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!
This shit rocks. Their Bandcamp says it’s for fans of THIN LIZZY, BOSS, and SICK THOUGHTS, and that pretty much sums it up. The perfect amount of sleaze, of glam, of metal. Come for the riffs, stay for the riffs. Really, my only complaint here is that this is four songs and not forty, but I’ll just flip the record and start over again.
Before they became UNDERTOW, these Seattle-area highschoolers were blasting out raw yet earnest, straight-ahead (pun semi-intended) scissor-beat hardcore before they could even drive, with this demo and a comp track as their sole recorded output. They played shows around Washington with fellow Seattle straightedgers BROTHERHOOD, who also encouraged them as a band and likely served as a musical influence up to a point, though the speed of FALSE LIBERTY probably left a bigger mark on their sound (albeit minus the crossover air), and of course with melodies, riffs, lyrics, and vocal patterns in line with the then-recently-emerged youth crew genre. Most of REFUSE’s song structures are fairly simple and repetitive: brief intros, fast verses, elongated and often vocalless breakdowns, sometimes a delay effect on the vocals, and drums that are often a blur to the point that they lack definition. but I dunno if any other band with X’d up hands was playing this fast in 1989. Refuse—the label—has always done a great job with the packaging and contextualization of the unearthed recordings that they put out into the world, and here you get preserved interviews, ads, reviews, flyers and other ephemera. While to me this demo is ultimately more of a historical curiosity than something essential, for anyone like myself who is interested in the less-treaded corners of Washington State’s punk and hardcore history (and especially that which isn’t being billed as only important due to being some grunge guy’s early punk band), I’d suggest checking it out.
Punk four-piece from Reno. These guys sure know how to stick to a theme and really work it to unique angles. Themes of telephones were very present throughout the record. Besides the titles of some songs (“Touch Tone,” “My Landline,” etc.), I loved how they included other elements like a phone dialing in the chorus of “New Communication,” or the chanting of a phone number in “My Landline,” or even just the more subtle elements like having a good amount of call-and-response in the vocals, mimicking a conversation had on a telephone. I just loved the unique edge they brought to their fast songs with witty lyrics and classic punk energy.
Raw-as-fuck noise rock from this Connecticut band. Simple, brutal guitar lines and hollered vocals pummel the listener and occasionally slide into a devastating slow-motion groove. These four tracks crush with heaviness and recall UNSANE at their nastiest. Also of note are the political and religious sound clips, which, coupled with the official-looking seals on the tape shells and internal memo look of the cover art, evoke a NATION OF ULYSSES-style illicit data file. It rules in the scabbiest, most punishing way possible. Check it out.
Florida melodic punk from the ’90s reimagined brilliantly in 2024—when I first dropped the needle, I thought I was listening to a new band harnessing the sounds of a forgotten DIY past, when I was actually listening to a band reimagining themselves as adults. “Saddest Girl” is a perfect example of the (sub)genre, an energetic wistful missive that’s light-years from the love song that the listener might mistake it for. And I’m gonna stop the review there, because that A-side is so damn good, and the flip is an utterly forgettable butchering of a PSYCHEDELIC FURS track.
Pittsburgh freaks back at it with an exceedingly gnarly follow up to their 2023 full-length. If you loved Statues of God (I did), then this is a no-brainer. The formula hasn’t changed—fast, ’80s-inspired hardcore punk that harkens back to the classics—but, this seems leaner, meaner, and just impenetrably tough. Oozing with unadulterated hatred for everyone and everything, D.U.I. finds SPEED PLANS at their most bloodthirsty point yet. Obviously, I’m here for it. “Shut Up,” followed by “Shut the Fuck Up,” is sheer genius. And the line in the last song, “My lifestyle determines your deathstyle,” evokes one of the best moments in potentially the greatest buddy-comedy of all time, Some Kind of Monster. It’s almost too good.
