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!

Yuasa-Exide Information and Culture + Naturally Reoccurring cassette

The lo-fi bedroom jangle of YUASA-EXIDE finally lands on hardcopy! From the Twin Cities of Minnesota, Douglas Busson and a close group of contributors have been making music under this band name since 2006, releasing albums directly to Bandcamp on Busson’s Ape Sanctuary label, with over twenty-five singles, EPs, and LPs on offer. YUASA-EXIDE’s latest two recordings (Naturally Reoccuring and Information and Culture, both from 2024), are packed on this Round Bale two-album cassette. The first releases of the band, nearly twenty years ago, are much more experimental, sparse, and noise-focused, featuring solo guitar instrumentals, distorted vocals, and mechanical grating. After undergoing spinal surgery from a 2021 injury, Busson could only play guitar lying in bed, where he proceeded to record the majority of his work under YUASA-EXIDE and where he developed something closer to the bedroom sound we hear on this cassette. That said, the experimental and noisy roots are not forgotten—songs like “Fuck You Duracell” feature ringing feedback and bleak, groaning vocals pushing out a bleaker-still subject matter, with lines like “When I say petrochemical / What does that call to mind? / It recalls to mine / The acidic slime.” Whether you’re an ardent fan or coming by with passing interest, this Twin Pax cassette offers a great take on the prolific YUASA-EXIDE.

V/A Action Rock Jukebox 45 Series, Vol. 1 CD

Fun little comp with a neat theme. Each band submits two songs: one original, and one cover song from a band commonly found in jukeboxes from the ’70s and ’80s, with pop punk renditions of groups like GOLDEN EARRING, KISS, and my personal favorite, the J. GEILS BAND. The originals are decent enough; it’s just your typical, modern day pop punk teetering on the indie side of things. If I’m being honest, the meat of the record comes solely from the tributes. If you loved that Punk Goes… compilation series from the mid-to-late ’00s, then you’ll adore this. It’s a throwback to a throwback.

The Accelerators Moving Fast​!​!​! Selected Recordings 77​/​79 LP

These recordings from ’77 to ’79 are new to me, despite the fact that six of the twelve cuts were released on an EP way back then. From Liverpool, these cats were part of that first wave of UK punk that were fond of the R&B side of rock’n’roll. The RADIATORS FROM SPACE are another band that I would put in that category. There were lots of them. Some of the cuts make me think of the JAM. Also some new wave and reggae influences. Mid-tempo and catchy throughout, this very much captures the sound of the era.

The Apostles There Can Be No Spectators 2xLP

This is a compilation of the APOSTLES’ earliest EPs. Anarcho-punk, post-punk, a combination of both—either way, this is great stuff. I love music that has a message or that really explains how I personally feel, and the APOSTLES do it in a big way for me. Musically, it reminds me of bands like ZOUNDS, FLUX OF PINK INDIANS, SUBHUMANS, and CRASS, ranging from standard anarcho-punk anthems to well-thought-out post-punk and an experimental sound of their own making. This is an excellent collection from an excellent band and the preeminent anarcho-punk label of our time.

Bad Anxiety No Shit EP

Hattiesburg, MS has in recent years cultivated a reputation for churning out some killer punk and hardcore—BAD ANXIETY upholds and furthers that tradition with their first vinyl release. This slab ‘o wax absolutely smokes! The ten cuts were originally released on two separate tapes, the COVID-era brainchild of Mississippi madman Hampton Martin. This solo project cum full band has stirred a lot of interest in the punk world for good reason. The songs are quick, ferocious, and catchy as hell. Smart, biting lyrics are delivered with the right blend of snot and snarl, backed by an aggressively overdriven rhythm section and contrastingly clean guitar. This combination leads to the perfect lo-fi cohesion, where the production doesn’t get in the way of the songs nor detract from the eruptive energy. The release has a timeless quality that makes me think it could’ve come out forty years or forty days ago. The second track, “Police,” bears a striking resemblance to the CIRCLE JERKS song “Red Tape.” I doubt that’s coincidental, but either way, it rips. As someone who has mostly lived in small towns, “Big City” strikes a particular chord, and when BAD ANXIETY barreled through my town, I’m pretty sure the kids picked up some of their “Cool Moves.” This is a crucial ripper of the finest variety. 10/10.

