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!

Pig Rides Demo 2024 cassette

Six-song debut demo cassette clocking in at under ten minutes long. This demo could be three times its length and I would still be thirsty for more. Relentless, grimy hardcore punk which is undeniably from Cleveland, Ohio. The “members of” list would surely be too long to navigate, as the band is comprised of a bunch of long running freakers steering this ship. Most notable, to me anyway, is that the vocals are done by the singer from TV DRUGS, and at least one other member is from the oft-overlooked powerhouse KILL THE HIPPIES. Very cool first release. Can’t wait to take my next pig ride.

Qitsch No Shame LP

Second LP from Schaffhausen, Switzerland’s QITSCH. Eleven tracks of wall-of-sound layered synths with phaser and tremolo, vocals soaked in reverb, and fairly unaffected bass and a standard acoustic drum kit, paired with this otherwise very electronic, ambient soundscape. Vast, feedback-laden grooves propel the album forward in mid-tempo stride with an oppressive, grayscale shimmer, often slowing further on songs like “The Smile on Your Lips.” For fans of the more experimental SONIC YOUTH tracks.

Rehash Aktion Reaktion! 12″

The Berlin-based Mangel label has cornered the market when it comes to the sort of tense, calculated throwback post-punk that’s been popping off in Germany and Belgium over the last several years, so they’re a logical landing place for the debut offering from Antwerp’s REHASH. Sternly shouted vocals are split more or less evenly between English and German, and the band’s rhythms are agitated but clockwork-precise, cut through with guitar that writhes and scratches like GANG OF FOUR stripped of their overt funk leanings. Plot a line from Pink Flag-era WIRE’s spartan, propulsive grooves to early ’80s Zickzack brutalism to the post-millennial downer punk of DIÄT to (very) recent Mangel-backed acts like LIIEK and PLEXI STAD, and you’ll land right at REHASH. The standout “Kunsthochschule” strikes with a serrated, EX-like urgency, and even though I don‘t understand a word of German, I’d like to believe that the intersecting vocals have a similarly pointed political bent—the title translates to “Art School,” and speaking as someone who works at one, there’s plenty to critique there. Some of the other four tracks could stand to have a little fat trimmed (see: the jarring tempo downshift in the middle of the four-minute-pushing “King of Weimar”), but when they’re lean, it’s mean.

Siege Fire The Devastating Cost LP

Now this is a convenient assignment: SIEGE FIRE’s first album The Devastating Cost (a reference to contemporary shipping prices in the States, I believe) might end up in my Top Ten of 2024. If they send me a bribe, they definitely will be in it. This noisy bunch comes from Portland and was originally a studio-only project from Mike (who also lends his talent to the rather great GENOGEIST and DECOMP), having released a tape in 2021 before morphing into a proper band by which you can be deafened with the help of people from LÖCKHEED and NYX DIVISION. The drummer on this LP is on absolute fire, and to be honest, he really has to be, since the main influence behind SIEGE FIRE is the mighty FRAMTID, a band known for its crazy and intense drumming remarkable for its variations, sick drum rolls, and punishing bollocking power. The Portland unit clearly borrows from this rhythmic tradition that goes back to GLOOM, and their heavy reliance on distortion certainly confirms that they shoot for the crasher crust stars. I would locate them somewhere between FRAMTID and D-CLONE with a modern crazy noise-punk twist in their use of fuzz (not unlike the Melbourne scene, notably), and very much in tune with contemporary bands like PHYSIQUE, HORRENDOUS 3D, or KINETIC ORBITAL STRIKE. In such a noisy and brutal subgenre, it can be difficult to maintain the listener’s engaging attention, and I think SIEGE FIRE manages to achieve that for the length of an LP thanks to some welcome mid-paced scorchers showing some sort of reflexivity from the band in terms of songwriting. Another good one on Black Water, from a place that never ceases to amaze.

Skullpresser Positions of Power LP

This meet-cute of Pennsylvania punks puts on a convincing face for metallic hardcore that tinges on crossover and emo, ultimately resulting in a satisfying blend of styles that cohere into something imminently moshable. It nearly resembles the early blackened rock’n’roll of Norway’s KVELERTAK, at least in the emotional pull it has and its frosty twin guitar licks. It’s heavy, but not dangerous. Cuddly and pissed at the same time, and I don’t mean that in a condescending way. Purveyors of metallic hardcore have been broadening the appeal of the niche for years now, and ultimately I think it’s a good thing to have a little goddamn fun when you’re opening up the pit. That said, if you’re looking for the meanest, gnarliest shit, this is not it. But again, I think that’s a good thing. These are solid ragers with a lot of stylistic changeups that put a smile on my face. And the band is gracious enough to include their debut self-titled EP on Side B. The new stuff hits a little harder, which only shows they’re headed in the right direction. Many a windmill kick will be inspired by tracks like “Chained,” which even throws in some nu-metal influence, now that we all realize we can admit we still bop to SLIPKNOT, and even more so the furious closing track “The World Can See,” which brings proper epic pomp to cap things off. This record is a blast.

