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!

River City Rebels Pop Culture Baby EP

Long-running pop punk New Englanders RIVER CITY REBELS return with a new four-track EP that’s brimming with cultural and societal critique, just as they’ve been doing since the turn of the millennium. Tracks like “Rock a Cross” and “Unless You’re White” are outward-looking indictments that could be about one specific person or a broad gesture to half the damn country. The big payoff on this record is the closing track “Abuse Myself.” Here, the critique turns inward and we are treated to a sub-90-second scorcher. Ending with the mirror flipped on themselves, RIVER CITY REBELS remind you what can happen to yourself, perhaps as a byproduct of the dumpster fires happening all around you.

Saddam Death Cave Planned Obsolescence 10″

SADDAM DEATH CAVE, a hardcore punk outfit hailing from the streets of Atlanta, is a musical force to be reckoned with, featuring members that play or played in PRIMATE, OTOPHOBIA, and RENT BOYS, just to name a few, which just might catch your attention. On their second release, they reshaped their focus and re-recorded the songs from their The Third Battle of Tikrit demo and added three songs, including a great rendition of NAKED RAYGUN’s “Rat Patrol.” Planned Obsolescence demonstrates an honest band that just wants to be able to express itself, and play some POISON IDEA-influenced hardcore. This band shows a cohesive sound and leaves no ambiguity about their bleak worldview and nihilistic tendencies. As abrasive as it is captivating.

Shop Regulars Shop Regulars LP

With seven self-released cassettes and six years behind them, Portland, Oregon’s SHOP REGULARS now put out their first LP. I hear vocals akin to the dourest moments of a STROKES song, and tricky rhythms that rattle on and on like White Light/White Heat-era VELVET UNDERGROUND. The latter comparison comes to mind with song length—at the shortest, “Off Season Walker” comes in at 2:22, while the B-side opens with the 11:09-long “Emerson Run Down” that jangles and ker-lumps along, dismissive of harmony, all the while lead-line side bars and quirks sun-flare over an uncompromised rhythm guitar and drum repetition that sounds like the dogma of the band: repeat, repeat, skew/deliver, repeat. Founder, guitarist, and vocalist Matt Radosevich fronts this experimental band, with drummer Patrick Barret being the only other constant since the group’s inception. Seven other musicians are credited in the notes, lending themselves (in a sound and structure) to the sort of freewheeling hippie punk thing of FAMILY FODDER. Comparisons aside, SHOP REGULARS have created their own mélange of art, oddball, electric, irreverent, and at times irksome music, in the best way possible. I’m feeling a little wobbly after so many listens, and to lift a line from the LP jacket, “it can happen to you.”

Snitfit Snitfit demo cassette

Nothing screams punk more than a group of teenagers making hardcore music, and SNITFIT, a group from Newfoundland, is a testament to the importance of it. With classic punk and garage-y instrumentals combined with riot grrrl lyricism, they bring a fresh style of punk feminism reimagined. Reminiscent of the yowling screams of Amy Taylor of AMYL AND THE SNIFFERS, combined with a deep passion bloomed from youth, SNITFIT has an enticing edge. Songs like “Bitch” and “Grope” show how SNITFIT uses blunt lyricism to strike through to the listener, as it feels like their instruments are somehow going to burst through the speakers and, quite literally, hit you in the face.

Tension Pets Cubey CD

Six tracks of synth-accompanied punk from this Chicago band that nestles close to the DEVO tentpole of the egg-punk umbrella. These songs are fairly traditional in their careful and accomplished arrangements, not unlike the hook-laden garage punk of TEE VEE REPAIRMANN with added interlocking synth and guitar lines. Whereas some of this genre can head down a noisy, buzzing nerdcore path, TENSION PETS deliver melodic verse-chorus-verse songs with backing vocals and quick solos. The only slight exception is the near-hardcore stomping beat of “Mansion,” although it too is catchy. It’s all very accessible and likeable, if you don’t mind some sugar in your punk. Enter the heart-tugging “Magnolia (She’s Back),” a never-was new wave classic that sounds like the CARS in the best way. Had it come out in the ’80s, its sweet melodies and lost-love lyrics would have played in every car and over countless romcom movie trailers. Total melodic gem. Check it out if you like bands like CHERRY CHEEKS and have some romance hiding out in your jaded punk heart.

Ultra Lights Nostalgia / Clockin Out 7″

I was driving around with my wife the other day, listening to a playlist of my MRR review assignments, when this release came on. It followed up the latest album from FEN FEN, and the transition from tight, unhinged hardcore punk to languid power pop apparently got my wife’s attention, because she blurted out “What is this? It sounds like the STROKES.” She wasn’t wrong. The two tracks on this Atlanta four-piece’s debut don’t sound a million miles away from what you got on Is This It. Maybe mix that with an extremely sanitized version of the EXPLODING HEARTS, and you’ll probably get a good enough picture. In any event, it’s much less contrived-sounding than anything you’d associate with the indie sleaze set, and these are two genuinely catchy numbers. I don’t know that I’ll be dipping back into this, but I’d still be interested to see where they take things.