Black Ends Psychotic Spew LP

Vocalist Nicolle Swims must get this a lot, but she seriously sounds like Gwen Stegani pivoted to a career in swampy ballads and Seattle post-punk experimentation. Upon a first listen to Psychotic Spew, it’s clear BLACK ENDS has chemistry between members and a shared goal in mind. Quite frankly, it sounds really good, rehearsed, a perfect witchy brew of alternative girly rock. However, I cannot shake the utterly contrived feeling I get from this release. Maybe it’s from them making a self-proclaimed genre of “gunk-pop,” or the fact I cannot figure out how a small-ish band can headline its own EU tour in 2023 without a single album released. I am no Debbie Downer, though; they do deserve recognition for this debut album. Comprised of pleasantly discordant melodies and sultry lyricism, tracks like “Pour Me” and “She Speaks of Love” speak to the release’s off-kilter but inventive sound. Bassist Ben Swanson’s and drummer Billie Paine’s rhythmic spell over the songs never gets old, and I also appreciate cellist Lori Goldston’s addition of an instrument you don’t often hear in releases like these. With the satisfyingly clean guitar on “Suppin’ on Stage” and the fun sample near the end of “When I’m Alone,” I’ll forget the curious self-insistence and categorize this as a stellar premier of albums to come.

The Black Nasty 30th Anniversary 2xLP

Double-disc vinyl re-release of THE BLACK NASTY’S 1994 debut (and only) CD. The first record in this collection is the aforementioned CD itself, but the second slab is a live recording ripped straight from a VHS, remastered for our modern listening pleasure. It actually sounds great. I love shit like that. I also love the little BLACK NASTY history packet that comes included with this set. Well, the first quarter of it at least. The remaining 75% of said insert is a transcript from a Zoom interview they had with Stop All Wars fanzine, which reads more like a stenographer’s report from traffic court. Regardless, there’s a decent amount of information here for anyone new to the band, such as myself. They even included an old MRR review of this same album from 30 years ago, likening the band to a modern STOOGES. I’m inclined to agree, although they are a tad more poppy than Iggy and crew. You can especially hear the STOOGES influence in their live recordings. Important to remember that this was the burgeoning era of the DIY pop punk sound, so there were fewer comparison points at the time. If I were to compare them to someone from the last 30 years, I’d say they’d fit in better with the NOFX/BAD RELIGION/PENNYWISE crowd. This is your classic Gen X punk featuring songs about fast cars, cheap beer, and dirt weed. Fun stuff here; lots of bang for your buck.

Corker Hallways of Grey LP

Darkwave post-punk with the occasional touch of gothic or otherworldly synths. CORKER’s LP starts off with a powerful rhythm section of pounding drums and a menacing bass line, setting the tone for the rest of the record. I appreciate the variety they managed to capture with the spoken word in “Forever Silent,” to a short noise section in the middle of “Distant Dawn,” to the faster, more punky guitar in “Wiring.” Some of the tracks blended together a bit for me, but I loved the choice of ending the LP with “No Necessities,” as it’s the darkest and gloomiest track that seemed to encapsulate their vibe as a whole.

Décima Víctima Décima Víctima LP reissue

Originally released in 1982 by Grabaciones Accidentales, the label that DÉCIMA VÍCTIMA helped form, this self-titled debut LP has been reissued by Munster. Formed in 1981 by Swedish brothers Lars and Per Mertanen, playing guitars/keys and bass respectively, they later brought on Spaniards Carlos Entrena for vocals, and José Brena to replace their drum machine with a full kit—all to form this legendary, yet very short-lived darkwave group, ultimately playing their last show at Madrid’s Rock-Ola in 1983. These tracks are largely bass-forward, with that classic JOY DIVISION way-up-on-the-neck fretting; guitars rattle simply in the background and emerge through a veil of reverb for lead lines, vocals are hollow yet give off a certain warmth in their resonance, drums are precise and may, in some way, aim to replicate their machine origins. For a piece of Spanish darkwave/post-punk history, and in the genres globally, this reissue is a must! I wasn’t able to learn how much the members of DÉCIMA VÍCTIMA contributed to Grabaciones Accidentales after they disbanded, but the label had quite a run before it was incorporated with fellow independent label DRO, and before both were ultimately and sadly bought up by Warner Music in 1993. But that is not the legacy of DÉCIMA VÍCTIMA! With this LP, Un Hombre Solo two years later in 1984, and a handful of singles and EPs, there is a lot to listen to (if you parse through streaming service comps or cough up the dough for fleeting original copies), starting with this perfectly haunting self-titled reissue. Enjoy.

The Exile Don’t Tax Me EP reissue

The EXILE was a 1977–1978 punk band from Scotland  This is a reissue of their first EP, and they give us some tuneful punk influenced by the mod bands in the UK. The sound is similar to Canada’s BUREAUCRATS. This is a great listen and a piece of punk history that I had missed; I am extremely happy to be able to get this now. If you like your punk tuneful, this is a great record to get.

