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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!
Woooofffff, this one lands just right. How did ARTIFICIAL JOY inject ’80 Sunset Strip energy into snotty, femme-fronted modern hardcore stomps? I don’t know and it doesn’t make sense (though I did blast RATT for a solid six hours the other day), but ARTIFICIAL JOY makes me feel like that even though they sound like a ripping 2020s DIY punk act. And this, my friends, is wonderful.
Two bands from Barcelona that I have absolutely never heard about (damn, I do get older) do a split tape together, and well, you’ve got to like it when local bands team up to release something. Sadly, this is not my cuppa at all. SVNYA reminds me of late ’80s Deutsch punk or early ’90s Mexican hardcore back when both genres were starting to become boring. The band definitely sounds like a Spanish band (especially the very special vocals, half spoken/half shouted). I am not really sure what the band is trying to achieve—you’ve got straight-up punk songs, some with a crossover metal punk feel, and the production is heavy but somehow lacks energy and aggression to really work. I am a bit harsh and I can see the band has a worthy political message, but their side is not for me. On the other side, BANDA DES FEMER delivers 21 short hardcore songs, and I actually quite like it. Simple and unsophisticated old school hardcore punk in Catalan with a raw sound that fits the genre. I am reminded of classic Spanish bands like HHH or ANTI DOGMATIKSS, and more recent bands like OTAN when BANDA DES FEMER goes fast, but I am unconvinced with their slower, snotty punk songs. You can tell the band has a lot of fun and they’ve got that youthful energy that makes their side worth giving it a try if you are into raw Spanish punk. This is the first recording for both bands, so they are bound to improve (or are they?). The artwork is punker than you.
As a fellow Illinoisan, I will always give props to bands from not-Chicago, especially if they’re from the very bottom of the state. I hear Carbondale has a great punk scene, though. Anyways, lovely pop punk outing here. A very nostalgic listen for me. Reminded me of the first time I heard Fat Music for Fat People, which forever changed my life. Catchy vocals, noodly guitar leads, treble-heavy bass runs, and the occasional drive-by ska riff! Feels like the early ’00s for me, makes me want to dig out my old skateboard and pretend like I know what I’m doing again. Great stuff here. For fans of early Fat Wreck and Epitaph.
DISCLOSE worshipping time! You know the drill, this one is for the Kawakami aficionados out there. Nothing new under the sun, just two bands, CMOΓ (“Smog”) from Skopje and ERGOPHOBIA from Germany, sharing their love for noisy, fuzzed-out D-beat. So if you’re ready to dive headfirst into a sonic maelstrom of D-beat, give this one a spin. You won’t be disappointed.
Carrboro, NC band of scene veterans that plays SUPERCHUNK-style indie punk with some fuzz-psych and hardcore sprinkles. Tracks like “Cactus Wife” and “North Pole South” are catchy, likeable noisy pop that you could throw on at a backyard BBQ with no complaints. “Fast Fash Treasure Island” branches out with some Kim Gordon-esque vocals and a sneaky lead line that gives a hint of what’s to come. “Fixedair” and “Penelope” are swirling psych excursions with fuzz tunnels and submerged cave-in vocals. Then, as a surprise, COLD CREAM goes hardcore for the last two, channeling the melodic end of HÜSKER DÜ. Upbeat and enjoyable CD with enough experimentation for repeat listening.
There seems to be no shortage of coldwave/post-punk/deathrock bands at the moment, and frankly, I love it. Go ahead and add Germany’s DEAD YEARS to the list. On Night Thoughts, they play a cool brand of post-punk, sometimes reminding me of a more propulsive HOME FRONT and sometimes reminding me of an Oi! band minus the saxophones and tough-guy gang vocals. Speaking of, the dual vocals are a nice touch and add some depth and nuance to the proceedings. I will say, the record is a little long for my taste, and some of the tunes do blend together about halfway through. This is no dealbreaker; in fact, it’s probably just my social-media-addled attention span that’s the problem. Anyways, the songwriting is solid, and on tracks like “Into the Dark” and “Mind Circle,” DEAD YEARS really take off.
