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!

Bondage Bondage demo cassette

Demo cassette from Kuala Lumpur’s BONDAGE, released in 2021. Four tracks of raw, blown-out, ugly chaotic hardcore punk mess. Reminiscent of something that would be on ’80s Euro HC compilation from Really Fast or something on Pogar Records, yet with a vibe more akin to the filthy underground vibes of ’80s Tokyo or Sweden than the contemporary noisy hardcore sound. It may not necessarily follow the exact rules to be considered “raw punk” in the official book of the department of Swedish studs at leather jacket school, but it has its own unique take on raw, grinding, nasty hardcore. Recommended.

Cleons Down 1995–1997 LP

Wow, for a discography, this is a short record. Just a hair over thirty minutes! The sound runs from melodic, occasionally funky hardcore punk to noisier emo-tinged numbers, and even a stray thrash metal riff. The tracks are ordered from newest to oldest. While there’s no big stylistic changes, you can hear how much more confident the band are by the end (or, uh, the beginning?). The record has a simple but sharp sound, like something recorded with mediocre equipment but a good ear behind the controls.

Crosshairs Crosshairs demo cassette

Debut from British Columbia, Canada’s punk and noisy garage trio, with slashing, rusty guitars and a handful of progressive open riffs mixed with anthemic, angry vocals. Deep, clean cuts of chainsaw guitar that are garage revival as hell, resulting in messy punk’n’roll filled with garage vibes and upfront drums. Four tracks with similar cadences as classic mid-’80s punk, plus a twist of garage-y noises.

Dead Heat Endless Torment 12”

Adding to the ever-growing list of killer crossover releases dropped recently, DEAD HEAT’s Endless Torment features five tracks of gnarly thrash that recall the best qualities of “the big four” of ’80s, while sitting comfortably next to modern classics by bands like FUGITIVE, POWER TRIP, and ENFORCED. Title track “Endless Torment” wastes no time in laying down the groundwork of what DEAD HEAT is all about: fast and fun riffs-on-riffs, never-ending drum fills, and inspired touches of authenticity throughout. Lead singer Chris Ramos has a perfectly raspy growl, tearing his way through each track and even stopping to flex his clean vocal ability on “Tears of the Wolf.” It’s a great example of DEAD HEAT’s ability to be over the top without teetering into corny, which can be a difficult feat considering this style can easily become parody. “Smite Thee” is a quick ripper which reminds me a bit of IRON MAIDEN in its intro, while closer “Hard Reset” boasts a moody acoustic intro and some righteous guitar solos, once again being pulled off expertly with just the right amount of cheese without being too cheesy. If all of this whets your appetite, wait until you get a load of “Eyes of the Real,” a truly impressive showing which features, amongst other things, a bell toll, rattlesnake rattles, heavy echoing gang vocals, and a drum intro that sounds like it was recorded in a steel mill. This is the kind of album the metalheads you went to high school with could only dream of. Fantastic stuff and highly recommended.

Degenerates of Punk DCxPC Live, Vol. 13: Live at Ralph’s Rock Diner LP

While I’m not necessarily getting the self-billed “RAMONES-core” reference, I do find myself enjoying this live recording. Live recordings have mostly never been my thing, but I do find that the technology has come a long way (I still find the mixing of the vocals is often an issue, and I’d say that’s true here). This is mid-to-uptempo melodic punk rock that isn’t unlike the RAMONES in the sense that it’s straightforward, super catchy, and the songs are over before you’ve ever gotten tired of them. If you said it was power pop with a heavy dose of garage, I wouldn’t fight you. Last thing: I don’t get it throughout the set, but there are times when they remind me of OPERATION IVY. This is pretty fucking catchy and pretty fucking good.

Engage Eight Songs EP

Not to be confused with the Bay Area ENGAGE from the early ’90s, this Australian act plays straightforward youth crew-style hardcore. Short songs. No frills. The way a hardcore record should be. The one thing that stands out to me is the lack of gang vocals. Something that is usually prevalent on these types of records is the overabundance of gang vocal parts, and this has literally none. It’s a welcome change to me, and I think makes this a bit more palatable. The vocals were a bit of a letdown as they made it next to impossible to decipher what the lyrics were, but all in all, a solid performance.

Ex Parents Ex Parents LP

Out of Roanoke, Virginia, EX PARENTS are a hardcore band with a diverse sound that draws from a range of influences. This album starts off with the D-beating of “Mania,” whose lyrics are a direct DISCHARGE homage, and after that it expands into a bunch of other directions, all accompanied by vein-popping screamed vocals. Out of the ten tracks here, I dig the classical-sounding chord progression and surprisingly bright finish of “Void” and the unexpected post-punk vibe of the closing “Perpetual Bliss” the best. Simultaneously fibrous and beefy, if this music was a literal dinner, it would be pot roast, which can be pretty tasty when prepared well.