Food Fight Zeitgeist Impressions LP

Absolutely stellar power pop out of France. Sounding like Joe Strummer fronting a mod revival band, these twelve tracks are truly top-tier. I was pulled in from the jump with the call-and-response of “What’s Wrong?” and locked in till the end. Truly surprised to find this their debut full-length; it’s clear that this group is made up of veteran musicians who know their way around a three-minute tune. There was also clear attention given to the sound on this record, as the bass tones are so clean and warm, the group vocals sound so full of life, and the guitars are crisp and bright. If you dig the 101’ERS, PROTEX, the NIPS, or any notable ’70s punk, this album will feel familiar. One of the finest albums in a minute, Zeitgeist Impressions is an absolute standout.

Geoduck Diodes Must Fry All Planets! cassette

Fourteen-song cassette, though two of the “songs” are each a mere two seconds long, so I’m not sure if those truly count. Bonkers, lo-fi, spaced-out boppy egg-punk, a whopping ten minutes and fifty-seven seconds worth of it! Only one track here just barely crosses the one-minute threshold, aside from the bizarre two-minute-forty final outro track “Trapped Here.” Physical cassette is dubbed on a ninety-minute cassette with the recording repeated over and over on each side. Absolutely wild solo project from Tübingen, Germany, “recorded on my intergalactic couch and bed’.” If you’re of the mindset that egg-punk is over, I suggest you let GEODUCK DIODES have a word with you. Personally, I am in full support of the home-recorded solo projects. I mean, what are the truly maniacal wacko punkers out there supposed to do? There’s no way a group of friends could be convinced to learn and record this mayhem, so it’s off to the intergalactic bedroom! Keep ‘em coming, GEODUCK DIODES rule.

Guile Self Worth cassette

Metallic hardcore out of Vancouver that mixes old school palm-muted thrash with raspy vocals. It’s not bad, but GUILE would probably sit comfortably in the middle of a local hardcore or metal bill—it’s not exactly groundbreaking. Lyrics range from the personal on “Barb Tarbox” to the geopolitcal on “Fukishima Gargler” (your requisite anti-nuclear song) and “Supremacy of Failures,” a track with a minute-thirty instrumental chugga chugga intro. “Hollow Gesture” is the best one here, with furious downbeats that quicken into a fast hardcore beat. The production is crystal clear with thick distorted bass tones and heavy guitar, but it ends up sounding a little polished. The vocals are delivered as near-blackened (toasted?) raspy snarls that are carefully delivered, but lack the chaos that bands of similar ilk like ZORN deliver. I’m curious what the band sounds like live, because the performance, while competently done, all sounds a bit restrained. Worth a listen for dyed-in-the-wool heshers.

Hyacinth Dedicated to Disappointment LP

Fresh new hardcore from Czechia. It’s heavy, yet agile, and the songs have a lot of nuance and tempo changes. It swings between broody plodding and hype thrashing, and there are alternating vocals—a meaty main voice and intermittent possessed shrieks. Punctuated by soundbites à la the 1990s, these nine tracks are creatively composed and go down smooth.

Indoctrinate Kollapse LP

One look at the cover art and Miss Machine from DILLINGER ESCAPE PLAN comes to mind. The intro evokes the chaotic collage of mass media madness from CURSED’s Architects of Troubled Sleep. The second track “Normalcy Über Alles” erupts into a frenzy of blastbeats and heavy HM-2w riffage à la TRAP THEM, until the middle weirdly features a spoken word part that almost feels like rapping with scratches included. A not so common choice, to mix dark hardcore with elements of hip hop. The vocals would fit well in a band like EVERYTIME I DIE; they also keep a foot in post-hardcore (or mathcore, to be more specific). It keeps throwing you curveballs and mixing genres that seemingly shouldn’t mix together, but the backbone is always dark hardcore and CONVERGE-styled metalcore. This is a very different and crazy mix of influences that in a peculiar way works OK as a final product.

Ross Johnson with Cloudland Canyon Women, Money, Children / I Know Why They Leave 7″

From ranting on ALEX CHILTON’s Like Flies on Sherbert in 1979 to drumming for the PANTHER BURNS, Memphis noisemaker Ross Johnson lives to rabble another day on this single with CLOUDLAND CANYON. It trades the psychobilly stomp of Vanity Sessions, which JOHNSON recorded with Jeffrey Evans in 2014, for the psychedelic and experimental sounds provided by CLOUDLAND CANYON—synths, looping sound bites, drum machine and distant guitars. While the prefix “psych” transfers from one project to the other, so does JOHNSON’s ability to spout strings of confessional complaints and late-night reveries. “Women, Money, Children” on Side A chugs along with a desert-rock sort of feeling; bass and drums keep a steady pace for fuzzy little guitar leads under JOHNSON’s bar room logic of “Why is it that the ones you want, don’t want you / And the ones that want you, you don’t want?”—the otherwise straight-driven rhythm swerves in endless diatribes that lead to places like “Radio Free Europe” by the songs’ end. “I Know Why They Leave” on Side B forgets the rock beat for a programmed sound of synth percussion like a dark section of a FRANKIE GOES TO HOLLYWOOD song, with the dub production of LEE SCRATCH PERRY sung by a drunk Phil Alvin. If you enjoy lyrics from the patriarchy of rock’n’roll yore and the aforementioned blender drink of whatever’s happening on the B-side, then belly up to this release.

