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!

Piss Shivers Piss Shivers LP

Yet another fantastic import out of Australia. At times, this album sounds like a modern BUZZCOCKS paired with barking vocals akin to Rick Froberg of HOT SNAKES fame. Guitar has a very natural distortion and doesn’t sound like it’s being processed through a bunch of different pedals. I was gobsmacked to learn this band is a two-piece. They really know how to get the most out of their limitations because these recordings sound absolutely massive. I’m aware that there’s studio trickery to fill the gaps, but the overdubbing sounds to be at an absolute minimum. This is rock’n’roll.

Theee Retail Simps Rubble / Jumpin’ Jack Off 7″

Snotty, psychopathic garage punk from Montreal’s THEE RETAIL SIMPS. Good shit, a lot more unruly than I have heard on previous releases from the band. Two tracks that somehow keep all moving parts together, starting with the killer opener “Rumble.” The production is filth of the highest order, and does not veer from the expected sleazy joy that I would expect from the good people at Goodbye Boozy, with “Jumpin’ Jack Off” in honor of Mick’s birthday to finish off the 45.

Silence Burial Preparations cassette

This release from L.A.’s SILENCE is four tracks of raging raw punk in the vein of Victims of Bombraid-era ANTI-CIMEX, with vocals reminiscent of KRIEGSHOG. Well-recorded, all-around great release from these punks. A fierce exploding energy of rage, and a well-articulated approach to the right influences.

Slack Times Carried Away LP

Indie pop band SLACK TIMES comes out with a compilation of their three EPs—Carried Away (2022), At the Blue Melon Rendezvous (2021), and Up Here (2021)—which makes up the order of the album. The opener “Carried Away” sounds like a TOM PETTY impersonation set to some Americana guitars and had me largely confused as to why MRR sent me this one. Nothing screamed punk or punk-adjacent at all. I kept listening, though, and maybe the remaining vocals (“Carried Away” aside) have the whiny, distorted nature of someone like Tom DeLonge singing more gently over the FEELIES—one of the bands they mentioned as an influence. R.E.M. and YO LA TENGO were also referenced, and I can hear the FLAMING LIPS, to boot. I really like jangle-y, poppy punk, but this feels more like pure indie, with the zest of any “punk” flavoring missing. I feel foolish groveling over genres, but that’s the impression I’m left with. All said, a good album that these members clearly poured their hearts into.

Spine Raíces LP

This is the third full-length release from Kansas City’s SPINE, and is perhaps their most ferocious to date. The LP’s opening blast of oppressive feedback should tell you just about all you need to know right off the bat. From start to finish, this is a fast, discordant, angry, and aggressive record. The only letting up from this whirlwind torment comes with its penultimate track “Pure,” which chooses to slowly bludgeon as opposed to attacking rapidly—it is no less effective. This record brings the listener directly inside the damaged minds of its creators, and it is certainly not pretty. This record is yet another win for SPINE, recommended to those with a very strong stomach.

The Toads In the Wilderness LP

While Billy Gardner isn’t busy bringing us notable acts like PARSNIP, CIVIC, and ALIEN NOSEJOB on his Melbourne based Anti-Fade label, he’s hard at work playing in bands such as the LIVING EYES, VERTIGO, and the TOADS. In the Wilderness is the debut from this latest project, and brings us be-jangled garage rock, punchy in-your-face-bass, pure rock’n’roll lead guitar riffs, with some JOHN CALE-esque poetry lines sprinkled in, like on “The Wandering Soul.” This is tambourine-shaking fun, puts a smile on my face, yet doesn’t abandon social issues, like on the opener “Nationalsville” or “Sacred Books and the Damage Done.” Keep your eyes on this lot.

 

Total Nada II EP

Following their self-titled 7” from 2021, II features seven new tunes from Montréal’s TOTAL NADA. With lyrics in Spanish, the bands’ taut hardcore approach is cast in looming post-punky shadows that lend an heir of dread to the spirited music. It’s fiery, battle-cry-laden punk slathered in dark moods that range from jaded dissatisfaction to full-on impending doom. Powerful and pouty, this would make a perfect soundtrack to being trounced by a gothic MMA fighter.

The Wind-Ups Jonathan Says EP

Jake Sprecher, known for a long time running as a side player to JONATHAN RICHMAN, debuted this solo venture back in the quarantine days. Though the lead single pays tribute to the towering figure that is RICHMAN, this isn’t mere hero worship. Sprecher has his own voice and a strong—I mean, strong!—ear for melody and tonality. These fuzzed-out power pop cuts carry some real bite, especially in the snarling and brief “Coffee Cup” and an obscure but slamming cover of “Medusa’s Spell” penned by fellow Chico, CA resident Marty Parker (of ELECTRIC PIE BAND). I’m excited to hear more from Sprecher given this labor of love and fondness, and you should be, too.

