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!

Skullture Skullture LP

SKULLTURE is a San Franciscan guitar/drums duo who do San Franciscan things like play generator shows in out of the way places and just generally make a big ‘ol racket with their portable set-up. These guys got passion steaming out of their pores, with songs about hot-button issues like climate change, Ursula K. Le Guin, incels, the murder of Jamal Kashoggi, the Mother of All Bombs, and Donald fucking Trump. The music walks a line between stripped-down garage punk and full-bore noise rock. After riding BART, you’d be stoked to find these dudes cutting loose on the street. Throw a couple bucks in the hat and let the rage dissipate.

Summer of Death Bolt Nine Chambers + The Demo Collection CD

Crossover thrash band from Tokyo presenting their 2019 EP and previous demo releases, so the range here is wide and goes from fast-paced crossover thrash to heavy metal-infused cadences and even some SUICIDAL TENDENCIES vibes in some of their songs. The cover artwork depicts a charged punk reminiscent of the ’80s Earache era, and this material exudes skateboarding brothered with extreme metal—SUMMER OF DEATH are keepers of the party mental attitude. For lovers of that specific era and style.

Sweepers Demonstration cassette

Wow! It’s been a minute since I’ve been this bowled over by a release. I don’t know what I was expecting of this Philadelphia four-piece, but it definitely wasn’t oddball, free-jazzy clean hardcore on the subject of keeping a neat house (primarily by way of broom). This cassette is eight tidy tracks that zip by in a spick-and-span seven-and-a-half minutes and sound like some amalgam of MINUTEMEN, DEVO, NEON CHRIST, and a little contemporary herky-jerk. It’s strange, funny without being jokey, and absolutely exceptional. Get on it, you neat freaks!

Traidora Un Cuerpo Trans Lleno de Odio cassette

TRAIDORA presents seven tracks of stripped-down D-beat with a certain goth or deathrock quality—maybe it’s the cover art or the black metal-esque vocals. The record’s tone feels desperate and direct. The vocals echo and the guitars come with maximal treble, like a 33 RPM recording of a chainsaw sped up to 45 RPM. The drums are playing a one-two-one-two lurch, sounding like a pair of Docs clonk clonk clonking down an empty hallway.

What Tyrants Lo-Fi High CD

Indie rock-ish stuff that’s kinda lo-fi at times, mainly in the somewhat fuzzy vocals. The vocal delivery reminds me of Ian Svenonius at times and Howlin’ Pelle at others. Typically, this kind of stuff isn’t really my cup of tea, but I do find myself strangely intrigued by this—the resurgence of this type of pseudo-’90s alt-rock stuff, while mainly boring, does tend to have a few diamonds in the rough here and there. This might be one of them.

Yellowcake Can You See the Future? EP

Seven tracks of combusting, raging crust war mayhem from YELLOWCAKE from Phoenix. Raging mangel thrash-style beats mangling with an Osaka-style wall of noise-not-music, yet still sounding original. This is not another bullshit recording that sounds like it’s recorded in a tin can—the sound quality is crisp without losing the intensity of spending loud night. Top-notch sun-fried, cactus thorn raw punk noise devastation from the desert. Recommended.

V/A Skate Ratz, Vol. 2 LP

Very much in the spirit of Thrasher magazine’s old Skate Rock comps, Skate Ratz Volume Two brings us fourteen tracks from seven different “skateboard bands” from across the USA. It’s a diverse assemblage of skate-friendly styles, packed complete with a little zine that tells a little bit about each band. Arizona goof-punk veterans DEPHINGER throw down some high-octane, low-brow stoner rock on their two tracks. STREET FREAK plays melodic So Cal-style hardcore with metallic guitars à la the OFFSPRING. The SM PROJECT, solo project of Shane Medanich from cool-ass NYC punkers PEACE SIGN, closes out Side A with the stripped-down and catchy “Satan Was a Hippie,” and then opens up Side B with the weird march of “Crestroy.” The laid-back, blown-out grooves of Portland’s LÁGOON hit a vibe that lands somewhere between Dirty-era SONIC YOUTH and the most recent WEREWOLF JONES LP. From Boston, LABOR HEX emits some angsty ’90s indie rock that ends up sounding like the FOO FIGHTERS on the closing track. It’s a cool spin, and it looks like there’s another volume with a whole new set of bands lined up for 2024.

Alicja-Pop I’m Here I’m There / Not Gonna Be Dumb 7″

Guitarist and vocalist Alicja Trout has played with such luminaries as JAY REATARD, the CC RIDERS, and DESTRUCTION UNIT, and also still leads the RIVER CITY TANLINES. Needless to say, ALICJA is full of rock’n’roll chops. ALICJA-POP finds her leading a group of studio musicians on this two-track 45. “I’m Here I’m There” is a rock dreamscape with driving rhythms and jangly guitars setting the tone for ALICJA’s sugary sweet vocal delivery, while “Not Gonna Be Dumb” finds a more angular guitar tone backing and even more syrupy vocalizations. There is a PATTI SMITH vibe hidden in these two tracks, as well as some psych-rock reminiscent of the band WOODS. If you’re a fan of lo-fi pop with a garage rock feel, then definitely check this out.