Waldo Faldo Nueva Especie Humana EP

Madrid-based histrionic new wave-y synth punkers filled with energy. This is their second piece of work, pinching up the synth influence in their music. Lyrics verse on new world order and biotechnology applied to humans, carrying such prospects to the table in tracks “Año 2033” and “Nueva Especie Humana.” Monotone clean vocals follow the drum machine but especially the synth lines mixed with keyboards, which tend to be addictive and create a great atmosphere for egg-punk lovers. All four tracks carry a similar intention, giving a feeling of passing through videogame levels in the same tones. Interesting enough, eager to hear more from them.

X Hate City EP

Hate City is a collection of previously unheard material from ’77-era X (not that X).  This is the band that Ian Rilen was in; he’s the guy that briefly played bass in ROSE TATTOO for a bit, having written one of the band’s earliest songs, “Bad Boy For Love.” Aside from X’s Aspirations LP, Hate City seems to be all from this period that is out there for these cats, and it’s near perfect in its sleaze and swagger. In another world, they could have been a drunker DEAD BOYS, who wouldn’t take themselves seriously and light a fart on fire for giggles. Kind of a cousin to PETER AND TEST TUBE BABIES? I don’t know…this is a limited run that Green Noise/Dirt Cult put out, buy one for your neighbor.

Yield to None Both Demos LP

A collection of a couple of demos from YIELD TO NONE on one LP. Sonically reminiscent of the hard streets of the Lower East Side in the 1980s, but they’re from Tampa, where I’ve never been. If squatter-era Harley Flanagan’s dog Lucifer had a band in the ’80s, it might have sounded like these vocals. For fans of OUTBURST and BREAKOUT.

V/A No Genocide: A Benefit for Mutual Aid in Gaza cassette

The brutal mistreatment of Palestinians at the hands of the Israeli government is not something that started in 2024. For decades, the people of Palestine have been on the receiving end of ruthless displacement, and as of October, that displacement accelerated to full-blown genocide. As we now live in the age of social media, these atrocities have been pushed to the forefront of our minds, as they should; these are real people being killed on a daily basis, with the death toll reaching approximately 39,000 with many more likely unaccounted for. It’s difficult to wrap your head around, especially as many of us live thousands of miles away from the conflict, seeing it streaming from our phones alongside our usual daily content. It’s surreal and soul-crushing in equal measure, and ultimately leads to the question: what can be done locally to show support for Palestinians whose lives are being systematically annihilated? Fortunately, I’m proud to say I’ve been able to find humanity and inspiration in the punk scene. From bands speaking out and displaying the Palestinian flag during shows, to printing “From the River to the Sea” in liner notes, it’s no surprise to know that the punk community cares (mostly, there are always shitty exceptions). In addition to the aforementioned instances, over the past ten months there have been a plethora of pro-Palestinian comps released featuring countless bands proudly throwing their support behind the cause. One of the first on my radar was No Genocide, a cassette put together by the DISSIDENTS from Philly and featuring a variety of punks offering something for everyone. Every track here is a heater, my favorites being the vicious “Rabid Dogs” by SCARECROW and RAT CAGE’s excellent cover of the VARUKERS’ “Another Religion Another War.” If the raw punk stuff isn’t your thing, there’s plenty of post-punk, anarcho, and hardcore to be enjoyed as well. Regardless of taste, head over to the Bandcamp and download, donate, share, and support. Thank you to the DISSIDENTS and all of the bands involved here, thank you to all the punks standing up and giving a voice to those who don’t have one, and thank you to anyone who has contributed to the Palestinian cause. Free Gaza, Free Palestine!

208 Possession EP

On paper, 208 is a noisy guitar-and-drums garage punk duo out of Detroit. But it’s best not to go into this release with that as your primary frame of reference. You’d likely come out the other side thinking it sounds like an unlistenable mess. Because it is…sort of. The production sounds like someone held a cheap microcassette recorder up to a boombox with blown-out speakers blasting one of PUSSY GALORE’s lowest-fidelity songs. It’s extreme. It wasn’t until I got to the record’s instrumental title track that I think I finally got things. I’d zoned out while it was on, to the point of forgetting what I was listening to. When I snapped back into focus, all of a sudden it sounded like I was inside the engine of some rusty steam engine, barrelling through some industrial hellscape. So, being able to recontextualize this as something closer to a pure noise project, maybe something like CHROME meets the DEAD C meets Metal Machine Music, I was able to get into it a little. Not sure if that was their intention. In any event, I think I’m OK with this now. I’m really curious to see how this would translate live.

Aliento De Perro Más de 30 Años… LP

Villa Rosa’s group of four that’s been around for decades in the Argentinian punk rock scene delivers nine tracks of well-executed, mid-paced classic punk rock in less than sixteen minutes—anthemic and deeply felt, bursting with passion, existentialism, and love adventures, with a twist of nihilistic, gloomier humor and views. Punk rock poetry lessons from the barrio with uplifting but also laconic, melancholic features between the lyrics and music, as the whole album is a progression through feelings, experiences, and situations from touring, lovelife, and the regular course of living. The band replicates highly energetic live gigs with a deep connection with the audience, anthemic palm-muting, and sing-along encores, exuding attitude and feeling that creates a great atmosphere. Favorite tracks: “Antisocial,” “Montevideo Me Dicem” and “Nada de Nada.” Go pogo with them, highly recommended.