A vinyl tombstone for Philly trio DRILL, who have finally resurfaced after their 2019 demo cassette only to release this LP in commemoration of breaking up. Eight tracks of skronky, shouty panic punk that have the art-schooled “household appliances as instruments” electro-wave of the first CRASH COURSE IN SCIENCE single positioned as the angel on one shoulder, and the early ’00s tech-hell dance punk agitation of NUMBERS as the devil on the other—cowbell is banged generously, synth whirrs and squiggles and squeals, and gyration-ready bass lines hold everything together like extra-sticky Krazy Glue. The twitchy beats and frayed-nerve shrieks of opener “Within Reason” untangle into an unexpectedly melodic (but still resolutely off-kilter!) sung chorus, and the doubled-up, sing-song chants from bassist Nina and synth player Sonam on “Pipsqueak” provide a playful counterpoint to the band’s wound-up instrumental squirm; Permanent is a continuous push/pull between anxiety and serenity, but as we all know, anxiety always wins, and so did DRILL.
FORTITUDE live recording at Lou’s in Orlando on 12” vinyl—DCxPC focuses on live recording releases on vinyl. Stylically, it’s NYHC in the vein of JUDGE, GORILLA BISCUITS, etc., with songs about anti-racism and going back to the core values of HC. The recording documents a specific vibe that won’t be replicated in the studio, but not sure if most people would like to hear live recordings in this format. Might mean something more for people that were involved in their scene to have this in their collection. Limited edition of 200.
If you’re familiar with GIGLINGER, this may be a far cry from your expectations…React starts off with an eight-minute track (the shortest of the four cuts is five-and-a-half) that mixes post-punk with jammy psychedelic noise rock. Am I at rave? A cavern in hell? Right, Finland. Looking back on their discography, I found a totally different band—straightforward, lo-fi punk that was great! Take, for example, their full-length cassette 13 from 2021, that is two sides of riff-driven, fast-paced punk rock, like a group that enjoys the DAMNED. Whether these slower, longer, more spacious songs (with a much cleaner production) are a new beginning for GIGLINGER or an experimental layover, I don’t know. I like parts of this, and I’m reluctantly pigeonholing the band by saying I miss the heart found in previous releases. But hey, they’ve been at it over two decades; it’s your band, get weird!
Why does this record make me think ”grunge and ’90s alt-rock”? Is it the way the rhythm alternates between shambolic and thrashy? The distorted rhythm and strong lead guitars? For whatever reason, I feel this would fit nicely on the No Alternative compilation. The vocals have a gentle sneer that goes well with the otherwise splashy songs. Those songs felt bigger and more realized than their two-minute running time might allow. JADE DUST does more than alternate between verse and chorus, the song structures felt very deliberate and well-edited.
Real fukkn infectious Aussie punk with serious modern indie vibes—this is a band whose vision and mission are fully realized. The band that by all rights you should hear on the damn radio and think “damn, commercial viability has finally caught up to actual quality,” even though that will never really happen. “My Girl” is the smash hit that will never be, and literally every track here is absolute in-your-face garage punk of the highest order. Snarling ferocity and hooks for days, I’m actually not sure what else you could ask for.
This power trio from Buffalo surely distances themselves from the pop punk sound on their prior releases to give us a fusion of classic West Coast-influenced hardcore punk from the late ’80s and early ’90s, but with little pinches of other sources here and there. With solid cadences throughout the ten tracks, the vocals feature a drag that’s on-point and resembles a wide range of performers from Biafra to BLACK FLAG’s Rollins era on some tracks (like “Humanity Without the Human is Just Ity”), with crunchy bass lines that pick up and sufficient guitars. Some songs even have a gloom about them that’s associated in my mind with nostalgia for other times—altogether, it’s a solid album. Favourite track: “Ludicrous Speed.”
My initial thought upon putting on this expanded reissue from Northeast England obscuros MODEL WORKERS was that it sounded a lot like an Ed Ball and Paul Weller team-up. I know it’s a bit lazy to compare one band to another when describing an act’s sound, but I’ve never really figured out a good alternative. I’m also a little lazy. That said, I don’t just toss out comparisons lightly—I generally spend an embarrassing amount of time making sure they are apt. Seriously, I’ll waste hours queuing up stuff to find the exact songs that made a band pop in my head as a point of comparison. So, when I saw the label copy for this release specifically mentioning TELEVISION PERSONALITIES, the TIMES, and the JAM, I pumped my fist in celebration, partially in an “I just got a tough question right on Jeopardy!” kind of way, and partially because I knew I wouldn’t need to bother checking my work. Anyway! This is the band’s sole 7” (1981’s self-released “Cry” / “My Winter Of Discontent”), plus two 1980 demos and an eight-page booklet with newspaper clippings, lyrics, and other band ephemera. The studio cuts are two great poppy UK DIY numbers that probably should be more widely known. I particularly like “Cry,” which starts out as an unremarkable, nervy new wave track before a hook carried by an incredible yawny croon that’s equal parts Edwyn Collins and Tracey Thorn kicks in—real good shit! The two demos are much rougher and lean closer to mod pop than punk, but they are super catchy and definitely a welcome addition to what was already a worthwhile release. It’s a cool glimpse into what else this band might have done had they stuck it out longer than the year or so they were in existence. All in all, another essential record from the fine folks over at Sealed!