Agathocles / Malicious Algorithm split EP

I know that I should know better by this point, but every time I see a new AGATHOCLES split, my first reaction is always “wow, another one?”— I’m sure I’m not alone here. And usually, right before I throw it on, I always assume that this EP will be the one where they start phoning it in; that their side of the slab will be a bit of a bore or lazy or unimaginative or what have you. However, once the record starts spinning, I wonder why I ever doubted them at all. AGATHOCLES always delivers, and such is the case with their new split with California’s MALICIOUS ALGORITHM. AGATHOCLES strays a bit from their classic mincecore styling, opting for a slower, sludgier sound. MALICIOUS ALGORITHM plays brutal, lightning-fast powerviolence, but also with a classic grind influence as the guitars and blastbeats pair exceptionally well together. Both bands sound different enough to make this a quality split.

Asmonumentsfall This Means Fire 12″

The latest release from Tijuana/San Diego’s ASMONUMENTSFALL, with crust scene veterans from OUTLAW BASTARDS and COACCION. In contrast to their previous straighter crustcore approach from previous projects, this record consists of the melodic side of the genre, in the vein of HIS HERO IS GONE/TRAGEDY or early-era ENVY, with the basis of later ANTI-CIMEX/WOLFBRIGADE. Despite the slippery slope approach of this style easily becoming too focused on the prettier and beautiful side of things, This Means Fire successfully captures the complex feeling of despair and anger without forgetting the aggression-driven side of hardcore punk; we still have plenty to be angry about. Fierce energy, not just in a naive teenage angst way nor just simply accepting the fact of our cruel world, but realizing our need to continue to keep up the fight.

Autosabotaje Hastiado cassette

Temuco won’t stop delivering good punk bands. On this occasion, we have a release from Junko Records presenting this anti-system power trio that transmits a classic version of hardcore punk with traces of street punk—it seems to be their 2020 EP and 2022 demo reissued here in a new recording. Favorite track: “Falsa Creencia,” with a mid-paced satanic punk feel, and “Consecuencia” for a critical introspective view into their own punk scene. Filled with raw energy and very well-executed, holding the essence of Chilean punk’s youngster resistance. Very much recommended.

The Bad Shapes The Bad Shapes LP

This can be incredibly catchy, in a sing-along sort of way at times. And with female vocals and background “ooh ooh ooooooh”s, it’s super melodic and right up my alley. Their lyrics are in no way shallow, taking on real issues like a woman’s right to control the destiny of her own body. In terms of musical style, it reminds me of 1977, mostly because it can be super catchy, but it’s also got a grinding guitar that is more like early hardcore. It’s sometimes got a quirkiness that doesn’t always land with me, but overall it’s a great effort. From one of my favorite cities in the world, Berlin, Germany. And they even give us a surprise track in German towards the end of the record!

The Bollweevils Essential CD

Chicago’s BOLLWEEVILS return with a new full-length after a fourteen-year absence, and they haven’t missed a step. A solid outing here. Admittedly, I’ve never been a huge fan of this band—aside from their split with 88 FINGERS LOUIE and their Weevilive album, I’ve been mostly ignorant to their catalog. After giving this one a few spins, it’s got me interested in giving their back catalog another listen. I believe that those already familiar with the band will be more than satisfied with this offering, and those who are new to the band, or like me, kind of ignored them in the past, will be pleasantly surprised by what they hear.

Butchers Dog Age of Inversion EP

Ohio’s BUTCHERS DOG is waging warfare of noisy, clunky guitars with a plummeting drum attack like boiling magma. Crazed vocals squeeze more words into phrases, reminiscent of ’90s hardcore groups like GRIMPLE or NAKED AGGRESSION, which can be hit-or-miss for many of us hardcore punk freaks, but the music is ’80s thrash metal demos or crust axe-grinding the enemy meets raw hardcore punk hell. An explosion of absolute madness and chaotic outburst of energy.

Convicted No Justice cassette

On No Justice, Malaysia’s CONVICTED plays aggressive meat-and-potatoes hardcore, inspired in style and sound by the likes of UKHC legends ARMS RACE and the FLEX. The muffled vocal effect, blastbeats, and interspersed sounds of protests on the streets work well to create an intense and abrasive atmosphere, making the anti-authoritarian lyrics even more poignant and powerful. Angry music for angrier times. 

Exterminating Angel Inherited Future EP

This sounds like a mix between SXE hardcore and late ’90s European grindcore, along with various post-hardcore breakdowns. I don’t want to say it’s deathcore, but it is taking on all forms of darkness and riff crushing—I’m thinking of bands such as MÖRSER, VISION OF DISORDER, CANDIRIA, OBITUARY, or MIND ERASER. Track three, “Sanctuary,” is a multi-tempo onslaught of EXTERMINATING ANGEL’s many strengths. Five tracks of intense, grueling metallic hardcore, each around four minutes in length, on a 12” EP. That’s no slouch for the amount of ideas they have going on. Try not to get into this. But at my age, I’m going nowhere near an EXTERMINATING ANGEL pit. You can just tell how that would go; catch me outside of that. If this is a debut, it’s quite the impressive one.