Straitjacket Man or Ape? cassette

Applying sore-throated, demonic vocals over some raging basement punk, Williamsburg’s STRAITJACKET gives us five songs of old-fashioned DIY stomping and ripping. Sentiments of anger have always been a popular catalyst for crazy kids starting a band, but sheer weirdness has become just as common. So now, I barely bat an eye when someone inexplicably yells “I love lemon!” over some unplugged electric noodling at the end of “Beyond Repair,” or when I see that they’ve included a song entitled “Taxidermy Vape.” Those are just tropes of 2024 wacky-core.

Svaveldioxid Fr​ä​mmande Samtid Str​ä​mmande Framtid 10″

Total kängpunk ear-annihilation from the absolute country of Sweden! No gimmicks, just plain DISCHARGE-styled hardcore the way that ANTI-CIMEX used to preach. These käng purists learned the lesson well and follow the school of Anarkist Attack (if the name of the band wasn’t already a clue). Recorded at the legendary Sunlight Studios, which helped to put the HM-2w pedal on the map and crafted the crunchiest guitar sound ever through bands like ENTOMBED and DISMEMBER—SVAVELDIOXID used and abused this pedal and unleashed a barrage of chainsaw guitar hardcore on this latest record. Playing this type of sound since 2015 really allowed them to perfect the formula. If it ain’t broken, don’t fix it!

The Swankys The Very Best of Hero LP reissue

The SWANKYS played punk with a wild, untamed style most of the time. They range from their beginnings having some ’77-style punk influence, and then starting to play more hardcore-style while still writing songs with some melody, or just playing ripping hardcore that reminds me slightly of the BRISTLES from Sweden. This says it was mastered at Abbey Road Studios, if I’m reading it correctly. General Speech is doing a great job bringing this kind of thing to us.I have a feeling that this could be sold out by the time anyone reads this.

Th’ Losin Streaks Last House LP

Rock’n’roll serves those who give themselves to it completely. I know a band of lifers when I hear one, and it’s always exciting. This Sacramento group has been around, and while this grip of tracks doesn’t exactly break new ground for them, it cuts like a knife through the pale flab of pretenders that make up most of contemporary garage. There are more polished R&B affairs stacked next to ferocious and fiercely-paced ragers like the hook-laden “Cake and Ice Cream Too,” plus everything in between. The production really shines, somehow keeping the piss and grit baked into these songs while also shimmying them up mighty pretty. The playing is all top of class, especially the nimble guitar work and full-throated vocal performances. There’s even a damn decent ballad in the mix, the surprisingly tender and bittersweet “For a While.” The standout has to be the bombastic, melodic, and nearly operatic “Cooler Heads.” It swings like an axe all the way to hell and back, ending in true chaotic clatter. There’s not a note out of place on this record, but while that can sometimes read as too sterile, it only serves to bolster the true spirit of rock music and of this band.

Upright Forms Blurred Wires CD

UPRIGHT FORMS’ album Blurred Wires showcases a more accessible side of Nick Sakes, the singer/guitarist formerly of DAZZLING KILLMEN, COLOSSAMITE, and XADDAX. The Minneapolis-based trio offers a blend of bass-heavy, dynamic noise rock tracks that are tempered with softer, more indie rock moments, as heard on songs like “Drive at Night,” “Long Shadow,” and “Animositine.” The album walks a line between angular rock aggression and a mellower approach, reminiscent of some of those old Amphetamine Reptile bands in one moment and indie rock bands like the PIXIES in the next. It’s perfect for fans of discordant, energetic rock who have mellowed slightly with time and don’t always need the intensity cranked up. It’s good stuff.

Vile Desire Sick With Hate cassette

Five tracks of knuckle-dragging, head-bobbing hardcore and noise rock from St. Louis. Big repetitive riffs here, reminiscent of MELVINS, KILLDOZER, or even pre-explosion NIRVANA, with ultra-harsh vocals and a layer of dissonant guitar on top. It sounds like the best, nastiest grunge with the nihilism of HOAX and is recommended for playing as loud as possible.