Look, if you’re going to name your project after a STOOGES lyric that even your uncle who only listens to the classic rock radio station knows, you’re going to have to bring it. The STREETWALKIN’ CHEETAHS have been around since the ’90s, and so maybe at one point they did indeed bring it, but that ain’t the case here. Honestly, this sounds like OK GO drank too many whiskeys and tried to be the bar band for the night. Also, if your four-song release is too long for a 7” record so you have to put it out as a 10”, just take that as a sign that your songs are too long. If you truly ain’t got time to make no apology—as Iggy says—well, then you shouldn’t have time for five-minute songs.
I first encountered TRAGIEDIA’s songs via the 2009 POST REGIMENT album Tragiedia Wg Post Regiment, in which they collaborated with a couple original members to re-record TRAGIEDIA tunes that had not at that time been properly released. In 2015, the Todo Destruido label remedied the situation by releasing the Punk ‘Til Destruction LP, compiling the band’s two demos into one ripping full-length. So now we have Warsaw Pact revisiting the material in a more concise fashion, offering the 1989 demo as a standalone 7” with a sick booklet that fleshes out the history of the band and includes an illuminating interview. There’s a very simple reason that these tracks keep remerging—they are absolutely savage. Five crushing cuts of uncompromising hardcore punk that easily demonstrate why the band was so inspiring. Crucial!
Musically, I hear FACE TO FACE and PROPAGANDHI in the best ways possible, if you can imagine. Although saying that this could be an Epitaph or Fat Records release will deter some readers, I believe that this record lends itself to the better side of those label’s releases. Unlike many of the bands that step into any genre of DIY, these TURNAROUNDS seem less like they are trying to purposely pattern themselves around a sound as much as they are compelled to make music that sounds like this (e.g. ASEXUALS, DOUGHBOYS, NILS, STATUES). Ten songs total, and each song feels honest and musically thoughtful in a very Canadian way that only Canadians take the time to do, methinks. I can see this record making a 2024 top ten list.
San Francisco fastcore thrasher outfit that exults fun in their execution, featuring members of VENKMAN, THESE BASTARDS, CONQUEST FOR DEATH and more. Resemblances to the classic and most acidic side of ’80s USHC, holding down histrionic, maddening cadences that approach the one-minute length while delivering great hardcore punk throughout the ten tracks, including blastbeats, breakdowns and even crazy space-like sounds that relieve the non-stop nature of their songs. Bay Area-infused and well-executed, it’s a delightful option for the fastcore aficionado’s cravings.
Imagine if FRANCE GALL played with some rad guitar accompanying her. Now imagine that a little more upbeat, and with three or four FRANCE GALLs instead of just one. If you can’t imagine that, imagine if the BABYSHAKES were from France. This all-female band (from France!) plays a brand of pop music that seems influenced by ’60s garage pop (female or otherwise) and also punk rock. That is a beautiful combination, made more beautiful because they do it so well. And they sing in French! I salute bands from non-English speaking countries that sing in their own language.
Solo release from Ian Campbell of POP. 1280 that pulls from post-punk, goth, and synth-pop influences to create a winning debut. Built around simple drum machine sequences, the songs grow with ENO-esque ambient textures and snaky guitar lines until you find yourself tapping your foot and reaching for the eyeliner. “RFP” begins with a moody syncopated synth bass line that opens up into a catchy, uplifting chorus. “Grasping at Straws” is the most romantic and poignant song NEW ORDER never wrote, and it’s worth the price of admission alone. For a solo recording, it sounds remarkably full and well-produced, and is recommended for fans of COLD CAVE or really any kind of post-industrial electronic pop music.
Anthemic, melodic punk that borders on alt-rock in the modern context. Pro recording, pro performance, fronted by powerful femme vox, and it’s all really honest, really earnest, and…really good. I could also easily imagine hearing it on the radio. I’d be okay with that. Shit, I’d probably listen to the radio if it sounded like this. BANDAGES land like a band whose members consumed DILLINGER FOUR and FALL OUT BOY with equal enthusiasm, but there’s also an OFF! record on the shelf next to QUEENS OF THE STONE AGE, and I bet there’s someone in the band who can speak intelligently on matters of classic USHC—shit man, I’m trying to put a finger on it, but I’m still fukkn listening so these kids are doing something right.