Lone Creep Drama Queen CD

Back in the ’80s there was a band from Colorado Springs, Colorado called the CREEPS that played thrashy skatepunk and had a pretty good run, amassing a dedicated regional audience over the course of their seven-year lifespan. I encountered them on a fascinating comp that I reviewed in 2023, Colorado Springs Underground 1983–1994: Volume 1. In an unsuccessful attempt to revive the CREEPS for a potential fortieth anniversary album, one of said CREEPS stabbed out on his own…and thus we have LONE CREEP. As a solo endeavor, LONE CREEP carries the torch of the original outfit’s sound, cranking out energetic, at times melodic punk rock with a wry wit and political bent. There’s something about this album that reminds me of Metal Devil Cokes-era MDC. Perhaps it’s the blend of crude and satirical humor with biting political commentary, or the fact that the original CREEPS were also known to cover “Mongoloid.” Whatever the case, there is a lesson here for us all: if your friends turn out to be more flaky than creepy, never fear—even forty years on, you too may become a LONE CREEP.

Malignant Tumour Maximum Rock ‘N’ Roll CD

Long-running Motörcharged metallic rock’n’rollers coming straight from Czech Republic. I’m here listening for the fourth time perhaps, still trying to decide if it suits MRR or if this would fit better in another kind of publication. Sure enough, cadences are medium-to-fast-paced, crusty metallic forms are there, good riffy guitars, vocals are ragged and familiar to hard rock connoisseurs, but still there’s something that tells me this is a very good production and yet does not reach the fiber that triggers the rage. Favorite track: “Hard Pint of Heavy” in Lemmy’s honor, the missing link that got me through this dense album.

Menschenfeind Czas Apokalipsy 10″

With members from Russia and Germany, this heavy group serves up some slick metallic punk with traces of Oi! in the vocal delivery at times. Translated from German, MENSCHENFEIND means “misanthrope,” and that’s essentially the gist of these four bangers presented in the ever-polarizing 10” format.

Nervous B.O. Sick & Perverted cassette

Synth-heavy noise punk from Sweden. Six tracks of video game-y, drum-machine-driven tunes with intentionally wildly out-of-tune vocals on top. This would be in good company with the New Jersey egg-punk band I once referred to as “the most polarizing band in punk,” BIG CHUNGUS. NERVOUS B.O. (also written as NERVOUS BODY ODOR) is a bit of a confusing band to attempt to understand. They have a number of releases, a few since this one it seems, but it’s a little difficult to tell for sure based on how difficult it is to navigate their Bandcamp. I am as confused as I am entertained by some of these songs and the wild choice of snare tone for the drum machine on them. Limited edition of 25 cassettes (with cool little hand-drawn demon on the inside cover) by Xtro, not sure about other labels’ quantities.

On the Might of Princes Sirens LP reissue

Holy musical candy to my ears. I was certainly given music directly in my lane with the review of ON THE MIGHT OF PRINCES’ Sirens. Driving beats, plaintive vocals, melodic hardcore/emo sounding straight outta the best New Brunswick basement circa 2001 but with the polish and sheen of the likes of ENVY. The album opens up with a guitar riff on “No Sign of the Messiah (Pt II)” to set the emotional landscape of heartache those of us kids of the messageboards crave. Truth be told, I always knew of ON THE MIGHT OF PRINCES because of their proximity to so many bands I loved back in the day, but never got the opportunity to see them. This re-release is driving home for me the harsh reality that I truly missed out. Fans of THURSDAY, SAETIA, HOT CROSS, and, as I noted—partly tongue-in-cheek and partly dead serious—the messageboards of the aughts, will fall in love and put this on repeat.

Prevail Prevail cassette

This limited cassette re-release of the second 7″ from this late ’90s South Carolina screamo hardcore band is a gritty blast from the past. The scooped-mids production, crunchy guitars, and boomy bass nail the era’s vibe, while the vocalist’s high-pitched and raspy scream-sing style makes them a perfect match for a bill with REVERSAL OF MAN or FORCE FED GLASS. It’s an aggressively raw recording that definitely sparks my nostalgia for the ’90s hardcore scene that is worlds apart from that shit they’re calling screamo nowadays. All of these songs are on their discography Curtain Call, but if you don’t have that already and you need something to play on your Walkman, you should jump fast to snatch this up.