The Geros Weird Dance + Demo 2014 Remastered CD

Maybe not the snappiest title, but a very descriptive one in the fact that this is the GEROS’ 2021 EP followed by their debut (and much better) 2014 demo. In case you’re not in the know like the many Japanese TEENGENERATE-worshiping collector nerds, this Osaka band has cranked out some quite competent early MAKERS meets the SWANKYS garage punk  with a KBD nod here and there. The newer and slower EP is good in a darker CRAMPS-ish vein, with a heavy metal-loving opener. The much noisier 2014 demo captures what I imagine their live show to be. Raw and loud. It’s all been brought to us by a wonderful CD-only Malaysian label specializing in re-releases of amazing international punk classics, so it could be a little hard to track down. Good luck, punk.

Headcheese Expired LP

There is not much (if anything) to dislike about Expired, the new LP from the Kamloops, B.C. quartet HEADCHEESE. Upon first listen, I needed to stop what I was doing and devote all of my usually non-existent attention to the situation at hand. Each track gets more antagonizing and tightly wound, sounding eerily like VOID if they had been produced by Spot. The band is new to me, but from what little I have gathered, they are bound by family ties between two members, come from a small river town riddled with wildlife, and even opened for D.O.A.?  This tops my year-end list for sure. Keep going HEADCHEESE, you rule.

I Recover Until I Wake LP

It’s surprising how far small changes can go in HC/punk. If I RECOVER’s guitars had a little more bottom, they would be a pretty tight melodic HC outfit. Instead, the guitars sound a little lighter and looser than they could. The expressive drums and anguished, hoarse vocals help give the whole record a pensive, emo-ish feel. The songs are catchy, but the band doesn’t sound too focused on it. As their name suggests, the lyrical content is introspective and sincere.

Johnny Notebook & the 28th Century Mates Johnny Notebook & the 28th Century Mates LP

I’m a fan of punked-out synth rock, and JOHNNY NOTEBOOK & THE 28th CENTURY MATES epitomize the beeps and boops I crave. With head nods to DEVO, 8-bit sounds, and new wave, these Hamburg androids have created an album that keeps me bopping. Futuristic themes merge with retro sounds to create an album that has descended from another dimension of space and time. “Rate Me Rate Me” is incredibly danceable while exploring contemporary society’s fascination with clout, while “Dancefloor Queen” features a tight guitar solo and catchy hook. If you like electro-punk and all-night dance parties, then you have absolutely got to give this a go!

Kinetic Orbital Strike Rotten Lies EP

Fuck me, I have to admit that I really have been blessed this month with the recordings I have been assigned, as they are all right up my alley. I was right to sacrifice three cans of lager and an AMEBIX patch to the Gods of Crust, as my wishes were quickly granted—I hope my prayers for protection against ska and shoegaze also worked. The moniker KINETIC ORBITAL STRIKE apparently refers to a modern military technology, “the hypothetical act of attacking a planetary surface with an inert kinetic projectile from orbit,” and not a ninja move as I initially thought. I was relieved to find the actual definition as Google only pointed me toward World of Warcraft at first, which kinda filled me with a sense of gloom (and sadly not of GLOOM). The name might be a bit of a mouthful, especially around 2:00 am, but this Philadelphia band (with members of the mighty POLLEN or IMPALERS, among many other bands) unleashes that familiar brand of brutal, distorted, noisy discore that we have all grown to love (right?). They sound like the almighty FRAMTID teamed up with COLLAPSE SOCIETY and FEROCIOUS X in order to borrow DISCLOSE’s gears and flair in order to inject more DISCHARGE worship into their Japanese käng tornado, with a spoonful of HORRENDOUS, too. The drummer is on bloody fire on this recording, I have rarely heard such manic rolls and the insane level of intensity takes one’s breath away. They manage to keep that urgent, raw vibe and still sound punishingly heavy (my very angry neighbour banging on the door would not disagree). Angry hardcore at its best, and the self-released version (Phobia Records will take care of the European one) has an ANTISECT-inspired wheat logo on the back which checks yet another one of my romantic boxes. Top-notch hardcore.