Bad Motivator Bad Motivator cassette

Three thrashy garage noise psych tracts that sound like something In The Red would have put out in the early ’00s. I was initially thinking this was the glam-adjacent band BAD MOTIVATOR from Spokane, but this outfit is from Los Angeles and only has a few releases out, leaving me excited for a full-length sometime in the future. Guitar-driven tunes with just the right keyboard accents in the vein of USELESS EATERS and GOGGS. Party tunes for deranged misanthropes.

Contracharge Est 2023 CD

Now, there are only two options when you are confronted with a band that has the word “charge” in their moniker. They either have a plan to go on a pilgrimage to sunny Stoke-on-Trent in order to take pictures of the famous chimneys, or they haven’t listened to a single punk band since the SEX PISTOLS. Of course, CONTRACHARGE belongs to the first category, as this Chicago band plays D-beat hardcore (duh). This CD includes their first three digital EPs, Clutching Keys, Dead Weight, and The Tower, that were all recorded in the past twelve months. I make no secret of my love for the D, and for unoriginal hardcore punk music done well in general. D-beat is a deceptively easy genre, but, as my punk sensei used to teach me, “simple is difficult.” CONTRACHARGE takes the more rocking approach to D-beat hardcore (sometimes too much) rather than the straightforward, orthodox path. The sound is raw and the songs have a “live in our practice space” feel, and it does get a little sloppy in places which I don’t mind for the genre, but don’t expect anything too fancy production-wise as they are clearly a young band having a go. I love the hoarse, aggressive vocals, and some riffs point to Scandicrust bands like UNCURBED or CONSUME (especially on the last recording) which I would say is the way to go, and on the whole it does the job well. I’ll be keeping an eye on CONTRACHARGE.

Crepuscular Dawn The Fire Tomorrow LP

Post-punk of the heavy-to-soft exploration variety, out of Manila. I had to look up the word “crepuscular,” and it’s not remotely what I thought it meant. CREPUSCULAR DAWN has vocals that range from a little bit of DANZIG mixed with Jaz Coleman to a swoon like MORRISSEY. Guitars build and shift dramatically on this album when given the chance. The song “Pilgrim” is my current favorite, with its hook of proverbial wisdom. If you’re into dark post-punk with a tendency towards a heavier vibe, then absolutely check this LP out.

De Rodillas Implacable EP

Five hard-charging hardcore tunes, coming to you from the punkest city in the USA: Pittsburgh, Pennsylvania. DE RODILLAS dispense with the pleasantries and set directly into the bone-breaking and ear-splitting. I got to catch their citymates PEACE TALKS recently, and this is cooking with a similar spice, which is to say that the heat is cranked way up. These tracks are nearly combustible, ramping up the tension from one song to the next until the closing cut “Quiero Ser Buena,” which slows things down a touch and introduces some melody to the vocal delivery. There’s not a lot of window-dressing or ornamentation on this EP. It’s lean and to-the-point, with a strong undercurrent of UK82 nastiness. Four-chord, pogo-worthy, pissed-off punk. What more do ya really need?

DMZ Lift Up Your Hood EP reissue

DMZ was part of the thriving late ’70s garage punk scene along with bands like the REAL KIDS and the LYRES. The band also included members who played or would play in the LYRES, the MODERN LOVERS, the CARS, BARRENCE WHITFIELD AND THE SAVAGES, the QUEERS, and more. This record gives us hard-hitting garage rock just a little before a punk influence really started to push its way to the forefront. At this stage of their career, they really remind me of the 13TH FLOOR ELEVATORS. Perhaps that is because they both did great versions of “You’re Gonna Miss Me,” but it goes beyond just that song. Real-deal garage rock from 1977. Very nice.

Glitter Litter Shocks to the Sleeping Beauties CD

I like glitter. And I like litter, like kitty litter. And I love Spain. I feel like I’m jinxing myself here. Yes and no, as it turns out. If you’re looking for something that’s going to change your world, I’m not sure this is it. But if you’re a fan of old school, melodic punk rock and want to put on something new, this could be your ticket. So, for me, it’s good, but not great. Separately, I wish I understood the draw of publishing your record on YouTube. It’s a head-scratcher for me.

Hög True Romance EP

Damn, this EP kicks a whole lot of ass. Heavy-hitting, organ-laden rock’n’roll outta New Zealand that would fit right in with all of those Confederacy of Scum bands like HELLSTOMPER, RANCID VAT, and ANTISEEN. Also has a BLUE ÖYSTER CULT vibe, which might not be the type of band you’d want to cop to in an MRR review, but I can never say no to that type of energy. Pretty decent production here, while maintaining that raw edge you’d expect from a band called HÖG. Lovely work.