Fugue State Subtlety’s Dead cassette

As time continues moving on and the world gets more and more back to “normal” in this perceived post-COVID world, the one and only thing that I feel sad for is the amount of cool isolation-inspired solo projects beginning to fade—for a number of months, that made up the majority of tapes I was sent to review. There was something incredibly beautiful and inspiring about the resilience of the creative punk rocker left to their own devices and having to make something work alone in order for it to exist at all. Well, FUGUE STATE is coming to me rather late in the game, but it just may be my absolute favorite of all such COVID projects I have yet heard. Beautifully crafted and demented driving garage rock tunes with more hooks than a meat locker, and some killer saxophone playing on two of the tracks. FUGUE STATE combines elements of tons of classics without  sounding like aping them at all. Highly recommended for fans of the CRAMPS and BUTTHOLE SURFERS. Truly top-notch. I have no idea if this Western Massachusetts-based solo project has made the transition into being a live band, but dear god, I hope so.

Glass Praxis Demo 2023 cassette

Discordant post-hardcore with a metallic bent. Nothing whiny though, this is ugly, mean, and brutal. Reminiscent of bands such as PALATKA and REVERSAL OF MAN, though not as angular or chaotic. Which is not to say that GLASS PRAXIS is tame in any form or fashion! There’s a groove that they lock into that is not dissimilar to NO TREND. Heavy, dour skramz punk from one of the best scenes in the country, Hattiesburg, Mississippi. Noisy and unsettling music for bleak times.

Heihaizi Heihaizi LP

With the ski-masked dudes on the cover, the charging sound, and some of these lyrics, I’m wondering if HEIHAIZI is intentionally continuing the charming trend of “breaking and entering-core” (as demonstrated on FOSTER CARE’s killer El Abuso LP.) This two-man “rap-punk” group is from Zagreb, Croatia, and this record is loaded from front to back with simple, explosive, and addictive songs. One minute they’re spitting fast vocals like a kid who’s super excited to tell you something and can’t get the words out fast enough, then the next thing you know, they’re leaned back, sounding like a punk RUN DMC and rhyming about how bad they stink. Then back to the “EMINEM-on-speed” vocal attack, pounding drums, and ripping guitars. This is some unique cool-kid hardcore if I’ve ever heard it, and it slaps.

Ideal Victim Diary of a Pig cassette

IDEAL VICTIM from Porto, Portugal plays dynamic, rudimental-beat hardcore with floaty, chorus-heavy guitars and an agitator vocalist. The latter—singing in English and against patriarchy—is really pissed-off, and makes the whole sound a lot more aggressive than it actually is. The co-star of the demo is the guitar that creates an all-over atmosphere while playing a lot, lending winding riffs from post-punk, holding out chords, and occasionally being surfy while remaining within the field of hardcore. The contrast between the directness of the vocals and the cleverness of guitars makes them distinguishable. The recording sounds polished while maintaining angst, but it’s a rather modern sound. This is a solid tape that clearly displays a lot of IDEAL VICTIM’s potential.

Moar Baby I Am Cheap LP

It’s funny to me when bands are purposefully herky-jerky. It’s not easy to pull off. This record reminds me of bands like DEVO and AUSMUTEANTS, and you could even throw in the BRIEFS (without the herky-jerkiness.) It’s punk, it’s pop, and it’s new wave, all at the same time. Three of the ten cuts clock in at exactly 1:27 each, and seven of the ten are less than two minutes. That’s perfect for someone with my attention span. Excellent record.

Morreadoras Morreadoras y Ya Está cassette

Flexidiscos has been releasing some of the best synth punk out of Europe over the last year or so, and they continue the trend with London’s MORREADORAS. This sounds like Halloween punk to me. Like BOBBY “BORIS” PICKETT with one hell of an edge. I mean this in the best way possible, and it is in no way a slight. As with most of the Flexidiscos releases, the synth drives everything, and it is hauntingly chilling. The fun kind, not the scary kind, like the soundtrack for an ’80s Scooby Doo special. Again, not a slight. That’s a compliment! Top-notch stuff here, and just in time for the spooky season.

Nucler Blud Form Raze cassette

Blistering buzzsaw punk that goes straight for the jugular. More raw than dumpstered T-bone, this slab of hardcore is dripping with vigor and fury. Fans of the noisier side of Japanese hardcore should take note, as I’m picking up on strong influences from CONFUSE, KURO, and FRAMTID. While the tempos vary throughout the six cuts on this tape, things never slow down too much, and none of the songs crack the two-minute mark. I appreciate the unceremonious approach NUCLER BLUD has utilized. No build-ups, intros, outros, or really anything extraneous. Just laser-focused on pumping out the damaging frequencies, and it’s over before you know it. There’s also quite the interesting pedigree going on as well, with former members of NO STATIK, IN/HUMANITY, JUD JUD (!), and END OF THE CENTURY PARTY comprising this beast of a band. To Live a Lie doesn’t tend to fuck around, and this tape is no exception. NUCLER BLUD is a band to keep an eye on.     

Private Lives Hit Record LP

Feel It Records continues a white-hot streak of releases with this Montreal act’s latest release, a spiky, lovely, and scuffed batch of garage pop tracks. It’s impressive to hear big, bold ideas captured again and again within two-minute runtimes, blending influences from ’90s alt sounds to ’80s post-punk and convincingly noisy production on tracks like the chilly “Head/Body” and “Misfortune.” It’s a solid outing and doesn’t wear out its welcome, and while it might not immediately jump to classic status to my ear, it definitely claws me back for repeated listening.

