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!

Dead Hunt Dead Hunt LP

Oh great, another band that couldn’t exist without TRAGEDY. Not much stands out from the rest of the crust herd here, but nothing is awful either. Vocals are nice and aggressive, the production approaches stadium crust levels of cleanliness and loudness, and the riffs themselves are not terribly generic, but not super unique either. The best part of this record is the guitar leads, most of which sound like they were aped from IRON MAIDEN or something. Probably a better live band.

Dead Already Gilded Age of Piss EP

Australian US hardcore band, if you know what I mean (you
probably do). Ostensibly pulling from the ’80s, but the herky-jerk tempo changes and hyper-political lyrics make it sound like its really pulling from that part of the ’90s that was pulling from the ’80s. This record I am presently reviewing is not super well-executed, but it does have a wide-eyed exuberance that I cherish and that is increasingly refreshing in this dark, dark age.

Combatant Witness to Destruction LP

It’s not everyday you hear a DISCHARGE-influenced band from the northeasternmost state. Aside from the DIS-structures and phrasing, COMBATANT’s tough barraging sound and burly vocals had me reminiscing about getting the first CAUSTIC CHRIST EP in the mail, or maybe a little bit of DEATHREAT? I like the urgency and the impact, but there are really no deep cuts. The lyric sheet is hard as balls to read, but they seem to address typical atrocities like war, drug addiction, war, dehumanization, and war. Same nine tracks on 45 on both sides.

Columna Las Cosas Que Perdemos LP

Spanish punks offer a fresh take on post-punk (minus the flanger) that is heavily based on pop, but never really dredges too deep into either side of the divide. Devoid of any tinges of goth and cleanly recorded, COLUMNA have a continuum of bangers that keeps Las Cosas Que Perdemos churning, and upbeat. RATA NEGRA with a tinge of ÖTZI but perhaps more polished.

Closet Christ You’re In My World Now EP

Raw and demented thrash by some chap named Brendan. Six short, rapid spurts of venomous hardcore with a home-recording charm, and all the sounds just right. The occasional guitar line is whammy-bar’d, twisted at the end, and wrung out like mutant piss-soaked drawers. Think Oslo’s NEGATIV, but faster and more reckless. Only thing that would make this better is if it was twice as long, since there’s definitely room on the wax.

The CIA The CIA LP

This doesn’t sound “influenced” by anything, it doesn’t seem like a replicant band idea or a recreation of a desired era—it seems more like a combination of people (from VIAL, TY SEGALL BAND and CAIRO GANG) that decided to make a total sound. Denee’s vocals definitely make the band: she has a classic, savage style that will make you dream of PENELOPE HOUSTON and DINAH CANCER, but with the fury of watching the SCREAMERS’ Target Video. The aesthetic of total devastation. I was a huge fan of her last band VIAL, who were truly incredible live, so I was really excited for this record. Watching them play last month was killer, and I would say if you have a chance to do so, take it! That experience gave different meaning to this record, which upon initial listen did not enthrall me totally. The bassonly attack made me think of that ’90s Touch and Go style, or maybe GODHEADSILO. But at any rate, I think the live experience altered my perception of the record.

C.H.E.W. Feeding Frenzy LP

Finally, an LP from Chicago’s best recent hardcore export! There’s something incredible about the way that they seamlessly incorporate rhythm / tempo changes and dissonance into their lightning fast riffs. How the fuck do they do it? Every listen has left my mouth agape, every track feels like it could be an example in a class on how to write a great hardcore song (even the dirges). An incredible record—I can’t wait for the next one.

Celebrity Handshake Political Future EP

These guys have a crazy rambling-shouting singer named Hot Dog Haines. He probably needs hospitalization, unless this is part of his therapy. He is from the great white Maine, so maybe this is just normal sounding for there. Their frittered noise rock sounds fitting. CRAMPS or such. Numbered out of 200 copies.