Altercados / Xpunkha DCxPC & Punk Rock Mag Presents, Vol. 28 split LP

Two Costa Rican bands displaying their prowess in this latest installment of the prolific DCxPC live series. ALTERCADOS take a melodic approach to their uptempo, bass-driven punk rock. Plunky, with half-sung/half-screamed vocals, they bounce through their set with hints of hard rock and metal. The sound quality is great, but the tones are a bit clashing at times. XPUNKHA is more straightforward and aggressive, turning in an energetic performance that feels more cohesive. That said, these soundboard recordings leave something to be desired—namely, the sensation of being in the crowd. That’s a tall order for any live capture, but I can’t help but get hung up on this snag. It sucks the life out of the songs and leaves me with an impression of what the bands sound like, but no confidence in guessing what a studio recording could yield.

Bandy Void EP

Really fantastic post-punk here. At times, it’s reminiscent of TALKING HEADS after a caffeine binge. Also reminds me a bit of the DEAD MILKMEN if they had gone to art school in Chicago. There’s a little bit of a shoegaze element as well, with lots of pedal usage that drowns everything else out in a fuzz. Nothing I’d consider groundbreaking, but this is a really solid EP and well worth a listen if you’re a fan of dance punk.

Bazooka Joe Pastor of Muppets / Send in the Klowns cassette

Cassette reissue of both 7” releases by a late ’80s hardcore outfit from Myrtle Beach, SC. BAZOOKA JOE played revved-up hardcore punk that would fit in both politically and stylistically with the likes of MDC. Formed in 1987, BAZOOKA JOE originally released Pastor of Muppets in 1988 and Send in the Klowns in 1989. The avid Maximum Rocknroll fan will recognize BAZOOKA JOE from the 1989 compilation LP They Don’t Get Paid, They Don’t Get Laid, But Boy Do They Work Hard! (MRR No. 4). The band had a total of five songs on three different compilations from 1989 and 1990, and the tracks are all true rippers. What a missed opportunity! With the inclusion of a few extra songs, this could have been a complete discography cassette. Either way, BAZOOKA JOE played no-nonsense hardcore punk, and this is a cool collection of some of the band’s output.

Boondall Boys Hard Rubbish LP reissue

Suburban Brisbanian basement punkers BOONDALL BOYS released this record back in the good ol’ days of 2007. Once found (it was lost, apparently??), the band threw it on twelve inches and pushed it into the internet to share it with the masses. There are some things to enjoy: charging guitar riffs, and a brawled-out bro version of “My War” is kinda cool. At the conclusion of the record, however, it seems almost like looking through someone else’s yearbook.

Cimitero Il Culto della Carogna cassette

Intrepid Italian duo CIMITERO returns for another dose of black-metal-infused hardcore punk, or as they so aptly call it, “candlelight punk.” Their self-titled debut already presented the band as a consistent contender in the world of “spooky chorused guitars” punk bands such as fellow compatriots LUCTA, and Il Culto Della Carogna solidifies their sound and plays on the tropes of both genres that influence CIMITERO: there are D-beats, blastbeats, skank beats, devil’s chords, and a lot of angry shouting. The four songs on this EP are as cold as they are aggressive, never ceasing to be intense, like a bastard child of DARKTHRONE and DISCHARGE. Italian hardcore bands like WRETCHED or STIGMATHE had a lot of “darker” riffing, so I’m guessing it’s natural for an Italian band to gravitate towards the colder, darker aspects of hardcore.

Cœur À L’Index Adieu Minette LP

DOLLY MIXTURE references have been turning up so often in relation to the current wave of punks playing pop music that we might be witnessing the dawn of a new D(OLLY)-beat—the Brussels-based trio CŒUR À L’INDEX falls squarely into that camp, with a debut LP that’s eight sugar-coated servings of girl-group-inspired harmonies and pastel-tinted guitar jangle. Maybe it’s the crystalline French-language vocals and the clean, crisp recording (très power pop), but the ’60s-via-’80s striped-shirt bubblegum beat of “Rattrapez-Moi” and “Loin D’ici” had my thoughts immediately wandering to LES CALAMITÉS rather than DOLLY MIXTURE, while the plaintive “Parler de Toi” and “Ca M’ira” bear the afterimage of late ’00s/early ’10s C86 revivalists BRILLIANT COLORS, or flipping back further in the singles box, TALULAH GOSH. I’m sure it’s only a matter of time until this renewed interest in pure pop for punk dreamers is completely run into the ground by lesser bandwagon-jumpers, so savor the sweet treat of Adieu Minette while you can.

Dolor De Muelas EP cassette

Rudimentary punk from Chile here with a scrappy DIY spirit. Made using little more than youthful spirit and a few chords, it has a simple charm and classic themes of restlessness, anger, and discontent. And the band’s name translates to “Toothache.”