Puffer Iron Hand EP

Roachleg, like Mendeku Diskak, is rapidly becoming a kind of Motown-esque hit factory for Shit I Like. This release by PUFFER is no different. Another hard-as-fook release from these Montreal rockers, with all the fun of the fair. Riffs? They’ve got them coming out their arse, mate. Tunes? Knee deep in them, son. “Sister Marie” in particular is so full of swagger and a sense of fun that is often so sorely lacking, I had to listen to it about five times. Essential purchase, and I cannot wait to see what they do next.

Retirement Buyer’s Remorse LP

RETIREMENT plays fractured BLACK FLAG meets PAPRIKA negative hardcore that rips. From the pounding drum cadence of opener “No More” to the repeated chant of “No Refund” that closes the record, the band creates an intimidating and feedback-laden atmosphere that never dips below fully exciting. The guitar chugs out dissonant chord progressions and spits atonal noise solos as good as Greg Ginn at his most relevant. The drums (which sound great, full and front in the mix) move from galloping fast beats to mid-tempo stomps and back again. “Pull the Shades” is a great example of this, with a rhythm that moves from near-crossover speeds to creepy-crawl, backing one of the few intelligible vocal lines: “I pull the shades / I lock the door.” The raspy, almost blackened and reverbed vocals are perfect for the band and drip with malice and contempt. “DD.MM.YYYY” adds a harsh noise dimension to the sound with a minute of grinding guitar drone. If you like noisy, in-the-shadows hardcore like HOLOGRAM or FASHION CHANGE, check this out immediately.

Road Soda World’s Greatest Disappointment LP

From Davenport, Iowa comes some hard-rock-infused brewery punk for an older crowd. The lead singer makes this stand out with an interesting/annoying vocal style, similar to a country-twanged Stiv Bators or a softer Alan King (HELLSTOMPER). The songwriting is creative and forays into almost mainstream territory with the catchy tearjerker “A Sad Door,” but I find myself skipping ahead to the raunchy familiarity of “F.U.1.2.” leaving less to the imagination. The better songs have a CANDY SNATCHERS feel, which I wish permeated the whole platter. They end with a song named “Bong Vader” complete with a Yoda impersonation, so you kinda see where they’re coming from here. Idiots Out Walking Around, indeed. Cheers!

Soup Activists Live at Sharon’s cassette

This comes from the mind of Martin Meyer, most notably of LUMPY AND THE DUMPERS and Lumpy Records, who brought us eggy tracks on records like Huff My Sack and Music to Hump a Trashcan To. SOUP ACTIVISTS turn down the distortion and chaos some, and provide a sweeping, shambolic sound: synths playing merry-go-round tunes, chug-a-lug guitars, and steady, mid-tempo drums. I get the brattiness of DEAD MILKMEN in the vocals, mixed with the oddball lyricism of the FLESH EATERS, but the comparison already stands to the whole body of work Meyer has been involved in, his Discogs bio listing countless St. Louis projects—I’ve brushed by this music, but I’m excited to take a deeper dive. Live at Sharon’s comes out in front of a studio LP slated for release this fall, so be on the lookout. I’m wondering how this recorded-live-to-tape raw sound will translate to studio production, but I have faith they’ll keep the edge intact. Don’t pass this one by.

Spiral Dub Spiral Dub LP

Sanctuary Moon got my money as soon as I learned this was a project fronted by Chad Kawamura of the great Bay Area bands OUTDOORSMEN and LIFE STINKS. The output of those two groups constitutes a good chunk of my favorite music from the past fifteen years, so I trust any adjacent act to be right up my alley. But the teaser single “Rise and Shine” had me a little concerned. It’s not that I wasn’t a fan of the tune, it’s more that it was shockingly melodic and uplifting compared to, say, “Pornographic Stockpile” or “Endless Drag.” I’d seen that the band also features members of DIIV—a band that I’d written off as Pitchfork darlings, assumed the worst about, and never listened to—so my worry was that this was their influence tainting what could otherwise be more of the bummer punk I crave. Turns out that may as well be true, but insofar as it is, it’s also irrelevant. While this is certainly not another LIFE STINKS record, I cannot stop listening to it. The eleven tracks on here are some amalgam of, like, ”60s sunshine pop, STONE ROSES-esque neo-psychedelia, BRIAN ENO’s rock records, sneering glam punk, and ’90s alt-pop. And Chad’s hallmark pessimism isn’t totally absent. One of my favorite instances comes in form of an irresistibly dumb hook on what’s somehow one of the twee-est tracks on the record (it actually reminds me a lot of Melbourne duo HOT TUBS TIME MACHINE), where he talk-sings the lines “Punch me in the face / Once for luck, and once for the fuck of it.” Perfect! It’s hard to overstate what a compelling record this has turned out to be, and it’s one that I can’t recommend enough. I might even have to go back and give DIIV a listen!

