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!

Six Cents Sacramento County LP

I find this record pretty interesting, while not being something I’d listen to again. They play ska-tinged pop punk and dirge-like mid-tempo hardcore—FANG and CRIMPSHRINE is what I’m speaking of. They formed in ’94, losing a main member along the way, and picked it back up to get us to today. The ’90s thing shows big time, as I can’t imagine the kids picking up on this style these days, especially with rap metal moments such as on “Skab.” I could see them on The Thing That Ate Floyd comp or even a Party or Go Home part four. I wonder if they were aware of bands such as SEWER TROUT existing in a similar sphere and in the same city. Maybe they played together? Who knows, but luckily you get some live songs to envision such things. Check it out. It’s much better than SUBLIME.

Stuck Freak Frequency LP

I imagine a lot of folks will like this record. The second LP from this Chicago act is eleven tracks of intricate (almost proggy) polyrhythmic post-punk that acts like URANIUM CLUB or VINTAGE CROP have made popular over the past few years. The music is smart, polished, catchy at times, tastefully noisy at others, with lyrics that take aim at contemporary ills while avoiding being too abstract or preachy. There isn’t much here that will rub you the wrong way. But it’s this lack of friction that I have a problem with. To me, this record sounds immaculate to the point of being antiseptic, impressively engineered but soulless. It’s pretty much the same complaint that I’ve lodged against another beloved contemporary art-punk act that I have to imagine is serving as a bit of inspiration here: PARQUET COURTS. Just imagine that band trading their affinity for dance punk and slacker rock for a love of TALKING HEADS and more overt DEVO worship. Again, it’s hard to point to any one thing and go, “That! That’s the thing that’s bad.” It’s more…well, I’ll just say this—every time I try to visualize what a fan of this music looks like, the image that keeps popping in my head is MSNBC’s Chris Hayes in casual wear. Does that make sense? Probably not.

Vejamen Aquel Que Creían Muerto cassette

This is the third tape from the German label Iniquity Records that I was given to review, and I must say that it is by far my favourite. More than this, I actually find it really good for what it is. I am aware the label is a small DIY unit dedicated to releasing rough, distorted, raw hardcore punk tapes for fans of rough, distorted, raw hardcore punk who want to listen to a tape of rough, distorted, raw hardcore punk to confirm the validity of their passion (I would argue that it is healthier than collecting Warhammer figurines, but I might biased on the issue). Joking aside, VEJAMEN deserves a bigger run. The band comes from Lima, Peru, and unsurprisingly delivers rough, distorted, raw hardcore punk with a Japanese crasher crust touch and, at times, a rabioso tupa-tupa Latino punk influence. I have to warn you that the sound here is rougher than a badger’s arse (and believe it, that’s already pretty rough) and that VEJAMEN do not mess about—this is real primitive, angry hardcore. Imagine a blend of early DISCARD, MUERTE EN LA INDUSTRIA, and demo-era GLOOM, then soak it in Atropello!!-era Peruvian hardcore punk à la AUTOPSIA, glaze it with some noizecrust distortion, eat the thing, regurgitate it, and make twenty copies of it. Et voilà! My one reservation is the almost systematic use of samples between the songs, which somewhat impairs the overall dynamic. I suppose you already know whether you are going to find it absolutely disgusting or thoroughly enjoyable?

Wasted Modern Lie LP

Formed in 1996 in Joensuu, Finland, WASTED re-records some of their earliest work here on Modern Lie. This ain’t no skin-and-bones punk, this is full muscle and gristle: “wrench tossed in the political machine” lyrics, bass bright and up front in the mix, with a combative rhythm. The band might sound like a darker version of NAKED RAYGUN, or something of the like, if it wasn’t for the clever, post-punk guitar riffs layered throughout, in addition to the poignant lyrics, like on the opener “Break You” where they sing “I bet they taught you about global wealth / But did they teach you about mental health.” “True Colors” has my favorite bass and drum groove on the album, while “Trenches” sounds like a call-to-arms anthem, not to be missed. Brothers Ville and Antti Rönkkö have written the band through six other LPs over their 25-plus years as WASTED, and they aren’t here to fuck around. If you need the last veil to be lifted on the first-world illusion of prosperity, tune in to Modern Lie.

Young Harts All I Got LP

Like most people in their mid-thirties, I’m a ’90s nostalgist through and through. This full-length really should be my bag, with its sound that sits somewhere between SHUDDER TO THINK and the early albums of SUPERDRAG. On paper that sounds awesome, and there are moments of brightness from track to track. Ultimately, it falls a little short for me, largely due to some real clunkers in the lyric department—”No need for lyrics / I’m an OGG” seems to sum it up on the otherwise snappy “Up in Flames.” There’s also the production, which sounds overly digital. On that same song, there’s what sounds like software reverb throughout, which takes me right out of the experience. The song structures are solidly built and the vocal melodies are generally the centerpiece, but executed in a way that shines a bit too over-affected. The overall sound strikes me as a band that probably would have made a competent tour opener two decades ago, but I’d probably go stand in the drink line during their set now. And lastly, the more plodding ballads have got to go, such as the acoustic “Still Shining” and album closer “Shun It Down.”