Las Mordidas Ex-Voto LP

A worthwhile snapshot of a killer band that snuffed out too soon, Ex-Voto was a long time coming. Composed of ex-members of DC-based firebrands, LAS MORDIDAS burned briefly, but brightly, circa 1993 into 1994. CIRCUS LUPUS had just called it quits, but singer Chris Thomson was already working his lungs in a new group alongside players from BEEFEATER, RAIN, and FIDELITY JONES. Ex-Voto takes LAS MORDIDAS’s demo tape and shuffles it with a few unreleased cuts and vinyl appearances. “Surrounded” is the hit, digging a furious, heavy groove reminiscent of I Against I-era BAD BRAINS as Thomson essays the volatile nature of everyday paranoia. (The glaring absence of ass-kicking B-side, “K.I.T.A.”, is probably due to its Dischordian provenance.) “Bad Man” shows that these dudes could cram a pop hook into a pummeling post-hardcore punch-up. “Not Again,” a heart-pumping punker distinguished by Jon K.’s Dr. Know-inspired fretwork, was LAS MORDIDAS’s side of a split 7” with queercore maniacs MUKILTEO FAIRIES (on Lance Hahn’s great Honey Bear label). “Surprise Goodbye” is another unexpectedly tuneful take on a sort of post-punk/grunge hybrid. “Solar System” starts out LUPUS-like, then gets bitey then beefy then beastly. “Life Preserver,” one of the never-released songs, is practically a commercial alternative radio rocker in the best possible sense; I guess WGNS counts? Ain’t gonna front—it’s nice seeing this one poking out of the stacks.

Let Go We Men cassette

A collection of nine hardcore punk songs recorded throughout an eight-year time frame. Lyrically, these songs are personal, emotional, and somewhat introspective. It could use a better mixing job to level everything out better, but I think with what they had to work with (a digital eight-track), it’s pretty solid. This is about as DIY hardcore as one can get. I’d love to hear a 7” by this band with a solid mixing job. If everything was a bit more muddled down into the back instead of up front and in your face, not only do I think it would add to the mysteriousness of this band, but it would also benefit the style.

Mace Head / Slavery split 7″

Fun split out of the Czech Republic. SLAVERY really teeters on the edge of classic power metal, but is brought back from the brink once the vocals kick in, sounding more like DOOM with throatier vocals. MACE HEAD’s side of the split is much more crusty and lo-fi. Very reminiscent of AUS-ROTTEN with a phaser pedal and a soft spot for industrial music. Vocals are intense as hell, and I’m curious as to how they recorded them. A tad sloppy at times, but I think that’s what makes this a great split. No ego. Raw power. Well worth a spin.

Nohzdyve Nohzdyve cassette

I’m not a fan of the show Black Mirror. I find its bleak outlook and glib social commentary respectively unpleasant and annoying. So, it’s fitting that this Los Angeles act, named for a fake video game in that series’ Bandersnatch installment, similarly rubs me the wrong way. Musically, it’s not the worst. The six short tracks on the cassette are a jazzy spin on the same post-URANIUM CLUB herky-jerky, smart-guy rock you just can’t escape these days. It’s stuff I’m a little tired of, but it’s played competently enough. I could see this having an interesting no wave vibe if it were a little looser or noisier, but a chintzy drum machine keeps it an unpleasantly stiff affair. The main offense here, though, are these vocals. Throughout the release, some absolutely unforgivable lyrics (for example, “Onomatopoeia / Chia Pet supreme / Mary had a little lamb/ life if but a dream”) are delivered in the same cadence and rhyme scheme as a protest chant, as though cleverer words have never been uttered. Just top-tier annoying shit. Maybe give the instrumental “Mii Time” a listen.

Pig City Pig City LP

Super violent hardcore punk from Phoenix, Arizona exuding some kind of GULCH vibes, but with a much crustier soul, bashing non-stop drums that go from powerviolence blastbeating to nonsense straight to sick breakdowns, and demonic echoed vocals. This one is pure fire, blast the speakers and let the demons do the rest ‘til the trance hits. Seven tracks and  eleven minutes of pure mayhem and corrosive trans hardcore punk that will get you. Favorite track: “Bash Back,” with a great breakdown and excellent guitar coupling.

Pleaser Pleaser LP

Pleaser is the first full-length from these Danish punks, and it rocks. Included on the album is their previously released demo and single material, plus a lot of fresh tunes. Loud, quick songs that feature ripping guitar solos, thunderous drums, and passionate vocals may just hex you with their slight pop bite. “Light and Fire” is a B-side rocker that is sure to get you revved-up in short order. Only two tracks clock in over three minutes long (most are well below the two-minute mark), so you know PLEASER isn’t messing around when it comes to concise delivery. The closer “This is How I Die” reminds me of ARCTIC FLOWERS, and I’m here for it!

