Essential listening for fans of fast hardcore, but you likely already know that. SCHOLASTIC DETH were kings of the Bay Area fastcore world—we knew that immediately after that show in the 924 Gilman Stoar. This band was such a complete machine—Josh looked like he was doing battle with his guitar while Chris laid down thunder with a casual confidence that was in conflict with the cloud of dust the band was kicking up, B’s ever so slightly off drum fills that roll into the breakdowns (and his blast beats, obviously). Max’s voice injected this adolescent honesty while so many were trying to growl out their anger, and his signature jerky/ladder riffs (yeah he’s the singer—but he played drums in the band I was in with him and I recognize those fucking riffs) are pure gold. They were smart, snarky…they were fucking fast. Everything is here—all the records, all the comps, and two unreleased cuts. Sometimes everyone loves the same band, and there’s a damn good reason why. So happy that this thing is finally out, even though you probably already have your copy.

Silver Palm Silver Palm 10″

One of the lost projects of Portland’s early ’00s neo-No Wave boom, SILVER PALM included members of adherents like SLEETMUTE NIGHTMUTE and GLASS CANDY (among others) and essentially lived and died over the course of 2003, in the period of time before off-center art-racket fell out of favor in the city once everyone discovered Italo disco. The seven tracks on this 10″ were sourced from a small-run CD-R demo that I have to assume stayed fairly local, so it seems timely for them to be given a wider release now that Portland has regained its reputation for producing this stripe of weirdo disjointed post-punk in the last few years. “Present Creature” dishes out isolated single-note jabs of guitar that give way to a mischievous KLEENEX-by-way-of-LUNG LEG gang chant, as the tense austerity of “Saline Smear” (which pares the drums down to what sounds like only a snare for most of the song) and “Alibi” (with its seasick rhythm and knot of rapidly overlapping vocals) calls back directly to the No Wave principle of liberation through reduction/de(con)struction first laid down by the likes of MARS and UT. Some more uncovered marginalia in the girl-punk historical record, awaiting your exploration.

Sneaky Pinks Sneaky Pinks LP

Man. This brings me back. The first SNEAKY PINKS EP was on like non-stop rotation on my turntable for almost a year. Well, you get that classic and more on this new compilation LP. While none of the rest quite lives up to that EP for me, this is still a raging example of super trashy, non-wimpy, ultra-bratty garage punk. Think greats like PANTY RAID, BABY JAIL, the SPITS, and HUNX AND HIS PUNX. I think you get all their recorded output including some great and not-so-great covers here. You’ll be dancing it up in your padded confinement cell for sure. Ring the bell. It’s Jello time. It should be noted that Justin “Nobunny” Champlin has contributed to this band. While I have known and enjoyed his company in the past, sexual predation is unforgivable, hurtful, and deeply traumatizing on so many levels.  It is seriously fucked up and is in no way condoned here.

Editor’s note: After Justin posted and then deleted his statement, at least two survivors came forward about their experiences with him, which are available to read at the @lured_by_burger_records Instagram account (heavy trigger warning for sexual assault and for grooming of underage kids), and which do not seem to be adequately encapsulated in Justin’s supposed admission. Goner has pulled the two Nobunny records they released, and it is disappointing that Almost Ready has not done the same with this LP.

Snot Puppies T.V. Tantrum EP

Three tracks of great adolescent LA punk, produced and remastered by Geza X and rescued from obscurity by No Matrix Records. SNOT PUPPIES were a short-lived high school band but still managed to share bills with the likes of MIDDLE CLASS, the GERMS, and SCREAMERS. Collector scums already heard “T.V. Tantrum” and “Towel Song” (just called “Towels” here) on Killed By Death #13, and I can confirm that this official 7″ release was worthwhile and is essential for those gobbling up everything from the early LA punk scene. All three songs are delightfully bashy, fuck-up punk that fits nicely among the above mentioned bands, like a more inept DEADBEATS. Liner notes include all the memories and flyer scans necessary to make this an obvious pickup.