El Destello Destruiremos Su Civilizaci​ó​n cassette

From the warm streets of Barcelona, this one-man project makes a unique release with a cold sound, electrifying hooks, and captivating lyrics. David, who also lends his talent to IRREAL and ALGARA, uses traditional post-punk elements with emphasis on the punk, creating a sound that is both nostalgic and fresh. Drawing inspiration from iconic ’80s Spanish darkwave bands such as DÉCIMA VÍCTIMA, EL DESTELLO crafts songs that echo the emotions of the human experience drenched in social revolt. What sets EL DESTELLO apart from the myriad of bands in the genre is the perfect blend of darkness and light that invites listeners to dance while contemplating the struggles of life. A compelling mix of rhythm and meaning.

Fear of Extinction / Utsatt split LP

FEAR OF EXTINCTION is from Prague and plays some pretty epic crust, truly a wall of sound. They remind me of WOLFPACK and a few of the other bands that were on Distortion Records back in the ’90s, and they are a perfect pairing with UTSATT. UTSATT is from Sweden and features members of 3-WAY CUM, WARCOLLAPSE, VERDICT, EXPLOATÖR, MEANWHILE, and more. This sounds like classic Swedish hardcore, because it is. Top-notch stuff. Great album for fans of Swedish hardcore punk and crust alike.

Gob Psychic Rent Payer EP

These Danes wear a contemporary Melbourne punk influence on their sleeves, but this snappy trio of tracks burns its own rubber on its own terms. Catchy, angry, and with a satisfying motorik approach to rhythm, these odes to alienation hit just right. There’s a tinge of early 2000s garage rock revival that the band might disavow, but it adds catchiness to the mix that carries you through the somewhat bloated runtime of a track like “Dead Intruder.” There are good ideas here executed well and with an authentic edge that never once feels like a put-on. I can’t wait to hear more!

H,K, Now is the Time to Change the Earth (1989–2024 Best of H,K,) CD

H,K, from Shizuoka, Japan formed in 1989, and this is a collection of tracks drawn from various tapes, compilations, and splits recorded between 1991 and 2005. Unlike some of their contemporaries, H,K,’s brand of hardcore doesn’t rely so heavily on speed or thrash elements; instead, they weave a melodic thread through many of their songs that softens their sound. Kili’s wavering vocals frequently evoke the spirit of Jello Biafra, and I enjoyed their use of gang/backing vocals. Many of the tracks tend to run longer than typical hardcore offerings, with ten out of twenty-four songs exceeding three minutes. While the sound quality starts off a bit rough in the earliest recordings, it notably improves in the later tracks. The entire collection grew on me over time, but I think my favorite songs come from the Shuzuoka Hardcore comp. Check out: “Discrimination Violence.”

Lothario Hogtied LP

Very raunchy and fun lyricism with lots of sexual themes that matched the vibe of the music. I also enjoyed the distorted vocals and distinct bass lines. However, some of the songs kind of blended together for me and made me a bit bored. I think having most of the songs in the same tempo throughout, and with similar drum tracks at times, made the songs sound quite similar. The album felt a bit long, but the bit of variation of “Doggy” to “Suckhole” back-to-back did help. Overall, the album felt a bit “meh” to me, but if you’re into this style of garage punk/rock, I’d give it a try.

Jean Mignon AN/AL cassette

Eh, it’s okay. The production is pretty good and the guitarwork isn’t bad, but it’s just very plain to me. It just sounds like every egg-punk/garage-y punk release from the last decade. I guess maybe it’s just the vocals that rub me the wrong way, because they aren’t very pleasant either. Another one I really thought I was going to like. A little too tongue-in-cheek for its own good. Sounds almost like HASIL ADKINS if he fronted GENERATION X.

Möwer II LP

This album kicks a whole ton of ass, instantly bringing to mind the MOTÖRHEAD of a new generation. That’s kind of the point, right? I mean, just look at the name. As is tradition in Lemmy-worship, this album teeters much heavier on the metal side of the punk spectrum, with searing guitar solos that tear through the fabric of each song. I’m a huge fan of the bass tone here as well. Dirty, tinny, and tucked in the pocket, but the moment it comes out for a walk, it completely imposes itself upon the listener. Great stuff here. For fans of playing video poker in your favorite dive bar until you’re forced to go home at last call.