A fresh one from French snot-rockers BART AND THE BRATS, this greasy little EP features four more of the rock-solid, low-frills, RAMONES-style stompers you’ve come to expect from the group. Throw on your leather jacket over your best striped tee, crack a beer, and turn it up, like a gentleman.
Recorded around 1996, CHAMPIONS was an offshoot project featuring members of DEFIANCE, the RIFFS, and DEATHCHARGE. Almost 30 years later, here it is, finally seeing the light of day. Musically, it’s pretty mid-paced Oi!-type punk and it’s pretty decent. It’s not necessarily anything that I personally would write home about, but it’s pretty cool and I’m glad these songs managed to actually get released. Worth tracking down if you are an Oi! fan especially.
CHUJOZA is a grindcore-influenced crust band from southwestern Poland. The Niewolnicy LP was released in the middle of last year, and is CHUJOZA’s first recorded output. Eleven songs of blistering D-beat hardcore, with various throat-shredded vocals making appearances throughout. CHUJOZA reminds me a lot of the global hardcore sound from about twenty years ago, but with a vibrant and refreshed urgency. My favorite track is currently “Czy Życie Jest Dobre?,” which comes just beyond the midpoint of the album, is a bit mid-paced, and has an old school sort of anarcho-hardcore delivery. If you like raw production, grindcore energy, and absolutely frenetic vocals, then you better check out CHUJOZA.
This Italian techno-punk band refers to their sound as digital hardcore, which recalls the first time I heard that genre signifier in the ’90s with ATARI TEENAGE RIOT. Much like that band, DELL’ANIMA NELLA SERPE employs angry, dueling male and female vocals over heavy distorted beats and samples. Expanding from Alex Eiffel’s pounding 808 destruction, this recording pulls from varied sections of the techno and rave underground with great effect. “Rabbia Post Tso” moves from a near-amen break pattern to full drum and bass, and “Melissa P” centers around heavy dubstep wobbles. The band really shines in the slow jams, where a sinister crawling synth haunts the proceedings, like on “Tre Salti Delle Streghe” and woozy standout “L’arte Di Fare Schifo.” The final track centers around a protest chant with cavernous, murky production that highlights the darkness of the whole album. This is punk first and foremost, but done so with careful consideration to complement their vocals with foreboding textures.
Nice indie pop from Gainesville, FL by way of Bloomington, IN. There is a familiar lineage in the sounds here, but said sounds are delivered squarely through a 2024 lens. By that, I mean certain bands and labels of the past two decades will come to mind while listening—LEMURIA, RUN FOREVER, PLACES TO HIDE—but the proliferation of Americana and alt-country can be found peppered throughout these tracks as well. In fact, it’s those tracks with slide guitar (“Family Man”) or the dual vocals and harmonies (“Exploding Head”) that stand out the most here, because they do feel like they are attempting to tread new ground. The tracks that follow the more traditional-sounding indie/pop punk template tend to wash over without leaving much of an imprint (“Edgelord”). EVENING STANDARDS relocating to the home of The Fest and No Idea Records makes a lot of sense, and I hope they keep exploring open chords over power chords, especially if it means more tracks like the album’s closer “Mountain Top.”
This record starts off with some stomping reminiscent of late ’90s/early ’00s Japanese hardcore, mixed with some of the bands that were coming out of Boston in the ’10s. Then they bring in some massive hardcore hooks and top it off with some heavy psych guitar leads. They move with ease into what I imagine an acid-induced trance would sound like with the song “Who Does Your Daddy Sell His Guns To?,” which then explodes into a massive, bass-heavy riff. Then another massive hook comes in, and so forth. A fantastic listen. This band must be a blast to see live.