Soft Shoulder Not the New One LP

Certain records require listening at specific times of the day. I kept trying to listen to this LP in the evening and it just wasn’t working for me. Now listening to it on a cold-but-sunny Sunday morning while I drink a steaming cup of tea, it all makes sense. It’s like having a nice conversation. The vocals are sing-spoken in a relaxed tone while the minimalist music peppily and jerkily moves them along. It is jazzy math rock with art-punk musings. Not the New One is a collection of songs from many different versions of the group recorded between 2015–2019, but it does not feel disjointed. It keeps you entertained and even gets you out of your chair to dance a little bit.

The Speed Humps Consumption cassette

Four originals and two DWARVES covers comprise this most recent release by the SPEED HUMPS from Ontario, Canada. The originals are all in the faster realm of mid-tempo as far as hardcore punk goes. This band appears to have three different vocalists, with both guitarists and the bassist sharing the duties. The vocalist that does a majority of the songs has barked discernibly yet choppy style, not unlike UNIFORM CHOICE. The second takes the lead on the incredibly confusing song “Dick Dungeon” (is it really about accidentally seeing some dude’s business in the bathroom of a bar?), and has a lower, growlier, Matt Freeman kind of gurgle to his voice. My favorite sounding of the three vocalists is the member who sings the two DWARVES cover songs. I can hear her chiming in singing backups in the originals, but she sounds super cool as the lead vocalist.

Stirling One Percenter EP

Unearthed 1996 recordings from this short-lived Essex band. Five quick tracks of noisy, dumbed-down punk ’n’ B. Sits somewhere between PUSSY GALORE’s garage-y din and early OBLIVIANS’ cro-magnon punk. Highlights are “R-E-V-E-N-G-E” and “Go Away,” the latter of which even sounds like an Eric O-penned tune. Maybe not an essential release, but certainly a welcome one! Fun fact: one of the guitarists on this release, Sam Knee, compiled the book A Scene In Between and runs the (great!) Instagram account @sceneinbetween, where he catalogs UK fashion and alternative youth culture from the ’80s indie scene.

Vapaa Maa Vesi Nousee LP

Politically-charged Finnish hardcore in the vein of the HOLY MOUNTAIN and the like. The vocals are all in Finnish, but there are English translations. Standard lyrical content for the genre here (economics, politics, anti-homophobia, environmental, etc.). The production aspect is pretty slick compared with other bands of this ilk, which in my opinion hurts this album a bit. I prefer these bands to have a bit more of a dirtier sound, but again that is my personal opinion. If this sounds like your cup of tea I’d recommend giving this a listen.

Veneno Herejía LP

Angry Barcelonians VENENO let lose their fast, high-energy hardcore LP HerejÁ­a and if you know any Castilian, you can tell by the title that they really appreciate their HERESY—this is totally the case, as they pay homage to the fast hardcore sound that VOID paved the way for. Singing in Castilian only adds fuel to the fire, as you can feel the rage that comes through their politically-fueled lyrics that deal with society and the scene itself. The members are busy with other bands like ARREST, CRUZ, and PELIGRO! but have the skills and dedication to sound super tight in VENENO. This is a record that makes you feel young, like when you wanted to skate down the street while spray painting “ACAB” on cop cars.

Xylitol I’m Pretty Sure I Would Know If Reality Were Fundamentally Different Than I Perceived It To Be EP

We live in hell. Sweatpants, aggressively marketed to us on data-mining apps as we remain confined to our homes-cum-workplaces (if we’re lucky enough to not be risking COVID serving the WFH class), cost $100 for some reason. Nazi cops use the same apps to suppress resistance and target the already marginalized. I don’t know anyone at this point who’s enjoying life. I hate it, you hate it, XYLITOL from Olympia really hates it. For XYLITOL, sourdough baking and furiously donating to GoFundMes is not enough—they wrote six pogo anthems asserting their humanity and agency when it feels like no one has any. “Dim the Sun” flips the script on ATROCIOUS MADNESS’ HAARP obsession, a Dr. Evil climate change reversal fantasy that trounces any corporate carbon offsetting. “I Want a Refund” is the clear hit, a laundry list of daily indignities large and small with nary a receipt with which to return them. “(There’s Something in Your) Void” slaughters the Scandi-minimalist vapidity of contemporary design; “I Have Free Will” is a last-gasp plea for sentience against the invisible hand of the market; “Don’t Let Them Leave” would rather parade Elon Musk’s head on a pole through the commons than let him escape to Mars with wee X Æ A-12. “Crazy Frog” closes out the EP—I think it’s a love song, but honestly who knows? It’s like PRINCE on DMT. XYLITOL only has one beat, but this record is short, and I’m glad the lyrics are shrieked along to frantic pogo rather than subsumed by the infographic-industrial complex.