Chandra Transportation 2xLP

I first heard of CHANDRA at the height of the Making Waves zine / tumblr explosion of about ten years ago, when all these cool girl-punk sound detectives started finding all these wild Subnormal Girls-style musics from 1977 onward. The first two CHANDRA EPs were reissued on a 12″ a while ago, but this is a deluxe reissue, remastered with two extra tracks, and anyone who would begrudge a super sick twelveyear-old girl circa 1981 fronting a no wave art punk downtown NYC group a deluxe reissue is a brain-free freak. The gatefold has a bunch of absolutely incredible images of CHANDRA performing and just being a kid, which is almost worth the price of admission. The music is dense paranoid art school wave, the sound of a band who would play the Mudd Club and The Kitchen. The lyrics are mean and cool like twelveyear-old girls and like NYC. Prior to writing about the nausea of riding the subway and girls called Kate, Chandra wrote songs about climbing out of a 60ft window and throwing babies in the trash! The music is truly the sound of downtown NYC, the backing band were previously released by John Cale’s own label. The second EP was recorded by an all-teenage band after a show Chandra performed where the audience was made up of her peer group, and it was clear that was the answer! It has a cooler, more lo-fi feel, punker. The unreleased songs are truly incredible and totally worth the price, paranoid lofi synth-punk for the ages! Beyond perfect. Buy or die. All teenage girls in bands now.

Butcher Return to Nothingness LP

BUTCHER’s second LP is harrowing chaos on overdrive. Jack Butcher snarls forth with a clear yet grizzly delivery, at times bringing Rob “The Baron” Miller of AMEBIX, or intense black metal straining to mind, while still retaining hardcore razor cuts. The guitar intros are metallic and extremely accomplished, and at times melancholic post-punk vibes are mixed with discordant blackened chamber metal. Everything is much faster than you even need or expected. “Beyond the Triple World” is my favorite track, with well-placed mid-tempo bludgeoning. The lyrics are formulated into mystical analogies and spiritual perditions, which resist the power of evil, though embrace its existence, expressed through words that are wholeheartedly nihilistic and minimal, while at once fluid and existentially vast. “Beware The Gnawing Nothingness” is especially poignant and depressing. Featuring members of FORWARD, WORLD BURNS TO DEATH, ASSHOLEPARADE, and LIFECHAIN, and with calamitous cover art by the uncompromising Tomohiro Matsuda. And just like that, it ends like a cleaver to the skull. Darker, denser, and even deeper than the
debut. Get this.

Bucket Flush / Mud Sex split EP

I think you would call MUD SEX garage punk thrash. They like rock’n’roll, but they play it too fast, like a blurry headache. From West Philly, and with an epic YouTube documentary for those who care. BUCKET FLUSH play very fast hardcore punk: they sound like a band off the MASTER TAPE comp or some such, and apparently like ROLLINS-era FLAG, and sing about giving drugs to kids in the park. Six songs on an EP seems somewhat admirable compared to what I usually have to review.

Brain Eaters Bad Girls Motorcycle Gang from Tokyo 10″

A male rockabilly band from Paris posing as a Japanese girl gang and starting their 10″ off with a song called “Lobo Loco.” There are some contradictions happening on this record. The music is straight ahead rockabilly. It’s well played and all that, but they need to figure out who they are.

BOOJI BOYS Unknown Pleathers EP

You ever see a band at bookstore, and the PA is meant for poetry? So you can’t hear the vocals, and you still are jamming hard as fuck? That’s this shit right here. Like this vibe is so strong, I actually feel like I just finished a forty listening to this. Fuzzed the fuck out and slamming around. Sounds that make the body loose. The grooves are tight and keep driving shit forward, and the lead guitar and vocals throw in some spice to keep you guessing. Low fidelity, high quality punk right here, and it has nothing to do with JOY DIVISION.

Ben Edge and the Electric Pencils Ben Edge and the Electric Pencils LP

I’m not even sure what an electric pencil is, but I feel like I owe it to these guys to find out. They start off strong with a catchy power pop number, heavy on the pop. Musically it’s solid, but also fairly straightforward. The focus is definitely on the catchy melodies and the vocals. The record continues this way. It’s mid-tempo and infectious throughout. Ben’s got a solid voice that sometimes borders on pretty. Don’t get me wrong, this isn’t a pretty pop record, it’s a power pop record with vocals that are solid. I’d go out of my way to find this one.

Baby’s Blood Everybody Looks Like A Fucking Idiot EP

Four songs of nasty, bad attitude rock courtesy of DREW OWEN and his Finnish compatriots. I thought the quality of life was better there. Why so pissed off? It’s fast and furious sped-up thrashy garage punk. It’s ugly, mean, and even a bit funny. Right, “Sex Punk”?