Käräjät Maailman Onnellisin Kansa EP

KÄRÄJÄT is a ugly Finnish noisecore band that follows the classic audio terrorist footsteps of SORE THROAT. Short blasts of what sounds like a desk being used as a drum kit in, noise-driven punk, accompanied by chaotic riffing and throat-damaging screamed vocals. The “songs” are really, really short, in the good fashion of noisecore, and go for full intensity. As per tradition, these types of bands focus more on making people feel disgusted than on musi, per se, so Maailman Onnellisin Kansa (“Happiest Nation in the World”) is more of a critique of Finland set to a soundtrack of hellish noise.

Lika Blame Game cassette

An insular, moody powerhouse, Blame Game is for those who love Finnish punk music’s gloomy yet exciting nature. LIKA lays out the album with a “come and see” eclectic attitude, treating the listener to a medley of noise, screaming, and fun. Each song has its flair, such as the almost gothic guitar in “Monkey Money” escalating to a fast-paced riot, then back again into the depths. The album is hyphenated by a mix of Finnish and English lyrics, the vocalist using her great, compelling voice for a range of singing or screaming “mad boy!” The drums and bass offer a great heavy-blanketed backdrop to her raving in songs like “Komero” and “Whatcha Gonna Do?” Ending off the adventure, LIKA uses “Last Page 23” to divulge into a weird and wonderfully experimental sound, reminiscent of BJÖRK. Being LIKA’s third self-released album, Blame Game is a nice break from traditional sounds.

Merked Good Night cassette

Latest release by Oakland grindcore trio MERKED. CARCASS/NAPALM DEATH-style grindcore, but also reminds me a bit of a less crusty version of pre-DYSTOPIA death/grind band CARCINOGEN. Heavy yet intense short bursts of sickened energy. No piccolo snare or slam parts here, to which punks can better relate.

N.E.O. N.E.O. 12″

Hailing from the frigid northern reaches of Finland, N.E.O. channels the raw, untamed spirit of being punk into a musical maelstrom that’s both exhilarating and cathartic. Their blistering guitar riffs, thunderous rhythms, and relentless vocal delivery (which is something that is very much a Finnish punk signature) coalesce into an uncompromising sonic assault. I don’t understand Finnish, but singer Jossu sounds pissed-off as hell! Recorded by Ville Valavuo from KOHTI TUHOA and YLEISET SYYT, one might even draw some comparisons between N.E.O. and these bands. A defiant middle finger to the ears, and a testament to unadulterated hardcore. Expect mosh pits erupting and fists pumping.

Peace Decay Peace Decay LP

On their debut LP, Austin’s PEACE DECAY infuses their ass-kicking burly hardcore with a hefty dose of metal power. The howling guitars and adventurous melodies might remind you of classic NWOBHM bands, but there’s a core element of punk pounding throughout these ten tracks that keeps the album grounded in a down-and-dirty energy. On their previous EP, the band was sketching furiously, and now they’re painting, including an actual gnarly neon painting by the singer on the album cover.

The Plane Crash Nostalgia for the Gutter CD

This record kicks off with a classic blues riff and I held my breath as I waited for more hallmark Americana sounds. But instead, they pivoted into power pop, and for that, I thank the pilots of the PLANE CRASH! The rest of it kinda plods along with a garage-y lo-fi sound reminiscent of the VIBRATORS, though also carrying the rock’n’roll through with CHUCK BERRY-like solos. But hang on a second, the song “Nothing on My Mind” is a screwball, out of left field (to extend the baseball metaphor, ‘tis the season)—DEAD MILKMEN and the GROOVIE GHOULIES come to mind at the same time. Then we go right back into JOHNNY THUNDERS raucousness, only to be met with a DEAD KENNEDYS homage with the song “Killing Fields.” Overall, the record lacks a homogeny. Now before you come for me, I mean the songs are all under the same umbrella, but that umbrella has holes in it and isn’t consistent in keeping things dry. I think all the songs are absolute bangers, out of sequence as I may think they are. I have a feeling that this is a newer band, and if they’re still finding their groove, I’d say they’ve got a super solid footing already.

Qiik Qiik demo cassette

Fast, pummeling hardcore punk from Honolulu, Hawaii. A demo living up to how I imagine their band name is pronounced, cramming all eight songs into a mere three minutes and twelve seconds, with the longest track on the demo clocking in at a whopping forty seconds. QIIK stomps through song after song, barely giving you enough time to comprehend what just transpired before clicking immediately into the next track. The physical cassette is somewhat hard to follow along with, as the tracks are recorded on a loop with each side not necessarily starting with the first track. Nobody is manning the rolley-coaster, so buckle in, turn it on, and enjoy the ride complete with bonus laps.