Great split EP from a couple bands out of the Tampa area. TIDES kick things off with a sound that brings to mind No Idea Records. Go figure! Very heavy LATTERMAN/HOT WATER MUSIC energy. Reminds me of latter-era SPITALFIELD as well. On the opposite side, we have GOLF WAR and their batch of golf-themed hardcore songs, opening with a two-second track that would make the DESCENDENTS blush. I wonder what the ERADICATOR would have to say about all of this? Staunchly different from the A-side, and I’m all “fore” it. I love when splits have two completely different types of artists. Well worth a spin.
Damn, this really smokes! HEATSEEKER goes off like a guided missile, set to blast your stereo to bits. Six unrelenting tracks of raging punk that blends elements of Swedish hardcore with youth crew, “capital H” hardcore, including moshy breakdowns and backing gang vocals. Not the kind of thing I ordinarily gravitate toward, but the riffs cannot be denied. When ripping through the D-beat parts, it’s just pure fist-pumping nastiness. And they totally nail the breakdowns. I bet kids lose their minds at HEATSEEKER gigs. “Echo Chamber” is my personal favorite here, but there’s not a dull moment to be found. Warsaw hardcore for the win!
Self-described as garage rock, I find this a little too slick to fall into that category. Mid-tempo and melodic, I think this female-fronted trio is more power pop than anything else. They’re definitely a talented bunch and the songs are very catchy, but somehow it all seems a little contrived to me. And outside of a little fuzz here and there, I’m not buying the garage rock billing.
KOSMETIKA brings a mix of rock, indie, ’80s new wave, and generally more relaxed vibes. My favorite track is “Fish” as it’s the most weird and unique, with spoken words during the verses, in combination with some synth, transitioning to a more indie-style chorus. I also liked the variety of male and female vocals, both of which felt hypnotizingly relaxing. However, some of the tracks felt a bit long and I found myself being distracted or losing my attention. “Automobile” definitely brought me out of that with its funky beat and use of saxophone. Not quite my cup of tea, but if you like a more mellow kind of pop or rock, then you should check these guys out.
This album is dark and apocalyptic, with obvious thought put into their songs. People are going to love this album. We will hear tons of SACRILEGE comparisons. For me, I definitely hear that on a couple of songs, but this hits me as more like the best of CELTIC FROST, VOIVOD, and HELLHAMMER. I would say throw a little VENOM in there with the SACRILEGE and the rest, and this is what you might get. This also has pretty good production, especially given that the band did everything themselves. I can hear everything clearly on this album, even through a pair of cheap earbuds. I really have to say what a fantastic job the band did on this. If you like crust, early ’80s metal, and dark hardcore punk like ZYGOTE or AMEBIX, then you need to buy this album. This band is great live, too.
This split release from MERKED and V.V.M. is a wild ride from start to finish. On the MERKED side, the Oakland-based three-piece brings their self-described “hardcore-influenced sludge-violence,” which is definitely music with a thick neck. The tunes and sound clips are a chaotic mix with screaming and croaking vocals delivered with production that makes it feel like you’re hearing this madness being played live in a large cement room. As for V.V.M., this San Francisco thrashcore four-piece brings the noise with a cowbell, and it’s some of the best shit I’ve heard this month. Tracks like “Fuck You, I Quit” and “I Used to Mosh” really hit a sweet spot in my middle-aged soul. Strong recommend for people who aren’t assholes.
Hard-driving, mid-tempo Midwestern punk. If the late, great Jamie Ewing of BENT OUTTA SHAPE was singing for HÜSKER DÜ around the time the New Day Rising or Flip Your Wig albums came out, it would land close to here. Their Minneapolis home will draw early REPLACEMENTS and HÜSKER DÜ comparisons (like the one I just admittedly just gave), but there is a lot more than that on their sophomore release. The deft interplay between the bass and guitar crafted around the solid drums throws you the frequent curveball to keep it interesting and off any expected path. Plus, there’s a DIY spirit in the lyrics that call to hold on and look forward despite personal and global tragedy.