Anguished Life Shroud of Death LP

Dense and punishing, L.A.’s ANGUISHED LIFE ignites a D-beat bomb blast with this ten-song album. They don’t stray from the traditional sound, instead fully embracing the DISCHARGE blueprint in aesthetics and texture. The result is a merciless assault that never relents and rarely modulates. Fine by me. This shit rips! The riffs are on-point, with the rhythm section locked in with thunderous, pounding drums and some truly wild bass lines. The vocals are drenched in the kind of reverb that puts the right amount of space around them in the mix. Delivering bleak messages about the horrors of war and the corruption of its soulless enablers, the guttural shouts seem truly anguished. This one will be played loud and often.

Asylum Closure CD

In Stoke-on-Trent, no one can hear you scream, I guess. Closure is a discography CD of Stoke’s most feared punk band of the ’80s, ASYLUM. With 31 songs of rough-as-fuck, noise-loving, sometimes barely listenable UK hardcore, this is definitely not an easy one, especially since the running order is sometimes a bit random and you don’t always know which songs are taken from which sessions (assuming it really matters). Even I could not take the thing in one sitting, and I am a resilient fellow when it comes to shit-fi hardcore. There are people among us who can actually tune their instruments and see songwriting as an essential part of the form of art known as music. ASYLUM were not these people. For a long time, ASYLUM were that sort of obscure, short-lived cult band that pioneered noisecore and made CHAOS UK and DISORDER sound like school choirs. In retrospect, their chaotic and obnoxious sped-up take on their neighbours DISCHARGE sounds both childish and incredibly ahead of its time. ASYLUM were the ultimate noise-not-music band, a stance, if not a way of life, that they proudly wore on their sleeves. Their finest (well…) recording Is This the Price? was reissued on vinyl in late 2021, and Closure is the definitive retrospective. The aforementioned session can be seen as an early example of proto-D-beat music, like EU’S ARSE, SUBVERSION, or SHITLICKERS, with a heavy focus on the most chaotic, noisiest side of it, and also as trailblazing of the harsh noise-not-music hardcore sound of LÄRM, RAPT, or PLASMID that would appear in the mid-’80s. The comparisons with the classic Japanese noisy hardcore bands (GAI and the like) are not irrelevant, either. They even influenced SCUM DRIBBLERS, an even more intense aural racket, who themselves influenced NAPALM DEATH, but then we all tend to retroactively create connections that might not be relevant (although they are definitely necessary in punk storytelling). This is an essential piece of history and a work that had to be done. If you are not already a fan of raw-as-fuck, DISCHARGE-ish hardcore, you should probably avoid this like the plague or your mother-in-law, but if you are interested in a band that sounds like a piss-soaked live tape of DISORDER hastily covering DISCHARGE, then Closure will be a sound investment. And it’s got a massive booklet full of details about the band’s “career” and an obi.

Beton / Beyond Description split EP

The first side of this EP has Slovakia’s BETON blasting out some wild D-beat/death metal, sounding like it was recorded in a sewer tunnel. Although they have a wall-of-sound thing going on, the drums clacked away clearly. “Safari” was the most interesting musically, as it seemed to have something sounding like a banjo in the mix, and by the end of the song, the guitars sounded like a foghorn, but in a good way. On the flipside, Japan’s BEYOND DESCRIPTION serves up their brand of crusty hardcore. I don’t know what they were yelling about, but the unrelenting speed and aggression are legit. Very powerful.

Beyond the Pale Pain EP

Hard to find another genre other than powerviolence that is actually pretty good but has a rather weird reputation. BEYOND THE PALE is not your typical stop-and-go, few words, blastbeat, cool riffs and then it’s over band, but this six-minute EP has eleven songs with only one above a minute, and they do mess up their sick riffs with meticulously calculated song structures which still remain super violent and catchy. INFEST and CROSSED OUT are summoned, and like those bands, this record also has a solid foot in the hardcore field. If you are a fan of  the sub-genre any bit, then most likely you will dig this record, and if you are not already, then this could be a great gateway. It’s well-constructed and performed. Maybe the only difference is that they come from a fan perspective, which makes the band a bit meta, but that is the fate of all genres that have existed long enough to create such institutions. Also, I will not blame anybody for not being meth-heads or mentally unstable. In that sense, even if we would distance BEYOND THE PALE from powerviolence, this would be a very good hardcore record with unusual twists and turns. I listened to it ten times already and liked it more with each spin.