River City Rejects / Triangle Fire HFY Split Series, Vol. 1 cassette

Split effort with four tracks per band. Nebraska’s RIVER CITY REJECTS execute classic hardcore punk flirting with anthemic street punk, fierce, fast-paced, and straight-to-the-point with a twist of irony, and even some palm-muting trances to continue the fast drum beats. Live vibes all around on “Blacklisted,” filled with angry vocals that remind me of GG ALLIN from time to time. On the B-side, there’s Georgia’s TRIANGLE FIRE delivering some kind of crust powerviolence with faster blastbeats and high-pitched, doomy vocals, and then some fast-paced classic hardcore punk with a formula of singing to the beat. Depending on the track, it gives a feeling of some crazy crossover—sometimes it is a demon from hell, and sometimes it is Beki Bondage from VICE SQUAD. Perhaps too much of a mixed cocktail on this side.

Small Doses Small Doses LP

Debut LP from Asheville, NC-based SMALL DOSES. Seeing Asheville on their Bandcamp page, I assumed I was going to get some peace punk or zany hippie-cult thing, but rather found something closer to the turn-of-the-century RVA sound; ANN BERETTA comes to mind. Founders Matt and John, formerly of DAWN OF THE DUDE and OFF WITH THEIR HEADS, reunited after a 30-year hiatus, coming together with bassist Crystal of ZOMBIE QUEEN to form this powerful trio. Pretty straightforward punk/post-hardcore at work, with lots of palm mutes, pinch harmonics, bass that’s hooked into tom-pounding drums, and higher-register, near-gruff vocals. It feels like SMALL DOSES would be right at home on any of the early Warped Tour bills. Solid eight-track debut, with writing already started on their next album.

Snow Trail Abandoned Capsule LP

From Jena, Germany comes SNOW TRAIL: synth-laden post-punk with a punk rock sneer. If you’re into HOME FRONT or DIÄT, you’ll definitely like this. Abandoned Capsule is full of lengthy jam moments that rapidly shift and churn, but are completed as quickly as they started. Elements of no wave creep in around the edges, with saxophones occasionally making an abstract appearance. There’s also an element of PUBLIC IMAGE LIMITED. in the experimental play with recording techniques and instrumentation. In all, probably not for the diehard punks, but definitely worth picking up if you’re into post-punk.

The Stench The Stench LP reissue

From the vaults, mostly unabashed ’90s pop punk. They occasionally add in some quasi-thrash metal guitars, but there’s no need to split hairs here. The band hits all the expected notes: power chords and palm mutes, treble-heavy bass, and adolescent longing. The vocals are a snotty whine. It all would have been right at home on Lookout! Records. Who knows, maybe it was!

Walled City World Pain LP

A combination of late ’90s melodic hardcore like LIFETIME and KID DYNAMITE mashed with vocals that can only be described as blackened crust; as if DARKTHRONE started catering to the No Idea crowd. The vocals are absolutely brutal in the best way possible. Energetic, passionate, and heavy. The music sounds like prog-punk. Blisteringly fast at times, while also showcasing some maximum harmonic riffage. It’s like K.K. Downing joined up with the NONE MORE BLACK crew. This is really great stuff and well worth a spin.

V/A Uncivil Disobedience, Vol. 1 cassette

A cassette compilation from Bellicose Records, Uncivil Disobedience brings a who’s-who of crazy Florida hardcore bands together in support of the Atlanta Solidarity Fund. Proceeds will help to oppose a current proposal that would tear down a bunch of forest land in order to build a massive new police training facility in Atlanta. And it’s a ripper, packed with gems like ARMOR’s pummeling ANTI-CIMEX cover, a new tune from the formidable SQUEEZE USA, and a searing medley from Jacksonville-based sonic terrorists SOURPUSS. In addition to its worthwhile purpose, this tape provides a good overview of current scenes in the sunshine state and a happy slap on the ass for anyone who likes hard punk.

ADD/C Ordinary Souls LP

Awesome high-energy, lo-fi punk from Chattanooga by members of FUTURE VIRGINS, SQUISHERS, and SAVAGE WEEKEND. Anthemic, heart-on-sleeve, fuzzed-out tracts in the spirit of SEXY and BENT OUTTA SHAPE that keep the optimism of pushing through life in a shitty world, because really what else can you do but make your art? Lyrically, some early SPRINGSTEEN and REPLACEMENTS-inspired tales to keep your head above water in bleak times.

Alarm! Alarm! LP

ALARM! is from Stockholm, Sweden and features members of VICTIMS and OUTLAST. I hear some classic Swedish hardcore, but not just that—I also hear some burly American style in there, such as some POISON IDEA vibes. Thick guitar, powerful bass and drumming, with intense vocals. At times, it also reminds me of LOS CRUDOS on their earliest records. Despite my comparisons, their sound is uniquely their own. They venture into territories most hardcore bands don’t, and they aren’t afraid to do their own thing. A great record by people who have been around for a while.