Asthenia / Overo split EP

Two emo bands doing two songs apiece, both attempting to mix ’90s dynamic songwriting with more modern spastic emo. ASTHENIA starts off their side with what might be the best song on this record. It’s a short rocker that musically sounds similar to BRAID’s earlier, less dynamic stuff but with vocals that are more gruff and less sung. It’s unfortunate that the overly frantic screamed vocals at the end of the song feel so contrived. Their second song starts off soft and kind of pretty, tricking you into thinking it’s going to sound like CURRENT and then there it is again, that affected 00s screamo sound. OVERO starts things out with some twinkly Midwest emo that breaks into a heavier chug with hints of hardcore but remains melodic throughout. Two vocalists, the pleading, higher-pitched, sung vocal being far more compelling than the screamed one. This makes the second half of the song really grow on you with its long build and the sung vocal being the star. Their second track feels like a throwaway—47 seconds of uninspired hardcore broken up by a short little delicate guitar noodle.

Bad Moves Untenable LP

I fucking love BAD MOVES. Their last record blew me away and I was so eager to hear this new one that I pre-ordered that mess and have spun it several times before MRR assigned it for me to review. Let me just mention that the LP comes with a BAD MOVES crossword puzzle and it was an absolute delight to solve that while listening to this record. Their songs are poppy, and catchy as hell. Between the rhythm guitar riffs, sick leads, and three-part vocal harmonies, there’s so much melody packed into each track. And they’re political as hell to boot! Their song “Working For Free” lays out the horrors of capitalism, wage inequality, and class war all in just over three minutes. But then there’s their single “Party With the Kids Who Wanna Party With You” that starts slowly and sets the foundation for this awesome build-up in the bridge, before it explodes into an all-out dance party. It’s emblematic of the song itself, too—spend some introspective time to figure out who you are, find the community you want to be a part of, and then never let them go. BAD MOVES are like a close friend from that idyllic community who not only highlight the social justice work that needs to be done, but make you feel seen, heard, and loved while they do it right alongside you. Plus, on the surface alone, their songs are all so bubbly and beautiful that I find myself entranced and smiling every time I put them on. I hope they never stop making new music.

Blinding Glow U.X.O. cassette

Wildly powerful debut from San Diego’s BLINDING GLOW. They make their point in four short D-beat-tinged bursts—furious hardcore wound up supertight with piercing femme vocals, drums pounding underneath a wash of distorted cymbals, and a recording that blows everything out even before it reaches your ears. They get straight to business with the no-bullshit “Apologist,” and then before you know it….it’s over.

Bloody Hell The Consultation EP

Eerie and unnerving warble from Australia. Art-punk, certainly, but without firmly planted feet, allowing for these cool and unexpected shifts that enrich each tune. Their use of keys/synths informs the uneasiness permeating the release, but it’s when pop creeps through the cracks, particularly in “Sex Dot Com,” that I am fully on board. Oddly enough, it’s all got me thinkin’ ’bout off-center shite like YEAH YEAH NOH and the ilk. Bloody good, this BLOODY HELL.

Bullshit Detectör Bullshit cassette EP

A total lack of any frills, bells or whistles from these Texan Oi! types on this three track EP. Stripped back to the literal bare essentials, and then some more, BULLSHIT DETECTÖR takes an incredibly minimalist approach to their songwriting, clearly seeing anything more than three chords and shouting as petit bourgeois decadence; a viewpoint to which I have some sympathy. Larynx-lacerating vocals put me in mind of that CRIMINAL tape from a couple of years ago, and at fewer than seven minutes in length it doesn’t stick about long enough to get tiresome. That said though, if anyone can prove that any of the three songs included on this EP are different from each other in any demonstrable way, they’ve earned my respect and a firm handshake from yours truly because I certainly can’t tell the difference between any of them.