Castillo Pleasure and Pain LP

Los Angeles guitarist Alex Zambrano (COMBAT FORCE, CRIMINAL OUTFIT, REPEAT OFFENDER) started CASTILLO during the lockdown of Spring 2020. Enlisting a buddy on drums, he assumed all other duties (including songwriting and vocals) on the initial self-titled EP, creating some of the strongest Oi! the world has heard in decades in the process. Fleshed out as a five-man band on Pleasure and Pain, the unit delivers traditional street style with a clean and rugged sound, pinning seven solid tracks to a 45 RPM 12”. After kicking down the door with the savage stomp of the title track, songs like the wistful “Endless Days” and “I’ve Learnt Today” recall O.G. acts like the BUSINESS at their anthemic and inspiring best, adding in their own rough charms to toe the line between tough and melodic in brilliant fashion. Even when they go full lovey-dovey on the bright and saccharine “Call Lane,” they still come off as impeccably cool. With this potent platter, CASTILLO maintains their flawless track record—the outfit has yet to release anything less than pure class.

C.O.F.F.I.N. Australia Stops LP

I imagine this is a big deal to a lot of people. It’s classically Australian in many ways. It’s driving. It’s melodic. It’s intense. It’s furious. It’s unrelenting. But more than anything, it’s rock’n’roll. At times, the pace is mild. Other times, it gets quite quick. At times, it’s like AC/DC. Other times it’s like MOTÖRHEAD, particularly with the snarly, growling vocals. There’s a lot to like about this record. On the flipside, at least for me, it’s a little too rock’n’roll. I could use a little more punk. I could use a little less extracurricular lead guitar work. I realize for a lot of people, neither of things are drawbacks. I’d love to see these guys in a small bar in the middle of nowhere.

Christopher Alan Durham & the Peacetime Consumers Kicks or Macabre LP

Here we have some dirtbag rock music with visions of private press glory dancing in its mulleted head. This kind of rock rolls out of bed with a complete Canadian tuxedo surgically attached to its skin. I bet this guy had his water shut off by the city and brushes his teeth with Budweiser. The one-sheet throws out JIM SHEPARD’s name, but this stuff is Miller Lite compared to Shep’s moonshine-grade libations. Even in his mellowest moments, SHEPARD was still breathing fire, still consumed with accessing some hidden truth. On Kicks or Macabre, DURHAM sounds like he discovered SYD BARRETT’s leftover Mandrax supply and downed the entire bottle. Throughout the album, there’s flashes of the kind of wonky groove a band like the CLAP achieved so naturally, but they are fleeting. One of the better tracks, “Shoot Through Me,” gives off downer GEORGE BRIGMAN vibes but still comes off light as a feather. I imagine “Party Store Suicide” is supposed to sound despondent, like it’s living on the edge of the gutter, but it just sounds deflated, hardly worth even stepping over on your way to purchase some whip-its. “C Street Blues” goes for a shitkicking barrelhouse ramble, but ends up sounding like a pisstake. There’s a difference between desperation and listlessness.

Entry Exit Interview EP

ENTRY follow up their highly acclaimed 2020 LP Detriment with Exit Interview, a six-track EP recorded, mixed, and mastered by the band themselves, in what would best be described as a modern USHC style. Blending traditional ’80s hardcore punk with some D-beat and a little powerviolence, ENTRY’s sound isn’t terribly dissimilar to labelmates GEL or Baltimore’s JIVEBOMB: scorched vocals, muscular guitar work, and breakneck drumming. Lyrically, vocalist Sara G lets loose on the greedy, profit-driven forces that are damaging people and the environment, namely on final songs “Ashes Fill the Sky” and “Greed Only Grows.” Highly recommended if you like a healthy dose of anti-capitalist sentiment in your hardcore.

Guile Guile cassette

Solid hardcore with blackened vocals from this Vancouver band. Similar negative vibes, if not quite as unhinged, as GEHENNA or TRAP THEM, with the death metal-leaning vocals stealing the show. Four tracks of nihilistic punk taking aim at religion, hypocrisy, prejudice, and humans in general. Warm, thick recording of bad attitudes in action. Strong first release.

Hyper Tensions Sick Soother LP

HYPER TENSIONS have some of the rougher, ominous qualities of contemporary garage. This gives them a slightly darker sound than simple ’60s revivalists. Still, this record sounds like it was made to dance to. The beats have just a little lift and space between them, which probably make live shows very fun. The guitars frequently have a primary melody with a secondary one laid on top. The band manages this arrangement well. I never felt like the music was needlessly complex or overdone. They describe themselves as psychedelic, but aside from meeting their reverb quotas, HYPER TENSIONS leave out most of the instrumentalism and indulgence of that genre. I think that choice left them with a shorter and sharper record.