The Arson Project God Bless LP

Despite being established in 2005, the ARSON PROJECT broke the grindcore trend of releasing tons of splits and demos so they could solely focus on solid material, as this is only their second full-length. With the absence of modern bands like TRAP THEM that fused modern grindcore with other genres and created a demolishing sound complete with HM-2, the ARSON PROJECT fills that void greatly. A band that I would consider grindcore 2.0, as they take the blueprint of NASUM and make it their own. A solid album for the lovers of fast-grinding (anti-)music!

Béton Armé Second Souffle EP

Don’t think it is an exaggeration to say that this is one of my favourite bands still going, up there with MESS, FUERZA BRUTA and CASTILLO; they are the real deal. It seems a little reductive making the comparison merely owing to their shared Francophile nature, but this really does feel like a spiritual cousin to a RIXE EP—earworm choruses, buzzsaw guitars, and gang vox designed to be yelled while covered in lager. Extremely worth a spin.

Current Affairs Off the Tongue LP

Day-glo new wave sheen meets darkly shrouded goth gloom—blacklight post-punk? CURRENT AFFAIRS’ 2017 demo cassette primarily lurked in SIOUXSIE-shaped shadows, followed by a pair of 7” singles that leaned a little harder into jangly, tambourine-bashing C86 pop energy for a big-hair-and-eyeliner vibe that was closer to WE’VE GOT A FUZZBOX AND WE’RE GONNA USE IT than anything else. Off the Tongue is the Glasgow-centered group’s first proper long-player, and the deliberately-paced drama of these ten tracks mirrors the considerable length of time (a relative eon in punk years) that it took for this record to materialize. Joan Sweeney’s vocals are still belted out with a hyper-expressive urgency, but with songs like “No Fuss” and “Get Wrecked” running at over four minutes each, CURRENT AFFAIRS give themselves space to take more wandering, circuitous paths from point A to point B than what was afforded by the band’s earlier jumpy, wired-up anthems. “Right Time” is drenched in chorus pedal shimmer so thick that you can almost feel the fog machine kick in, while the stern, asymmetrical rhythms of “Cahoots” cut through any lingering haze like a fishnet-clad PYLON—I’d happily take a whole album of the latter over the former, but then again, I’ve never owned a can of hairspray in my life.

Dogma Disarm or Die 10″

I was supposed to put on a gig for DOGMA in June 2020, but COVID happened and they had to cancel their European tour. A real shame, since I see this Ottawa-based band as one of the best in contemporary anarcho-punk. In our day and age when being “insta-famous” is actually a thing, DOGMA sounds fresh, genuine, and humble. This is not to say that they are reinventing the anarcho wheel. Indeed, they would be serious contestants in a dove logo challenge, and I assume the title of this brand new 10’’ nods lovingly to POLITICAL ASYLUM. However, while too many bands used the classic anarcho-punk imagery and references as mere gimmicks, not signifying much else than themselves, I feel DOGMA’s overt tribute works. If it was a drink, DOGMA’s music would be a delicious smoothie called “ANOK Bonanza,’’ and their lyrics, while relying on traditional lexical fields, remain relevant and tackle modern topics. I am a massive fan of their first album—its upbeat yet moody dynamics convinced me instantly, and it has been on constant rotation at home. As a result, expectations were high, hopes were up, and anticipation was tense as I awaited the new record like you wait for a pizza at a restaurant: feverishly. Disarm or Die is different from the first album, though. It doesn’t look different (it is bordering on the self-referential, maybe not the best call), but it sounds different, just enough. The guitar sound has grown into something darker and more elaborate, and with the reverb effect on the bass, there are post-punk undertones. But stylistically, DOGMA remains first and foremost a British-inspired traditional punk rock band—thankfully, as the world does not need yet another generic goth-punk band. The songs are as delightfully catchy yet significantly longer and a bit slower, which allows for more space to work on the songwriting and the atmosphere. I love the hypnotic vibe of the very discernible, powerful, and almost spoken vocals, and how danceable and tune-oriented, and yet a little wistful, Disarm or Die sounds. DOGMA reminds me of many old anarcho bands (duh), especially with the very forward female vocals and that seemingly effortless catchiness and hooks. Blend ICON AD’s infectious tunefulness, A-HEADS’ passionate energy, NAKED’s songwriting flair, and INDIAN DREAM’s moody catchiness, and you’d be pretty close. Did I mention DOGMA covers ‘Witch Hunt’’ from the MOB? Don’t miss this jewel.

The Domestics East Anglian Hardcore LP

The DOMESTICS put a brand stamp on their specific style of hardcore with this release, like putting the best elements of old and new school hardcore in a blender: fast, raw, and brutal. Guitar solos are often stripped to just a quick pick slide before the vocal attack returns. “Purchases” and “Falling Apart” are both killer songs with interesting structures and tidy musicianship. If you like hardcore, then I guarantee you’ll like this.