Régimen de Terror Disputas EP

Just when you thought it was safe to go back in the D-beat, here comes RÉGIMEN DE TERROR’s second EP. The overcrowded genre can be said to be the victim of two major identifiable flaws—it can be overproduced and thus completely miss the point of a style based on raw primitive aggression (although it might certainly appeal to a larger audience), but it can also be drowned in far too many effects on the guitar, vocals, and just about everything, turning the subtle art of the D into a pedal board exhibition (without mentioning that it sometimes sounds like a fight between your dad’s drill and a drunk goat). Basically a Spanish side project, RÉGIMEN DE TERROR is for purists in the sense that their music is pure, absolute, bare, primal, unrefined, and unpolished, close to the D-beat Valhalla and yet without sounding like they tried too hard. The songs epitomise the delightful predictability, the miraculous imitativeness, and the delicious unoriginality inherent in the style in its pure embryonic form. This is D-beat for the true DISCHARGE lovers, and for the lovers of DISCHARGE lovers. Spain has a long and healthy tradition of well-executed genuine raw D-beat bands (like DESTRUCCION or ATENTADO), but I would rate RÉGIMEN DE TERROR higher. Why-era DISCHARGE, DISASTER, and proto D-beat bands like MG15, SUBVERSION, or VIOLENT UPRISING come to mind. Simple, tastefully obvious riffs, crude, aggressive, spontaneous vocals, a classically executed beat, a buzzing bass sound. On an existential level, this EP, released on Roachleg Records in the $tates and La Vida Es Un Mus in Europe (the latter proving they can still deliver the goods in terms of primal hardcore), is exactly as it should be. A serious contender for the much coveted award for Most Orthodox D-Beat Group.

Satanic Togas Digital World EP

I imagine SATANIC TOGAS would be a ton of fun to see live. What’s not to love about fast, garage-y punk and vocals that sound like they are coming out of a drive-thru loudspeaker? This Aussie band delivers four tracks of unhinged melodies and meandering bass lines, leaving you to think everything is going to spin out of control. They are kind of like MR. CLIT AND THE PINK CIGARETTES with an accent and wackier vocal effects. Good party jams.

Slan Skiter i Allt EP

How nasty of SLAN from Gothenburg to title this ghastly five-song käng  assault Skitr I Allt (“Shit in Everything.”) With a cover that’s painted in the color of stains, depicting some stinking dirtbag in his rotten little apartment, this diabolic EP is filled wall-to-wall with caustic hits, including the charming title track, “Svälj Skiten” (“Swallow the Shit”), and more. This is a ripping, raw, and rabid D-beating that occasionally drops into some head-bobbing punk rocking, and it kills. As it turns out, they were spot on with the name, as this is absolutely the shit.

Spetters Who is Gay Chaos? cassette

Reading, PA DIY group SPETTERS puts out their last album, with a mixture of new tracks and a few from previous releases. A red herring two-minute piano opener gives way to guitar and bass that get a good workout, riffing up and down the neck with fervor, cloaked in reverb; drums make surprise changes, rests, and generally kept me on my toes throughout; vocals start relaxed, gravelly, and build to a strained scream at the top of choruses—the sum of all of it leading to catchy, genuinely engaging songs in the form of a deathrock frontman meets surf-laden shoegaze (maybe?). From their YouTube videos, it looks like they put on some high-energy party shows, blending their technical rhythms that boil over into a push-and-shove crescendo. If this is the last go of SPETTERS, then get your tape before they’re gone!

Still Missing Still Missing LP

Desert-baked boogie crunch from California, reminiscent of KYUSS or KVERLERTAK. The songs feature quality heavy rock riffs, sludgy start/stop sections, and sung, hooky vocals with back-ups. Good-time heavy tunes for the roadtrips or campfires in your life. The production is beautiful, with big drums and immaculate guitar tones. The lyrics are not especially sophisticated; take “Think About It” for example: “She said to go for it, go for it / I want to go for it / She said to wait for it, wait for it / I don’t want to wait for it, wait for it.” Similarly, “AOC” contains the lines, “She makes me feel right / She makes me feel white.” There is not much more context to give than that, so make of it what you will. Like the kids say, it gives me the ick for a few different reasons.

Suspect Urge to Extinguish EP

Wow, this band really sounds like CONCEALED BLADE. You can almost hear the Scud/Flynn dual guitar attack. Not a bad thing at all, and I like the idea of a Germany/PGH connection. “Damage Done” is the best, but it all rips from beginning to crashing conclusion. I’m spent.

Them’uns This is Rave Punk cassette

When I saw “rave punk” on the cover of this British duo’s tape, I wasn’t sure what to expect— maybe a mix of beats and hardcore like L.O.T.I.O.N. Instead, THEM’UNS sound a lot like ATARI TEENAGE RIOT, though less intense and noisy. Opener “Soylent Blueblood (Ethical Cannibalism)” takes eating the rich literally, with lines like, “Who could have guessed that when the bills began to soar / It would result in this delicious class war? / Even vegans and vegetarians are down / Feasting upon the flesh of those in high renown.” This is shouted in call-and-response over 808 kicks and synth leads. There is a fine line between fun and cringe, and these folks trample down the middle of it. Similarly, “Fuck Cars (Gary Numan on Yer Bike Mate)” is a reworked cover of the new wave classic changed to favor bicycles over cars. Imagine an anarchist WEIRD AL track, but not as clever. If you like electronic club music, this punk play on it might be a worthy spin, just know that it’s over-the-top and textbook anti-authoritarian.