Broken Barcodes Nothing Groundbreaking Here LP

The biggest crime of this record is that it’s boring. I have a feeling, based on their album title, that they are aware. Everything about this is amateurish. That first song’s drumming is atrocious. Anyways, this is the latest occurrence of scraping the bottom of the “punk nostalgia” barrel. Did you or someone you know listen to bands like the QUEERS, SCREECHING WEASEL, and…OK, everyone stop. Hang on a second. They have a song called “January 6 (The Most Idiotic Day in Modern American History).” It’s also bad, but what a title! The pacing is boring and the lyrics are pretty cringe. I feel I need to break it to you that romanticized pop punk is not the best venue to recruit political activists. And in the very next song, you sing about how your girl gets “five stars from your heart.” It’s super tone-deaf. Thanks for being on the right side of history, but, like, make a PROPAGANDHI-worship band instead. Based on their Bandcamp description, they are not taking this very seriously: “Three neighborhood dads in need of a hobby, united united in a quest to fend off boredom, attain unfulfilled juvenile dreams, and make use of those dusty instruments, all while trying not to piss off the neighbors.” Also, by the way, the drumming starts to suck again on “I Don’t Sleep a Lot.” No thanks.

Burning Realm Burning Realm cassette

Punks, from the wider Dublin scene in this case, playing what could reasonably be called stoner rock, but keeping enough of their god-given punkness in the mix to maintain the flow of blood. BURNING REALM is a three-piece with two guitarists and no bass player, which doesn’t necessarily translate to there being no bottom end on this four-song debut tape—“From Beyond,” for example, has some heft to its psych/alt/doom chug, and comes off like a cross between TORCHE, JANE’S ADDICTION, and RUDIMENTARY PENI circa Archaic. That hybrid is likely not for everyone reading, but they make it work whatever you think. “Warped One (Arise)” is the EP’s speediest number from its sweet, THIN LIZZY-doused axe intro onwards.

Canal Irreal Someone Else’s Dance LP

Singer Martin Sorrondeguy has achieved legendary status in the American punk scene. He sang about the issues immigrants faced living in the USA in LOS CRUDOS, made Beyond The Screams: A US Latino Hardcore Punk Documentary, fronted straightedge queercore band LIMP WRIST, perfected the craft of photographing punk shows, and is overall a major influence for steering punk in the right direction. CANAL IRREAL is his newest project alongside friends from SIN ORDEN, COLD LOVERS, and CARDIAC ARREST, and they are already on their second full-length through Beach Impediment. It mixes all that we love about hardcore (the fast tempos, the gritty instrumentation, the raspy vocals), but it’s a post-punk band, essentially. Someone Else’s Dance flows easily in 30 minutes, and it keeps you on the edge of your seat. A great record from start to finish, and it will appease the followers of Martin’s work and gather a lot of new fans.

Cicada Something Else flexi EP

For the first time since 1803, two distinct broods of periodical cicadas emerged during the same season this year. Trillions of these noisy bugs dotted the Midwest and Southeast US over the past couple of months, emitting a maddening, high-pitched buzz while engaging in a mating frenzy before littering landscapes with their discarded carcasses—a shameful, disgusting, and carnal affair. As it turns out, a third horde of nasty CICADA has been discovered, and it’s these ripping gents from Richmond. With haggard growls commanding whipping fits of catchy, menacing hardcore, this flexi presents three snappy tracks in less than four minutes. With any luck, we’ll hear more of this much sooner than the next expected invasion of the band’s namesake pests (they won’t be back until 2037).

Dandelion Adventure John Peel Session LP

DANDELION ADVENTURE was a late ’80s UK band whose members went on to a host of significant endeavors (bands like DONKEY, the COMMON COLD, and STRETCHHEADS, labels like Pumf). DANDELION ADVENTURE put out a couple of great, overlooked records with songs that smile at you sideways with an infectious glee, as if the band is just as surprised as you that this spastic chaos actually makes some kinda sense. In 1990, they had the honor of recording a session at Maida Vale for John Peel’s radio show. Excited young lads that they were, they wrote four new songs for the occasion. Decades later, bassist Ajay Saggar revives his Wormer Bros. label to pair up these never-released tracks with their 1988 demo and some rehearsal takes. No surprise that the Peel Session sounds fantastic, showcasing the pinging logic that DANDELION ADVENTURE channeled like lab rats fed methamphetamine and let loose in a maze. Bursting out of the gate like the FALL after a good night’s rest, “Exit Frenzy Revisited” leads into “Bing Crosby’s Cathedral,” which starts like a consumerist daydream before tearing up the receipts and unleashing something like SONIC YOUTH trying to cover the MAGIC BAND. “Don’t Look Now” is chock full of the manic yet groovy rhythmic tussle that the bands on the Ron Johnson label excelled at, with nice, echoey vocals to let some air in. “All The World’s a Lounge” feeds an array of TV-tapped samples into DANDELION ADVENTURE’s avant-punk mulcher. The demo tape gives some early looks at tracks that later ended up on wax. While you’re definitely going to want to hear the studio version of “King Burger Autopsy,” the fairly straightforward punk of “Chickenfeed” sounds particularly great here.