Extasy Ira Total cassette

Said it here before, but I’m going to repeat it, because seriously, tape labels are the true source of today’s great hardcore punk—I’m tipping my hat to all maniacs who dare to release music, and these smaller tape labels who put out local bands are grabbing the essence of radical underground music. Previous Corona RX tapes made me excited to check out EXTASY, who turned out to be great, too. Pissed-off, rudimentary hardcore with a lot of mid-tempo, tension-raising flow. The songs are pretty simple, but they become lively when each element blends together. The lyrics are about a suffocating frustration, and paired with the raspy, shouting vocals, this aimless aggression fits well with the simple but bouncy riffs and tight beats. They remind me of radical hardcore bands such as CISMA. Tapes like this are the best—maybe the music will not spin your head with its novelty, but everything about this release just demonstrates why this is the best subculture. 

Eyes and Flys Swirl Maps LP

I first heard this group on The COVID Collaborations, Vol. IV and immediately enjoyed everything associated with these cassettes—lo-fi bedroom projects galore, what’s not to like? Swirl Maps is EYES AND FLYS’ first self-released LP, pulling some tracks like “Cactus Flowers” and “Eyes and Flys” from previous singles. That said, Tetryon Tapes did put out an LP of all the singles in May of 2022, so you may see some crossover here. While the lineup has shifted somewhat, it seems Pat Shanahan and Biff Bifaro have stayed active in the band from the start, performing regular tune-ups on the motor of their shambling and be-jangled sound. Wiry, reverb-soaked guitars, shouted vocals that make me rock back and forth, singing along slack-jawed. Of the new tracks, “Empty Safe” is my favorite faster/rowdy track, while “Take the Keys” is a slow, sweeping reverie, beautiful in its own messy way. Keep your eyes on these FLYS!

Ford’s Fuzz Inferno War, Peace & Fuzz EP

With a name like FORD’S FUZZ INFERNO, I was expecting something doomy. What we’re treated to here, though, is some good old-fashioned anti-war pop punk from the Netherlands. I’d say that’s just as good. Very reminiscent of BAD RELIGION and all the other classic bands you’re all familiar with. Nothing really groundbreaking here, but it’s catchy and recorded very well. Recommended if you’re nostalgic for the skate punk of the ’90s and have a hatred of armed conflict (which I assume includes all of us at this point).

Gosh Pig Skinner cassette

Oakland’s GOSH embraces the hate on their latest cassette Pig Skinner—three tracks of violent, anti-cop hardcore that range from slowly lurching to quickly pummeling, with grind and powerviolence influences appearing here and there. All three tracks are impressively diverse, but I prefer the final track “Synthetic,” the thrashiest of the three, which has a cool POWER TRIP vibe. Overall, a solid batch of songs that must be fun as hell to hear live.

G.U.N. G.U.N. LP

When I first heard the demo from Nashville’s G.U.N. a few years ago, it was a “whoa” moment, the kind that compels immediate second and third listens. It sounded much more like something I’d catch on an ’80s skate video than a tape that came out in 2019, and the band officially had my attention. So, when I saw their LP was suddenly up for pre-order earlier this year, I pulled the trigger without hesitation. As it turns out, that sharp little four-song demo did little to prepare me for the misanthropic masterpiece that would eventually show up at my house. Wrapped in the gritty cartoon artwork of Reed Kavanah, the album is a refreshing blast of nastiness in the often too-careful climate of today. Brutish with the blunt force of classic BLACK FLAG, the music is audible frustration, loaded with riffs out the ass, and paired with a savage and satisfying dark honesty. The lyrics paint grim and realistic pictures, revealing the primitive thoughts and urges of the hidden sociopath inside all of us and at times teetering dangerously close to BRAINBOMBS levels of depravity. On songs like “Sadistfaction” and the punishing “Dangerous Game,” they’re really not pulling any punches, holding a mirror up to the inherent perversion and violence of our “Sick, Sad World.” If it all gets a little too thick, you can zoom out and disregard the particulars of the content, and it’s still some freakishly gripping punk noise. This is ripping, hook-heavy hardcore laced with an unabashed ugliness, and it’s an addictive combination, a promising debut, and an obvious pick for best of 2023 lists.

The Hanging Judge The Hanging Judge CD

This band has members of the QUEERS, ANTI-HEROS, and AGONIZERS ATL, and that is enough for me to have been slightly intrigued. Add to that the fact that Joe Queer himself recorded this, and I was definitely curious as to what was going on here. Well, what we have is some pretty slick-sounding street punk. I suppose this would be a good starting point for someone not too familiar with this type of stuff, as it’s not too abrasive—kinda like street punk-lite. Much better than I would have expected, for sure.

It Thing Constant State / P.C.H. 7″

Anger and energy-infused female-fronted punk from the island of Tasmania, echoing the spirit of the GITS, BRATMOBILE, and X-RAY SPEX with an angrier Poly Styrene delivering the vocals. The two fast, assertive, and tough tracks will make you want to check out their entire catalog (especially 2021’s stellar full-length Syrup) or dust off your LUNACHICKS CDs from the early ’90s.