Tiikeri Punk Rock Pamaus​!​!​! LP

“Let’s punk!” says TIIKERI right at the beginning of their full-length record. They play rudimental but very melodic punk rock—not even distorted guitars, at a moderate tempo and with rather entertaining vocals. It’s not the punk mostly I listen to, but this is very punk punk punk. They are from Finland and sing in Finnish, and the language pairs incredibly well with this sort of stripped-down music; it gives a strange aura to the songs. Their music is much more international visceral rock’n’roll that has a lot of power even when it’s not blasting on level eleven. This could be great mixtape music. The simplicity and gimmickless image makes them otherworldly, timeless, and unjudgeable. Therefore, even if you are not that familiar with this subgenre, you can be entertained by this record. Most likely it’s the type of music that has to click with you to really, really like it, but its quality is clear even on the first listen. If you like dumbed-down but super melodic music that is driven by rock’n’roll essence yet it’s punk in a universal and textbook way, then TIIKERI is your band.

Wrong War On Further Reflection EP

A strong effort from Chicago’s WRONG WAR. This three-track EP leans more on the melodic and (pun entirely intended) reflective side of hardcore music. All three tunes on here are super solid (I am particularly fond of “The Call”)—the title track is the star of the show, sprawling off into a repetitive mantra towards its conclusion. Overall, a very solid release that I would recommend to anyone who likes a hint of melody in their hardcore.

Zero Bars Demo 2023 cassette

Debut release of no-frills punk from this Canadian power-trio. Well, there might be one singular frill. The second song on the four-song demo adds a little post-punky WIRE vibe into their standard faster realm of mid-tempo punk sound, and it is the coolest song on the tape. All the songs are instantly catchy and driving. The demo is short enough that if you’re anything like me, you’ll end up flipping it over and over when the tape clicks just to get your fix.

V/A Colorado Springs Underground 1983–1994: Volume 1 LP

A vastly interesting snapshot of a scene that I was heretofore entirely ignorant of. The seventeen bands featured on this compilation span a wide gamut of genres, offering up a little something for everyone. The KBD-style opener “Meister Brau” by DEAD HEIR is just what I had hoped for (and expected) from a record whose cover has a picture of some punk taking a dump. Beyond that are some proper hardcore bangers, barely decipherable noise punk, melodic skatecore, a goth-y industrial jam, as well as more standard punk numbers. Accompanying the album is a fat, 40-page zine that puts everything into context and has a write-up for each and every band. It’s a fantastic glimpse into a scene that clearly had a lasting impact on the lives of many of the folks involved, and tells a story that will ring familiar to anyone that grew up in a smaller scene where most of the bands share members. Since the recordings were mostly culled from old cassettes, the quality fluctuates, but what else could you possibly expect given the scope of the project? A lot of care went into making this collection. It’s limited to 300 copies with hand-numbered, screenprinted covers, and the aforementioned booklet. I’d consider this a no-brainer for anyone with an interest in obscure bands from lesser known scenes, and especially punks that hail from Colorado.

1000s of Cats Next of Cat LP

The first LP for this female-fronted two-piece from Japan, with Sonoko Nebashi writing, singing, and playing guitar and Dave Gatchell of the SELBY TIGERS on drums. The songs have the stripped-down, straightforward guitar playing and earnest vocal delivery of P.S. ELIOT or early BRATMOBILE and witty, observant lyrics that verge on the slightly dark side of unrequited love like the ones that bands such as CUB or BUCK would sing. If it was released twenty years ago, it would have found a home on Sympathy for the Record Industry, but fortunately MPLS Ltd picked it up, which means US fans won’t have to pay exorbitant shipping fees.

Aborted Tortoise / Ghoulies Euro Tour split EP

Hey dummy. You like what the hell is going on over in the garages of Australia? You don’t know what I’m talking about? Then get right immediately, because here’s a split featuring two of the best of the seemingly endlessly fertile scene of garage punks keeping the genre alive, all brought to you by the evergreen tastemaker Goodbye Boozy. These two bands in particular share members, and it sure sounds like it. Both sides are deliciously spiky, bratty, and econo. Throw in some syrupy synth, and you’ve got yourself the exact kind of potent brew I’m reaching for any day of the week. If you’re already in the club, you already picked this one up. If not, have a listen and get on board speedy-like.