Nag Fear cassette

Atlanta punk lifer Brannon Greene and his hardcore punk-tinged deathrock/post-punk outfit NAG—not to be confused with his deathrock/post-punk-tinged hardcore punk outfit PREDATOR—are back with a new cassette. And aside from a few tracks that could be pulled from either project, the seven tracks that make up this release really distinguish NAG as a separate entity. The base sound here is something akin to that first RIKK AGNEW solo record—driving, bleakly melodic guitar, intricate bass interplay, and maybe a light synth (or studio effects that make a guitar sound like a synth) from time to time—but they are really upping the goth this here. A track like “Nike Gate” starts off with JOY DIVISION bass melody before sliding into something like a sludgier version of early SISTERS OF MERCY. It’s some of the starkest stuff they’ve put out. Other tracks remind me a bit of CLAN OF XYMOX, albeit a punker, more organic version of that band. Of course, there are still a handful of rippers—album opener “Pupil” is among my favorite tracks from any of Greene’s projects.  Just another top-to-bottom great release from a great band!

Nein Danke Ich Weiß Nicht, Wo Ich Bin 10″

Nine tracks and ten inches from Neuwied, Germany’s NEIN DANKE, a duo playing some synth-and-drum-machine-heavy beats with poppy, sugary vocals. Some influences of Neue Deutsche Welle here: MALARIA! comes to mind, as well as KRAFTWERK—both are maybe too-easy comparisons. The songs on Ich Weiß Nicht, Wo Ich Bin are at times bright, at others dark; slow and sweeping on “Immer Denken,” or fast, driving, and jittery on “Alles, Was Ich Muss.” The last track “Illusion” brings all of this together—at 3:40, it has time to wander back and forth from that pumping drum machine to just synth lines hanging out to dry. Would highly recommend.

The Pist Right to Choose / Jim Martin 7″

Since reforming last year, the PIST has been very active, and can now log this 45 as another hallmark. Full of their signature style of streetwise hardcore and a barrage of gang vocals to boot, “Right to Choose” is an anthem for reproductive freedom and bodily autonomy, and also features additional vocalists from a host of East Coast punk bands. The reverse side, “Jim Martin,” is an ode to punk rock champion Jim Martin and brings an even bigger serving of Oi!, definitely sing-along ready with a sort of bar rock energy. After releasing a fresh album and gigging regularly, it’s astounding that the PIST has time to release a fresh artifact all in a year, but here it is and it rocks.

Problems Beg for Release EP

Hailing from Oslo, Norway, PROBLEMS release a thrashing hardcore attack on this seven-song EP. It’s an orgy of powerful, pounding sound that starts off intense and never lets up. Meaty and menacing, it’s the kind of stuff where the singer makes little noises of disgust from time to time between belting out the lyrics, and the energy of anger is strongly palpable. You could be in a great mood, put this on, and ten minutes later, you’re totally pissed. Which I think is a compliment?

Rabbit Bardo EP

RABBIT’s latest EP Bardo is a melting pot of styles; death metal, punk, powerviolence, metallic hardcore, all stewing together to create a sonically powerful and satisfying EP that will appeal to a wide audience, not unlike their most cited influence GULCH. The thrash influence of the Big Four is especially evident on tracks like “Tail Wags Dog” and “Anti-Priest Summons Baphomet,” whose stink-face-inducing riffs and over-the-top vocals would satisfy even the pickiest of metalheads. Extra points for the amazing artwork, a consistent feature of all of RABBIT’s releases so far. Excited to hear what they’ve got coming next.

Savage Pleasure Savage Pleasure LP

Sick metal punk with spiky, sharp rhythms and distorted to the fullest. Fast-paced cadences filled with a filth and precision that could intoxicate advocates of metallic forms of punk, with two spoonfuls of powerviolence in it. Feels like a dark chamber of doomed figures between the final two tracks, the last of which (“Chasm of Distant Dreams”) is a bit more than five minutes in length that’s well worth the spin. Endure the intro. Recommended.

Scontro What Else Can I Do? cassette

Debut full-length release from this Portland, OR “socially conscious punk rock band.” Eleven songs of very slickly recorded and produced “punk rock,” with politically-driven lyrics strongly front and center. There are some cool guitar leads, the bass licks on some of the songs are driving and catchy, but the nature of the lyrical style and delivery left me feeling as if I had just attended a lecture. I absolutely see the point of intermingling political views with music, and the importance of entry-level political stances as a way to share ideas and thoughts to newcomers, I just personally could do without feeling like I just experienced an auditory Ludovico Technique.