Street Gloves Street Gloves cassette

Smashing drum machine beats combine with shredding guitars and equally shredded vocals to form an E-beat sound all its own. If you’re a fan of L.O.T.I.O.N. or SCUMPUTER, then you’re going to want to hear this. Pure punk indignation channeled through decaying wires and patch cables make this eight song tape an intense but enjoyable experience. Between the bashing, you’ll catch lyrics about animal and human liberation, destruction of the state, and a strong ACAB stance. If contemporary protests had a soundtrack, it might sound a lot like STREET GLOVES, so the next time you’re fighting the fascists, maybe pop this on.

Townies Revolver CD

TOWNIES are a band that do no real harm. They’re nice enough folks, and a competent bar rock band who exude a tough grittiness in terms of attitude and aesthetic that just doesn’t make it to the songs themselves. I don’t wish they were meaner, but their sound could use a little genuine nastiness. For a start, the drums and guitar both sound flimsy on these tracks. The guitar in particular just sounds compressed and far away, leaving almost no impact. Vocalist Suzanne Magnuson also comes off as unintentionally camp in her delivery, weighing the band down into an almost musical theater take on garage punk. None of this is offensive or unforgivable, but also maybe that’s what it needs? Otherwise it leaves little impression, a gentle breeze off the coast of punk rock when I’m wanting something that will cause some big waves.

Uphill Avenue Uphill Avenue CD

This is an interesting one. I don’t necessarily enjoy the recording, but I do think there’s something here. At times, this sounds like it was recorded on a boombox, especially when the vocals over take the music, but the songs are (mostly) strong enough to make me kinda ignore that. Usually I would be of the opinion that something would benefit from a better quality recording, but in this case I don’t know if that is valid. The recording is kinda what gives this an identity. That said, this isn’t something that I would go back to for repeated listens.

Water Machine Raw Liquid Power EP

Last year’s four-song demo from Glasgow’s WATER MACHINE alternated so evenly and sharply between threadbare minimal pop songs and shouty primitive post-punk numbers, it was almost like the work of two completely separate bands, a push/pull of influence between late ’80s K Records and the mid-’90s Slampt scene (vocalist Hando Morice is actually in the most recent iteration of LUNG LEG, while drummer Goda Ilgauskaitė also plays with neo-Slampt upstarts SOURSOB). This new EP digs deeper into the shouty, PUSSYCAT TRASH-ed side of that split affinity, as the warbling, decayed synth squeal that starts “Water Machine Pt. II” gives way to raw-throated sloganeering somewhere on the HUGGY BEAR spectrum and a deceptively melodic chorus counterpart, and the barely minute-long “Bussy” goes even harder, with stomping drums, frenetic bare-bones guitar strum, and gang vocals bluntly railing against the unreliability of public transport (“That’s why I’m not on time!”). Sandwiched right in between, “Stilettos” and “At the Drive In” nudge back in more of a UK DIY/early Rough Trade direction, with minor ELASTICA undertones in the cool vocal detachment of the former juxtaposed against a disjointed, almost COUNTRY TEASERS-esque cowbell-spiked rhythm—the sort of thing that I eat right up. Viva la punka.

Without Defeat Absurd World CD

Excellent new grindcore punk from Tokyo. Featuring members of deathcore mammoths KRUELTY, WITHOUT DEFEAT blasts forth nuclear ’80s-style with ripping intent—brutal, slaying grind with crust punk leanings. WITHOUT DEFEAT nails the styles of TERRORIZER and HERESY with some GISM detest and SOB rage. This is a highly recommended debut EP-length CD of eight super heavy tracks, as an exclusive from Black Konflik Records. Contemporarily, I’d compare them to KLONNS, COFFINS, DISCRIPT, or GUILLOTINE TERROR, however playing much faster with levels of D-beat and crushing mid-tempo breakdowns. Slowburner measures hit hard and retreat before it gets stale. I like this and think it will only get more interesting with each listen—’80s grinding thrash and ’90s death metal make for a killer hardcore punk debut. Nasty art adorns the bleak matte black sleeve.