Cage Kicker Cage Kicker cassette

Relentless hardcore punk from Berlin, Germany. This is everything a punk demo should be. It’s fast, it’s pissed, it’s catchy, it’s short which leaves you wanting more. I want more! Oh, so much more! CAGE KICKER seems to hate many of the same things I hate; cops, organized religion, money, prison. What’s not to love about this demo? Pardon me, I have to flip this over and listen to it again being that CAGE KICKER might be my new favorite band.

Coriky Coriky LP

These eleven songs are an obvious extension of the EVENS. That’s not to say that Joe Lally on bass doesn’t add anything to the Amy Farina/Ian MacKaye duo—he does—but the overall feel of the record is dictated more by the songwriting style that Farina and MacKaye developed in the EVENS. It still has that moody, rolling, slow head-nodding music that sits in opposition to the strong vocal delivery. On the other hand, Coriky has more depth, greater dynamic shifts, and a little more grit. The bassline on “Inauguration Day” will give folks a brief FUGAZI flashback, and some of the songs, like “Shedileebop,” get a little louder, a little chunkier, a little more blown-out, but it’s nowhere near the “FUGAZI-light” that the internet has been throwing around. A solid record from front to back.

Desolat Shareholder of Shit 10″

The first two songs on side B are called “You Fucks in Suits” and “Still Fuck You Suit-Man.” That, along with the album title, lets you know that this band out of Vienna, Austria isn’t fucking with any bourgeoisie. What they are doing is long-winded crust dirges that, while incorporating some sick riffs, don’t really ever go anywhere. They kind of ride the same groove for the whole album with no real explosive freakouts or heart-sinking sludge breakdowns, just a consistent simmering rage. This isn’t bad, but it’s not very exciting either.

Devil’s Den Barbed New Religion LP

Ferocious outta-the-gate hardcore from Kansas City. Definite Japanese ZOUO-like influences, as well as contemporaries like GAG, S.H.I.T., and CONCEALED BLADE. Trippy, slowed-down soundbites in between songs. Works well on songs like “Obsession and Disorder,” “D.O.T.M.,” and “God Off,” and it’s mastered really fucking loud. Never been much of a fan of the echoey reverbed vocal style, but hey, that’s just me. See you in the virtual pit.

Die Schiefe Bahn Atmungsaktiv demo cassette

Minimal, restrained post-punk from Berlin untangling the threads left behind by the usual Neue Deutsche Welle suspects (XMAL DEUTSCHLAND, MALARIA!, et al.); clearly the reverse side of the same coin as the solid AUS LP that came out earlier this year, and not just because I could tell at first listen that there had to be some shared personnel between the two groups—I’ve only done the lightest of research, but I’m fairly certain of it. Those distinct, dispassionately intoned vocals auf Deutsch were a giveaway, although DIE SCHIEFE BAHN de-emphasize the dry-ice synth that heightens AUS’ mesh-and-lace otherworldliness, sticking to cyclic basslines, no-frills drumming, and quick cuts of scalpel-edged guitar in a display of almost No Wave-ish brutalism. “Auf die schiefe Bahn” basically means “to go off the rails,” but this demo is totally buttoned-up—six songs all under two minutes each, every note and beat placed with calculated precision, not a second wasted.

Ghetto Blasters Point Blank EP

I wonder if it’s OK to use the term “ghetto blaster” these days. Never really thought of that until now, but who cares when you’re hearing some high-powered rock ’n’ punk from the gateway to the South, Chattanooga, TN. HEARTBREAKERS, DEAD BOYS, and a lot of ELECTRIC FRANKENSTEIN are heard in this reviewer’s head, and…holy shit…this features motherfucking Buddha on guitar. Yes, that Buddha from CHICKENHEAD, LOS CANADIANS, STUN GUNS, and a zillion other bands fame. Justin Savage has the perfect razorblade squeal for this kind of rock, and you get two excellent mid-tempo grinders that are followed by my favorite, the short fast shock of “Let It Rock.” Middle-aged dudes rock! Nap time.