Les Lullies Mauvaise Foi LP

French power pop punkers LES LULLIES are back with their second full-length album, a long-awaited followup to 2018’s self-titled LP also on Slovenly Records. Mauvaise Foi (which translates to “Bad Faith” for the non-French speakers) sheds the garage-y production elements of previous efforts in favor of a more deliberate and layered approach. Frankly, this is a big step up from the prior releases, which were already nothing to balk at. What emerges is an album that manifests both style and substance in spades. LES LULLIES don’t shy away from their influences, but their synthesis of ’77-style punk with power pop and ’60s garage rock yields results that are inarguably original. Their songs are hook-laden earworms that will burrow into your brain sac and extract your fondest memories of listening to the REAL KIDS, TESTORS, and the BOYS. If you’ve been jamming the DOGS’ recent The Melody Massacre Years collection, or EXPLODING HEARTS’ Guitar Romantic reissue, throw this in the rotation. You’ll be glad you did.

Life Sentence Demos EP

This EP consists of the first studio recording from Chicago’s LIFE SENTENCE, plus a four-track demo track that the band did prior to their LP that came out the following year. The studio tracks include their original vocalist Ray Morris, who is on half of the LP release since he departed while the LP was being recorded. Compared to the LP, the guitars here are a straight-up blown-out “chainsaw guitar” fuzz sound akin to MALEFICE or SHITLICKERS, or even what Kawakami from DISCLOSE thrived on. Blisteringly fast ’80s USHC speedcore. With an up-to-date mastering job, we get to listen to this beefed-up version of the original tracks.

Moratory F.P.F.W. demo cassette

And now we travel to St. Petersburg, Russia to get ourselves a whiff of metal punk delivered by MORATORY, with their demo Fuck Politics Fuck War. Released in November 2022, though they’ve been around since 2015, it updates more speed metal structures in their songs and slows the tempo. Extra credit for the translated lyrics on their Bandcamp page, versing on anti-war poetry and a feeling of constant struggle in their sound and words. Suggested track: “Pod Nenasytnym Nebom.” Great soloing parts for the guitars and never-stopping drums for this band merging D-beat and metallic forms of punk.

Piñén Nicolasa Quintremán EP

This is hardcore, in case the cover art would put you off, although PIÑÉN most likely would not give a flying fuck if you skipped them for such a reason. Hopefully you already knew, since they have been around for ten years and have consistently released incredibly raw and genuine, super fast, vicious hardcore records, performed as a drums/guitar duo without bass, with a subversive message that also makes a lot of sense. Their interview in the last print issue of MRR detailed strict and liberating ideas of DIY punk, focusing on creating something on your own that represents you and your surroundings. They even questioned the point of putting out vinyl if you are not participating in the production. I am happy they changed their mind, but it’s still as DIY as it gets—the physical copies are partly hand-painted by the members, and the cover is probably drawn by them as well. Touch the dried paint and think for a second how such objects in general are manufactured in far-away factories and shipped across the globe via distributors and labels without having any connection with the band. In a way, PIÑÉN reclaims such small gestures that could mean a lot if you pay attention, which is required since they only care to create amazing music and live by their own rules, instead of aiming for artificial popularity. This carefree, solitary game emancipates them, making all their releases special even if they draw influences from early international hardcore bands with sounds reminiscent of the early records of H.H.H. and ANTI-DOGMATIX: constant blasting, thoughtful chaos and anger at high pace. A sound that could be easily redundant, but the quality and shortness of their songs, along with the microdosing of their whole discography keeps me wanting more, even if their records tend to take over my turntable for days. This time, the overall sound is harsher, which makes the record even better. Each hit on the cymbals is shards blasting into your ear, each riff is super tight, hectic, and creative, and those pissed-off vocals push all rightful frustration into my brain. The cover art, EP title, and start and ending tracks all reference Nicolasa Quintremán, a Chilean Pehuenche activist who opposed the construction of Endesa’s Ralco Hydroelectric Plant. Eventually, she was found dead, most likely murdered. She died because she wanted to protect her land. Localism and protecting what is important to you in your surroundings seems to also be important for PIÑÉN, and while playing hardcore/punk is not a matter of life and death, for them it seems to be a channel to release frustration and their message—we should feel lucky that they keep creating such great music. This record is amazing, and long live PIÑÉN. 

Pyrex Pyrex LP

Hard to believe, but an eighth of an inch delayed the release of this debut LP from NYC noiseniks PYREX. It was supposed to drop earlier in the year, but a printing error caused the cover image to be ever-so-slightly off-center. Rather than roll with the punches, the band opted to reprint and delay. Were they being a little too particular? Probably. But if you ask me, they ultimately made the right choice. These matte covers on the reprint look a million times better than the glossy joints that Mr. Total Punk has since been using as distro packing fodder (and, to be fair, the off-center image did look shitty…although, I’m pretty sure the image on my copy is still a hair off). Anyway! This record is some pretty hot shit! Eight tracks of noisy punk very much in the same vein as aggro pummel punks like LAMPS, PAMPERS, and BRANDY. But it’s not all just brute force—there’s some finesse to their playing, particularly in the RIKK AGNEW-esque guitar lines that periodically bleed through the din. It gives the record more of a nihilistic edge that’s not too far from the vibes given off by fellow Total Punkers PREDATOR. Also, the vocalist employs a screaming howl to punctuate verses from time to time, and it’s one of the best I’ve heard since Hart was piercing eardrums with the HUNCHES. Real good stuff!