Alternative What Revolution? EP

Apparently, in the ’80s ALTERNATIVE were often called “the Scottish CRASS,” which, depending on how much one liked CRASS, could have been either a massive compliment or an insult (the latter especially true if you were barmy and glue-prone). The comparison makes sense, and you can instantly tell ALTERNATIVE was heavily influenced by their commune-dwelling elders, even though the Scots’ music was much more accessible. I would argue that their oddly-named crowning glory, 1984’s If They Treat You Like Shit, Act Like Manure LP, can be basically seen as CRASS’s punk quintessence. The album contains all the punkier elements of CRASS (the upbeat numbers, the dual male/female vocals, the songwriting versatility, the visuals, the politics, the emphasis on the collective, and so on) without the layered dissonance and the (sometimes anguished) weirdness. ALTERNATIVE was the more tuneful and catchier Scottish cousin of CRASS. In fact, they were more tuneful and catchier than most of the bands gravitating around CRASS, like FLUX OF PINK INDIANS or DIRT. Yet they have always remained somewhat overshadowed, despite being potentially more appealing and easier to get into. Is it a London bias? Is it because they were unfairly deemed “CRASS clones”? Is it because they did not tour as much because they had troubles securing a stable lineup (I’m putting that euphemistically, only one member remained between 1982’s In Nomine Patri EP and the 1984 LP)? Is it because they have weird accents? The album, released on Corpus Christi, was always very hard to find and about as pricey as a kidney on the black market, so that clearly did not help, but music streaming did contribute to making the band accessible to new generations—I personally had to order a crap CD-R with the first two records burned on it. Finally, Sealed had the great idea to make the LP available again almost 40 years later, and here they go again with the What Revolution? EP. The statement that the album may be the ultimate ’80s anarcho-punk album is not irrelevant if you think in terms of a retroactively construed “anarcho checklist” that includes standards that we have come to associate with the “typical anarcho sound.” If so, yes, 1984’s ALTERNATIVE was the perfect anarcho-punk band. What Revolution? includes one song that was recorded during the LP session and should have appeared on it, but it was replaced with a live recording of “Where are Your Hiroshimas?,” a proclaimed fan favorite at the time (it is a simple anthemic song after all) that was still far inferior to the song “What Revolution?’” that has now finally found its way onto vinyl. This is a flawless number epitomizing and concentrating the sound of ’80s British anarcho-punk: energetic, tune-oriented, political with spoken parts, and just bloody catchy. CHUMBAWAMBA certainly looked up to and listened to this lot. The EP also includes two songs from the album with a different mix, a clearer guitar sound, and more of a stripped-down feel. Not essential and more “for the fans” (count me in). If you don’t know ALTERNATIVE, start with the album and then succumb to this one. And if you need a description, which you should not, put LOST CHERREES, the EPILEPTICS, and DIRT in a blender, and voilà. Another great initiative from Sealed Records.

At Their Mercy Catechism CD

Emerging as a powerhouse, the crossover genre is on the rise again due to excellent acts like POWER TRIP and FORESEEN getting under the spotlight. Scottish band AT THEIR MERCY dynamically blends the best of both worlds: hardcore and thrash metal, but in a way unlike the aforementioned bands. With influences such as CRO-MAGS, SLAYER, or even DISCHARGE, it’s a fusion of relentless aggressive music—they lean more towards the hardcore side, giving it a bouncier edge. Effectively executed, AT THEIR MERCY’s music  has the potential to captivate fans from both the hardcore and metal genres.

Big Clown Beatdown EP

Freaky clown party from this group of Memphis friends that continues their run of short and direct punk bombs. Sometimes fun and sometimes deadly serious, these eight tracks all center around a big, lizard-brain-tickling rock riff and vocalist Lucy’s distinctive and enthusiastic yelps. Every one of them is a hit. We get the instant fun punk jams like future dance classics “Frogman” and “Teeth” (“More sugar, more plaque / Please teeth come back”), hearkening back to BIG CLOWN’s excellent Gonerfest sets. However, these joyous moments are tempered with earnest and impactful songs about issues like consent (“Always Knew”) and water contamination (“I’m Thirsty”). The record is great throughout, but the last line takes the cake: “So when I drink your blood / Don’t beg me for mercy / Motherfucker / I’m thirsty.” These are honestly the only clowns I like.

The Boneheads Single 1978–79 EP

Punky garage rock band the BONEHEADS sloshed around the Philly punk scene in the late ’70s alongside acts like PURE HELL, SIC KIDZ, and the AUTISTICS. Their claims to fame seem to be frequently opening up for a slew of more beloved punk acts—RICHARD HELL AND THE VOIDOIDS, the B-52’S, and the FEELIES to name a few—and eventually evolving into the better known, though still relatively obscure, post-punk band BUNNYDRUMS. They had the intention of releasing this, their one and only record, back in 1979…until the masters disappeared and the songs were lost to time. However, someone recently unearthed a cassette recording of the same sessions, and ferried it over to the good folks over at Good Times Rock ‘n’ Roll Club, which is how this release came to be. So, do we now have some sort of a lost classic on our hands? Not quite. Nevertheless, it’s a pretty good time! There’s four tracks on here, the first three of which are a mix of CRAMPS-y rock’n’roll Americana, straight up surf, and new wave pop. They’re fine. But the final track “Yesterday” is probably worth the price of admission by itself. It sounds like a wild mashup of HUBBLE BUBBLE’s “New Direction” and LOVE’s “7 and 7 Is,” over top of which the vocalist is singing more (better!) new wave pop in the stuffy-nosed style of EDWYN COLLINS. It’s fantastic! The record, pressed to green vinyl, also comes in a stylish silkscreened sleeve. My only complaint is that I wish it had come with some liner notes.

Cammy Cautious and the Wrestlers Cammy Cautious and the Wrestlers cassette

This is really growing on me. It’s a perfect-length cassette of bouncy garage punk from Sydney. I think it will unfortunately get the obvious AMYL AND THE SNIFFERS comparison due to the thick-accented female vocals, but I think this deserves more attention. Sure, it’s got the thudding drums and crunchy guitar, but this almost has some BABES IN TOYLAND or early HOLE moments. Imagine if AMYL and Co. never listened to AC/DC or the COLOURED BALLS and you might get something like this. “Critter” is my fave.