Are you a fan of death metal mixed with a touch of crust and D-beat? If so, then you’re in for a treat with NEGATIVE PRAYER. This band is a powerhouse duo of current and ex-members from renowned bands such as POISON IDEA, ACEPHALIX, INCANTATION, VASTUM, and FUNEBRARUM. With their unique blend of influences and experience, NEGATIVE PRAYER delivers a sound that is both ferocious and captivating. Drawing inspiration from iconic bands like DRILLER KILLER and WOLFPACK, they infuse their Swedish D-beat with relentless death metal aggression. The pounding drums, blistering guitars, and guttural vocals create a sonic assault that will leave you craving more. With a lineup boasting members with such impressive resumes, it’s no surprise that NEGATIVE PRAYER is a force to be reckoned with. Each member brings their own distinct style and expertise to the table, resulting in a cohesive and powerful sound that sets them apart from the rest. This is true sonic warfare!
PARASITE’s new LP consists of eight tracks of epic, canonical raw punk. Melodic parts aren’t as death metal-sounding as the typical melodic crust bands, but have this particular kind of eerie atmosphere to them. Punch-in-the-gut hammering drums with driving guitar and bass tracks that sound extremely similar to Victims of a Bombraid-style raw punk. Seemingly cookie-cutter, but a unique approach to the melodic side of this genre.
Canadian flat cap botherers RECKLESS UPSTARTS land with their debut LP of meat-and-potatoes shorthaired rock’n’roll. Opening track nails their politics to the mast by clearly stating their unequivocal SHARP-ness, which I will always appreciate. As for the record itself, it’s more tuneful than I expected, clearly pitching at the more anthemic end of the Oi! spectrum. However, toward the arse end of the record, there’s a totally inexplicable and absolutely honking rendition of the MAXINE NIGHTINGALE classic “Back Where We Started” which made me pull a face that I last did when I accidentally trod in dog shit, and quite frankly, if I wasn’t a prison abolitionist, I’d be calling for a custodial sentence. That being said, while it’s certainly not going to be a bona fide classic by any stretch, it’s perfectly fine and I’m sure it’ll make some lads in sambas and West Ham scarves happy enough.
Ha, the vocals immediately remind me of Stiv Bators and the DEAD BOYS. That can’t be too bad. Snotty and growly, this is very much old school punk. The guitar work is sometimes a bit much for me, but it’s also done in that DEAD BOYS style, so that helps. From Amsterdam, if you keep track of those sorts of things.
Silicosis is a pulmonary fibrosis of the lung that is caused by breathing in silica dust during the mining process. SILICOSIS is also a dark punk band from the mining town of Lota in southern Chile, and Bocetos is their latest release. This LP is rich with anguish and grief from every angle. Atmospheric synths mix with sorrowful guitars while the rhythm section maintains the plodding pace of a funeral procession. Deep, rich vocals sing lyrics about the meaninglessness of life, depression, and other nocturnal emotions. The title track “Bocetos” is a driving, gothic anthem that builds in intensity and is absolutely beautiful in its agony-ridden delivery. It’s one of those songs that gives you goosebumps, draws tears to your eyes, but also keeps you stepping to the beat. In all, this album draws more from music of the Southwestern Hemisphere than from traditional goth and deathrock sources, and ends up being absolutely unique and incredibly hypnotic. This is for sure one of those albums that I can keep on my turntable for an extended amount of time.
Alright, I’ve got a lot of numbers to throw at you and it may seem a little confusing, but stick with me because it’s more than worth it. SLEVY is a solo project (one man) from Irun, Spain. This Vol. 1 cassette is part of a two-cassette series which has the artist’s entire discography on it. Vol. 1 has his first couple EPs, comp tracks, and unreleased songs all recorded around 2005, it seems. This cassette was originally released in Spain in 2014, but a run of 100 tapes was just done by two Mexican labels at the end of 2023. SLEVY seems to truly be someone who loves all aspects of music within the punk umbrella. Ranging from darker, moodier, goth-adjacent synth-heavy tracks to catchy synth pop to driving garage rock, and some crust punk and hardcore influences on songs as well, SLEVY does it all without it feeling like a novelty. Here’s hoping these labels are working on Vol. 2 as well.