Skabs World Burner cassette

UK metalpunk four-piece SKABS return after their 2023 demo with World Burner. Four tracks of heavy-ass, death metal-influenced punk with “crustified” black metal-styled vocals. SKABS’ dynamic sound oscillates between mid-tempo grooves with occasional blastbeats here and there, maintaining things interesting throughout. Sometimes you just want to listen to something that makes you want to headbang and this is it!

S.O.H. Cost to Live LP

Coming from Los Angeles, S.O.H. gives us some raging hardcore crust. This band can write a hardcore crust song while having some melody in their musical structure, and that’s not a bad thing. Their music has a lot of different textures to it, and they can take you up a mountain and then drop you off a cliff. I like it. It reminds me just a bit of some of the crust and hardcore that came out in the 1990s. This band makes their own music their own way and it sounds how they want it to. Now that’s punk!

Storm Boy Superposition! CD

Not sure if this is my stale 40oz of malt liquor. These guys are really, really adamant, but I couldn’t tell you about what. Foggy Washington sorta-grungers STORM BOY are doing a kind of TAD-meets-Frank Black thing that’s turned up to eleven on the melodrama. Four songs that bleed into themselves. I couldn’t tell you much more.

Suffocating Madness Unrelenting Forced Psychosis LP

Thrash-laden, D-beat-inspired noisy raw fucking hardcore punk: that’s Unrelenting Forced Psychosis by SUFFOCATING MADNESS. From the very start, I’m reminded of Swedish hardcore band VICTIMS or maybe even WOLFBRIGADE. But then there’s this fuzzy punk energy that reminds me of the SWANKYS, or maybe it’s DEATH DUST EXTRACTOR. Either way, it’s supercharged with enough thrash punk à la CRYPTIC SLAUGHTER to launch the whole recording into warp speed. I think I just found my new favorite album.

Tiebreak Hardcore Bugs EP

Oslo’s TIEBREAK returns with Hardcore Bugs, their first release since 1998’s Stand Hard EP which made some waves before the band broke up a couple of years later for one reason or another. In spite of the band’s decades-long absence, they sound good here, playing youth crew hardcore that doesn’t sound at all out of place with the current crop of modern bands playing the same style. I really have no further notes other than that they unfortunately lose one point for the album artwork, which is confusing in my opinion. Anyway, if you’re into youth crew vets BERTHOLD CITY, you’ll like this.

Tube Alloys Evil Angels / Lizard Kingdom 7″

TUBE ALLOYS return on the heels of last year’s fantastic debut album with a double A-side single for their most recent US tour. These tracks are taken from the same material that became Magnetic Point, so if you dug their debut, you’ll be drawn to these tracks right away. Both tracks here are stellar post-punk. “Evil Angels” is stocked with a propulsive bass line, wiry guitars, snotty vocals, and a brilliant sense of urgency. “Lizard Kingdom” is more post-punk, but you can feel the krautrock seeping in from all sides with its repetitive, almost droning instrumentation, not to mention its brief sample of TRIO’s classic “Da Da Da” to kick things off. Top-tier stuff, as you might expect from the always reliable La Vida Es Un Mus.

Ultraman Dead End Thoughts Under a Crawling Sky LP

This Missouri band returns with its first full-length of original material in twenty years, and it sounds pretty damn good. These thirteen tracks hit with that satisfying weight of distinctly midwestern melodic punk with just the right amount of grit. This fits nicely alongside acts like DILLINGER FOUR and OFF WITH THEIR HEADS, to give a slight frame of reference, but this band is doing its own thing with a lot of heart and a lot of hooks. The harmonies hit on tracks like “Second Hand,” which has teeth and heft while sticking to a strong melodic center. It’s nice to hear a band that lives the punk half of the pop punk equation so that both elements work together. It creates a balanced and thoroughly addictive sound. It’s heartening to see this band get back in the saddle. Here’s hoping for more music on the trail ahead.