Consec Wheel of Pain LP

The new LP from Athens, Georgia’s CONSEC is twelve tracks of intense, high-energy, noisy hardcore punk fury similar to VOID, Cows and Beer-era DIE KRUEZEN, or Dirty Rotten-era D.R.I.. Pummeling drums and full-speed combustion of energetic controlled chaos. Despite all that, it still has well-crafted songwriting and a unique approach to riffs, making them more interesting than most of their contemporaries. The soundtrack to constant anger and frustration towards our society.

Cryptic Void Physwar//Psywar LP

Brutal death-doom out of Texas. Drums are absolutely incredible here and are all over the place. Recording quality is conducive to this, picking up every little thing the drummer does—almost mind-blowing at points, and really what caught my attention the most. Guitars are heavy as all hell, slow and low at points, and manically fast at others. Vocals are in the traditional death metal styling here, but sound great. All in all, a fantastic record for those who are fans of the genre.

Nate Dionne Fantasy cassette

The hooks alone could have carried this cassette, but NATE adds some effective changes to the mold. The level of distortion and feedback can vary from standard to swallowing the song whole. The closing number switches the drum kit out for a machine. Sometimes the songs transform on the fly: the opening track is rough-and-tumble pop punk until it slows into a sludgy, dreamy pace and becomes a sort of cover or remix of itself. It’s a unique trip through familiar territory.

Electric Eels Spin Age Blasters 2xLP

To say that the ELECTRIC EELS were ahead of their time is at once a statement of the obvious and a vast understatement. Pressing play on the new Spin Age Blasters double LP compilation, I’m struck by the gut feeling that we still haven’t quite caught up to the unintentional proto-punk prodigy of John Morton & co. They created in a way that was shockingly free at a time when even the supposedly uninhibited hippies were largely constrained by popular conventions. This monster 27-track collection is a “best of the best”-style follow-up to 2001’s The Eyeball of Hell, which was the most thorough EELS experience up until this point. This one plays like a connoisseur’s guide to the group, showcasing the finest representations of the band’s greatest hits plucked from previous comps and expertly sequenced to deliver a gourmet spread. To me, the band’s jazzy, ragtag sound computes as a mix of rock as art, art as art, and rock as weapon of provocation to baffle and fascinate in the best way possible, and it’s wild to think that these tunes were captured in 1975. They were ruder than the STOOGES, more flamboyant than the NEW YORK DOLLS, and violently unconcerned with what you thought of them. We’re lucky that this brief and brilliant blaze of original punk glory has been preserved with such meticulous care.

Enemy Maladjusted LP

The title Maladjusted hints at the rebellious spirit of hardcore, as it embodies the raw power and unapologetic energy that defines the genre. Hailing from the vibrant L.A. scene, ENEMY launches into a relentless onslaught of ear-pounding beats, blistering riffs, and vocals that bristle with intensity. The saxophone on opener “Unprecedented/Zero Sum-Game” denotes a certain influence from local legends FEAR, paying homage to the band’s roots while injecting a modern edge. Tracks like “The Freak” showcase their ability to meld melodic hooks with unbridled ferocity, creating an infectious energy that’s hard to resist. For fans of classic USHC, a sonic statement that refuses to be ignored.

Global Despair / Victor Charlie Fuck Qazaq Indie / 20000 split cassette

The bands on this tape are from Kazakhstan, and they are great. It’s two recordings from 2022 and 2023 put on a tape by No Name distro from Ukraine. GLOBAL DESPAIR plays loud and noisy hardcore that has hints of industrial and D-beat, although these are references rather than clueless genre worship. The sound of their recording is filled with mechanical noise played in an echoey cave. I love how the guitar sound turns each riff into a buzzing pulp, and the drumming is not that far from a hammer accurately hitting my brain. It’s a great recording with a non-stop momentum that pushes me through the great noise mist. The lyrics mostly reflect on scene intrigues, which is the only bummer about this release—otherwise, it is great material. VICTOR CHARLIE is a solo project of one of the members from GLOBAL DESPAIR, defined as middle-Asian Burning Spirits hardcore against Russian imperialism. Compared to the other side of the split, it is a much more melodic and less distorted bunch of songs. In general, Burning Spirits is way too epic and melodic for me, and these songs will not change my opinion. The lengthy songs give a lot of room for all the usual elements, especially large-arched solos. They also remind me a bit of MÖTÖRHEAD, although it’s more nasty and less rock’n’roll-ish. The unpolished nature of the recording keeps it interesting though, even for such picky assholes as myself, but VICTOR CHARLIE comes in second on this split. To balance it, their lyrics are heavily political, reflecting on the Russian government’s war criminal tendencies. Even in spite of the uneven strength of the split, this is a truly great release, and hardcore is best when international.

Guiding Will cassette

GUIDING is a duo from Tokyo who play youth crew-style hardcore on their debut Will. Within roughly five minutes, GUIDING lays down four fast and angry stompers that have some solid breakdowns that are tailor-made for two-stepping. No reinventing the wheel here, but the DIY recording quality and Japanese vocals set it apart from the crowd.