Deef 脳 (Nou) LP

DEEF existed for a short period in Sapporo at the beginning of the ’80s. They played fast-paced, primitive but bouncy hardcore punk that was more guitar-centric with radical rock’n’roll elements than focusing solely on ear-torturing noise, which is present in their sound but probably unintentional due to limited recording tools. Imagine a wilder style of rocking-era STALIN; it’s slashing, wild teenage angst rock played pretty tight, but with enough filth that is equally raw and has a secret society sort of bedroom raging vibe. Not the screaming into your pillows, but “setting up a rehearsal in your room” type of noise, behind locked door vibes. But most likely, everyone who loves this sort of punk already knows them, and we are now happy their music can be listened to outside of the dubbed-to-digital punk tape realm. Knowing the dedication of the General Speech fanzine and label, the members have been involved in the creation of this reissue, so I guess it’s good feedback that people still want the music that you made while you were young and find it relevant, even if hardcore is great because it’s about the present. But DEEF is great because the urgency and the wild admiration of speed is in every second of their record. Their youth angst has been recorded and speared, and now it takes a new form. Also, it is another great example of how the deeper you dig in hardcore, the more interesting records you find. The unfiltered and underproduced charm makes me excited, and I simultaneously try to theorize what their actual influences could have been while they capture my attention—I feel as if they are the only band that exists while the record spins. An accompanying info sheet briefly concludes the band’s story, but it also mentions how slow records/influences traveled back then, and how isolated DEEF was from the rest of the scene. This record collects their tape, a comp, a few unreleased songs, and a couple live tracks in chronological order, so as we move along, things get wilder. This is a great record, but most likely it’s not a surprise for most of its listeners and future owners. But for these fans, its release is a labor of love for sure.

Fen Fen National Threat LP

In a move similar to acts like INSANE URGE or the SCHIZOS, Detroit’s FEN FEN have decided to scrub most of the garage punk gunk out of their sound, opting instead to play their hardcore straight. And it was absolutely the right move—this record rips! They’re not doing anything here that you haven’t heard before; this is essentially Fresh Fruit for Rotting Vegetables/Adolescents/Wild in the Streets worship with some beefier guitar timbres, but it’s extremely well-played and the production is just so crisp and immediate. I think what really sells this one for me is the vocal performance. My dude’s really going for it! It ends up sounding like Jello Biafra dialed back to non-cartoony levels mixed with—and I’m sure I’m going to lose everybody on this point of comparison—NAPOLEON XIV (the teetering-on-the-brink-ness of it all and the quickening cadence really gives me “They’re Coming to Take Me Away” vibes). I love it. Also, as residents of the Motor City, they’re apparently required to NUGE it up every so often—listen out for the excellently out-of-character hard rock guitar solo that wraps up “Nothing to Say.” My one complaint is that this LP has about five more songs on it than I (and I imagine most punks in the 2020s) have the attention span for. But otherwise, yeah, killer shit!

Graveyard of the Pacific Sorcerer LP

The spacey orange and purple cover art tells me this is headed into the land of psychedelia. And the first cut confirms this. But wait, as I look more closely, I see words like “Moog” and “synthesizer” and, god forbid, “various software instruments.” This isn’t psychedelia at all; it’s new wave. And not just any kind of new wave, it’s that first-wave stuff like BAUHAUS, or ULTRAVOX or ECHO AND THE BUNNYMEN. It’s mid-tempo and moody and I am really digging it.

Lion’s Law Si Le Ciel Vient à Tomber LP

Pulling together all of their French-language tracks from the span of nearly a decade, Si Le Ciel Vient à Tomber could act as a thesis for Oi! stalwarts LION’S LAW. A friend once told me they think of Oi! as power pop for skinheads. Let’s call this Exhibit A. Packed to the gills with hooks, walking bass lines, big sing-along choruses—the songs in this collection are as catchy as they are tough. Overall the production is big, beefy, and crystal clear. A lot of bands lean on saturation from behind the board to impart grit and aggression, but LION’S LAW let their tunes do the dirty work. The level of raw talent on display here is remarkable. Ferocious, biting guitar work is underpinned by some of the most devastating bass playing you’re likely to encounter. Queue up “Destin Criminel,” and prepare to retrieve your slackened jaw from the floor. Simply put, LION’S LAW delivers world-class street rock on a level unrivaled by most of their contemporaries. If you have even a passing interest in Oi!, then this is mandatory listening.

Marvelous Bareno!!! cassette

Raw, tight, and flawlessly fast fastcore like in the old days from Ashikaga, Japan, with serious connections to positive attitude and anti-nuclear hardcore punk from the late ’80s and early ’90s, and some forms of skate punk for sure with their anthemic and melodic impasses. The vocals are effusive with frantic, energetic, powerful attitude, while the drums organically blast and create excellent sections. In this particular style, it has been some time since I’ve heard something that triggers that happy violence feeling. Greatly surprised.