Rat Cage Savage Visions LP

Do you feel lucky every day to wake up in this beautiful world? Then don’t buy this record. It’s not for you. This is a nuclear blast of hate against a world on fire. Sheffield’s RAT CAGE has been excellent from day one, but this is the most cohesive and apocalyptic the (mostly) solo project has been. The sound will please supercharged freaks who lick Swedish hardcore like a light socket, but the wattage is even brighter than even 2021’s split with NERVOUS SS. There’s been no mellowing with age, and why should there be? Everything is more fucked than ever, but B. Suddaby’s arterial screech and toxic riffs provide a perfect soundtrack—at times I swear this hits like Nick Blinko fronting DISCHARGE. I know, that sounds like hyperbole, but the ferocity and fearlessness to explore the strange dank corners of hardcore cannot be overstated here. A month after this detonation went live, the world had its hottest week in all of human history. Coincidence? I’ll let you listen and decide.

R.O.B.O. Contaminas EP

Contaminas is a quick EP of simple, light, and straightforward punk with some touches of hardcore here and there. Four catchy songs in less than four minutes that retain some of the heritage of its members’ former groups (and cult bands of the ’00s Madrid scene) MULETRAIN, AEROBITCH, and SUDOR. Two-riff songs, a dirty sound, and short lyrics come together for an easily digestible album.

The Shirks Talk to Action: Singles and Unreleased 2008–2013 LP

The SHIRKS played ’90s-style, good-time rock’n’roll a little late in the game, but did it flawlessly. They always reminded me of the PROBLEMATICS, but also the RADIO REELERS, DEVIL DOGS, and maybe Sonoma bands like the BODIES or MODERN ACTION. Actually, I didn’t realize they put out so much material until looking at their Discogs page. Here you get all their classic EPs as well as some unreleased gems, possibly recorded for an LP that never saw the light of day? That’s because like all greats of this genre, they crashed and burned. DC never struck me as a mecca for this kinda music, but here’s twenty prime cuts of proof here. My only complaint is it’s a little long, as every song is almost the same tempo and structure, but I say that with highest compliments, as there’s only one way to do this, so why fuck it up? I’d pick favorites but every song burns. They do a great KIDS cover.

Society Social Flies cassette

Strictly speaking, I am not sure what to think of the name of this band. It is either clever and intriguing enough to entice the curious listener, or just embarrassing, too arty for its own good, and a bit snobbish. But then what do I know, I actually think PINK TURDS IN SPACE is a good name. In any case, I think the moniker works in this particular instance. SOCIETY is a one-man project from Philadelphia (the brain behind it also plays in MESH, thanks Discogs for the support), and Social Flies is its second tape. Like all solo projects, Social Flies has its own cohesive personal dynamics, and utterly reflects with accuracy the creator’s intent and vision. It is often a tricky exercise, and you cannot get away with a bad song by blaming the bass player as one often does. SOCIETY’s music is very lo-fi and purposeful and tends to have an ’80s avant-garde feel, which is something I am always a little suspicious about. It sounds pretty free, rather original even from my perspective. The music has a minimalistic feel and, with some songs openly borrowing those typical tribal beats, I am reminded of anarcho-punk demos from the ’80s from ZOUNDS or the EPILEPTICS, as well as the more experimental and versatile bands like the APOSTLES and the EX or even, indeed, early CHUMBAWAMBA. The primitive sound certainly confers an old-school vibe and, were it not for the vocal delivery and some arrangements pointing to inspired modern American bands like STRAW MAN ARMY (they are listed as influences for good reasons), I could have been tricked into believing that Social Flies is an unreleased All the Madmen tape. However, the cover is hideous, and I cannot see the connection with the carefully crafted, deceptively simple music. Other than that, give SOCIETY a go if you are curious or just open-minded.

Spider Bite The Rainbow and the Dove LP

My first thoughts upon hearing SPIDER BITE’s The Rainbow and the Dove LP is that this is the sound of a band who’ve been around the block and know exactly what they’re doing. They check all the boxes: proficient playing, songs as tight as springs, and lyrics that are bursting with wit, anger, and humor. As it turns out, I wasn’t wrong. SPIDER BITE is comprised of three scene veterans whose resumes include OUTFIT, CONSTANTINES, and CAREER SUICIDE. Mostly sounding like a cross between BLACK FLAG and any of John Dwyer’s OH SEES incarnations, SPIDER BITE packs a wallop on each song here, complete with classic punk riffs and lyrics so dense you’d be missing out by not reading along. For the most part, they speak on the current social and political climate in Canada, and I’ve gotta say, things are sounding pretty grim (and I live in the States!). From beginning to end, I can’t really find any weak spots, but I can definitely say that my favorite moment here is the title track—a trashy, semi-slowed-down affair à la the STOOGES that skewers the privilege of a nepotism baby in the music scene. With mentions of minute-long saxophone solos and glorious Pitchfork scores, it’s perfectly sarcastic. If you’re a generally annoyed and aging punk like myself, this is the album for you. Highly recommended.