Intuition Demo 2022 cassette

Viennese and Berliner members in this lo-fi punk project rubbed with garage, containing crazy, ample guitars that keep ranting even when overlapped. The vocals sound like constant nagging and I couldn’t enjoy it that much, though it has something in the Poly Styrene line of styled vocals that could be promising. The use of synths and pedal boards are sufficient. It lacks explosion material for this ragged hardcore brain.

Keno Scared to Update cassette

UK-based cassette label Gob Nation issues the debut release from this London three-piece that seems to feature at least one Aussie (either that, or the vocalist is adopting a fake accent). KENO plays a heavy mix of plodding noise rock and gloomy hardcore, with some goth-y trappings, like echoed, multi-tracked vocals and faint haunted house synths. If there was a midpoint between TOTAL CONTROL at their most ADOLESCENTS-y and PERVERTS AGAIN at their most metronomic, you’d probably find this tape there. For the most part, it’s a solid release, and I’d recommend you give it a listen. But I also think they could have tightened things up a bit and wound up with a much better record. For instance, just imagine if they dropped the keyboard on “Still Life,” stripped out most of the vocal overdubs, and the lead singer just really dove into his performance. It probably would have ended up sounding like a different thing altogether, maybe something more like WATERY LOVE, but I absolutely would’ve been into that.

Lame Dejad Que Vengan 12″

LAME is made up of members of GLAM/BARCELONA, ORDEN MUNDIAL/BARRERA, and MORREADORAS. Currently, it is an international project between Berlin/Mallorca/London. I am a huge fan of the era of Iberian hardcore the members’ former bands are from, so I was really excited to check out LAME. Six (plus an introduction) short songs of energetic, bouncy hardcore with enough clever oddity to make them unique. The guitars operate with simple and punchy riffs that tend to turn into chaotic shredding or venture away from back-and-forth power chords, while the rhythm section makes sudden changes or stops to spice the already effective songs. The vocals are in Spanish and done in a determined spoken/yelling voice that has as much anger as shouting, yet it’s more commanding and strict. The songs are mostly mid-tempo, but the clash of energy and fragmented rhythms create an eventful mix. I like this release, but compared to the members’ previous bands, it’s less head-spinning because it is different. Still has a lot of originality and is a great addition to the history of Iberian hardcore.

Munchkin Head Not Gonna Cry Dad cassette

Imagine music set to a Bart Simpson side-scroller arcade game, and you might come close to MUNCHKIN HEAD’s sound. Drum machine, Casiotone keys, dirt-chewing guitar crunch with little derivation, and high-pitched vocals with a filter that makes it sound like dude’s gotta clear his fucking throat! I like the DIY nature of the magazine clip-out cassette cover and of the music itself, and the earnestness of the “devotional cockrock” tag, but the music is grating, and not in a good way. I’m a little annoyed, and clearly that’s what the band was going for, so, good job?

No Reality Daddy Longnose EP

A new project headed by Blaine from SMIRK, SPIRITUAL CRAMP, and others, NO REALITY’s debut 7” gives us a little taste of this Bay Area outfit’s weighty and weird hardcore. Covered in rumbling, meaty vocals, their tough punk sound bounces and jerks around, seemingly leaving trails of drool hanging in its wake. The closing “Fashion Rocker” has an interesting “egg meets chain” type of aura that makes more sense once you learn that it was originally a SMIRK outtake. I have no idea who the hell “Daddy Longnose” is supposed to be, but there’s surely promise on this here rough little EP.

Pack Rat Bite My Tongue EP

I’m sure most punks can remember the genesis of their obsession with the genre; mine was a compilation I got one teenage Christmas featuring the likes of the SAINTS, EDDIE AND THE HOT RODS, and the JAM, amongst others. It defined my taste in music, and here, two decades later, I’m pleased as can be to be writing about Bite My Tongue, an EP from PACK RAT that essentially throws every band on that comp into a blender, resulting in four tracks of bouncy, power-poppy rippers with great hooks and pop sensibility, inspired by the less abrasive, more melodically driven side of ’70s punk. Opening title track “Bite My Tongue” features frontman Patrick McEachnie’s stuttering vocals and reverb-soaked guitar strutting their way through the song before reaching a DAMNED-worthy chorus. “New Kind (Of Love)” sounds like a lost RUDI or UNDERTONES cut with a surf-y lead, and “Parasite City” wraps up with a guitar line that would make Steve Diggle of BUZZCOCKS proud. Closing track “Sleepless,” sung by guitarist Bella, takes a heap of REZILLOS, a dash of X, and a sprinkle of SCIENTISTS to create a sugary sweet power-pop-punk confection. Bite My Tongue is an excellent EP that is a treat for the old-heads and is sure to turn some young punks on to the scene. Highly recommended!