Hunger Artist Samsara LP

If Samsara is the cycle of death and rebirth, then that is the story of this album. HUNGER ARTIST consists of Edward Scales, Michael Honch, Tom Messmer, and Carl Silvio, and was formed in Rochester, NY in the mid-’80s. These eight songs were recorded at PCI Recording in 1989, the reels allegedly sitting behind closed doors all this time, just now coming to light on vinyl. The band’s love of DC hardcore, which they grew up on earlier in the decade, shows up in spades on this record—angular rhythms full of rests, followed by crashing drum beats, concise guitar lines screeching over gut-punching bass and strained vocals. From what I can find, they put out the Who Changed? 7” in 1988, contributed to a Flux Records 7” compilation in 1989, recorded the songs that appear on Samsara, and then disappeared. In looking for more on the band, I came across an interview on the Made You a Tape website with Ian MacKaye and Michael Honch, wherein they unearth the 1987 letter that Michael sent Ian, asking him to send tapes of DC bands he couldn’t find in Rochester. It’s an interesting read, and gives a lot of perspective on this record. I can’t find much on the other members, but Michael Honch played in some bands before and after HUNGER ARTIST, including NUNS ON DEATH ROW and POWERLINE in the ’80s and ’90s before taking a musical break, returning in 2011 with ALARMS & CONTROLS and currently NUMBERS STATION, a two-bass instrumental duo. Returning to focus: thank you, Rabbit Rabbit, for rescuing this one-off gem, what else is out there?

Ignorance Poison EP

Helsenki’s IGNORANCE’s latest EP consists of seven tracks of raw hardcore punk similar to the darker, grimy side of ’80s Japanese hardcore, like L.S.D. or GUDON to more contemporary bands such as KRIEGSHOG or even Y2K-era PDX hard punkers RELIGIOUS WAR. Thunder-striking lower frequency bass electrocution with boiling blood drum sounds, noisy guitars with maniac vocals.

Jerry’s Kidz Well Fed Society EP reissue

This is not the Boston band, this is JERRY’S KIDZ from New Mexico, and this is a reissue of their 7” from 1984. Featuring four tracks of standard issue O.G. hardcore, these guys do some tough skate-rocking with clear vocals in a range of tempos. The cadence and foreboding chords of the blazing opener “Marionette” bring the CIRCLE JERKS’ “In My Eyes” to mind, and the introspective sound of “B.R.S.” (apparently meaning “Brandon’s Rest Song, as its slower parts gave the singer a chance to chill a bit between the faster tracks) reminds me just a little bit of the ADOLESCENTS’ “Kids of the Black Hole.” So yeah, this lesser-known artifact fits in alongside some of the best early USHC, and is well-deserving of the reissue.

Loose Lid Loose Lid cassette

Midwest hardcore that’s heavily distorted and poorly recorded, resulting in crazy raw punk. Seems recorded live or at home, which I like. Mad and noisy, filled with crusty vibes close to D-beat but much more chaotic, it seems like something from decades ago. Suggested track: “Unite,” offering us some fresh cuts exuding violence. Really dig the vocals on this messy chunk of hardcore punk. If they were searching for a live vibe, they achieved it. Recommend the use of headphones for this one, or you’ll miss a lot of things—listening first on speakers, I didn’t like it a bit, but then I gave them another chance on headphones and it was way better. Interesting raw darkness impregnated in the songs’ raw energy, delivering extreme sounds comparable to those in glorious ’80s USHC.

Los Invasores Demo 1987 LP

Vinyl treatment for a long-lost demo from Uruguayan punkers LOS INVASORES. Twangy, surf-inflected, and full of spit and piss. The tone of each of these songs will have you asking yourself “did these gents plug straight into the mixing board?”. Maybe…of the fourteen songs on the long-player, start with “Lamentos” and move into “Orguilo.” The tone is like they are using pennies as guitar picks. What!? Buy the vinyl if it’s not sold out.

Moat Cobra DCxPC Live & Dead, Vol. 1 LP

This is a cool idea from label DCxPC: record and release live shows on vinyl, and in MOAT COBRA’S case, back it with a “dead” or studio recorded version on the B-side. MOAT COBRA is an Orlando hardcore band that specializes in sludgy, BOTCH-y riffs and gruff vocals. The live recordings are great—you can clearly hear the guitar textures, nasty bass tones, and feel the overall tightness of the band. “Singularity” has interlocking stoner riffs that would make any RED FANG-loving van-dweller or algebra-core nerd swoon. Ripping track “Soffo Cone” chugs with a fast punk beat that gives way to dueling fretboard equations. The studio recordings reveal guitar subtleties and offer some atmospheric qualities, but since the live recordings are so good, you are essentially hearing five of the songs twice. That’s my only real critique here—Side A and Side B work best as separate listening experiences due to the overlapping tracks. Overall though, it’s a good band and cool idea executed well.