Humant Blod Flykten Från Verkligheten EP

Pedigrees don’t make bands, but they’ll sure as hell make you pay attention, and when Poffen (TOTALITÄR, MAKABERT FYND, DISSEKERAD, etc.) and Mattis (MAKABERT FYND, DISSEKERAD, etc.) hooked up with a trio of Americans from QUESTION, SAD BOYS, MERCENARY, POX, ZERO, CONDOMINIUM, SUBVERSIVE RITE (and others), people fucking paid attention. We all assumed it was going to be good, but HUMANT BLOD is better. Complete and total rage from start to finish—relentless, fist-banging käng. I feel like if anything, the students here might have inspired the masters, and the result is an absolutely classic piece of wax. The internet has already melted over Flykten Från Verkligheten, so I might be preaching to the choir, but holy shit, this is a great record. Choice cut, “Ingen Kontroll,” if only for the solo.

Kasshuve Grisablod EP

This recent release from Swedish outfit KASSHUVE proves that all you need to make great music is pure aggression. In an age of ever-constant overproduced and glamorous pop songs, this EP stands out as an anomaly of fucked up noise. The vocals are delivered in a constant guttural scream. Piercingly overdriven guitars, thick bass, and pummeling drums. Its lo-fi recording aesthetic adds to the overall noisiness and fuzz. The EP is rough and raw around the edges in all the best ways. The band wears their influences on their sleeves, but still creates something hard-hitting and fresh.

Katastrophe Tod In Gewahrsam cassette

Who doesn’t love simple, straightforward punk performed confidently and convincingly? “Tod In Gewahrsam” and “432€” are fast, intense pogo-able blasts of three-chord hardcore. “In Vielfalt Vereint” is a depressive drone with a metallic reverb vocal effect, but somehow conveys the same aggression as the rest of the tracks. Like when you play something on 33 when it’s meant to be on 45 and it actually works! KATASTROPHE gets everything right in just a few minutes of rage, and will particularly appeal to fans of catchy, hardcore-infused ’80s Deutschpunk. My understanding of German is limited but it doesn’t take a genius to notice the anti-cop theme, and all proceeds of the cassette sales go to the following organizations supporting victims of racist police violence: www.kop-berlin.de / www.polizei-gewalt.com/death-in-custody

Knowso Specialtronics Green Vision LP

Solid stuff from Cleveland punkers with some obvious DEVO in their DNA but also hinting at what it would sound like if NOMEANSNO were fronted by Steve Albini. They’re locked into a sound that is angular, makes a clear separation between guitar and bass, and keeps steady with deadpan double-tracked vocals evoking enough dread and despair that there’s no need for hooks. “Digital God” is the standout commentary on toxic contemporary life with lines like “I’m sending out letter bombs / It’s my first time.” At times they deserve the Johnny Ramone prize for sustained downpicking, other times the songs break down into more noodly-doodley rhythms but never approaching prog in their excess. Overall consistent, direct, and not particularly full of surprises once it gets going, but in all its pissed-off tension, totally works.

Korrosive Observations From the West LP

Bay Area Finnish hardcore enthusiasts KORROSIVE deliver a potent blow of a debut album with Observations From the West. They’ve been busy with demos, live tapes, two 7″ EPs and a split 7″ with APPENDIX, and all this rotation made them perfect at what we all love so much: Pure KAAOS, MELLAKKA, BASTARDS worship with a bit of UK82 here and there. And yes, songs about war. What could go wrong?

Lucy and the Rats Dark Clouds / Get Down 7″

This is a quartet out of London that makes lovely, garage-y pop songs. On this record there are only two, but they both clock in at over three minutes and are chock-full of melody and powerful leads. I would call both of them mid-tempo pop ballads that are easy to sway along to while we’re all cooped up in our homes. The production is pretty slick, which is nice because it really spotlights Lucy’s crisp and gorgeous vocals. The first song especially reminds me quite a bit of MUNCIE GIRLS, though both tracks are multi-layered, and uniquely their own. If you’re looking for something chill to ease your mind in isolation, this ought to be near the top of your list.