Années Zero Nique EP

Heavy hardcore punk with a bit of a creepy deathrock undertow. Growly vocals, accented with reverb, drive the songs with unstoppable energy and there are enough intelligible riffs and dynamic changes to keep things interesting. This record expands on what could easily be a formula for punk songs—short, angry verses over repeating guitar chord progressions—but it is so much more than that. Incorporating the occasional melodic, chorus-drenched guitar lead or unusual rhythm changes brings in a ton of nuance and keeps it sounding exciting and fresh. Definitely recommended. Record comes with cool fold-out poster artwork.

Arrotzak Lurzoru Hotzetik LP

A beautiful and dreary sounding punk trio from San San Sebastián. It’s the rhythmic insistence of the ESTRANGED and grand choruses of LA URSS rolled into one. There’s no shortage of contemporary “dark punk,” and while my tendency is to move on, hearing bands like ARROTZAK keeps my dismissal in check. They write really great songs with depth but that move quickly…you know, like a punk band, not a punk band trying to sound like a goth band. Lyrics are in Spanish and Basque and translated into English, and while full of despair they convey self-reflection and ultimately hope, rather than defeat or other superficial “dark” themes. It’s a really fine release, and I can sense the passion poured into it. I shared a stage with them last spring in Zarautz and they were both a great live band and genuinely friendly and welcoming guys—true punx.

Bad Bad Another Insect Bite EP

BAD BAD’s LP from a little while ago was nice low wattage psych, but that’s all been pulled away here. Behind the curtain is a smoldering shithole of dumpster electronics and weirdo punk. Sometimes like DEVO when they first discovered synths, other times turning darker, like CHROME but nerds, the songs here are sharp and catchy and careful. It sounds wrecked, but it’s never haphazard. There’s a certain precision in not sounding precise, and BAD BAD has absolutely, truly perfected that sound on this EP. BAD BAD, please make twenty more records that sound just like this one. I will never get enough.

Bad Mojos I Hope You OD CD

Judging this band by its cover and its label I was expecting a bluesy garage band. BAD MOJOS are poppy punk with buzzsaw guitars, and a vocalist that sounds like that guy from the SPITS. It’s high energy and every song is under two minutes.

Bitemarks Sucia LP

While knowing that BITEMARKS has folks from older Florida bands such as TRUE NORTH and PALATKA might not give you a full picture of this band, it does work as a starting point. It has a similar feel to those 90s No Idea post-hardcore bands in that it’s aggressive and punchy but catchy and melodic without sounding cheesy or boring. Where this differs is that it is a little more straightforward, a little more rock, and the vocals are snotty and in your face. It’s like if one of those Chris Thompson bands had guitars that are big and heavy sounding rather than that noodly stuff. Top it off with a full sounding recording, and you have a record that really smokes, even if it is only single sided.

V/A Paris Is Burning CD

Paris might be burning, but it sounds pretty damn good to these ears. Ten Parisian punk bands grace us with a couple of tracks each. Whether it’s the UK SUBS-esque HUMAN DOG FOOD, the GBH-inflected BREAKOUT, or the ever-ebullient techno pop punkers LOUIS LINGG AND THE BOMBS, the standard is uniformly astonishingly high for a compilation. The moody goths yearning for the days of ALIEN SEX FIEND even have HARASSMENT to keep ’em happy. I guess this does make them all a bit European sounding. But then again, it is Paris for fuck’s sake. Even better, this CD, brought to you by the trifecta of labels Sick My Duck, Sheekiz,and General Strike, is available for free from any of the featured bands, with a purchase of any of their other records. Given that this was sent in by LOUIS LINGG AND THE BOMBS, you ought to get it from them!

Young Skulls Bomb Train Blues / We’re Gone 7″

This guitar-drums-organ trio of heavy-hitters from the likes of CHROME CRANKS and TRANS AM announce themselves with swagger. Two thick-necked, grinding garage rock numbers with the sweaty intensity of a rawer JOHN REIS project.