Value Added Tell Us Like We Are CD

Former members of SOME VELVET SIDEWALK and JAPANTHER board a time machine bound for the heavy fuzz and wry, observational songwriting of the late ’80s-mid-’90s subterranean rock scene. Opener “Inside/Outside” and “Endless Grid” could have nestled nicely on SONIC YOUTH’s landmark Sister LP but also recall the thick layered distortion of bands like CHAVEZ and DEAD MEADOW. The slow-moving grooves here are enough to get your head bobbing, and the lyrics are frequently funny. Take the rambling storytelling of “Endless Grid”: “I’m at my desk and my phone is ringing, but it’s not ringing cause it’s 2022 so it’s this nice melody thing / I pick it up and I can see the name of the person calling, which still fucking amazes me / And so I say ‘Hi Dylan, it’s nice to hear from you, what’s up?’ / Dylan is 22 and he says, ‘I’m living in Albany, I have six roommates, we just moved the drums into the living room because it’s getting so crowded in the basement!’ / And I say ‘Oh, that’s great to hear, it sounds like you’re in a community, that’s really important’ / And Dylan says ‘Yeah! things are going pretty good’ — and I want to say ‘Don’t take drugs!’” That’s the first verse out of three, and after a while, you’re like, “What did he say next? What are Dylan’s plans?” There are also a few instrumental fuck-arounds (I’m pretty sure “Unroll (Unroll Inside)” was just an excuse to play with a vocoder), but they thankfully don’t take away from the vibe too much. If you miss the heady, honey-thick tones of years past, check this one out.

V/A Yes Liberation: A Benefit for Mutual Aid in Gaza cassette

The third and (sadly) final installment to a series of international compilations whose proceeds support mutual aid efforts in Gaza. This is a great opportunity to contribute to an important cause and hear some exclusive/rare cuts by some of the most ripping bands on the planet. Featuring songs from all-time favorites like ZOUNDS, BURNING KITCHEN, and HELLSHOCK, to the cream of punk’s current crop such as GOLPE, CHAIN CULT, FAIRYTALE, and QUARANTINE, the tracklist reads like a hardcore who’s-who. All told, there are 23 selections and not a single dud in the bunch. Israel’s repugnant assault on Gaza is an insidious and growing stain on the decency of humankind. Here’s a chance to channel funds to where they are needed most, and add a badass tape to your collection at the same time. Collect all three! It should be mandatory!!  

Amor, Muerte Y Leonora Amor, Muerte Y Leonora cassette

A cassette collection of the first two EPs recorded by this Spanish egg-punk band. I am unsure if there was a physical release of them independent of this collection, but seeing as how each is a mere two songs long and the artwork is almost indistinguishable from one cover to the other, I am glad that Knuckles on Stun has done us the service of putting both EPs on one cassette. Poppy, bouncy egg-punk, quite possibly the poppiest of this style I have yet to encounter. I know a lot of people seem to be a bit over the egg-punk phenomenon, but if new projects are popping up and releasing wildly catchy bops like the four tracks contained on this cassette, I will personally never tire of it. Knuckles on Stun limits all their releases to 25 cassettes, so act now or forever miss out on a physical copy of these four killer, scrambled tracks.

Artificial Go Hopscotch Fever LP

They apparently only started the project at the beginning of this year, but Cincinnati’s ARTIFICIAL GO cut right to the chase with their debut LP (and debut, period) Hopscotch Fever. An incessant wiggle of sparse and trebly guitar, solidly skeletal drumming, and mannered, alternately animated/nonplussed faux-Brit-accented vocals are roughed-up in a charmingly lo-fi and ramshackle recording, placing yet another daisy in the chain connecting today’s Midwestern post-punk weirdos to both the art school new wave eccentricity of SUBURBAN LAWNS and the scratchy naivety of late ’70s/early ’80s Rough Trade—the sort of band that would perform on rollerskates while decked out in loud, upcycled vintage outfits neo-New Wave Theatre-style, as they do in the video for “Pay Phone.” The taut, rhythmic herky-jerk of “Artificial Go” and the spacious brokedown disco groove snaking through “On Off” cast ARTIFICIAL GO as the less rambunctious kid siblings to their Feel It fam SPREAD JOY, as “Walk Like a Dog” and “Feeling Foxy” unwind into an ultra-minimalist, lopsided jangle like a modern BONA DISH, with Angie Willcutt’s too-cool vocal indifference buttoning everything up just so. Can’t really blame them for skipping any demo/single introduction formalities when they had this up their sleeves.

Beef ll Manzo EP

Synth-y garage punk band with a slight touch of horror punk at times. I loved how cohesive this EP was throughout and how the songs continued to build off of each other. That being said, I feel like I wanted a little more variation with the synth throughout the different songs as it seemed quite similar in a couple of them, but I do think that it added another dimension to the songs. The combination of edge and a bit of goofiness, like in “Secondhand Toe Jam,” really made the songs come to life. In “Spell,” it felt like the synths were taunting me and egging me on to go and do something like run into a wall.

Black & White Cat / Black & White Cake Black & White Cat / Black & White Cake LP

This nine-song full-length by Buffalo, New York’s BLACK & WHITE CAT / BLACK & WHITE CAKE is an entertaining rollercoaster. A general post-punk vibe crosses through all the songs, but some are synthesized punk and a few are plodding towards darkwave. When you realize BLACK & WHITE CAT / BLACK & WHITE CAKE is a reference to the 1977 horror film The Sentinel and their favorite band is KILLING JOKE, then things start to make a lot of sense. Two guitars dance around in chaotic repetitions as digital drums and dirty, distorted bass keep time. “Invoke” is perhaps my favorite song with its build-up and very Jaz Coleman delivery.

