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!

Titanium Exposé Disorders cassette

Hailing from the Netherlands, TITANIUM EXPOSÉ offers a high-voltage synth punk experience with their debut Disorders. Deranged garage riffs with moments of rockabilly lead the charge, but the star of the show is without a doubt the earworm synth lines that cut through every other instrument and establish their dominance throughout six songs. Vocals drowned in reverb make room for the crazy instrumentation of the songs by providing emphasis without trying to be too in-your-face. Drums are super crunchy and energetic, just the way I like ‘em. Honestly, TITANIUM EXPOSÉ’s Disorders sounds like the lovechild of the CONEHEADS and DIODE, and I’m totally here for it.

Uralt Uralt cassette

Heavy psych and post-rock-influenced metal from Germany that evokes the sound of bands like BARONESS and ENVY with some extended (ten-minute-plus) instrumental passages. Songs like “Mountains of Madness” have a groove metal, MASTODON-style feel to them with chugging riffs and hoarse vocals, while others like “Gnostic Times” drone with clean vocals and synth accompaniment. It’s not bad at all, but it’s definitely not the usual MRR fare. Artsy heshers take note.

V/A INTRO (Version 1): International Punk Rock Compilation cassette

A whopping 57-track compilation crammed onto a 90 minute cassette. Some real heavy-hitters on this. Pretty much every current lo-fi garage/egg-punk-infused band you could possibly care about (and a bunch you likely don’t) all make an appearance—TELEGENIC PLEASURE, BZDET, SPRGRS, OK SATÁN, ISMATIC GURU, GOBLIN DAYCARE, and so many more notable names. If you like any of these bands, or are familiar with the XTRO label, then you likely know what you’re in for. If you aren’t familiar, then get to work! Only downside, and I say this with most XTRO releases, is that their cassettes are always so incredibly limited that it makes tracking down physical media a bit of a bear, with most of their releases limited to a mere 25 copies. I would hope that a compilation like this would be made in much larger quantities, but seeing as how the label’s Bandcamp says it’s already sold out, I somewhat doubt it.

1186 Histeria 12″

Punk, post-punk, while also gothic and melodic at times. I loved the variety in guitar from kind of droning and screechy, to more classically distorted. The vocals in “Ataque Sistematico” reminded me a lot of early CHRISTIAN DEATH, but they felt more solid and were able to adapt to the different styles of songs. My favorite track is definitely “Encerrados,” as it has growlier vocals and heavy, clear drums that really just stand out and slap you in the face before quickly increasing the tempo. Overall, I loved the kind of darker punk vibe these guys brought while maintaining some more classic punk elements.

Ancient Rage Ancient Räge LP

Punk-adjacent heavy metal that barely even qualifies as the former. This is a straight-up NWOBHM tribute with a vocalist who sounds more like Damian Abraham than Rob Halford, giving it an ANTI-SEEN feel. There are quite a few riffs that sound identical to those heard from JUDAS PRIEST or SODOM, almost to the point where I wonder if they are indeed the same licks. Regardless, this is some really catchy shit here. Even if the guitarist is aping all the old fogies, they’re playing the living hell out of their instrument. The aforementioned vocalist has the energy of a pissed-off troll, and if it weren’t for them, I don’t think this album would fare as well. I’d recommend this for all the fellow closeted metalheads out there in punk world.

B.I.C. 8 Song Demo cassette

Scorching-hot SoCal-styled snotty punk via L.A., presented by sole member Marvin Noyola of CEMENTO and HOT LOAD. From the first chord, B.I.C. brings the California heat to your ears, mixing speed with melodic hooks whilst injecting new life into the genre. Catchy as hell, and a guaranteed fun time. We need more!

Bombvest Erratic CD

Hardcore is a bit of a chimera at the moment, taking on many shapes and a sort of “I’ll know it when I hear it” attitude. While Buffalo’s BOMBVEST label themselves hardcore, the truth is a little more interesting. I hear a lot of ’90s and ’00s noise rock influence, especially along the lines of the mighty CRAW from back in the heyday of the genre. The opening bass line, punctuated by the drums on a syncopated beat, and the overall abandon with which the band explores melodic and rhythmic ideas reads as a multi-genre affair. That’s what makes this EP interesting, the composition from song to song bobbing and weaving through influences and even peppering in some moments of pop hooks as well (I mean that as a compliment, fear not). What I’m less sold on is the metallic hardcore vocals. With everything else going on, I wanted something a little more out of the ordinary. The vocals are capable, but not breaking any new ground. They’re also far ahead in the forefront, when I wish they would sit more in the mix. It’s a shame, because I think the building blocks here are really interesting and with a more varied and off-the-wall vocal approach I’d be wanting to revisit the material frequently.