Some people take the concept of DIY absolutely literally, and the man behind TERMINAL is one of them: he did it all by himself. TERMINAL is a solo project from Kifisia, Greece, and it is its second release after the rather good Θύμα Προπαγάνδας EP last year. It can be convenient to be a one-person band, as you manage everything without having to wait for your bass player who is always late or drunk or both, and therefore you can write a lot of songs fast and release records on your own one-person label. Απολυταρχικές Απολαύσεις is very much a continuation of the EP, with a heavier production and more guitars (the rocking vibe is more present). In terms of songwriting, TERMINAL aims at creating a käng-influenced hardcore punk sound, and overall, it is executed well enough and the LP makes for an enjoyable listen. The music is fast, but lacks a little pummeling power at times. I guess current bands like GOLPE, NUKIES, or RAT CAGE would be influences, but the atmosphere is somewhat different. I am a massive sucker for punk music sung in Greek, as this very peculiar language and its unique flows and sonorities always confers an angry vibe. Good, I love the vocals, but I find myself wishing for more aggression. I am confident that the next recording might provide just that.
VIDRO, from Stockholm in the sense of a base camp, throws some American, Brazilian, and British grounding into the mix (that last one is pushing it, but before vocalist Vendela was doing this band she lived in Manchester and sang in a rad no wave thing, QUEER’D SCIENCE). Their lyrics are in Swedish and are sometimes as brief and blunt as their early ’80s hardcore forebears, but musically speaking, they brood more than thrash: “Allt Brinner,” which is also the title of their first LP but does not feature on it, is played at hardcore tempo while its three companions are slower. The guitar sound is a gnarly plughole swirl triangulating between punk, goth, and anarcho, and Vendela’s vocals get more baleful and antagonistic with every VIDRO release.
YAKUZA極道 is a fairly new band from Greece, with members who are involved in multiple other bands and have the sheer intent to play D-beat/raw punk. They succeed putting together a record with blasting D-beat songs that meet all the expectations from the genre, although nothing more. So I guess it is entertaining for them because they wanted to do something that they are able to, and those who always seek for new bands above a certain quality could be happy, too. Without this background info, you too would hear that this is an honest work from fans of the genre that respects all the borders and boundaries of the style. From our perspective, taking the time to write about records and culture, it could be a fair question: why bother? But one of the layers of punk is inclusivity and functioning as a hobby, so if someone wants to play in a sort of uniformed way of a very specific sound, I guess it should at least be respected. Also, this is the worst I can say about this record, since it has been put together well, sounds cool, and the songs are rather close-to-great good than anything else. It’s distorted and manic, but you can hear all the riffs and instruments distinguished from each other, with the atmosphere reminiscent of battlefield desperation. All in place, except nothing sticks out, and that is what makes good things great. Only a tiny part is lacking, but I miss it a lot. Still, if they tour close to you, book them or go see them (they are probably great live), and if you like buying records, this is a safe pick. If you are picky, this record will not hurt nor impress you too much, yet it has all the features to affect you, so maybe it’s about timing and mood.
Melodic punk rock from Wroclaw, Poland. This album reminds me of something Epitaph Records would’ve released in the ’90s. Slightly more aggressive than a band like PENNYWISE, ZIMNA WOJNA bears the hallmarks of that regrettable era of commercialized punk, when it wasn’t out of the ordinary to hear gratuitous “whoa-oh-oh”s and random ska breakdowns. This is a bleak reminder of the dark ages of punk, when RANCID was a mainstay on MTV and the OFFSPRING could be heard blaring from speakers in malls across the land. Basically, the soundtrack to my worst teenage nightmare. I found this album to be a truly painful listen. There are forms of torture that are more enjoyable than being subjected to this drivel. Do yourself a favor and avoid this at all costs. Yuck.
More Pittsburgh power here from ALAMOANS, contributing to the Steel City’s steady rise to becoming the hardcore capital of the US. Comprised of members of SPEED PLANS and EEL, this configuration eschews the pure violence of those two brands in favor of a more distorted and atmospherically foreboding approach. There’s plenty of punch to these tunes, but everything is covered in cobwebs of eeriness that create a distinct persona for the band. With five tracks in about eight minutes, it effectively whets the appetite.