Mononegatives Facsimile EP

Dowd Records issues a limited release (150 copies pressed to yellow vinyl) of this prolific Canadian synth punk act’s 2021 cassette. The A-side features two tracks of clanging post-punk with a touch of post-hardcore at the edges, particularly in the guitar timbres. Imagine a cross between SERVOTRON and JAY REATARD at his most mechanical. Not bad. But this B-side is fantastic! The title cut sounds like DEVO teaming up with A FRAMES to cover one of the more tuneful tracks on WIRE’s 154 or something by GARY NUMAN—just an excellent mix of herky-jerk guitar interwoven with an assembly line rhythm section and soaring synth melodies. Also, the record as a whole just sounds great—it’s crisp in all the right places, the vocals are crystal clear and well-mixed, and the bottom end still really packs a wallop. Really handsome physical release, as well. All in all, no complaints!

Novak’s Kapelle Not Enough Poison / Smile Please 7″ reissue

Pretty surprising to be reviewing a reissue of an Austrian psych/garage record from 1968 in MRR, but hey, punk came from somewhere. That aside, this is really good, reminding me of the OUTSIDERS or Q65. This is their second EP and their first and better one has a song called “Hypodermic Needle” (!) How punk is that? “Not Enough Poison” is pretty swell though, and it looks like this band went on into the ’70s doing interesting-looking stuff. Put down that CONEHEADS record punker, and learn a little history. Prost.

Only Shallow No Way Out But Death cassette

At first read, I was immediately reminded of the MY BLOODY VALENTINE song, and I wondered if there would be a connection. Once ONLY SHALLOW started playing, I was transported to a world of groove and gloom that quickly galloped into a ripped D-Beat hardcore attack. The lines “Drape my organs around a plastic Christmas tree / At the end of life it’s only been me” scathe forth with anguished vocals in “Mistletoe Can Be Deadly.” This is dark deathrock with wild punctuations. I’ve been to Rochester in the winter, and this is the sound of grim dread with warm goth reverberations—“Buffalo 666” would be an additional description. DOOM meets GRIEF meets XYMOX and ROSETTA STONE. The other song themes really emphasize the tape’s title No Way Out But Death. There are some really sick double kick blasts on “No Justice, No Peace.” I love every song title here: very creative, but my favorite track is probably “Welcome to the Hellmouth”: “My heart is filled with spite / For everyone in sight / The texture of worms beneath my feet / Kicking up leaves on wet concrete,” sung sort of like CRO-MAGS and DR. KNOW’s later recordings. I appreciate the visuals, I appreciate the various style expressions of ONLY SHALLOW, I appreciate the upstate NY desperation. Now, at the end of this tape, I think the band name is about a grave and not the MY BLOODY VALENTINE song. P.S.—love a good church bell sample.

Pressure Pin Superficial Feature EP

Montreal duo that will make you dance the pogo to the rhythm of frantic egg-punk, with even more garage-y noise than egg-punkers usually advocate. New wave artsy punk, with the use of a real voice with light effects being a highlight. Favorite track: “A New Movie.” Stop’n’go cadences and exquisite use of synth, relentless drums, and psychic trance guitars that combine beautifully. We have before our eyes an extreme form of egg-punk, where sick rawness in the vocals makes it much more interesting compared to DEVO-infused patients. Honorable mention to the experimental nature of “Limited Movement,” adding new sounds to the eggy situation and upping the scale by introducing power chord changes following the never stopping drums, giving this track the status of “eggy symphony.” Highly recommended for lovers of expanded keyboard sounds used smartly. Resourceful duo, indeed.

Raw Peace No Hope LP

With such a strong record, I can imagine a lot of people will get into RAW PEACE. I had seen the name before but never listened to this Belgian powerhouse, and with such a moniker, I was expecting unabated shitlicking DISCLOSE worship with too much reverb on the vocals. RAW PEACE is clearly a band of their time, as they play a blend of beefy American hardcore (the singer also growls in the long-running band REPROACH) infused with D-beat hardcore. It is an objectively mean-sounding album with a thick production, and it sounds about as ferocious and subtle as a charging boar—listening to the band reminds me of that one time when I was chased by a massive goose on a school trip in 1989. As powerful and effective as No Hope (the band’s second album) is, I don’t love the thing. I enjoy it, and its hardcore intensity and relentlessness makes it quite compelling, but I cannot really love it. RAW PEACE sounds like US hardcore vets trying to play heavy Swedish D-beat. Even if a lot of D-beat tricks are indeed present and executed well enough, it still does not have a proper dis-feel songwriting-wise. And to be honest, this is probably the sound these guys are going for, an American hardcore perspective on dis things and as I said, this will definitely appeal to a wider audience than your average DISCHARGE clone would. This is still very solid and packs a serious punch. If they were actually American (the country where gods are made), I am sure they would be more widely-known.

Rose Glass Demo 2022 cassette

Killer demo from ROSE GLASS, featuring various players from Santa Ana and New York. Three cuts of meat-and-potatoes hardcore punk with frantic drums, crunchy guitars, and snotty vocals that kind of remind me of the ANNIHILATED. This tape feels so lived-in, like something that’s been around much longer than a year. Closer “Cold War III” (and the rest of the tape for that matter) could easily be mistaken for an early SST release. Great stuff.