Heavy metal-infused hardcore punk on this Portuguese project’s first LP. Vocals are ragged and cavernous, yet feel fresh and regulated. Classic ’80s shredding guitars excel in a hardcore punk environment that resemble the uptempo changes of the Japanese wave, exulting in a charged formula that sounds neat and holds its grip until the last second. War-related themes, most specifically in the Pacific in WWII, something that may trigger curiosity or at least be considered too niche, but not in my alley.
Listening to the opener “Lonely Striped Rock” is a joyride through various genre influences that is rarely achieved. Philippe Clement’s bass line starts out the song, which sounds like a rubber tube being slapped. Simon Besré’s drums introduce Roy Vucino’s guitar, teasing along with chatter-y little chord sweeps, making way for Annie-Claude Deschênes matter-of-fact vocals. The whole thing sounds like KLEENEX/LILIPUT song, the illusion only to be shattered by the chorus: a stomp on the drive pedal, the band catapults into a crunchy, aggressive crust punk sound—drums really working here—then drops back into the same verse structure, and then what? Little interrupter raygun synth line! Ripping guitar solo? Yup, it has that, too. This song fucking drips cool and is full of surprises, which is the sentiment that I have for this band and album at large. PYPY (pronuced ππ) is from Montreal and put out this second album a decade after their debut Pagan Day, which had a more psych-rock sound, still at work on Sacred Times (mostly on the washed-out guitar lines) though otherwise arrangements here are much more concise. All of the songs could warrant a longer write-up, but near the top is “She’s Back” (a nod to Pagan Day’s “She’s Gone”?) with the undeniable catchiness of any clever pop song, suited to the PYPY soundscape, driving from the gate, and offering a haunting hook of “I don’t know where she’s been, but / She’s back.” I hope I don’t have to wait another decade for their next album. Tell your friends about this one, they’ll be happy.
Barrelling, ear-ringing, and rhythm-forward post-hardcore with emo tendencies from a London band whose sound is—for now?—unfashionable, which, combined with the thoughtful muscularity of the results, makes me appreciate RITUAL ERROR all the more. With a curious (and good) habit of getting jazzier and more complex the faster their tempos, there’s some DRIVE LIKE JEHU in Okala Elesia’s guitar tone, HOOVER in the tight arrangements, maybe CIRCUS LUPUS at certain points; I think this band would have found a warm welcome in a few discrete parts of the mid-2000s UK scene. Lyrics are impassioned if often indirect, “Tear Jerker” notable for opening with a sample of a M*rgaret Th*tcher speech before lamenting how Britain’s dullard class have been “diagnosed with nostalgia for cars, working hours and flags.”
Featuring members from the mighty LÄRM, this is a welcome return of a highly political Dutch hardcore band coming correct with antifa-fueled vitriol. This is unabashed fash-bashing music, and it sounds like it, too. Tough as nails, especially with a biting bass tone that rides high in the mix (a favorite trick of mine). The songs often don’t even make it past the minute mark, giving it that classic breakneck hardcore speed I crave. Truly uncompromising stuff from top to bottom, done in the old school (best school) way but with enough modern touches to keep it fresh. There are a lot of bands dipping into the well of this subsect of hardcore, and it’s always good to have someone show how it’s done.
A bizarre and interesting piece of punk history here. SILVER ABUSE is known as being the second punk band ever from the Chicago, IL area, originally forming in 1977. With a bunch of lineup changes and long hiatuses, this is only the third SILVER ABUSE release in their almost 50 years of existence. The Fall From Grace EP was released in 1982, its follow-up was the Consider the Pigeon LP not released until 2016, and finally this cassette, released in 2024, is outtakes/alternate versions of the Consider the Pigeon LP session. A vast majority of the songs on this cassette are freeform, plodding, goofy no wave absurdity, which isn’t unexpected if you’ve listened to the band’s debut EP. Also similar to the first EP, there are the occasional unexpected driving, stomping tracks. Sure, nothing’s as pummeling as “Plastic Rows” (which is off the Fall From Grace 7” and is absolutely worth a listen), but there are certainly cool aspects hidden within this long cassette. There are a lot of “leaving the mic running during practice sessions” sounds and jamming while working out the kinks in songs. Probably a very cool release for a Chicago-based label to get to put out as an active piece of history, but I would bill it as a demo session, certainly not the band’s second full-length release. Cassette is limited to 100 copies and not available anywhere digitally. Essential for the first-wave Chicago punk purists out there.