Abuso Demo 1988 EP

I absolutely love it, but self-reflection indicates it might be the peak of human consumerism to press old hardcore demos to vinyl. I love this era of Mexican punk; many great recordings were made there between 1988 and 1990. One common thing was that almost all of the bands had super tight, dense, almost robotic constant beats and hecticly played back-and-forth riffs. ABUSO fits into this mold, yet their anger makes them unique and it makes me appreciate their scene. This does not mean you will hear anything you cannot imagine or have not heard before. But it’s honest, entertaining hardcore that makes you feel like you’re in a rehearsal room with the band. Despite how adolescent it sounds, the vibe of the record still carries importance. Due to recording and equipment quality, the demo (probably) sounds rougher than they might have wanted it, but it provides a great mask for the slower, plain parts of the record. Nothing revolutionary here, but it’s a great addition to the already impressive history of Mexican punk.

Advertisement Escorts LP

The second full-length by ADVERTISEMENT is a straight-up rock’n’roll album. Channeling glam rock, TELEVISION, ROXY MUSIC, and other ’70s guitar-driven sounds into a twisting knot of contemporary tunes, ADVERTISEMENT blends Escorts into an album that is easy for listening while maintaining a danceable nod. Your hips are guaranteed to start swinging when the rhythm of “Where is My Baby?” kicks in. Listening, you may find yourself laying on the floor, staring at the ceiling, with all your focus on the density of tonal content, all while allowing the dark, surreal, yet comedic lyrics to sweep through your synapses.

Blue Dolphin Robert’s Lafitte LP

Robert’s Laffite rounds up three small-run cassettes and a few previously unreleased tracks from this Houston/Austin quartet, who existed for a short spell (2016–2017) around its members’ stints in big-deal ’10s DIY sensations like MYSTIC INANE, PATSY, INSTITUTE, C.C.T.V., CHRONOPHAGE, etc. (and that’s just the abridged list). Vocalist Sarah Sissy’s delivery has a blasé, almost Su Tissue-ish edge, standing strong as the eye of the storm while the rest of the band spirals into wild, detuned abandon with the pointed primitivism of the URINALS, some MINUTEMEN-inspired trebly breakneck grooves, and a sheet of blotter paper worth of sun-baked eccentricity à la early MEAT PUPPETS—the freewheeling art-punk scramble of “Cindy” and “Ida” melts down into the dusty twang-pop of “Buying Time” and “Virginal Mystery,” with tracks like “Emerald Cherry” and “Licking & Kissing” left to gallop in the spaces in between, presaging (just barely) Houston’s fellow blink-and-you-missed-them Keats Rides a Harley resurrectionists VIVIENNE STYG. The recordings are emphatically lo-fi, buried deep in layers of tape hiss and analog warble, and listening to Robert’s Laffite is an almost voyeuristic experience of picking out distinct forms from little more than shadows and light, but rewarding one at that.

Brorlab Working Out in Heaven LP

High levels of egg found here…screamy, high-pitched vocals? Check. Heavily reverbed synth work that’s exquisitely executed. Totally punchy computer punk drums are on. A heavyweight competitor coming from Belgium enters the egg-punk ring with such rotundity that you’ll be amazed. Seven new songs, plus their debut demo that results in another nine tracks that are less vicious than the first seven, but still, they are tight. Frantic egg-punk with heavy, Dadaistic computer synthwave and drums. La Vida Es Un Mus did it again. Highly recommended for egg-punk lovers.

Busted Head Racket Junk Food 10″

Ah, the distinct pleasure one derives from holding the most loathsome vinyl format in their grubby hands…the reviled 10” record. Bands typically avoid the bewitching allure of the cursed middle size by either writing a few more songs and making a proper full-length album, or by exercising restraint and editing down to an EP. Well, BUSTED HEAD RACKET (or BHR) said “fuck all that!” So, a 10” it is. Eight songs of synth-driven, lo-fi, new wave-inspired punk. The vocals oscillate between understated/deadpan and howlingly feral, with flashes of harmony that compliments the undercurrent of pop that courses through the release. BHR would fit well on a bill with fellow Aussies ITCHY AND THE NITS, or really any band of the Warttmann Inc.’s roster of scrambled deviants. The closest reference point is SNOOPER, or perhaps one of the Northwest Indiana bands that undoubtedly inspired them, like C.C.T.V. Concise and energetic, BHR aren’t overly serious—the title track is essentially a shopping list of snack foods—and the goofy fun is quite contagious. A solid release that would make a worthy addition to the three or four other 10”s you might own.

Continued Without a Finding CWAF LP

Grind-sludge out of Massachusetts. Originally recorded in 2007, this album was recently mixed and mastered for a 2023 release. Could have fooled me, so kudos to the engineering team—these recordings sound very modern. Took me a couple listens to really sink my teeth into this one. Sure, there are your typical grindcore elements, like the insane chops of drummer John Gillis (of late-era AXCX/YOU’RE FIRED infamy). But the riffs are borderline nu-metal, and sound like songs PANTERA left on the cutting room floor. The vocals are layered with so many effects that they sound as if they recorded them from a payphone and then drenched them in an astounding amount of reverb and echo. However, tracks like “Just Another Day in the Orifice” and “Copulate” have more of a crushing, grindy/doomy edge and really make me rethink how I view this record. All in all, there are a couple stand-out tracks here, but CWAF opted for more quantity over quality.