People Person People Person demo cassette

Falling somewhere between Revolution Summer, hardcore, and melodic indie rock, PEOPLE PERSON is a bit of an enigma. Five toe-tapping songs with intelligently written lyrics, complete with song descriptions for each in the liner notes. These borderline-intellectuals have a lot to say, and they say it well. Packaging looks great, which is unsurprising with what I have seen come out of the Extinction Burst label.

Pilau Nowhere to Hide EP

On their first release, DC’s PILAU takes notes from the massive hardcore and modern crust of the ’00s, but aim their needle more towards DESPISE YOU than DISCHARGE. PILAU churns and blasts their way through eight colossally heavy (and pissed) numbers. Grinding when they need to and completely comfortable settling into a casual light speed obliteration, though I think it’s the slow parts that truly put my stomach in knots. Folks from ASSHOLE PARADE and MAGRUDERGRIND, if you’re keeping track…you should be.

Pleasure Leftists The EPs of PL cassette

PLEASURE LEFTISTS here grace listeners with a remastered re-release of their first two 12″ EPs, originally released in 2011 and 2013. Their earlier releases, including the original vinyl EPs and a tape with nine of the same tracks released by Feral Kid Records in 2013, aren’t exactly accessible (although the nine tracks on Feral Kid tape are available online) so this is a great chance for completists to perfect their collection, for fans in general to finally get those original tracks that were left of the Feral Kid tape, and for everyone to hear a noticeably better production quality. These early recordings show the band’s progression from their origins taking cues from SIOUXSIE AND THE BANSHEES and referencing RUDIMENTARY PENI toward a more tempered post-punk sound with dreamy tangents bordering on shoegaze. Continuous threads of instrumental precision and dramatic vocal performance tie the band’s sound together throughout their releases spanning eight years. The remastering adds a velvety feel to the generous applications of reverb on these two earliest recordings, which showcase the depth of singer Haley’s raw vocal power.

Rebel Truce The Lost Tapes EP

I really shouldn’t be, but I am still surprised that there are still really cool unreleased punk songs to be discovered in 2020. There seems to be so many labels trying so hard to uncover this stuff, then out of the blue comes REBEL TRUCE. The New Zealand band released only one song, “The Man Inside,” included on the Class of 81 compilation LP. The song is included here along with four others, one from the same recording session and the other three from their second recording session with a new bass player and drummer. The music is amateurish, charming, lo-fi punk music. It is really catchy. Singer Adolf Soeteman has a great voice and a charismatic style. The record insert tells the band’s story, with the photos of the red cassette with yellow handwritten sleeve containing the songs and some newspaper clippings including a story of the band playing for some shoppers and the local music promoter trying to sneak away unnoticed. It is limited to 250 copies so do not miss out. I feel so lucky to have one. REBEL TRUCE did their first reunion on Halloween 2020 to celebrate the release of this record. I would have liked to have been there.

Richard Rose Radiation Breeze LP

After putting out an incredible four tracks of oozing rock ’n’ roll last year, RICHARD ROSE is back with its debut full-length. Songwriter and guitarist Thomas Tripplet (under the pseudonym Thomas Rose) is joined by a band of heavy players, including Chris Shaw (EX-CULT, GÁ˜GGS) and Orville Neeley (OBN IIIs, BAD SPORTS). Given the body of work between those two, expectations were set high—and this might be each of their finest work to date. Radiation Breeze is mean, focused and couched in a suffocating murky atmosphere. The rhythm section stays in a motorized groove, leaving plenty of room for Tripplet’s snarling guitars and Shaw’s punk-perfected vocals. The band even goes full Funhouse in their nods to the STOOGES with extraplanar saxophone stabs throughout. All this comes to a head in the two-part title track which gives the group ample opportunity to stretch their legs through the course of a sprawling end-of-world jam that slams headlong into a wall in the bruising closing minutes. You almost want to commission RICHARD ROSE to go back in time and score an early Michael Mann film because these tunes are tough like neon through smoke.