Brand New Age No More Rebels CD

Basic Oi! that starts and finishes completely limp. I wish there was something to praise here, but this thing stinks. Obviously trying to emulate bands like BUSINESS, COCKNEY REJECTS, and ANGELIC UPSTARTS, but never comes close. Lyrics range from cliche to completely tone-deaf, with the worst offense being the centrist drivel of “We Don’t Care,” which includes the line “Left wing, right wing / You’re all the same!” Derivative, boring, and completely out of touch.

Cult Crime Gone Too Long / Stompin’ on Your Flowers 7″

I’m glad to see that Simon at the trusted Ugly Pop label is still crankin’ ‘em out. When he’s not exposing the masses to some of the most delicious obscurities of yesteryear, he’s showing love to classically-inspired modern bands like CULT CRIME. This Toronto outfit plays snotty and rough rock that bridges the gap between cutting ’70s punk and street sounds of the early ’80s. “Gone Too Long” is a nasty number with an earworm hook, and “Stompin on Your Flowers” is 100% attitude. Recommended for appreciators of the REATARDS, SICK THOUGHTS, etc.

Dog Eat Dog Re-Deux LP

The three women of DOG EAT DOG were visual artists living and working in New York’s East Village in the early ’80s, and after watching many of their peers in the city’s downtown scene form bands without much (or any) formal training in music, they decided to pick up drums, bass, and a sax in order to start their own project, learning as they went along. The loose and spacious funk-informed grooves that they landed on were the sort of thing that would have been a natural fit alongside LIQUID LIQUID and BUSH TETRAS on 99 Records, but DOG EAT DOG never actually managed to release anything during their short run—ten live tracks and a lone studio cut surfaced for the first time on a posthumous (and now very spendy) 2011 collection; Re-Deux makes all of that material available once again with the addition of two newly unearthed live recordings. The vocals are sparse and enigmatic, almost like playground chants, and they function more as a rhythmic element than any sort of narrative anchor, in tandem with equally minimalist, cyclical bass lines and rattling percussion (drum kit plus woodblock, cowbell, bongos, shakers, you name it). That stripped-down, rhythm-forward mentality makes ESG an easy parallel, or PULSALLAMA for a less obvious reference, except DOG EAT DOG’s approach wasn’t nearly as taut and urgent, leaning into playful, spirited amateurism in a very no wave-informed way that was closer to Y PANTS, if anything—the real femme-punk freak sound.

The Dogs Total Dogshit LP

The Total Dogshit 12″ from the DOGS is a ten-song platter of raw Welsh street punk. The singer sounds like he’s about to smash a bottle over your head, snarling and bellowing through tracks that will definitely scare your parents. A drum machine keeps the barely-constructed songs together while the recording quality teeters just above “unlistenable,” but maybe that’s part of the charm. Tracks like “Shut Up” and “Hate Chu” had me tapping my toe while wondering what I’d done to piss this guy off. They even throw in a scrappy cover of the VELVET UNDERGROUND’s “Rock & Roll” for good measure. Check out the song “We Are the Dogs” or don’t—they don’t give a fuck.

Dominación Punks Ganan EP

Having witnessed this noisy and friendly bunch live a few months ago, I already knew what to expect from this first EP, Punks Ganan. What will punks actually win from Barcelona’s DOMINACIÓN is open to question. Brand new hearing aids? A yearly subscription to Crasher Hardcore for Dummies magazine? A “design your own crust pants” kit for children? At least a very fine hardcore EP, that’s for sure. In terms of songwriting, DOMINACIÓN certainly belongs to that current wave of raw, distorted D-beat hardcore influenced by Japanese bands like D-CLONE or FRAMTID. Bands like PHYSIQUE, SIEGE FIRE, K.O.S, BLACK DOG…you know what I mean, mainly fast-paced and relentless with crazy Osaka-inspired drumming style, shouted vocals, and the intention to grab the listener by the throat and not let go. However, they do not go for that typical blown-out production that most do (usually thanks to the infamous Noise Room studio) and rather keep the familiar raw punk sound that Barcelona bands are famous for, so that at first, I felt DOMINACIÓN was not entirely sure about the direction to take. But on a second listen, I decided that, their intentions unbeknown to me, it was not a bad choice after all, as it allowed the band to occupy that unoccupied liminal space between raw hardcore punk en Español and crasher crust. I also think that this first EP should be seen as the first step toward a better, perhaps more focused and cohesive record, since the band has the potential to explore this space further. I allow myself to nitpick because I love this subgenre that has been getting busier lately, and Punks Ganan stands as a solid introduction to DOMINACIÓN by the always reliable Discos Enfermos.

Endora y Sus Vicios Son Mis Normas LP

Post-punk feel with more intense, punky vocals. I loved how angry and fierce the vocals were throughout, which paired nicely with the more punchy and choppy guitar (like in “Guerra al Desencanto”); it really just comes at you and taunts you relentlessly. They didn’t lose intensity throughout the album though, like with “Vecino,” where they upped the tempo to a more classically punk speed that really keeps you on your toes. They really know when certain parts are needed; they know when to have only vocals and drums versus everything together, they don’t overdo anything.