WLMRT Lube 2 EP

Fast, intense art punk with synth up front in the mix and maxed- out vocals. Even with the synth, freaky art riffs, and occasional group vocals, there’s nothing tender about this, which is so refreshing. There are some super-catchy grooves worthy of being called “hooks” but they’re buried in the mix in a very cool way that kind of sneaks up on you. Weird, angry, fun, and it seems like you could dance to it, or at least kind of flail around and shake spastically.

Witch Fever Toothless / Daddy Pt. 2 7″

Gritty rock’n’roll vibes that remind me of fatally tough ’90s rockers like BABES IN TOYLAND and L7. High production value and undeniable talent on the part of the vocalist make the sound fall somewhere between the current wave of underground punk witchiness and radio-ready hard rock. The lyrics are explicitly about claiming empowerment, which is pretty excellent whether it’s performed in a basement full of sweaty punks or a rock club full of regular people.

War of Destruction Angst LP

This is a legitimate shock. WAR OF DESTRUCTION, of course, were one of the earliest and best Danish hardcore bands, solidifying their place in the pantheon of European hardcore with the release of their self-titled EP in 1983. This EP is all new material, recorded in 2017, and get this: it fucking rips! Seriously, this is so much better than almost any similar new recording from an ’80s hardcore band with original members that it’s mind blowing! One song passes the 2:30 mark, everything is fucking fast, pissed, and super energetic, the vocals are vicious, the riffs are just as good as they were back in the day, the drumming is better than it ever was and some of these songs are as good or better than their ’80s stuff! Fellow punx, I implore you: ignore the shit graphic design and skepticism that naturally follows when you see an old school band’s new material. This is legitimately one of the best new records of the year.

Unfair Fight False Walls LP

Talented yet really campy hardcore, I guess they sound like STRUNG OUT? This kind of hardcore was never my thing and I am not going to start listening to it at 30. They have some interesting rhythms with some very intricate guitar and drums, but UNFAIR FIGHT couldn’t really hold my attention. This record sounds like a hodgepodge of every hardcore / punk band from Epitaph and Fat Wreck Chords from the mid-2000s, and it is a bit anxiety inducing to me.

Tropical Trash Southern Indiana Drone Footage LP

Dissonant psychedelic noise freakers TROPICAL TRASH are back with a new LP and it is excellent. There are unexpected twists around every turn on this record, but it still feels wholly accessible to anyone who isn’t already jamming down at the knob turner fest. The vocals sometimes have a Daydream Nation-era, blasé Thurston Moore vibe that works for them. Carefully constructed songs explode in different directions through bass-heavy riffs and non-standard instrumentation. For fans of early DREAMDECAY and THEUSAISAMONSTER.

Tortraffen Ism LP

An instant must-have: track after track of addictive mid-tempo Deutschpunk from a German expat punk in Western Australia. The dark tinges of EA80, SLIME-caliber vocals spewing fierce gravel, and there’s something to be said for the brilliant simplicity of a catchy fukkn track with piles of backing vocals. Presented with a painstakingly constructed recording that’s appropriately rough around the edges…this is great.

Tørsö Build and Break EP

Holy shit y’all, a good fucking record released by Revelation Records in the year 2018! TØRSÖ join fellow Bay Area punkers PRIMAL RITE as the only cool, interesting band released by the legendary label in a dog’s age. This is an excellent record: repping straightedge 2018 with a mix of classic mosh tendencies and a ton of driving Scandi-crust influence, made distinctive by both Mae’s commanding vocals (making her one of the very, very few women to appear on a Rev release) and extremely tight arrangements. “Grab A Shovel” might be the best of the bunch, with a massive outro that absolutely devastates. Thanks to a top-shelf recording job everything sounds fantastic and even the art is interesting and relevant to the band instead of being a slapped-together computerized mess.

Tightwire Six Feet Deep CD

A QUEERS / ATARIS / FIENDS-type pop punk band from Minneapolis that are a couple years old and play done-to-death. That said, it is done well. Being a trio, it’s pretty straight forward musically, as the short songs are catchy, and the vocals are on key. For the pop punk elite only.

The Suburban Homes The Suburban Homes EP 3

Originally intended as their second release, and as such a bit on the older side, this EP nevertheless represents one more broadside in the HOMES’s attack on modern punk complacency. Definitely utilizing all the tools in the DESPERATE BICYCLES repair kit (the track “City Life” in particular borrows liberally from “Advice On Arrest”), they still manage to create something that feels now and vital.