VIOLENCIA Viviendo Tiempos Aún Más Oscuros LP

Like the LP’s title suggests, we are “living in even more obscure times,” and VIOLENCIA delivers a soundtrack to accompany such a feeling of malaise. “Introducción a una Serie de Relatos Distópicos,” the intro song, begins with a melancholic weeping guitar that could be featured in any of the LEVIATHAN demos, but it soon erupts into the mid-tempo hardcore grooves that VIOLENCIA loves to stitch up in their songs. It soon escalates into violent, powerviolence-influenced fast hardcore as the second song makes its way through. VIOLENCIA are the bearers of the political banner that Mexican hardcore is known for, and this is a super violent and angry record that matches the times we live in.

What About Now What About Now LP

This isn’t a loud record, except for the vocals. They’re placed right up front, maybe to highlight the lyrics, which continually touch on the theme and narrative of grieving. There are two singers, one with a nasal warble and the other with a more mid-range sound. I think we’re supposed to view the vocalist as a narrator, so this choice threw me off. Everything else has soft quality to it, even when the lyrics are telling god to “fuck right off.” The volume and temperature of guitars stay in the middle of the dial. It felt like a musical accompaniment to a poem.

Youth Youth Youth Sin LP

The sole record from early Toronto hardcore unit YOUTH YOUTH YOUTH, 1983’s Sin, was originally a seven-song EP, and it’s been remastered and re-packaged by Canadian label Blue Fog with nine additional songs to create a comprehensive archival LP. Powered by amazingly tight, rapid-fire drums, the music of the original EP has a sharp clarity and immediacy to it. Infused with the youthful energy advertised by the band’s name, the songs seem to take a lead from groups on the Dischord Records roster of the era, offering an impeccably polished take on classic DC style. Lyrically, it’s very thoughtful and intelligent, sometimes sounding like a precursor to the headiness that BAD RELIGION would be cooking up a few years later. A sophisticated effort all around, this solid debut’s actual worst “sin” might be its overarching maturity. The bonus material, spanning recording sessions from ’83–’84, mostly showcases an earlier, slightly rougher version of the band. The first of these B-side songs, “Made In England,” is outspokenly anti-British. As he wholeheartedly cheers “E-N-G-L-A-N-D sucks!,” I have to imagine that there was some context of the time to this sentiment that I am missing. Jealousy? Anyway, this collection closes out with two final tracks that are more in line with the EP. The bluesy and then blazing “Blue Stain” and spunky “Domination” are a couple of the better tracks on the album, showing promise of a future for the group that was never realized. Fortunately, they found us here on this worthwhile preservation of an important little chunk of Canadian hardcore history.

V/A Four in the Bag EP

Here and Now, Thrash Tapes, and Vanilla Thunder compiled this four-way split EP (with MAXXPOWER, BASTARD COLLECTIVE, SICK BURN, and NO COMPLY), assuring that crust powerviolence is alive and well. Flaming fastcore and powerviolence are all to the front with BASTARD COLLECTIVE’s “In Decline,” the track that works as a bridge between ever-ranting songs on this abrasive, corrosive, and sharp split. Suggested tracks: “Fucking Why?” by SICK BURN, and the thirteen-seconds-long “Home Improvement” from MAXXPOWER.

Angry Adults Dust and Weight EP

Third release from Helsinki trio ANGRY ADULTS. Fun, summertime punk rock, as if they jumped out of the late ’90s Fat Wreck Chords catalog. Uplifting guitar riffs between whiny, slacker-esque vocals and splash-heavy drums keeping a mid-tempo beat. Going nowhere fast, driving the LAGWAGON down Highway 1 in the full sunshine…or some coastal road in Finland. This doesn’t wow me, it’s not trying to change my mind, it’s not genre-bending or new, but after a few listens it’s growing on me, making a whole lot of sense in this sticky summer heat.

Armoured Flu Unit The Mighty Roar LP

Blimey, this is old-school. Well, the record is technically a new release, but the band members are, well, not. As my late friend and mentor, who had been active in the scene since the mid-’80s, used to say, “Let’s just agree that I am an experienced punk and not dwell on the issue that I put on gigs for YOUTH OF TODAY while you still feasted on your own boogies.” I personally love to see how old-timers keep forming new bands, touring, being involved in worthy causes, and delivering relevant political messages. To me it is as important as supporting teenage bands. We all were snotty brats at some point, and we will also all (hopefully) grow older, as punks. Enough cheesiness already. ARMOURED FLU UNIT is from the south of England and have been going for a few years now, made up of people formerly in A.U.K and HAYWIRE (a band I have always loved)—those bands were known for their anarchist political stances, notably on the topic of animal liberation, so it hardly comes as a surprise that The Mighty Roar includes songs tackling an issue that is as relevant today as it was 30 years ago, perhaps even more so with more and more common people seeing the truth behind animal exploitation but with big corporations thriving on animal murder for decades trying to get their capitalist hands on the vegan pound. Lyrically, The Mighty Roar is an angry, honest, direct political charge that is meaningful and contextual (no abstract metaphors about oppression here). Musically, ARMOURED FLU UNIT plays hard-hitting hardcore punk with a metallic edge, mostly inspired by US bands but with a British touch. Classically executed. I enjoy the punkier, catchier mid-paced moments the most here (“Blindsided’’ is ace), but I find the production too clean for my liking. But then, I have been feeding on filthy, distorted hardcore punk for so long that I am probably not the most qualified to comment. They remind me of a cleaner version of ’90s bands like POA or IN THE SHIT, or the more recent CONSTANT STATE OF TERROR. The LP was released on Grow Your Own, a very active DIY anarcho-punk label run by Oscar from ANTHRAX—go for it if you are looking for hard-hitting political hardcore with a clean sound.