Pardoner Paranoid in Hell EP

New EP from San Francisco’s prolific PARDONER. This is their fourth EP, with just as many LPs since their first release in 2015. With noted influences of POLVO and YO LA TENGO, I also hear ARCHERS OF LOAF and LUNGFISH to round out the slacker-rock sound that PARDONER puts their own spin on, with sections that fade into a slow fantasy, only to be pummeled to death by hardcore and even D-beat moments of brutality, seen more on previous albums but still on display here on “Distant Star.” “Over the Moon” is the most experimental of the four songs, and features a flute (maybe?) and steel drums, producing a nostalgia-tinged anthem that feels longer and more spacious than the 1:57 play time. Overall, a really great EP, and glad to see Max, River, Colin, and Trey are still making this fine brand of punk.

Pisse Jammertal / Vetschau 7″

Synth-laced indie jams out of Germany. Really dreamy and crisp, yet rustic and raw. Rhythm section tightly drives each track while the guitar layers an ethereal atmosphere throughout. The A-side kicks things off with a theremin solo, which in itself is impressive as most people don’t have a clue how to use those things. Reminds me of all those twee bands from the early ’00s like the SHOUT OUT LOUDS and CLAP YOUR HANDS SAY YEAH. Nothing really groundbreaking here, but it’s a pleasant couple of songs if you dig this type of thing.

Refuse Very Best of Hero CD

REFUSE was a noisy Japanese punk trio from the Fukushima prefecture, formed in the early ’00s and consisting of members from EFFECT and DISCOMFORT, to name a few. Their sound (or rather noise!) follows the same line as Kyusu punk bands like SWANKYS, GAI, and CONFUSE, who in turn were highly influenced by CHAOS U.K. and DISORDER. The guitars are a wall of noise, the only perceptive melodies come from the wonky bass, primitive yet effective drumming leads the way, and a distorted voice utters all kinds of profanities. Love it! Very Best of Hero is a compilation of tracks taken from all their releases, so essentially, this has their full body of work .I highly recommend the tracks from the Punk Save the World??? EP, which is a really fun, pogo-inducing noisy hardcore gem, complete with covers of GAI and the SWANKYS. For noise addicts!

Silicone Values How to Survive When People Don’t Like You and You Don’t Like Them LP

Hook-laden synth punk that doesn’t shy away from embracing a melody and juxtaposing the sweetness with some seriously bleak lyrical content. Appropriately lo-fi, How to Survive When People Don’t Like You and You Don’t Like Them compiles a series of disparate online releases and commits them to vinyl, courtesy of Parisian label SDZ. SILICONE VALUES pull off the rare feat of making their songs feel monumental and understated all at once. Harkening back to the seminal acts of first-gen post-punk, the Bristol collective shakes out fifteen cuts that would make STEVE TREATMENT blush. Like a more restrained SWELL MAPS or a more agitated TELEVISION PERSONALITIES? Yeah, SILICONE VALUES paint from the same palette, but the rendering is stark and defoliated. Despite the references this collection doesn’t sound dated. More the product of timeless influences piped through the damage of a depressingly modern world, executed with incisive wit and off-the-cuff charm. The limited pressing of 200 copies worldwide may make this hard to come by, but easily worth the effort to track down.

Sooks Moral Decay LP

From Perth, Australia comes SOOKS. Their first full-length Moral Decay is fourteen tracks of hardcore punk that explore a variety of contemporary issues. Vocalist Ange delivers a vast range that highlights various emotions in the lyrics. Occasionally, the guitar work reminds me of early Stig Miller. SOOKS throw a lot of variety into this album, with each song having a fresh presentation and multiple shifts within a song. Hands down, Moral Decay by SOOKS is worth owning.

Svaveldioxid Världselände LP

Världselände was quite probably my favourite käng album of 2023, and I am very happy to be attributed this monster of a record for review. I have been a massive fan of SVAVELDIOXID since they started in 2015, and this latest production has to be their strongest, most powerful effort yet (and the band is actually prolific). We all know that the TOTALITÄR style of Swedish hardcore has become more popular in recent years, but this band takes a different, more primitive, darker, harder-hitting but still old school approach, one that has the delicate subtlety of an angry charging mammoth on speed. You can tell that the members are experienced, that they have been involved with the genre for a long time and therefore know how things have to be done in order to convey that sense of galloping relentlessness and gruff anger that defines this very busy genre. What makes Världselände stand out is the perfect production— the balance between raw aggression, hardcore heaviness, and punk energy is ideal. I love how the instruments blend with one another, the pummeling drums, the mean vocals in Swedish, the thick riffing, the density of the guitar sound, as it confers onto the LP a genuine organic feel, a natural thickness. You can hear the scorching power of vintage SKITSYSTEM, the brutality of WOLFPACK, the primitive hardcore fury of BOMBANFALL, ANTI-CIMEX or ASOCIAL—there are also a couple of moments where a creeping death metal influence shows its head—not unlike a Scandicore synthesis. SVAVELDIOXID’s roots can be found as much in the ’80s as in the ’90s, and this new LP exemplifies how epic and ferocious käng can sound when done with such virtuosity. The only criticism I have is that the cover may look more fitting for a REPULSION-type band, I suppose. A very minor issue. This was released on Blown Out Media, a label with a pretty flawless discography so far.