Boston Babies Boston Babies LP

Not really memorable at all. I’ve never really been a fan of that NEW YORK DOLLS style of punk, and this seems to fit right in with that. Just really boring, felt overly long for an album of that style. Honestly, come to think of it, I can’t remember a single lyric off of this thing. It would be one thing if they actually tried something original with their sound, but no, they continued to water it down with crappy production and mediocre (at best) performances. Yawn.

Catspidar Catspidar CD

Noisy, loud, and chaotic! Twenty “songs,” or bursts of noisy grinding hardcore punk, solely focused on venting about how bad random things are. Song titles like “Knocked Loose is Bad” or “TikTok is Bad” instantly makes one think of ANAL CUNT and Seth Putnam’s hatred towards the world. Sonically, it is tamer than the aforementioned band, and in a way comes close to some of the more punky PIG DESTROYER songs. CATSPIDAR only wants one thing: to tell you that everything sucks!

Cindy7 / Jimsobbins split cassette

The two bands featured on this split appear to be intermingled, as writing credits for all of the songs are attributed to “Adam + Lucy.” JIMSOBBINS kick things off with a synth-driven garage punk sound that hews closely to the egg-tastic racket being produced by Aussie heroes GEE TEE. Their four tracks are fun, frenetic, and well-executed. CINDY7 is not as easy to pin down. Freewheeling and unmoored, they do a little genre hopping, flittering from a loose and blown-out BLATZ sorta thing to something approaching crusty D-beat, and back to the egg-punk thing. In theory, I don’t mind the dabbling, but the end result feels half-baked rather than hard-boiled.

Detroit 442 / Superdevil split LP

Solid split here from these Eastern Michiganders. DETROIT 442 sounds like an Americanized version of the DAMNED if they adopted the vocal styling of LEFTOVER CRACK and the HOLD STEADY. Yeah, I know. That’s a wild combo, but the singer has a lot of range and bounces between brutal screaming, melodic mumbling, and Fred Schneider-esque sprechgesang. Great guitar leads laden throughout glue everything else together. Old school, dystopian punk’n’roll. “I’m Not Crazy I’m On Drugs” may as well be our national anthem at this point. On the flipside, the vocalist from SUPERDEVIL has an impressively deep growl of a voice. It’s like if Tony the Tiger decided he wanted to take up a pack-a-day habit, and start singing in a band that took all of the best qualities from DEAD KENNEDYS and ANTISEEN and molded them into one big rock’n’roll monster. There’s a pretty great STIFF LITTLE FINGERS cover here as well. Both bands sound different enough that this makes for a pretty satisfying split LP.

The Exile The Real People EP reissue

Exposing a new generation to obscure Scottish first-wavers the EXILE’s second and final 7” from 1978, this reissue from the awesome Italian archivists at Breakout Records allows you to claim another forgotten fragment of punk history. The title track is tuff stuff, compounding a ’70s hard rock charge with a rhythm section that vaguely recalls RAMONES’ “Commando.” “Tomorrow Today” is standard UK pop punk of the era led by a slinky guitar line. Finally, we land on “Disaster Movie,” a snappy, STOOGES-lite affair that’s the most solid cut here by my estimation. The band’s debut EP has also been granted a new pressing, but if you had to grab only one of them, The Real People is by far the punker of the two records and the one I’d recommend.

Eyes and Flys All the Tigers in Texas / Seabird 7″

The two-song single can be the ultimate medium to tell potential listeners exactly what your band is about. There’s no world-building, no narratives attempting to be woven, just a single and its flip. The perfect format. And EYES AND FLYS definitely seem to feel similarly, as this single follows the given mold, but it’s only in theory. The A-side is the rocker, the B-side the more exploratory side. As soon as the needle drops, you get what this band is about. Nailed it. The A-side “All the Tigers in Texas” does indeed hit the ground running with fast guitars, dual shouted lyrics, and energy that jumps out of your speakers, but for me, it seems to run out of breath before getting to any destination. The song feels like it’s going to culminate into something awesome, given how strong it starts. Instead, it just slowly comes unwound in a wash of guitars, like they went in without an ending and it just stayed that way. In theory, this EYES AND FLYS single is how the medium is done. In practice, I’m still not sure what this band is going for, even after multiple listens.