Florida Men Dive Bar CD

This band is from the Netherlands, and they spell it out as plainly as possible—RAMONES-core, heavily influenced by SCREECHING WEASEL, the QUEERS, CHIXDIGGIT, TEENAGE BOTTLEROCKET, et al. Let’s be honest, by the bands I mentioned above, you already know if you want this or not. There is zero chance that you are on the fence with the FLORIDA MEN at this point. Here’s the question, though: in twenty-plus years, will FLORIDA MEN be the kind of significant band that will be mentioned as an influence and peer to the list above? The answer is “I don’t know.” The impact is for you to gauge. These twelve pop punk songs time out in just about twenty minutes. For me, the FLORIDA MEN’s Dive Bar album is undoubtedly a faultless example of what they say they are, with entirely no surprises.

Guðir Hins Nýja Tíma Ég Er Ekki Pervert ég Er Spæjari cassette

Two-piece Icelandic synth punk. GUÐIR HINS NÝJA TÍMA, or “GODS OF THE NEW AGE” if you prefer, put out their first demo in early 2021, and XTRO does us the kindness of releasing their brand new nine-song cassette in the US. Sometimes dancy, sometimes demented, with the occasional wildly unhinged theremin on top. As with all XTRO cassettes, this is limited to a mere 25 physical copies , and as with most XTRO releases, I can’t say enough good things about it.

Haraa Shide 紙垂 cassette

HARAA is a powerviolence band from Indonesia and has been playing together for a couple of years now. Their sound is heavily influenced by Japanese hardcore, but also incorporates harsh noise, ambient noise, and field recordings. Shide 紙垂 is a five-track recording that is over in about six minutes, so multiple replays are a prerequisite. However, the amount of sonic space HARAA traverses in this time is immense, so you’ll be needing to replay this cassette a few more times just to catch all the nuances hidden within the melee. In total, Shide 紙垂 carries with it an archaic power, like being crushed by the fist of an angry ancient god while at the same time being absolute raw punk gold and satisfying the “noise not music” sect in a single tidy package.

Ismatic Guru An Incredible Amount of Overwhelming Information LP

Buffalo’s ISMATIC GURU is truly a unique duo. Yes, they’re regarded as egg-punk and yes, egg-punk itself is a diverse genre where two bands rarely resemble each other. But even in this ocean of bizarre sounds, they manage to stand out. Covering all their previous work plus five brand new songs, their latest release An Incredible Amount of Overwhelming Information is the full package and the ultimate testimony to their eccentricity. With guitars alternating between rhythmic stabs and demented single-note lines, bass laying down jittery grooves, drums providing a steady backbone, organs adding another layer of manic melodic content while the vocals ramble on and on with such dynamic delivery, the overall sound is an even further abstraction of post-punk and full of nods to the iconic sounds of both no wave and new wave. I really appreciate their minimal, almost fully DI-sounding signature production style that makes the duo’s immense songwriting skills shine further. There is nothing quite like ISMATIC GURU, and there is no better way to immerse yourself in their work than An Incredible Amount of Overwhelming Information.

Los Pepes For Everyone LP reissue

This was originally released on Wanda back in 2014. I’m not certain it really needed to get re-released, but I’m a big fan. If you’re into super-catchy power pop, if you prefer that power pop to be mid-tempo, and if you like pretty vocals, this is also for you. It somehow reminds me of the late ’70s and also the BUSY SIGNALS. Good stuff.

Man With Rope Multiply. Expand. Consume. cassette

With a name like that, you’re probably not going to sport the band’s shirt at your nan’s birthday, unless of course she’s well into dark ’00s-flavoured crustcore, in which case she could already be into MAN WITH ROPE and might actually nick your shirt (it’s her big day, after all), so maybe bring another non-crust top to be safe. This lot are from St. Louis and Multiply. Expand. Consume. is their first oeuvre, with five songs of heavy and anguished crust that should have been released in 2005 and can be said to fall under the “neocrust” umbrella. I hardly ever listen to that subcategory these days, and I realize it has become something of a derogatory term in some quarters as many do not look back too kindly on the ’00s. But when the genre is that well done and the passion and energy are there, I’d rather listen to this tape than the fancy post-punk act of the day. MAN WITH ROPE is not one of those total TRAGEDY copycats that I do, truthfully, tend to avoid because they often dick around too much with melodies and forget to hit hard. MAN WITH ROPE does not. There are elements of HIS HERO IS GONE of course, but I am hearing a lot of ACURSED and mid-’00s SKITSYSTEM too, the Swedish school basically, and Madeline’s vocals sound incredible here, vehement and quite extreme inviting AMBULANCE or SCHIFOSI to the table of despair. Not a style I would blast daily, but an enjoyable and a little nostalgic moment nonetheless.