I previously reviewed a cassette from this all-female, politically charged metalpunk trio from Gainesville, Florida—on this tape, we find a live side and a studio recording that repeats all of the same tracks except one. The live section got my attention this time, including interaction with the audience that highlighted catharsis and spilling anger Lemmy’s way. MOTÖRHEAD traces are still there, plus a politically charged ranting with compromised lyrics exuding attitude.
Formed in the early ’80s by a group of schoolboys in Christchurch, New Zealand, BALLON D’ESSAI played arty, bricolage post-punk in the style of so many like-minded projects of the era whose enthusiasm and ideas eclipsed what their technical skills could actually replicate: a slightly off-center mix of menacing, FALL-inspired rhythmic tumble, the anxious and moody post-VELVETS moves of Postcard Records, and requisite serrated, bass-forward danceable agitprop. They were actually one of the first handful of bands to ever release a record on Flying Nun, but their modest output (a pair of 12”s released in 1982 and 1983) has largely been lost in the shuffle amidst the Dunedin Sound holy trinity of their labelmates the BATS, the CHILLS, and the CLEAN, while also never really reaching the cult status of some of Flying Nun’s more noisy and experimental acts like the PIN GROUP or the GORDONS—Woot! is the Word cherry-picks tracks from both of the aforementioned EPs and a posthumous cassette comp, doing some minor leveling of BALLON D’ESSAI’s overall hit-to-miss ratio. At their most spiky and serpentine, like on “Armchair Tourist,” “He Who Kills,” “Smash Crash,” and “Artificial Romance,” they really get the most out of their dual-bass lineup, with some of the best faux-Rough Trade Kiwi post-punk this side of THIS SPORTING LIFE, while “Peanut Butter Jar” flips JOSEF K’s taut jangle to the opposite hemisphere, and “War Effort” clatters with a bit of sparse, sing-song UK DIY naivety. Is there any greater pleasure in life than just-inept-enough teenage art-punk?
Here’s the latest release from long-running Omaha hardcore hippies BIB. In my opinion, a lot of the mid-2010s hardcore punk bands of this ilk tend to have not aged all that well, but I’ve always really liked BIB. This new EP delivers in spades that sound that fans are so acquainted with—the psychedelic tendencies, spitting delay vocals, and dissonant riffage remain intact. If you’re already a fan, you won’t be disappointed by this one, and if you have yet to listen to the band, Biblical is as good a starting off point as any. Thumbs up, jolly well done!
Extremely promising demo from this Baltimore outfit, packing earworm riffs, larynx-lacerating vocals, and an intoxicating blend of hardcore sensibilities and some of the Second Empire Justice BLITZ worship so oft-used by nous amis across the channel in France. Really great stuff and cannot wait for more.
Debut record from the Amsterdam four-piece the COVIDS. From end to end, this record delivers straight-ahead poppy punk rock harmonies and power chords. Topics cover the typical: not wanting to work in a factory, forced authority, socioeconomic clash, etc. It’s standard fare with a touch of TEENAGE HEAD and some rather annoying vocals. What gleams from this quite ordinary listening experience is the production, the drumming and crunchy guitar tones in “Get Up” and “Night Tight” in particular. Sound quality becomes a slight inducement, a rarity…
Absolute perfect execution. Absolute visceral destruction. Swiss vegan metalcore has never sounded…well, maybe it’s never sounded like anything before this demo leveled its corner of the internet back in 2022, but now it sounds like fucking DIVINE SENTENCE. All of the metalcore tropes are here, but this shit is so unbelievably fierce, and everything that you expect to happen? It happens, but more. The chugs, the moshes, the vocals, the guitar squeals…I didn’t know I needed this, and now I don’t know that I can go on without it.
With a name like DRUNK MEAT and a location like Bordeaux, France, I was certain this was going to be some sub-Slovenly Euro garage. Au contraire! This is way more interesting. What we have here is some po-faced post-punk, somewhat in the vein of TOTAL CONTROL. DRUNK MEAT is actually just a duo, and nearly all of the ten tracks on this release are built around a synth and drum machine backbone. However, it doesn’t really sound inorganic—it’s more of a swampy groove that’s halfway between the SCIENTISTS’ “We Had Love” and JOY DIVISION’s “Heart and Soul.” But guitars are the stars of the show here. They break through the muck in shimmery walls of sound or glide on top as echoey surf licks. In that regard, it really reminds me a lot of late-period TV GHOST. I don’t know that anything on this record is as memorable as that band’s “Veils,” but it’s a pretty decent substitute if that’s something you’re pining for. Definitely worth a listen.