Roachleg releases always get me excited, as I know that I’m about to listen to the rawest, most uncompromising punk around. SØRDÏD is just that! Five tracks of the most abrasive crasher crust last year had to offer, marked by aggressive, ear-damaging riffing, violently precise drumming, and a viscerally insane vocal delivery, which is a standout for me. Eight minutes of pure raw punk madness that follows the blueprint left by DISCHARGE and then throws it in a blender. An essential piece of modern buzzsaw punk for noise addicts.
Following a 2022 demo, this is the second release from VOYEUR’S MARKET, the solo project of Ash from Calgary, Canada. Inside Songs O’ Yule, you’ll find a jangle-pop set of five Christmas originals and one contrafactum of the COUNTRY TEASERS song “Henry Kringle.” If you’re looking to trade in your more traditional seasonal novelty songs for a lo-fi cassette complete with scratchy guitars and an active tambourine, then look no further.
This Portland band specializes in bluesy punk and new-wave-informed rock that is heavy on organ and observational spoken-word lyrics. Most of the mid-tempo songs have a jammy, alt-rock feel with faux jazz touches and a surrealistic quality that imagines WEEN with JIM CARROLL on vocals. WEREWOLF DIET shines when they go punk, like on the fast and short “They Atascadero,” but most of the time, they sound like the house band of your uncle’s favorite cigar bar. There is definitely an audience for this kind of slightly-outside-the-box quirky rock, but it’s not me.
Fantastic hardcore punk from the Bay Area. I don’t know how I missed this EP until this assignment, but better late than never. Fast, nasty, and featuring super-evil vocals that call to mind bands like S.H.I.T. and GLUE, XUI is up there with some of the best hardcore I’ve heard from 2024. That’s saying a lot considering the sheer amount of good music that came out last year. Eager to get this one in my collection.
Philly’s metallic-driven tsunami of hardcore punk with a brutal grip, violent musicality, and a desolate, epic atmosphere (especially in the riffage from the excellent, shredding guitars) that touches on death metal’s blunt, fast cadences. The vocals are well-executed, leaving the listener on the edge of each high-pitched scream. Absolutely pummeling, histrionic, D-beat-infused rhythms lead to a trance-like pogo. The sonic charges are strong on this one, and the artwork from the record and from the band seems to be very good. Each track has something to offer, highly recommended for searchers of chaotic yet well-driven songs in the metal punk vein.
A (mostly) one-man show from Australia, this isn’t the kind of thing you always see in punk rock. That said, the dude is talented, and this is extremely melodic and catchy fuzz-pop. The vocals take a little bit of a backseat to the instruments, which at first kind of bugged me. But I adapted relatively quickly and grew to understand that it wasn’t unintentional. Uptempo and poppy, this does remind me of some of the Subway Organization label bands from the UK in the late ’80s. Really top-notch stuff here. Of the ten cuts, nearly half are under two minutes, and none are over three. That’s a detail that always catches my eye (in a good way).
While the cassette would have one believing this is self-titled, the internet seems to refer to this solely as Dmo III. This is the third demo from the Netherlands-based wacky, revved-up synth punks ACHTERLICHT. Five songs of high-intensity, energetic punk with spooky Halloween synth parts often following the riffs note-for-note. All songs feel like they are absolutely racing to their end as fast as they possibly can. ACHTERLICHT rips, it’s as simple as that. I saw this tape referred to on the band’s Bandcamp as the “last EP of Haarlem punk band ACHTERLICHT,” and I truly hope it meant the most recent EP, not final. It would be an absolute shame if ACHTERLICHT has come to an end right as I’m becoming aware of their existence. Tape released in the States on Knuckles on Stun, meaning there’s a limited run of 25 copies, so act fast, you won’t be disappointed.