Jake Pinkney War! CD

I don’t understand the solo moniker when releasing something that’s not an acoustic record. I’d get it if you played everything, but it comes off as very ego-stroking to me. How hard is it to come up with a stupid band name? Maybe this doesn’t bother other folks, but there’s just something disingenuous about it to me. I will say that these songs are well-written, both musically and lyrically. The dude’s voice is a little grating, though. There’s a cover of AGENT ORANGE’s “Bloodstains” which is pretty spot-on, but for some reason makes me believe that this kid is in high school. I don’t know why I assume this, I just do.

Riverhead Cancer LP

This album starts like a bomb going off and doesn’t let up for ten blistering tracks clocking in under a half hour. The furious energy is amplified by the exceptional musicianship of the Copenhagen-based members, pulling influences from punk, metal, and post-punk into a hardcore coup that pulls no punches. The precise bass lines dodge serpentine between heavy emotive guitar riffs and rapid-fire drumming. The gruff delivery of the lyrical content circling around self-doubt, world angst, and the absurdity of life brings it all together into a Camus-like concept album with poignant cover art by Liz Corso.

The Shakewells Who the Hell Are? cassette

Surfy garage rock that reminds me of the VENTURES, the MUMMIES, and MAN OR ASTRO-MAN? all rolled into one. Very impressive musicianship here; very tight and never cluttered. I think it can be a challenge when you throw an organ player into the mix, but the SHAKEWELLS do a good job of not playing over each other. Otherwise, this is your typical spooky-adjacent rock’n’roll release. Not bad by any means, but nothing really groundbreaking. If you enjoy the genre, you’ll probably love this. A perfect soundtrack for the Halloween season.

The Stiffs The Singles Collection 1979–1985 LP

The STIFFS were a punky power pop band out of Lancashire, UK, initially active from 1976 to 1988 (they reunited in the late ’90s and are still somewhat active today). As the title suggests, this collection compiles their singles output from the first act of their career (plus their 1981 “Innocent Bystander” 7” that was shelved by their label), and, seeing as how they never issued any LPs, essentially functions as a complete discography. The stuff these guys play is pretty typical for the genre and time period—imagine a less catchy INCREDIBLE KIDDA BAND with maybe a touch more street punk/Oi! pedigree. What helps them stand out from similar acts, though, is also what I like least about these tunes. The vocal melodies (which, again, aren’t the catchiest) are almost always delivered in a nearly alien multi-part harmony, with the band members singing just enough out of sync to make it all just sound like a big mess. It’s a shame really, because I otherwise dig the tracks, especially the sub-three-minute rippers. Anyway, John Peel apparently really loved these guys, even going so far as to claim that “Inside Out” is “the greatest record in the history of the universe.” And who am I to disagree with that guy!

Suzi Moon & Billy Hopeless Nothing Left to Lose 7″

There’s something comical to me about these two making a 7” record with two duets. Reminds me of my childhood. It’s like ELTON JOHN and KIKI DEE all over again. The A-side starts off kind of cute and then quickly heads south, going into a haunting tale of a one-sided love affair. Titled “Love is a Stranger,” it’s got a deliberate tempo and honestly reminds me of the movie Stranger Than Paradise. The B-side is much different. It’s bouncy and sweet and fun.

Sympos Hard as Nail Punts EP

This EP paints itself into a corner pretty early into the first track. Tough guys singing about tough shit amongst the “Oi! Oi! Oi!”s, and bellyachings. The EP comes off as a satire (maybe that’s the point?) before we hit the halfway mark, and it is hard to take any of it with a straight face. Why does it all come off as antagonizing? Hope I don’t get beat up now.

Thlurm Botched Sacrifice LP

Fresh out of the Avernus oven, blackened hardcore punk with heavy metal and powerviolence traces, blasting a chainsaw-from-hell sound all around. Panic and pain-induced vocals, relentless drums testing your ear resistance, mad demon invocation guitars and bass lines. This Terre Haute, IN trio had me baffled and wanting more with their first abominably delicious LP. Recommended sadistically to Satan’s way.

Überflüssig Love, Peace, & Pleasure EP

Five songs that run the gamut of influences. The first song, “On the Way (Seeking of Tranquility)” has jangly guitars that make it sound like NEW ORDER wrote “Punk Rock Girl.” The next few songs continue with a “DEAD MILKMEN meets TOY DOLLS in a Fat Wreck harmonies class” type of vibe. The final song, “Go For a Walk (The Ballad of Maya Hawke)” is the only real skipper here. It’s a slower, mostly acoustic song that throws off the rest of this EP, not to mention that it’s over seven minutes long.