Borrowed Man Borrowed Man cassette

BORROWED MAN does six point-blank punk killers on their first tape. After a misleading little garage rock intro, the band rips into speedy, brooding, and gritty pounders in the vein of early DC hardcore like MINOR THREAT and YOUTH BRIGADE. The songs are covered in exasperated shouts that remind me of a young Ian MacKaye, and punctuated in places by these awesome, piercing, spectral guitars. The songs are concise and potent, and it gets pretty wild. On “Circus,” he talks about wanting to kill a clown, and even starts barking a little bit. Where the hell did these guys come from? Oh yeah: Jackson, Mississippi. It’s good, and they’ve got my attention.

Cheetah Chrome & Señor No Yesterday’s Numbers EP

One of the guitarists that shaped punk rock, a cover of the FLAMIN’ GROOVIES, and two DEAD BOYS songs, recorded live in a Galician pub—an EP for mythomaniacs and seekers of those rare and bizarre connections in rock history. There’s little here that adds to CHEETAH CHROME’s extensive career, but it’s still cool to listen to him after all these years, especially “What Love Is” and “Sonic Reducer,” two of the most emblematic tunes of his musical legacy, recorded with an ambient mic during the show, with SEÑOR NO, a veteran rock band from Basque Country, as the backing band. The FLAMIN’ GROOVIES cover was recorded the last day of the tour with Kaki Arkarazo, former KORTATU and NEGU GORRIAK member. A must for all nostalgics.

Drag Pattern Granted Entries EP

This Florida outfit has big, chunky, metal-tinged guitars which sound layered upon layer. There can’t be more than six or seven chords on this entire EP, and they all arrive in grand stadium crust fashion. The vocals are just under, not over, the instruments. The tight drumming stands out, but there’s no fills, frills or flair, just an up-tempo apocalyptic galop. The whole thing is over before you can say “stretch jeans and a SELFISH shirt.”

Fake Lighters Missing the Boat LP

Melodic punk that utilizes upbeat bass lines, the occasional upstroke, and stop/start break parts, with a gang vocal “hey” and “whoa-oh” peppered in here and there. This is the epitome of some dudes getting together and saying “Hey, let’s start a band that sounds like Tony Hawk’s Pro Skater,” and I mean that in the best possible way. This is very enjoyable in that it is familiar. These dudes definitely aren’t reinventing any wheels here, but sometimes that’s not a bad thing.

Gummo Complete Discography 2019–2023 cassette

France’s GUMMO brings all kinds of grindcore/powerviolence pain on this compilation of their recorded work. Side A contains their 2019 LP Sheltered Despair, which is hardcore as fuck with droning, grinding bass in your face. The vocals for that album were recorded with various singers from their local punk/hardcore/grind scene, but the cassette A-side also includes a version of the LP re-recorded with their permanent singer, Théo. Their cover of NASUM’s “The Final Sleep” changes up the pace with a slightly slower attack but keeps the gloomy, angry mood unchanged. “Neaderthal Scream” has a chorus worth screaming in traffic or in a public library.  Side B has more of the same with their 2019 split Split the Hard Way, a 2021 single for “Heart Shaped Box” (NIRVANA), the 2021 LP A Fresh Breath on the Neck, reviewed by me in in MRR #465, and three exclusive tracks. One of my favorites on this side is “Fucking Monkey Drummer,” which has a chous that spoke to my soul: “Fucking monkey drummer / He strike like a beast / Even with my earplugs / He destroys my feelings.” In fact, most of the tracks on the split, as well as the NIRVANA cover, introduce a good sense of humor, a refreshing break from the unrelenting hate and depression of their LPs. Altogether, this discography is an hour-and-a-half of unrelentingly fast, brutal, aggressive shit, and a must-have for the discriminating grindcore fan.

Hez Panamaniacs LP

HEZ has been around for ten years now and I have kept checking for their releases, which concluded with a demo, two 7”s and a mini-LP. I liked them, but always saw more potential than what they actually showed. Finally, Panamaniacs arrived, and it is great, overwhelming hardcore. Great riffs and hectic guitar playing varied with effects scattered around tastefully that sound like a malfunctioning computer. A bunch of plays with tempo usually introduce tense, mid-tempo stompers that also include pedal-manipulated guitars, and also a lot of echo/delay on the vocals. It did remind me of the great DESTINO FINAL, and Panamaniacs could be put next to Atrapados. It’s that good, and it’s that different from the current overload of new releases. HEZ also has their references, but finally they have their own form—it’s hard to achieve quality and features which distinguish you from the others. Even if punk was born from a “live fast, die young” ethos, I welcome when bands take their time, remain together, and craft more releases rather than throwing out a couple 7”s, taking a vacation in Europe disguised as a tour, and then breaking up. If you stick together with your friends in a band and focus on writing sicker songs, it will pay off—at least, I am super happy that HEZ did so, and now I can blast Panamaniacs.