Spit Toxic Noise LP

With nineteen songs ranging from twenty seconds to around two minutes, I think it’s safe to say at least one of these skate-punk riffs will tickle your fancy. I would describe it as CIRCLE JERKS with some blast beats here and there. The vocals are kinda snotty like Keith Morris, but the riffs range from melodic to thrashy. It’s kind of all over the place; still unsure of whether that’s a good thing or a bad thing.

Spazz Dwarf Jester Rising CD reissue

Debut full-length from West Bay legends, Dwarf Jester Rising clocks in under 25 minutes and their irreverent stamp on ’90s hardcore is undeniable. Sample-laden guttural blasts, discordant dirges, this is what the kids call powerviolence, and it didn’t start here, but this is when people outside of California started paying attention. Dwarf Jester Rising is important, to be sure, but it’s also really fucking good. Favorite track: “Burning Tongue.”

Shock Futur Noir EP

I swear, some of my favorite hardcore records of the past few years have come from France, and Bordeaux’s SHOCK doesn’t disappoint. Heavy NYHC influence on this five-song EP, as well as some clear influence from NEGATIVE APPROACH, and maybe even BOSTON STRANGLER. Lots of driving riffs, a couple banging breakdowns on “Futur Noir,” “Nuit de Brouillard,” and the three-minute “Guirre a la Guerre,” and some cool effects sprinkled in here and there.

Scheisse Minnelli Waking Up on Mistake Street CD

Fairly prolific German skate punk that at their best recalls later RKL (whom Destiny also released back in the late ’80s), though the production clearly dates this to the modern era. Not quite as show-offy musically as RKL, but there are lots of licks (from all instruments), and, like, the cover art is by Dan Sites who did literally all of the RKL artwork. The lyrics are junior high in quality, but not problematic or anything—just kinda goofy and about skating and shit, and occasionally surface-level political. I have a soft spot for stuff like this (and LOVE RKL) but I would probably enjoy them more live.

S.B.F. Same Beat Forever LP

Damn, they really weren’t kidding. Programmed drums pretty much stick to the same beat the whole time, but this sounds raw and punk as fuck. Drum machines can create chaos; I don’t know why some people aren’t convinced of this. I’m hella in it when they do a more hardcore vibe, but sometimes they lose me with the more standard rock stuff. Luckily, this only happened twice, and this record goes hard as fuck pretty much the whole time. I would really love to hear this sound further developed and experimented with. I like this record a lot, but I’m even more interested to see where this could go.

The Sadists The Sadists CD

There are four catchy, early New York punk style songs on this CD. The singer has a bratty, whiny vocal style and the band is tight in a Young Loud and Snotty way. Yet, it’s not annoyingly retro.Great stuff. They just need a better name.

Ryan Dino Chapter One: The Final Chapter LP

Mr. Dinosaur is actually Mr. Bell: Atlanta wunderkind and contributor of brawn and brains to notable rulers such as PREDATOR and GG KING, to name but a few. “Chapter One: The Final Chapter” finds Ryan out front, collecting material from various sessions over the past few years, and completed with shifting line-ups. It’s a uniformly kick-ass assemblage of material that’s wonderfully varied: merging the expected expert-level punk with nods to DIY pop, tongue-in- cheek metal, dark hardcore, and atmospheric weirdness. It’s epic from every angle, and a very deep-dive into the murky recesses of an extraordinarily capable punk brainiac—often funny, sometimes grim or damaged, always world class. It demands repeated listening and prompts a fair amount of obsession from the jump. Get lost.

Rubella Gallows Humor LP

According to press, Cleveland’s RUBELLA has put out over 60 releases since 1998 and they’re all a little different. On this vinyl release, the band consists of dense, minimalist synth with mostly plain, somber, clear vocalizations. There is a ’90s 4AD Records feel to it, underscored by rumbling, low frequencies. The earnest vocal delivery sometimes reminds me of someone who had a past in folk-punk, but I don’t think that is really the case here. Overall, a solid release for the synth crowd.