Skamfläck Synka Alla Klockor för Midnatt LP

First off, the cover here arrives in the grand tradition of cartoony depictions of apocalyptic dystopias (think Cause for Alarm or The Day the Country Died): a grim vision of reality via rounded lines and primary color. The music is a few sibling genres held together by a very metallic crust punk. There are some capital-M metal riffs, but the guitars are otherwise on the “punk” side of the ledger (grimy and spare instead of epic and layered). As usual, I think the run time here is excessive. As Coco Chanel said, “Before you go out, take a look in the mirror and remove one track.”

Tuxedo Cats Fake Punk EP

TUXEDO CATS, a power punk outfit out of Brooklyn, return with their second four-song EP. With an increased velocity compared to their solid debut Out of the Bag, the tunes here on Fake Punk burn bright and burn fast. At first listen, one might think the influences here can be plucked out easily, but on multiple listens, the breadth of their taste really starts to unfold. Fans of Good Vibrations records, ’70s Belgian punk, the NEW YORK DOLLS, or simply spending an inordinate amount of time in record shops will all find plenty of satisfaction here. While all these sounds may read as all over the map, literally, TUXEDO CATS seem effortless in their ability to blend a litany of influences. And I’d be remiss not to mention “Jaguar K-11,” a scorching, one-and-a-half-minute ode to the folding knife, as one of the very best B-sides I’ve heard this entire year.

Z-Pak 15 Minutes With Z-Pak cassette

This rules. Second tape from Philly punks that delivers weirdo hardcore of the highest order. Z-PAK sounds like Doc Dart of the CRUCIFUCKS fronting SACCHARINE TRUST on speed. The shrill, frenzied vocals pierce the fast punk, and we even get some BLACK FLAG-style atonal soloing on “Jaws of Life.” On “Whiplash,” vocalist Alex’s voice cracks through the octaves like MARIAH CAREY going through puberty. Unhinged and exciting, this is a band that is probably best taken in fifteen-minute doses, repeated a few times a day.

Alambrada Rios de Sangre LP

The successor of Muerte Preventiva, Rios de Sangre serves up a relentless barrage of fiery riffs, driving rhythms, and socially-charged lyrics that resonate deeply with both the pulse of Bogota and the broader struggles of the heart. From the opening track, we are thrust into a whirlwind of fast hardcore à la VOID or KORO, expertly layered with both frenetic urgency and poignant storytelling. Each track reflects a powerful blend of breakneck speed and relentless power, showcasing the band’s charisma for crafting anthems. ALAMBRADA aren’t timid when it comes to confronting political and social issues head-on, articulating the frustrations and aspirations of a generation longing for change. From the busy punk aficionados from Rat Trap, with killer projects like MURO, UNIDAD IDEOLÒGICA, and ATAQUE ZERO, the question remains: how do these guys have time to make such great bands?

Bad Image II cassette

Five smoldering cuts of pissed-off hardcore punk done just the way I like it, relentless and raw. Word on the street is that their singer, Jaedyn, is known to wield an eight-foot chain during live performances. Sick! With a couple tapes under their (bullet) belt, BAD IMAGE has cultivated a noisy, raw-punk-inspired style that radiates energy and rage. Having relocated from sunscorched Phoenix to dreary Seattle, one has to wonder if the change of location has led to a shift in disposition. No complaints here. From furious D-beat to fist-pumping pogo punk, they are checking all the right boxes. Can’t wait to see where they’ll go from here.

The Brides Suburban Vermin: 1996–98 LP

Now this rocks. Chicago punk is known for its vicious guitar sound, and this collection of ’70s-influenced punk is a perfect example of that. It’s pretty lo-fi due to most of it being demos and live recordings from the ’90s, but I think it adds to the charm if anything. The vocals are pretty typical for a punk band, but I think the sheer energy the BRIDES display here is enough to warrant checking this LP out. I like the cover of CRIME’s “Baby You’re So Repulsive” a lot as well. The guitars are raunchy, the bass is groovy, the drums are hard. Listen to it.

Celebrity Sighting …They’re Just Like Us cassette

This album opens up to the listener like a field of flowers, blooming to show their colorful fuzz pedals reverberating in a musical garden. …They’re Just Like Us has the distinct indie ingredients of “screaming down the hallway” vocals, a tempo carried by cymbals, heavy bass, and raw, undercooked guitar to add the cherry on top. The tracks are distinctly political but fun, with “Are You Insured” asking the listener a crucial question should they jump into the pit of a late-night show. The song titles unsurprisingly cover serious topics like “Climate Change;” I’ve noticed this is the newest wave of political cacophony for recent pop punk releases. The album cover is very cute and in my opinion, resembles something HOLE would have released if they were still together. “Market Value” takes on a faster pace to pick up where the more contemplative beats leave off and “Hypocrite” closes the album leaving a reminiscent feeling of the early days of the FRIGHTS. Being CELEBRITY SIGHTING’s first release, they should be glad to know they’ve created a great coming-of-age soundtrack and an even better garage pop staple.