Talk about a funk time warp—Philadelphia’s GRUMBLE will drag you into another dimension. Thought stinky region rock was a thing of the ’90s? Welcome to 2023, my friends. Gruff, catchy, urgent…reared on a diet of SHOTWELL ’80s punk, and ready to lend you a helping hand when you need it. “I’d be a virgin if I only had the time” might be the best lyric of the month…or my life.
This is one band I somehow totally missed until recently, although they have been going since 2019. I should have my punk radar looked at by a specialist; too much Japanese distortion might have damaged it, or there are just so many new bands to check that it has become humanly impossible to know them all, even with a radar as sensitive as mine. So I keep it simple and just pretend to know all the bands and nod confidently whenever an unknown band is mentioned in public, like everyone else. I don’t want to lose punk points. I was curious about this band since Mid from DEVIATED INSTINCT drew the cover (his style is very distinctive) and I was expecting some heavy metallic sludgy crust, but wrong I was. Mid also plays the guitar in the band, but HAVAAT plays heavy hardcore punk with brilliant energetic female vocals in Finnish (she used to sing in RAKKAUS) and a dash of crust. It is a rather straightforward affair, which is the whole point I assume, and I am reminded of ’90s and ’00s anarcho hardcore bands like OPERATION, PARAGRAF 119, or DETESTATION, and crustier British bands such as EXCREMENT OF WAR or RUIN also come to mind. There are a couple of mid-paced numbers reminiscent of old school Finnish hardcore, and even some slower dirty metal punk ones to bring some diversity, but overall the songs are beefy and fast-paced. There are seventeen tracks on the CD, and to be honest, it does feel a little long at times, because this kind of direct hardcore punk works better on a shorter format. HAAVAT could have easily gone for an album with the ten songs highlighting best of the several tricks the band has up their sleeves and it would have made for a more solid record. Less would have been more here. Not a bad album, the vocalist is an amazing singer, but a little long.
IV REICH is one of the most underrated Spanish bands. Formed in 1981 in Zaragoza, they were one of the bands that pushed hardcore to its more abrasive side. Their music took cues from DISCHARGE and GBH and was built on viciously raw guitars, fast gritty drums, and an intense anger that persists throughout the lyrics against the powers that be. This LP contains all of the band’s discography, including their two demo recordings, which were self-released in 1984 and 1985 (both on cassette), as well as unreleased songs that were never recorded but saved from wild live performances from 1986 and 1987, before the band split up in 1988. The album comes with an accompanying fanzine, which includes photos, posters, and press clippings. The fanzine also includes the band’s biography and all the band’s lyrics, all of which are translated into English as well. Also comes with a DVD, which contains three live videos from the band, which were released in 1985, 1987, and 1988 (“Cine Venecia,” “Vera de Moncayo,” and “Soraluze”). The DVD also includes an unreleased clip of the group (1985), a photo gallery, posters, and audio discography, plus a full live show from the band (Sala Enbruto, 1987). An important piece of Spanish hardcore!
JUDY AND THE JERKS haven’t reinvented the wheel, and truth be told, they may have even dinged it up a bit while taking it out for a spin. But they’ve done so in an undeniably infectiously fun fashion. Assembling tunes from a handful of previously released tapes into one giant long-player party, this LP provides a comprehensive taste of JUDY & co.’s unique brand of rag-tag punk ruckus. Sometimes agitated and pointed, and often playfully warped, the group’s lo-fi approach and weirdo song subjects ring true as the sound of these guys having a great time. Also, I can’t help but feel a kinship with a band that opts to cover BUZZCOCKS, AGENT ORANGE, GORILLA BISCUITS, and the GO-GO’S (among others)— clearly they have a wide and well-studied spectrum of appreciation. It’s a joyful celebration of all things punk, complete with an MRR reference on “California.”
Female-fronted power pop from Australia. I’m digging this right off the bat. The riffs are super catchy. It’s got guitar, it’s got bass, it’s got drums, but none of it in excess. It’s got balance. Hell, it’s even got handclaps! Two cuts and both are really working. This one is worth looking for.