Fiery, self-collapsing no wave sludge outta Berlin with URIN personnel contained in the three-person lineup. BRAK is arguably as raucous as that band, albeit more given to bamboozlement through wave-y tone abuse than noise punk hyperspeed. There are hooks in their songs, much as TEENAGE JESUS AND THE JERKS and Confusion is Sex-era SONIC YOUTH had ‘em, and if you could still dig (fellow URIN-related band) CUNTROACHES with the bestial black metal leanings excised, then Friction may well be your bag—“Dopamine,” in particular, stacks up guitars until it’s a functioning wall of psychedelic weirdness all the way down.
Solo project coming out of Szczecin, Poland, though I can’t find much more on the man behind the mask than that. This is an industrial take on the bedroom punk brand made popular during the pandemic years—instead of shamble-y, soothing moans and heartfelt hooks, we get cold drums and unsettling bass lines, plucked guitar riffs, and dry, monosyllabic vocals, distorted, droning, landing squarely on beat, making the tempo seem faster than it is. Between Syf and Xtro, BZDET’s got five previous releases, as well as a stateside compilation on Tetryon Tapes, so there’s plenty to listen to if this mechanical type of slanted krautrock is your cup of tea.
Wouf? by CHIEN FLIC is a blast of fastcore energy from Western France, brought to you by a five-piece with not one but two vocalists—both named Claire, because why not? This tape delivers ten whirlwind tracks, each averaging about a minute, with a charming blend of aggression and humor. Its English and French lyrics tackle topics like physical fitness, good hygiene, consent, and telling you to get off your damn phone. There’s also a song that is most of a recipe for apple pie, which is definitely a first in my experience. Limited to just 150 copies, the physical release has already sold out, but it remains a standout for its cute, fun, and intense energy. Check out the song “Macron Pouflasse.”
Sometime ago I recall coming across a COLD WAR recording of “The Machinist” and being intrigued, but that feeling wore off quickly when I grew frustrated of trying to find more from this allusive anarcho-punk band. COLD WAR was a short-lived project in the early 1980s, and their recordings were not widely distributed. However, thanks to a collaboration between Grow Your Own Records and Ohne Grund Schallplatten the entirety of COLD WAR’s recorded history can be heard. If you’re a fan of things like PART1, later CRASS records output, the Steve Ignorant project SCHWARTZENEGGAR, 1981, or even THATCHER ON ACID, you’ll be wanting this in your stockpile. Personally, this one is going in my permanent collection.
This was my introduction to Japan’s DUSTPAN, who have somehow eluded me for the last, uh, twenty-plus years. I’m glad to have rectified that situation, ‘cause this band absolutely kills. Self-proclaimed purveyors of drunkard hardcore punk, DUSTPAN harnesses speed and ferocity without sacrificing the integrity of their riffs. They may dabble with a pogo beat here and there (they are drunkards after all), but they really whip when the pedal is to the floor, playing unbridled thrashy fastcore not unlike JELLYROLL ROCKHEADS or EXCLAIM. All go, no slow. This rules!
Stunning demo from this NYC band that conceptualizes the fragile life of insects through punk songs layered with music box keys and ethereal harmonized vocals. The tape opens with a moody toy piano instrumental piece accompanied by post-punk-leaning bass, and then continues with tracks that, although they definitely register as punk, have complex compositions of interweaving synths and breathy vocal patterns which sound otherworldly and childlike. EXO captures the vibe of DOLLHOUSE with the vocals of HELEN, and is an essential listen if you like intricate, vulnerable punk rock.