Circus One Big Joke 12″

I don’t know what it is about clowns, but I love them. I’ve got a small collection of clown paraphernalia peppered throughout my home, and have a low-key obsession with the lucha libre trio Los Payasos. So imagine my excitement when the new CIRCUS album came across my desk. I initially thought the band name and clown motif were surface-level gimmicks, but no. The theme permeates throughout the entire record. CIRCUS plays your typical hardcore akin to bands like FROSTBITE and NEW LOWS, and while the music is tight and quite good, it’s the lyrics that bring it to a whole other level for me. Featuring such classic lines as “Bozo motherfucker / Got a bone to pick / Forty clowns deep / As the tiny engine rips,” as heard in “Clown Car Pile Up,” and “You honk the honk but you will never walk my walk,” from the track “Silly Prison,” CIRCUS continues to maintain the classic balance of insidiousness and innocence that we’ve all come to known from the storied history of our favorite, face-painted buffoons. Fantastic stuff here, even for those who suffer from coulrophobia.

Disarm Existence Demo 1985 LP

My first thought was that this would be DISARM from Sweden, but this band was from Virginia. They played hardcore that at times approached crossover thrash in the vein of CORROSION OF CONFORMITY and sometimes early D.R.I., and even a little first album SUICIDAL TENDENCIES. There are a lot of other influences, but those stood out to me right away. I am always happy to find old bands that I haven’t heard before, so a big thanks to Beach Impediment Records for bringing this to us all. Great listen, and I immediately knew I was listening to hardcore from the ’80s.

Dope Sweater ’20–’21 Singles cassette

The long-running, self-proclaimed “Indiana garage punk kings” return with an unorthodox release. Recorded during the height of COVID isolation, the three members of this band recorded their own parts alone and sent files to one another to create what we have before us. Six songs which span a lot of ground stylistically—personally, I much prefer the dingy garage/JAY REATARD-inspired tunes to the somewhat more meandering, long psychedelic jams, but on a whole, this is a cool release with some damn good songs and an interesting tale. Physical copies limited to 25.

Enola Gay / Phantom split LP

A post-mortem collection of the Łódź, Poland-based post-punk group PHANTOM, who formed in 1979 and later renamed themselves ENOLA GAY in the mid-’80s, so the “split” status here is more that of a split mirror. To make things especially confusing, the five songs on the A-side were all recorded as ENOLA GAY in 1983, while the five B-side tracks are 1984 recordings credited to PHANTOM, so I’m assuming the name change must have been fairly temporary? PHANTOM reportedly started out by covering the likes of the STRANGLERS and GARY NEWMAN, and the influence of the latter is definitely perceptible in the unnerved, slightly androgynous delivery of vocalist Bogusia Michalonka and the syncopated new wave backing of the band’s ENOLA GAY iteration—the synth-squealing anxiety of “Grzybobranie” is basically a Replicas replica (but a really good one). It’s total android oddness on that half of the record, while the PHANTOM tracks put a touch more emphasis on the shrouded doom and gloom that was a hallmark of Eastern Bloc post-punk. The lurching rhythms and anguished undead howls of “Dusseldorf” gesture toward the death drone of early 4AD fixtures REMA-REMA, as the synth-forward “Puszka” and “Marionetka” split off in the direction of an elastic, danceable sound that’s vaguely NDW-like. Like so many bands who operated behind the Iron Curtain, ENOLA GAY and PHANTOM were never properly documented in their own time, but the labels behind this LP have really been putting in the work to preserve the histories of the Polish punk underground, and these songs were certainly worth rescuing.

Epoxi Demo 2023 cassette

Bloomington, IN hardcore punkers deliver this five-track cassette in less than ten minutes, filled with strident drums and ever-ranting vocals that never seem to stop delivering screams. You can extract and see the punk roots of this project, as it gives the feeling of something done extremely DIY with sufficient execution levels, like a homemade tape that has that special crunchiness and crust that all well-appreciated DIY projects exude. Indiana punks dripping with attitude in each beat. It’s interesting enough to wait for more.

Former Mormon Discography 2017–2017 cassette

Complete discography cassette of a band that seems to have been wildly active for only a handful of months in the year 2017. At first glance, FORMER MORMON had me thinking there was a “too many cooks”-type situation going on. With songs ranging somewhat wildly stylistically from track to track, it was easy to assess that maybe there were multiple songwriters all bringing their own ideas to the table. Turns out that wasn’t the case at all. A few of their releases credit a single songwriter, which was somewhat surprising. FORMER MORMON seems to be the missing link between Bay Area pop punk stuff, by-the-numbers fastcore, and a little sprinkling of the MINUTEMEN tossed in for good measure—I didn’t realize these were things that had a missing link between them. Limited edition of 25 cassette copies.