Disaffect / Sanctus Iuda Fuck All Borders split LP

To many punk veterans, this one will feel like a ’90s wet dream, like a time machine to a different—and yet not so different—DIY punk scene. I am a little too young for rose-tinted glasses since I got into anarcho-punk in the early ’00s and both DISAFFECT and SANCTUS IUDA had already split up, although I was aware of both band’s relevance and importance. DISAFFECT was quite popular in France and definitely a favourite of mine, and even though I don’t play them that often these days, I was a very happy (not to mention emotional) lad when they played in Paris this year and realized I still knew all of the words. If you have never heard the Scots, they epitomise all that was great about ’90s political punk, and if you were to illustrate what that sounds like, just introduce DISAFFECT: genre-defining fast, thrashing hardcore punk with anarchist lyrics and absolutely brilliant dual male/female vocals (Lynne’s voice is so unique). It also works with HOMOMILITIA, FLEAS AND LICE, or ANTI-PRODUCT. Of course, this new recording sounds cleaner than their old material, which makes sense as you cannot really expect people to stay exactly the same as they were 25 years earlier with the very same instruments and gear and even shirts and haircuts. DISAFFECT’s songwriting is pretty similar, maybe a little more tuneful and intricate which is a wise choice, and does not sound like a parody of itself. At times, the modern production is a bit too clean for my taste, but overall it still sounds aggressive and angry enough as the band has not lost any of their bite and politics. A solid first side. On the other side is SANCTUS IUDA, who belonged to the same generation of cracking Polish crust bands in the ’90s as the aforementioned HOMOMILITIA, SILNA WOLA, or HOSTILITY—a prolific scene and one of the genre’s major strongholds in Europe at the time. On this new recording, SANCTUS IUDA (who I incidentally also saw after they reformed) do not sound as openly anarcho-Eurocrust as in their glory days, as they lie more on the dark hardcore side of the spectrum with an ’00s epic vibe that is almost reminiscent of Spanish neocrust. You can sense the anger, but the band loses me a little with this change of direction. Don’t get me wrong, SANCTUS IUDA is still at home with the crust punk sound and aesthetics, and I enjoy the global moodiness, but I suppose I was expecting something different. Both bands have meaningful lyrics and the title of the LP, Fuck All Borders on both sides, could not be clearer. Fuck the borders indeed. Refugees welcome.

Es War Mord Die Utopie der Kosmonauten LP

Third LP from Berliners ES WAR MORD, with a title that translates to “The Utopia of the Cosmonauts.” My first passive listen didn’t draw me in, but taking time with it, I found technical breaks, guitar chugging (like on “Hinterlist”) that sounds lifted from a DEAD KENNEDYS rhythm, surprising pinch harmonics, and strained vocals like a German LEATHERFACE. Mid-tempo, gruff, with some melancholic melodies and guitar solos mixed in. Truly a lot to offer, yet they are concise and super tight. “Derselbe Atem” is a good taster, if you’re not ready to dive into the fourteen tracks within. Everything’s sung in German, so I couldn’t tell you what they’re getting on about, but either way, I’m in for it.

Existence Go to Heaven LP

Here comes the debut full-length release from Sweden’s infamous EXISTENCE, and it does not disappoint. Go to Heaven takes the sound established in the band’s previous releases and builds upon it with great success. Jam-packed with stomping riffs and a diverse sound, this record is a great example of metallic hardcore done right in the modern day and age. It’s a lengthy listen, but it does a great job at keeping the listener’s attention—something even the most revered ’90s hardcore bands struggle to achieve. Recommended highly to fans of ’90s heavy/metallic hardcore, not recommended to fans of the GRATEFUL DEAD album of the same name.

Hans Predator HVNZ EP

This Carbondale, IL band has been pumping out self-released cassettes since pre-plague times (2013), but here we get their first foray into melted plastic. Lucky for us, they’ve been honing their trashy garage skills and sharpening their fangs in preparation for the all-out assault rendered here. They may have started in 2013 and may be from the southern half of the state, but they’d be right at home in the Chicago Horizontal Action scene of the ’90s. Well, someone younger than myself informed me the ’90s are back, as we watched kids in oversized jeans and KORN shirts slam to ABISM. These people aren’t on some weak nostalgia trip though, and they can actually play their chosen noise-making devices. Oh, their name was originally CHRIS HANSEN AND THE PREDATOR, after one of the most uncomfortable TV shows ever. “Dead Fuck” and “Watch You Die” are my favorites, which shouldn’t be too surprising to longtime readers. They look like they are having a real good time as well. I want to hang, HANS PREDATOR.