JJ and the A’s Show Me EP

The debut EP from Copenhagen/Barcelona punks JJ AND THE A’S consists of six tracks of urgent, fully driven, catchy late ’70s/early ’80s mid-tempo KBD comp-style tracks. Solid vocal harmonies with no-bullshit rock’n’roll guitar riffs. Somewhere along the lines of a gasoline-injected version of X, VICE SQUAD, Static Age-era MISFITS, ZERO BOYS, AGENT ORANGE, or D.I.—trim out all the SoCal boomer bro-punk vibes for a refined modern version of it. A fierce combustion of pure energetic output.

Leche Gas Powered Guillotine cassette

With a number of releases already under their belt, LECHE from Austin, TX returns with a new six-song cassette EP. A band that is rather difficult to pinpoint with a specific sound, LECHE meanders around many subgenres contained within the greater, all-encompassing “punk” umbrella. Best I can come up with is that they are a cowpunk take on Southern rock (maybe mostly due to that wildly long “Freebird”-type guitar solo to end one song, yeesh) with a peppering of noise rock and speed metal, all tied together by the satirical stream-of-consciousness style ramblings of the vocalist—that last part is most prevalent on the song “Premium Suffrage,” written from the perspective of a country club member kicking non-members off the basketball court that has been reserved for his company two-on-two basketball tournament.

Life Expectancy Decline cassette

This is a mechanical, corrosive delivery of ’90s industrial punk metal, like an adolescent era of cyber-thrash with PITCHSHIFTER or MEATHOOK SEED, but played at the pace of GHOUL, LSD, KURO, and ZOUO, and tweaked to CHARRED REMAINS in its final form. Maniacal, gnarly vocals burble under sizzling riffs and mechanical percussion. NIGHTBREED recently had a similar effect, and that shit was blissful lunacy—ELECTROCUTIONER as well, though more guttural and GISM-like. This is a tape that is perhaps even darker than both in its skeleton, adding layers of amorphous calamity, a wash of static punk chaos. This is for the slightly disturbed and raw noise enthusiast, waning and mocking at times, others downright mind-numbing. “Missing Nasty Men” truly reminds me of KURO burning in hell. Digital. Evil. Lifeless raw punk meddling in the UK.

Motorbike Motorbike LP

Not quite what I expected here, prematurely judging it from the primitive biker scrawl of a cover. This Cincinnati band made up of Ohioan and Welsh members who’ve done time in other bands you might know (look it up, lazy) has made the connection between MOTÖRHEAD/ROSE TATTOO-style hard-charging rock’n’roll and the shoegazing Britpop of OASIS/MY BLOODY VALENTINE. No, really. It’s post-punk metal-ish hard rock that leads one (well, me) into visions of a subtler, more introspective MC roaring through the Ohio flatlands, stopping only to talk philosophy at the local coffee mill. The title track, “Throttle,” “Life Is Hell,” and “Pressure Cooker” are tops. Swell. Vrrooooom.

MSPaint Post-American LP

Genre-benders MSPAINT’s LP Post-American is a fitting album for the bonkers times we’re living in, properly capturing the hectic speed and exhaustive nature of the present. Stuffed to the brim with mercurial sounds and ideas, it’s plastic-y and bendy with a sheen of metallic synth. It’s a difficult album to pin down, as every genre I try to attach to it doesn’t quite nail it. Synth-punk? Sort of, but vocally more indebted to hip-hop than punk. Hardcore? At times, yes, but more often it sways into industrial and even techno. It really is a fusion of sounds, and regardless of how you choose to label it, Post-American is a modern and vital album that is lyrically filled with optimism, an interesting juxtaposition to its frantic and at times paranoid sound. Check out “Delete It” and “Titan of Hope.”

Nouveaux Nouveaux LP

If you’re desiring some melancholic, synth-driven post-punk, then maybe give Vancouver’s NOUVEAUX a spin. This full-length draws inspiration from a variety of musical spaces and mixes them into a haunting, brutalist approach to pop. Like a cold, grey monolith, each song builds a heavy foundation upon underground ’80s music scenes. You’ll soon find yourself wanting to vogue while you’re gently reminded of our bleak future.

Øbvious Approach Pre-Rhetoric 2xEP

First release from Grand Rapids, Michigan’s ØBVIOUS APPROACH. Five songs split between two 7” discs, all with really long titles, like the opener “…No, It’s My Face! It’s Like Your Face is Made Up of 1 Million Tiny Versions of My Face,” delivering a moody, poppy blend as if you smashed MXPX and AFI together. Generally, a clean and well-polished recording, with strained-to-crooned vocals over tom-happy drums, breaking way into pick-sliding guitar chugs. Catchy, poppy, melancholic, self-described as “dumbestic punk.” Did these guys grow up listening to the Warped Tour CDs? If you did, and are hungry for more, check out Pre-Rhetoric.

Pharma See EP

Four-piece Detroit four-piece with an EP that exudes a crunchy sound all around—blunt force mayhem hardcore punk and chaotic vibes. Demonic vocals and aggressive drums, creating groovy crust punk filled with guitar pick-ups generating disturbance. Suggested tracks: “End of Days” and “Relax.” Abrasive palm-mutes and raging vocals for blasting your mind, in six tracks averaging out to less than two minutes per song.