Mysterious guy hardcore is back with an absolute vengeance. Five songs of pummeling hardcore punk with a vocalist who seems to have taken a page out of Max Ward’s SCHOLASTIC DETH book. Sounds just like him at times. The similarity pretty much ends with vocal stylings and amount of feedback, though. MODERN MAN isn’t blistering fast, but instead ranges from mid-tempo down to plodding breakdowns. There’s no lyric sheet included, but judging from the band’s internet presence, they have no shortage of things to be pissed about. Not gonna find this on any streaming services other than the Bandcamp site—hard stance against Spotify and pro-Soulseek. Respect.
Polish East Coast-style hardcore sung in English—reminds me of WILDSIDE with some occasional powerviolence here and there. Vocally, they cover nearly every style possible with five(!) vocalists. Mileage may vary here, as each track is pretty much dictated by who is singing. Opener “PLHC” and “Girl’s Not Grey” definitely hit. “Rich Boys Toys Purge” and “Whore in Uniform” definitely do not. It seems a little silly to me to have this many vocalists shifting the style so frequently, but hey, they’re doing their thing. Overall not bad, but if you want my honest opinion, losing a couple vocalists and focusing on one style would go a long way for NEGATIVE IMPACT.
PAINT IT BLACK returns with their first record in ten years. I’m not 100% familiar with their two-decade old discography but if memory serves, this record sounds pretty much the same as they did when they began: fast, breakneck East Coast (pre-YOUTH OF TODAY) HC with a little (just a little) posi vibe. The sound quality is crisp and clear, which typically I dislike, but here it gives them an unsparing, unfussy sound. As an added bonus, “Safe” features a little floor tom/floor tom/snare/floor tom beat, maybe my favorite in all of hardcore. The lyrics are audible, which is not actually a problem for this band.
Powerhouse Swede D-beat split. SVAVELDIOXID and PARASIT both bring two insanely blistering tracks. PARASIT has a metal diet…if you need to know what XASTHUR on vocals fronting SKITSYSTEM is, this is a starting point. I will not bore you with any more inside analogies for SVAVELDIOXID, let’s say there is a lot to love. I think this is around the twelfth release that the band has produced, and each one is consistently solid in its ferocity. Someone please buy the drummer a beer for me.
Complete noise mayhem with sickening, growling vocals and an in-your-face, blown-out recording. Plenty of dirt in the mix, yet still audible without losing any punch of power. An output of pure aggression, without having to resort to the stylistic replication of already validated styles, War Comes Home is hard to compare to anything. Vocal style is reminiscent of Amy from NAUSEA, while the instrumentation is a product of the modern breed of Boston/NYC punks.
Cookie-cutter pop punk out of Kentucky. Reminiscent of DIGGER, GAMEFACE, and early ATARIS, but lacking a lot of the charm those bands had. Very lukewarm lyrics that range from the utmost corny (“I’ll learn to take long walks with you / As I forever stand beside you,” as heard in “Rome is Where the Heart Is”), to straight-up tired cliches (“I was born at night / But not born last night” from the track “Three Button Sweater”). The lyrics are probably what kills the band the most for me. The music is actually pretty decent. Catchy at points, sentimental at others. Production is great and everything is very clean and mixed well. But with songs like the ironically titled “Skip This Song,” in which the singer laments about playing a poorly attended show in a wishy-washy scene, these guys make it hard to like them. We’ve all played bad shows, man. It happens. This just comes off sounding more entitled than anything. SMALL STEPS could be a great band if they took a little more time on the writing process. I look forward to seeing what they come up with down the road.
STÜDS is a project run by Conner from SNOOPER and a member of Australia’s RESEARCH REACTOR GROUP during the pandemic. Style changes from track to track: ’80s Japanese-style noisecore to something in the Lumpy Records catalog to a bedroom post-punk project…it almost sounds more like a compilation release than one single project yet still feels like it’s one thing, especially the feeling of confusion and being on the very edge of sanity. Contains a recording of a death threat towards the band by someone with an Australian accent.
Originally released on cassette in 1987. Washington State’s SUBVERT came to be in the period after the initial American hardcore golden age, when bands started injecting metallic influences in their fast speed assault. Recorded by future grunge kingpin Jack Endino, this demo perfectly exemplifies the hardcore/metal crossover period and also its proto-crust tendencies, not unlike fellow Washingtonians the ACCÜSED. In 2022, 35 years after it was recorded, this demo cassette finally received the 7” vinyl treatment, and it’s well-deserved in my opinion. Fans of bands like CHRIST ON PARADE, ATTITUDE ADJUSTMENT, and the aforementioned the ACCÜSED will likely dig this one a lot, as well as fans of UK crust bands making noise around this time like CONCRETE SOX and ELECTRO HIPPIES.