Goblin Shark Rat Bone CD

Garage is in a tough position, having gone through revivals too many times to count, and frankly it is difficult for it not to sound somewhat stale when not trying to do something altogether singular. With that preamble in mind, sorry to say, this doesn’t quite refresh the genre to my ears. There’s plenty of energy and songcraft on display, plus a sort of gonzo theatrical edge, but rather than the anarchic roots of the genre, what we get here is something a little safe despite all its best efforts to seem wild and dangerous. Partly to blame is the production, with the vocals way up front and sounding like BEEFHEART sucked on a lozenge. Everything else is a little too compressed, the fuzz a little too trimmed. There are good moments to be sure, like the licks in “Human Fountain” that harken to the guitar work in underground legends like GROUNDHOGS. But even then, it feels these moments come from reference points across time and not from some wellspring of true rock’n’roll inspiration.

G.O.O.N. God’s Only Option Now LP

As the pile of modern hardcore records heightens at speeds previously unseen, the number of them that can be considered “meaningful” entries sharply decreases. There has to be some established mathematical principle that applies to this conundrum, and, whatever it is, Denver’s G.O.O.N. triumphantly defies it with their latest release. On this follow-up to their excellent 2019 debut Natural Evil, they cook up a big, decompressed, and scathing sound with unhinged vocals. For lack of a more apt comparison, it’s along the lines of beloved 2010s miscreant BLACK PANTIES singing for a darker and beefier CEMENT SHOES. With the exception of the five-minute-plus cover of the classic proto-punk PINK FAIRIES incantation “Do It,” the songs here are brief, yet potent, each hinting at potential progressions for this up-and-coming band. I wouldn’t mind witnessing a lengthy evolution of this promising style.

Human Trophy Primary Instinct LP

Wow, this is a wild listen! As per the prerequisites of Iron Lung Records, there is plenty of noise, but HUMAN TROPHY also brings a gothic deathrock experience that I was not prepared for. Guitars that sear and screech descend from every direction while the bass rumbles in perfect time with the drums. A creeping, ambling voice emerges methodically delivering lyrics in a gloomy monotone. The Primary Instinct album is full of mid-tempo darkness, but there are also songs like “Devotion” that are pogo-ready with a more D-beat-inspired rhythm. Personally, “The Cabin” is my favorite song on the album, with its haunting pace and spectral guitar work. If you like noise and the sounds of desolation, then I highly recommend HUMAN TROPHY’s Primary Instinct.

The Judges Guns / (The People Want a) Show 7″

Hot on the heels of last year’s great Judgement Day LP, these Aussie proto-punkers (featuring folks from LIVING EYES and CEREAL KILLER) are back to sentence us to another nine minutes of riff! Here we’re getting two exceptional tracks wrapped in one excellent sleeve. Folks, this is how you make a 7”! The A-side, “Guns,” is a five-and-a-half minute dirge built on a two-and-a-half-chord riff, establishing something between a Funhouse groove and a Dopesmoker drone. The Bandcamp copy tells you the lyrics are some sort of statement on arms trafficking and imperialism or whatever—and that may be true—but they’re being delivered more like a threat issued by the seediest member of a biker gang from a ’60s exploitation flick through a Valium haze. It’s maybe the best song I’ve heard all year. The B-side, which is more of a revved-up, Raw Power-ed number, is maybe slightly less memorable by comparison, but it also rules. Do yourself a favor and seek out a copy!

The Makebelieves Someone Threw a Tiger Out the Window LP

A re-release of the MAKEBELIEVES’ 2004 album, including a bonus track appended to the end, Someone Threw a Tiger Out the Window is twenty minutes of MC5 and STOOGES-style high-energy garage rock. As they were a Midwestern garage outfit in the early 2000s, comparisons to early WHITE STRIPES material make sense, although the urgency in these songs feel more natural than anything Jack White has carefully constructed. The vocals are a little one-note, and the band seems to only know one speed—there’s a mid-tempo track sandwiched in halfway through, but beyond that, this is fast-fast-fast, with the understanding that things could collapse at any second. While there isn’t too much variety to be found track to track, the caution-to-the-wind style that these seven tracks are played with does a pretty nice job of steadily building up tension from first note to last, and that made me want to stick around and see if they make it through to the end.