The Rusty Robots Sweethearts, Kisses, Bloody Knives EP

Punkabilly ahhhh-go-go from fuckin’ Leipzig, OK? Three tunes total, though I can hardly tell the difference between em. Total hairspray overdrive skull’n’bones schlock here, no new or embarrassing ground broken, so no real harm done. What does morning-after smoked fish and stout barf sound like? Probably this.

Ruin By Design From Ashes to Empowerment CD

DC punk with a definite RITES OF SPRING feeling, albeit more hardcore and with more gang vocals. The title appropriately encomases the vibe lyrically and musically. Lots of exclamations in the lyric sheet, emphasized in all caps. If the songs were longer, the vocals might be too grating, but they keep things on point just enough. I find their sound to be honest, and their lyrics relevant (albeit a little cheesy), which is more than I can say for many current bands I’m introduced to.

Roht Iðnsamfélagið Og Framtíð Þess LP

You should expect a monster, and you will receive a monster. Thunderous and monotonous and fully exposed, ROHT take punk and drag it into a dark dark place; like RUDIMENTARY PENI and PAILHEAD, they are playing the game but never playing by the rules. I suppose you can call this industrial hardcore or something like that, and they would fit as nicely (or poorly) on a bill with LARD as with DYS. I had every expectation that this record was going to be good as soon as it was announced. I didn’t think it would be this good.

Richard Papiercuts Twisting the Night 12″

Anyone who needs to read a review in order to determine whether to purchase this record almost certainly hasn’t heard 2015’s IF, the best LP of that year in my estimation, and probably one of the greatest of this dismal decade. This four-song 12″ EP continues in the tradition of that record, which is to say it’s wonderful. RICHARD PAPIERCUTS easily gives lie to the common punk fallacy that the best music is always made by those who don’t know what they’re doing—it frequently is, of course, but PAPIERCUTS proves it’s possible to use an encyclopedic knowledge of music to create something unique, rather than cresting the wave of whatever flavor of nostalgia is in vogue this month. This is all to say that while I’m sure there are specific reference points on this record, it’s hard to point them out because it’s all melding into something of its own (and because they’re probably largely bands I’ve never even heard of!). I can say that this record’s got a more ’80s pop lean to it than the last one: big sounds and big hooks and danceable rhythms. I can drop a reference to TEARS FOR FEARS or maybe even like PET SHOP BOYS or something (that one spoken line in “A Place to Stay”!). Or, just as impossibly, I can try to describe how this record makes me feel: peaceful, energized, optimistic—in a word, buoyant. But either approach is inadequate in conveying the beauty of Twisting the Night, a record that deserves to not just be heard, but to be listened to with focus and intent.

Red Delicious Far From the Tree EP

This is so good! Hardcore with tough and growly female vocals sung in Portuguese, sick riffs, and sludgy breakdowns. There’s something old school about the vibe, with slower parts that almost have the kind of sassy, deliberate delivery of MINOR THREAT. The fast parts are brutal and fun at the same time, a combo that is sadly not as pervasive as one might hope. Listening to this record is the closest thing to being in a circle pit that you can do without actually moving. Every member of this band brings in cool, interesting elements. And they managed to cram eight tracks onto an EP. Don’t miss this!

Qlowski Pure as Fear EP

Stylish and busy post-punk from Italy. There’s an opposition in QLOWSKI’s tunes: the keys and melodies are pure dancefloor new wave, but the beat and mood is far darker. I realize this is sorta thee bread & butter post-punk tactic, but it feels extra unnerving in this instance. The best moments recall BLACK SUNDAY, the worst I’ve already forgotten.

Q Quiche EP

I suspect that if I’d paid more attention to the “mysterious guy hardcore” bands Á  la HOAX and them, I’d have a better frame of reference to review this record, as Q seem to share those bands’ self- destructive aggression and disinterest in sharing information. From my vantage point, Q are very much a band that fit in with the late ’90s Pessimiser / Theologian scene. There are occasional blastbeats, tons of mid-to-slow tempo stomping riffs, and shrieked, nearly metal styled vocals while the guitars are pure hardcore punk. They could easily be slotted in on one of the Cry Now, Cry Later comps alongside heavy hitters like MAN IS THE BASTARD, STAPLED SHUT, or especially CATTLEPRESS. This is an odd, unsettling record, I haven’t heard many like it. Worth checking out, especially for those with nostalgia for the powerviolence days.