Hmmmm…anyone in the mood for a Mortal Kombat-themed powerviolence band? I’d love to say that this was surprisingly good, but sadly TOASTY! is uninspiring and altogether mediocre. Yes, the songs are very short, and yes, tempo changes and blastbeats abound. Heck, there are even the requisite Mortal Kombat sound clips (“Fatality!”). The problem is, they don’t sound enough like SPAZZ to pull off the novelty—unless the band members are literal children. There is no indication that this band is comprised exclusively of pre-teens, but if by some chance that happens to be the case, then this is actually quite ripping and awesome and I take back all the bullshit I said about this demo being mediocre. Otherwise, I’d say listen to more LACK OF INTEREST, CROSSED OUT, INFEST, MITB…and give it another go.
With their first release (the Trash Life EP) having come out in 2016, and a slew of other EPs and singles along the way, this marks the first LP for Philadelphia’s undeniably crusty TRASH KNIFE. Only a few tracks wander over the two-minute mark, so it’s over with while you’re still reeling from the fury-meets-fun, stomp-and-crash garage soundscape. Lauren’s vocals often harmonize with guitar leads, kind of a thread throughout, only to surprise you by breaking off into snotty diatribes, spat and shouted. They kind of have a FDR skatepark aesthetic, and I’m all about it. This recording was done live in their practice space, which speaks to the tightness of the band, and works perfectly to give the production that rough edge this music deserves. Do enjoy these Weird Daze.
This demo cassette from San Fran punks UTOPIAN HOMICIDE DETECTIVE is fucking great! Instrumentally, it has a lot of proto-punk sounds that rock like MC5 or early STOOGES material, but the unhinged vocals are more like GOVERNMENT ISSUE or FLIPPER, and it all comes together in a perfectly noisy way. It’s a kind of arty noise that isn’t trying to be. The five songs on this cassette each have quick moments that are absolutely rocking, and even quicker moments that are psychedelic blasts of distortion that are otherworldly. In all, Croat, Guam, Kiko, and Mutt come together to make some of the best punk that you’ve probably never heard.
This is raw, unapologetic hardcore music that pushes boundaries and challenges the status quo! Look no further than Milwaukee-based band WORLD I HATE. Their sound is a violent concoction of no-bullshit hardcore and powerviolence that will leave you exhilarated and energized. Drawing inspiration from groups like THINK I CARE, the ENDLESS BLOCKADE, and HATRED SURGE, WORLD I HATE has carved out a unique sonic identity that sets them apart from the crowd. Their music is intense, aggressive, and unrelenting, with lyrics that tackle issues of anger, frustration, and disillusionment with society. From the moment you press play, you’ll be hit with a wall of sound. But it’s not just the sheer intensity of their music that sets WORLD I HATE apart—it’s the passion and authenticity that shines through in every note. Whether you’re a hardcore purist or a casual listener looking to expand your musical horizons, this is a band that deserves your attention.
Munster brings us the first reissue of the ZEROS’ third (and final) 7”, which initially came out on Test Tube Records back in 1980, two years after the “Wild Weekend” / “Beat Your Heart” 7” and right as the band began imploding—Robert Lopez had left by this point, leaving the band a trio. It’s clearly the third best single these dudes released, but that’s not to say the tracks aren’t worth your time. “They Say That (Everything’s Alright)” is one of the few tracks both penned and sung by Hector Penalosa—it’s a cool little slice of CREATION-esque mod rock. And “Getting Nowhere” is a classic Javier Escovedo RAMONES-worship. I mean, it’s the ZEROS, y’all know who they are and that they’re great. Now, do you need to shell out the $20 this thing is going to run you when you can still find vinyl copies of that Bomp! comp floating around for just a few bucks more? You do not. But 7”s are cool, so I’d understand the urge to pick it up anyway.
Cavernous, blackened hardcore punk from Temuco, with deeply reverbed vocals and D-beat cadences in a dungeon-like atmosphere. Filled with a vicious energy, their lyrics verse on existentialism, punitivism and the state, and networks of vigilance and shit systems, ranting against inequity. Interesting space-like sounds and a live vibe across this cassette, recorded in 2021 but released in 2023. Junko, if not the most solid, is one of the finest exponents of DIY hardcore punk labels all over Chile, always magically releasing something new and exciting. Their whole catalogue is recommended; it’s filled with the essence of Chile and Temuco—hopefully sometime soon I’ll visit your realms to see your ever-thriving scene.