San Antonio’s FAULTY COGNITIONS claim ’80s college rock as a foundational influence and you can hear it. especially in the excellent album opener “Sun Sun Go Away” that’s equal parts NEW ORDER and J Mascis. Overall, I find the band’s sound to be a soupier mix of alternative rock, but I don’t think that’s a bad thing. Similar to the earnestness of a band like the defunct BUGG that found its home in the hearts of punks, this is a melody-forward sound that is big on hooks and a downer vibe with a bouncy beat. It ultimately works wonders, even if the songs start to feel a bit same-y. Still, that’s part of the charm: a band with focus that can pull off the same tricks again and again and land them consistently. By the time you hear an honest-to-god ’90s alt-rock radio guitar solo in “Your Inheritance,” you ought to be hooked. I certainly am.
Not Very Motorcycle is an impressive monument to the power of Heather Sawyer’s solo musical wit. With her previous experience in Wisconsinite punk escapades, it is no surprise that her (assumedly) releases under HEATHER THE JERK strike the same satisfying chord. With a charming “bedroom recording” texture to the music, this album classifies a youthful spring break tuneage common with pop punk. This is a very danceable album with echoing, matter-of-fact vocals, wacky digital piano, and fun guitar riffs. The drums are great too, though a bit muffled. I also appreciate her vehement use of her scraggly (and very cute) white dog in her music promotion. My favorite song is “SFGE,” which perfectly encapsulates the peachy, raw, exciting energy surrounding this precious album.
Fuzz Out!! is the second LP from the IN-FUZZED, coming at us from Perpignan, France and a band that’s clearly deep into this ’60s fuzz-worshipping garage rock nostalgia trip, much like FORD’S FUZZ INFERNO. This album isn’t exactly my vibe—it sounds like ’60s music through and through, and I’m probably missing the finer details that fans of this genre would appreciate. It’s mostly inoffensive, but I can’t see myself sitting down to listen to it for fun. Maybe it’s better as party or club music, or as the soundtrack to a scene in a movie. The track “Sex Sex Sex,” despite the promising title, is basically five minutes of improvisational nonsense that sounds like something they recorded during a band practice. If you’re into music that’s all vibe and no bite, this might be your jam.
I have a niece named Juliette. She is full of power, punch and heart—and that’s what the former Polish band JULIETTE also offers up with the release Memories Fade, on Refuse Records out of Berlin. If you yearn for the early ’00s as I always do, you will love this recording. The first track “Inscribed on Your Face” bolts in with a full-on assault in the cultural vein of SAETIA and YOU AND I, so much so that before I looked more further at the link online, I said “I bet these guys are from NJ/NYC.” But nope, straight outta Poland. I couldn’t ascertain if the lyrics were in Polish or English, but the song titles are in English. Several of the other tracks, including “And the System,” have the cozy late ’90s jangle that calls to mind JEJUNE for me, which was music to my ears. I really liked the bass line that “Losing My Hope” started with. Production-wise, as a drummer I thought there was a little overemphasis on guitar in the mix and would have loved to have heard drums a little higher, but overall, this is an excellent album I hope lots of fans of the genre will hear.
One of those cases in which a glance at the band’s photo is enough to know that the music is going to be good. An eerie intro, consisting of a rustling sound over some gloomy chords, sets the tone, and after the suspense takes a hold, you get delivered with the most furious black thrash metal I’ve heard in a while. Quite a similar vibe to the last record by DESINTEGRACIÓN VIOLENTA, a band with which they share members, there is a prevalent punk feeling throughout in the way the songs are played and constructed. Reminds me of a punk version of POISON (the German band, not the hair metal band). Grim and disgusting with an unhealthy dose of darkness.
Metallic crust from a veritable supergroup, featuring ex-members of LIMP WRIST, DEVOID OF FAITH, and LIBYANS, to name a few. Hard to imagine a band with such a pedigree not delivering. No surprise, Systematization is a beast of an album. There are hints of Swedish hardcore melodies and a tinge of shredder metal lurking beneath the surface, but it’s synthesized in a very natural, coherent way. I’m reminded of 3-WAY CUM and EXTINCTION OF MANKIND, but with vocals that lean a bit more hardcore than guttural. Ten tracks of sheer brutality, made to be played loud and often.