Viceprez Tropical Connexion LP

I really liked VICEPREZ’s previous full-length, and this latest is no different. Well, actually, it is a little different. The vocals have a little more bite to them (thanks primarily to centering a different vocalist), and there’s an angular danciness that really suits their no-bullshit garage-y punk. Third track stunner “Love Again” would have been a surprise hit in the ’90s—big crashing drums, snarling vocals, and a big fat hook. The balance of pissed-off energy and melody does have a kind of firm nod to the ’90s in general, but it never sounds dated. There’s even a little bit of HOT SNAKES (a heartfelt RIP to Rick Froberg) afterglow to tracks like “Thru the Cracks,” which nails that band’s particular ability to inspire moshing and pogoing in equal measure—and yes, those are different vibes! Overall, this is a great follow-up to Juger. Nothing has been thrown away outright, but enough has been added to the mix that it’s an exciting evolution without completely having to reinvent from the ground up. Get it in ya.

Abism Abism LP

Before I get lost in excited rambling, here’s a conclusion right at the beginning: this is a great LP. Listen to and get it somehow, anyhow. ABISM put out a rehearsal tape in 2021 and went straight into writing a debut full-length. This is a rare, and therefore respectable move. Crafting an LP is a real test for a band, and ABISM easily passes. They consist of members of previously acclaimed bands such as CRAZY SPIRIT/DAWN OF HUMANS, SALVAJE PUNK/100%, IVY/NUTS zine, and GARRAPATA. Another gem from the scene of a dozen people making three dozen amazing bands, released by Toxic State, who document this sub-scene—documenting how your friends create a scene is pretty much a major point of contemporary punk. There is a slight chance that your songs might not abolish the current existing order of the world, so you should rather save yourself, your community, or at least the music you make. In that sense, ABISM is a perfect result. Nothing on this record sounds as if you could not play it. But they are playing it, not you, and the whole flow and energy of the record is so effortless and flawless. There are no riffs you wish you could come up with, but hearing these super sick riffs inspires you to get down to the rehearsal room and blast such primitive jams at high volume. The intensity is maintained even with the longer tracks that fill half of the record. “Hypnotic,” as they state, and it works; it remains raw hardcore and has odd vibes even without unleashed chaos. The mixing sounds great, and while the music has a lot of space due to the hypnotic/repetitive and not too complicated parts, there is a buzz that offers an easy connection to the band’s energy. The vocals bind the record together in a great way, leaving a lot of space for the music while maintaining an angry presence. I loved the GARRAPATA demo, so it’s nice to hear the same voice here. Regardless of any reference, ABISM sounds unique in a way that they are not uncategorizable, but could be matched to the essence of many different genres. It’s tight, aggressive, and raw, but has no challenging or alienating element—maybe I am misunderstanding the world around me, but this should excite all punks and hardcore heads who are not afraid of dirt and mesmerizing simplicity. Maybe even your krautrock-loving acquaintances would dig this. It’s been on constant repeat since the first time I heard it, and it’s not only great music, but makes me appreciate punk, too. I want to go to the rehearsal room and jam, and you should do it too, but first check out this record for a little motivation. Oh, and the cover looks great. 

Abolitionist A Pernicious Truth LP

New LP from Oregon’s prolific ABOLITIONIST, this being their eighth LP (if I’m counting right), with releases dating back to 2010. If you’re new to this group, they have that polished (dare I say commercial?) post-hardcore sound in the style of TITLE FIGHT or AT THE DRIVE-IN, while maintaining releases on independent labels. Listening back to some older ABOLITIONIST material, this production sound may have come with age, as it tends to, and I’m sure any tie to “commercial” is against the group’s anarchist themes (so, sorry guys). That said, I can appreciate their political attitude/anger that has an obvious place within the genre. They address “liberty” a lot, which led me to the liner notes: “A follow-up to events that transpired in the lyrics of 2015’s The Vicious Rumor (but years later, and in the form of a letter written by Nestor to Liberty)…” I tried researching this letter, but don’t want to misrepresent anybody if I’m looking at it wrong. All to say, these lyrics are clearly written with intention and a historical perspective—all well and good for intention, but the music is not for me.

A/WAY Regresar 12″

A/WAY’s beats arrive fast, with the bounce and rhythm that can make HC such an unexpectedly danceable genre. Of course, they’re mostly blasting 4/4 tempos, but they start, stop, and weave enough to avoid total uniformity. The guitars are satisfyingly thick, with a lead or metallic touch from time to time. The vocals are wrapped in (not drowned out by) the guitar and drums. A good listen for angry walking or tackling last week’s dishes.

Berliner Doom Wer Das H​ö​rt ist Doom EP

For a band with no synths, it’s uncanny how much BERLINER DOOM evokes a very specific moment of early ’00s art-damaged electro-punk—someone really needs to tear a rift in the time/space continuum so this lot can have the circa-2004 split 7” with LES GEORGES LENINGRAD or NUMBERS that they deserve. There’s twelve tracks on this debut EP, only two of which (barely) crack a minute, a literal dozen beyond-econo jams triangulated between cavernous, blown-out bass loops, no wave guitar strangulation, and rattling bare-bones beats, with deadpan femme vocals from bassist ARM intoned almost exclusively in German. I’m partial to the sparse and thoroughly Zickzack’d neo-Neue Deutsche Welle of “Zu Spät vorm Späti” and the budget dance punk sass of “Deine Libido,” but for extra credit, seek out the “extended radio edit” of “Alte Weisse Frau, Bitte Sch​ö​n!” that they’ve made available online, and not just because they managed to work in lyrical references to both CULTURE BEAT and SONIC YOUTH!