Freat I.H.T.U. cassette

Politically-charged Midwest synth punk that is virtually unlistenable. These folks have their hearts in the right place, and sing (vocalize?) about bodily autonomy, the pervasiveness of QAnon-fueled conspiracy theories, and the growing hate group Moms for Liberty, but it is done with such inept musicianship that it runs the risk of losing all meaning. The tracks feature simple drum programming and synth washes with growly, bluesy, out-of-time spoken vocals that sound like they are being read from a notebook. This is backed by rudimentary guitar phrases and occasional gang vocals (I’m assuming from whoever else was in the bedroom at the time of recording) that yell out the song titles. I give FREAT maximum DIY spirit points and applaud their punk effort at creating an outlet for their frustrations. But, sonically, it’s remarkably bad.

Goatzilla Alien Nation LP

Judging by the band name and album art I totally expected this to be doom metal, and while there’s hints of that peppered throughout, this is a pure rock’n’roll record. In fact, this gives off darkened glam vibes. GOATZILLA sounds like a modern day TWISTED SISTER with a singer that cops a sinister Dee Snider-meets-Lemmy energy. Really fantastic production here as well, everything is loud and heavy but discernible and crisp. With huge guitars and soaring solos, this teeters way more on the metal side of things than punk. So if that ain’t what you’re into, this might not be your bag, but for those of us who long for a dystopian Sunset Strip, this is well worth a listen.

Golpe Subisci. Conformati. Rassegnati EP

I put this on and I was greeted with a sonic explosion that I wasn’t exactly prepared for, even though I have heard this before. This is absolutely crushing modern D-beat of the highest order, fitting in nicely alongside bands like VAASKA, RAT CAGE, SCARECROW, DESTRUCT, and GUERRA FINAL. Originally released on a cassette in 2019. If you like the above bands at all, you should run out and get this today, or mail order it right now!

Hyper Gal After Image CD

Following up their 2021 debut, HYPER GAL returns with a further excursion towards outer-bounds sonic experimentation. The Osaka artist duo blasts their way through nine cuts of maximalist drum-and-synth recitations with an unwonted intensity. Atop the throbbing, swirling, noise-laden foundation, the ultra-clean ingenious vocals transmit repeated signals. There are times when the songs will tempt you into thinking they are coming unglued, only to snap back into a locked mechanical groove. It’s an unsettling listening experience that has to be heard to be believed.

The Ichi-Bons Get Away / Heart Attack 7″

Great, old school rock’n’roll played how it’s meant to be. The first side is just really fun and has a lot of top-notch soloing that’s very LINK WRAY-inspired. The second side is a radical instrumental with some spirited shouting in the background to give the song that extra kick in the ass. Not really much to say other than get your hands on this single if you can. This is the shit I’d rather be hearing in stores across America instead of whatever the sick bastards that queue the music in there play.

Kalte Hand S​ä​ureblocker 12″

Catchy, moody post-punk band from Germany. As someone who doesn’t speak or understand German, I loved that you don’t have to know exactly what the singer is saying to understand the music; it speaks for itself. KALTE HAND isn’t afraid to go heavy with the drums and rhythm section as a whole, as well as beginning and ending the album with anxious guitar lines that sound like they’re trying to escape something, all of which creates a darker and intriguing vibe to their music.

¡Miau! ¡Miau! LP

Histrionic project from Madrid presenting an electro-charged LP of synth punkers—crazy, explosively-tweaked songs with even crazier vocals that seem dissonant and with a crybaby attitude, merging beautifully with the tightest electronic drums given outstanding space in the mix, and deep synth and keyboard work. Onion-layered, they verse on different existentialist themes but also execute Spanish folk-related songs, and I personally very much enjoyed the social-critique-focused tracks like “Pepita Pantalonera” and “La Cruel Inocentada.” Gracefully executed egg-punk with a distinct identity and solid grip of its own, a merit not always found in many synth punk projects. Eager to hear more.

Moving Targets In the Dust LP

Somewhere in Boston, a divorced dad is excitedly knocking back beers over the release of this LP and jamming to his favorite local band, MOVING TARGETS. However, this is not me. I may not be the intended audience for this release, perhaps aimed at those who enjoy “melodic hardcore,” as the band puts it. They have a very loose definition of what hardcore is, with this album being composed of casual, almost pop-sounding rock—unfortunately, this is synonymous with being “background noise” in my terms. The album is unprovocative and placating, yet it certainly isn’t bad. It’s almost so cohesive and generally pleasing that there’s nothing particularly notable or interesting. This LP is surely better heard live for the full head-banging effect that is missing in the recording. The drums and tambourine in “Sacrifice” are fun. The singing-like riffs of the guitar near the end of “Decadent Side” and “End of The Line” suggest that the band does know how to take things up a level. If you’re into that sort of feel-good sunshine punk, then by all means take a trip In the Dust.