Black Button Rejoice LP

Filthy bummer-punk from this Richmond band, for fans of NO TREND and FLIPPER. Caustic guitars carry misanthropic vocals, some shouted, some long-form spoken word. Songs like “Again and Again” and “Forever in Time” have simple guitar and bass interplay that dirge into the ground before speeding to hardcore tempos. Several lyrical diatribes concern a complicated relationship with religion and faith. “Testimony” is a self-aware examination of a person’s experience with Christianity that leaves them with more questions than answers: “The Lord is my shepherd / But all sheep will meet the executioner’s hand / We are sinners in the hands of a vengeful, angry, and distrustful God / And to live a good life / We must recognize the consequences of each action we take.” The theme returns several times throughout the record, adding heft to the Rejoice title. Gnarled, introspective noise for desolation punks.

Corker Falser Truths LP

Falser Truths explores the depths of post-punk while infusing it with highly experimental and genre-bending elements. The LP’s sonic palette is a tapestry of moody atmospheres, intricate guitar work, and emotive vocals. It’s evident that CORKER has honed their craft to perfection, as each track unfolds with a sense of purpose and artistic vision. What makes this LP stand out is the fearless approach to musical experimentation. This Cincinnati-based band is hard to describe but easy to listen to.

Dogs The Melodies Massacre Years LP

For those unfamiliar, DOGS (always sans the “the”) were a long-running punky power pop act out of Rouen, France. They formed back in 1975 around Dominique Laboubée, the primary songwriter and only consistent member, and were active pretty much until he passed away in 2002. Over that time, they released dozens of singles and nine LPs. This album compiles their first two releases, 1977’s Charlie Was a Good Boy EP and 1978’s Go Where You Want to Go 12”, both of which were, as the title of this LP suggests, released on the independent French label Melodies Massacre. And this is clearly when the band was at its most vital. The eight tracks on this record are a raw and immediate mix of early rock’n’roll-influenced punk with just a touch of pop around the edges. It brings to mind stuff like early SAINTS, the VIBRATORS, or the HEARTBREAKERS. Honestly, the thing that this record, particularly the more up-tempo tracks, reminded me of the most is TEENGENERATE. Like, imagine if those records were a little less blown-out and slowed down just a hair, and you’re pretty close to what DOGS are laying down. I even had to check to make sure Fink and co. hadn’t actually covered these guys before. I couldn’t turn up anything, but it wouldn’t surprise me to learn that they had some DOGS in them. Still, as much as I love all the fast tracks, the highlight of the record for me is the slower JOHNNY THUNDERS-meets-Pissed on Another Planet SCIENTISTS number “Go Where You Want to Go.” If for some reason you only listen to one track, make it that one! Anyway, I’ve loved so much of what Reminder puts out that it’s pretty much a guarantee at this point that I’ll recommend you pick up any of their stuff, but seriously, this is one you really shouldn’t miss.

Enemic Interior II EP

Great fucking name. The band behind it  puts out some pretty standard fare, working dad Oi!  The influences are worn in, tried and true with all the comforts. “Les Ombres” shifts things slightly with a well-tied riff that summons as much of the COCKSPARRER gods as can fit into a minute and forty seconds. Wanted to like it.

Eyes and Flys / Personal Style Labor Day / White Strawberries 7”

Lo-fi garage psych from Long Beach, California. Musically, this is in the vein of BLACK ANGELS on the top side, with the flip, “White Strawberries,” being a more uptempo, straightforward garage affair. Both songs are hampered by a lackluster vocal delivery, where the vocalist tends to sing the riff. Coupled with a fairly obnoxious megaphone-sounding treatment, the songs are relegated to mediocrity at best. There’s a reason that most neo-psych bands drench their vocals in reverb and delay. If nothing else, this release makes a strong case for doing so.

Fredag Den 13​:​e Mänskiga Gränstillstånd LP

Nearly two decades in, this Gothenburg D-beat crew delivers nothing less ferocious than anything in their discography. What I love about Swedish D-beat is the almost operatic melancholy at much of its core sound. This band doesn’t dilute any impact with sprawling melodic structure, all while driving everything home like a steam hammer with unrelenting rhythm (yes, often that sweet “doon-kah-doonka-dah” we never get sick of). The mournful lead guitar in tracks like “Våldsmonopol” lends much to the overall effect of cathartic hardcore, as only feels fit coming from the bleak heart of Scandinavia. Everything here is dialed-in, throat-in-tatters vocal delivery and black metal frostiness in tracks like “Tryst Vår,” and of course the drums at the forefront like artillery, all while never shying away from a full-on rock’n’roll heartbeat. If you’re into this rich regional wing of hardcore (and why the hell wouldn’t you be?), this record is a must.

Intention Brand New Story LP

Precast and hackneyed Japanese hardcore punk straight from Nagoya. Chaotic yet very well-executed classic hardcore punk cadences with predominantly early ’90s references. Solid vocals mixing both English and Japanese, and excessive crazy solos that make the flow between the songs vanish from time to time. I enjoyed the song with all-Japanese lyrics better than the others—what happens with this LP is that sometimes the mixture of sounds and ideas don’t necessarily blend in the right way.

Kato Demo ’23 cassette

Four tracks of Finnish hardcore thrashing bombardment fury. Straight-up 1982-era Propaganda Records, Totaalinen Kaaos 7” meets Valtion Vankina LP, Super Fuzz-style fuzzed-out guitars with psychedelic howling vocals. A convulsion of explosive chaotic energy with pure intensity. Jakke is rolling in his grave every time you play this, and Lazze will most likely say it’s right up his alley.

Los Ignorantes Fenómenos Para Anormales EP

Paul Messis of Market Square Records and the SUBURBAN HOMES relocated from the UK to Gijon, Spain in the past few years, and recently started Manzana Podrida, another 7”-only label, this time featuring exclusively Spanish (or maybe just Gijon) acts. This EP is the label’s debut. LOS IGNORANTES, a five-piece out of Gijon, play ’66-style, Farfisa-driven Back From the Grave-worship (Tim Warren even mastered this thing!). It’s part LARRY AND THE BLUE NOTES, part LOS SAICOS, part SAM THE SHAM, and 100% a good time. I don’t know that it’s gonna win over any casuals, but garage turkeys will surely gobble this thing up.

Meat House Meat House 12″

Comprised of players based in North Carolina and Pittsburgh, MEAT HOUSE brings us seven cuts of biting and rocking punk with belligerent vocals on their debut 12”. This band is a gathering of modern hardcore veterans, featuring members from WHITE STAINS, PUBLIC ACID, SCARECROW, MUTANT STRAIN, and more. The sound here is strong and agile, flipping from loose, head-bobbing rock stomps to ripping speed on a dime in a way that kinda flaunts and celebrates the group’s collective pedigree. They really nail the ideal balance between fresh and classic. The music snarls and snaps, the lyrics are slurred, and it’s a home run from these “Punk Stars.”

Mother’s Milk Render Void at Gate LP

Atlanta, GA-based MOTHER’S MILK is fronted by (or comprised entirely of?) Josh Feigert, who also runs the State Laughter label. While he’s been credited for other projects like CAMARO CROTCH, GG KING, and UNIFORM to name a few, this is the debut LP for MOTHER’S MILK. Render Void at Gate is an experimental, noisy, fantasy narrative that was written and recorded during pandemic lockdowns. Spoken word over synth is placed as bookends for the album, and gives context to the strange realm within—at times the vocals sound like BUILT TO SPILL’s Doug Martsch, set to an EVOL-era SONIC YOUTH soundscape. Feigert tells his story about the album on the State Laughter website, and is worth a look if the music captures you. This isn’t a casual listen by any means, but is an interesting concept album for lovers of science fiction and off-the-beaten-path seekers.

Norcos y Horchata Aloha Motherfuckers EP

On paper, this Detroit trio has the goods. Blunt-force, three-chord punk with melodic vocals at the forefront. Unfortunately, the vocals are a bit too forefront, giving them a stilted feeling in the mix and also placing undue emphasis on them. They’re not bad, but the lyrics and melodies are a bit rote for this style and leave the whole affair sounding a bit dated. The band is more than capable, sounding like they can leave a barroom or two in splinters on the right night, but I just find myself kept at an arm’s length from really engaging with the material. It treads similar ground to greats like DILLINGER FOUR and DARK THOUGHTS, but doesn’t quite connect the punch. With some tweaks to production and songs that have a bit more meat on them, this group could really bring it.

Pat and the Pissers Growth EP

A set of five new rockers from Indianapolis punks PAT AND THE PISSERS. What’s not to like? Unpretentious Midwestern hardcore that is instantly enjoyable while sounding fresh. Opener “Breaking Free” has a heavy breakdown that showcases everything good about this tape: snotty vocals that can turn vicious in a beat, razor guitars, and a fat bass line that occasionally does a sneaky, funk-dabbling scale run. “Context” has a classic, crunchy riff in the chorus that is so good it would fit in any guitar-based music genre, from country to metal. “Grow” features sung vocals over bluesy clean guitar that explodes into familiar punk sounds; the stretching out and quality playing is appreciated. Every track is a winner.