No Drama Papershop / A City Within 7″

This band from Toulouse really leans into labeling themselves as ’90s retro, and I mean, yeah. The A-side especially recalls shimmery indie pop that could have been released on Simple Machines or Teenbeat in the mid-’90s, and their previous EP is kinda grungy. What saves this from being a trite retread is excellent songwriting and performance/production that sounds scrappy and not too slick. I was really not expecting to get anarcho vibes from the B-side, but here we are! It reminds me of the random mellow song that sticks out on a Bullshit Detector comp or some other early ’80s UK comp to benefit a bail fund for hunt saboteurs. It kind of sounds like a really chill MOB or BLYTH POWER song, or later OMEGA TRIBE, in that it’s poppy, for sure, and chill and even pretty, but has a stinky punk soul deep inside.

On the Cinder Heavy Handed LP

Tucked under the surface between fast-shouting hardcore band parts and indulgent ’90s pop emo sections lies a thoughtfully formed album. For easy comparisons, I’ll plop in STRIKE ANYWHERE, LAGWAGON, A WILHELM SCREAM, and I‘m not sure why, but “Coffee Achievers” by 76% UNCERTAIN comes to mind. I’m certain that kids will drive around at night, scream some of these songs, and hit the steering wheel during their favorite parts. The LP’s cover is a home being torn in half during a party thus dumping the kids into the basement, and I think the sleeve completely captures the spirit of the record. The music is energetic, musky, damp, probably smells like cigarettes and stale beer, lots of friendly smiles bumping into each other, all with equal parts of hope and regret but in a familiar way.

Parasites EP​-​Onymous EP

If your girlfriend is in the market for some fast-paced pop punk themed with rockabilly romance, EP-Onymous is perfect for your sweetheart. Midwest punks know how to love; the PARASITES prove this with their passionate five-song EP. Serenading us with a sort of lived-in recording quality and boy band-ish charm, this release is a short burst of electricity bringing to mind the RAMONES as source material. Singing about a girl (or many), the catharsis of this EP stems from a mix of lyrics centered on heartbreak and loving redemption, backtracked by repeating riffs and semi-muted drums. “I Love Her, But She Don’t Surf” is a classic, and the incorporated tambourine in “Love Me Too” is always appreciated (other bands, take notes). The type of album you find buried in a former punk’s garage sale, EP-Onymous is just, well, good: not overly pleasing nor underwhelming, a precious staple in the Chicago scene.

Rabid City Modern Problems LP

Rabid hardcore punks RABID CITY come at you with everything they’ve got. On their second full-length, this Baltimore outfit pulls all the cards out of their sleeves and rolls the dice with great luck, as the finished product is superb. Ten songs clocking in at fifteen minutes, short and sweet, like it was meant to be. They certainly sound as good as the classics from the ’80s American hardcore scene. A great rendition of “Second Coming” by the iconic BATTALION OF SAINTS just ties everything together neatly.

Rolltreppe Es Geht Bergab 12″

It’s possible that Es Geht Bergab sounds so completely original because it sounds so instantly familiar, and now I’m stuck wondering which it actually is (and knowing it’s both). You’re going to see terms like “post-punk” and “goth punk” thrown around a lot when people talk about this record (and this band), but that’s just folks not listening past the flanged bass and the spacial guitars—in reality, ROLLTREPPE is a damn punk band that takes advantage of those elements instead of leaning on them. From the opening track, I’m dragged back a decade. “Kranke Welt” feels like a mid-2010s RAKTA and WHITE LUNG collaboration (with the bass lick borrowed accidentally and/or blatantly from the former), while the general energy ROLLTREPPE projects is the stark, cold, dance frenzy that dominates ’80s Eastern Bloc punk with all of the energy and intensity that comparison conjures and more. Rhythm-section-driven, high-energy punk with guitars taking their own trip and vocals that command full attention. I went back and checked out their 2020 release because I’m curious (and thorough), and seeing the progression makes me really anxious to hear whatever comes next—I can talk about how many elements remind me of other bands, songs, and records, but really I just keep coming back to how I’ve never really heard a record that sounds like this. Excellent.

Stranger Gallery Echoes From Camden Bridge LP

Post-punk with shimmery guitars and synth washes that recalls bands like the CHAMELEONS and ECHO AND THE BUNNYMEN. The inclusion of violin and sampled industrial-light beats paints an atmosphere of beauty and tension where tracks like “Alter,” with its syncopated, shadowy dancefloor beat, pairs perfectly with the earnest and nostalgic synth-pop of “Water Towers.” The production is rich and full, which highlights the dynamics between the driving bass, trebly guitars and spoken/sung vocals. A strong first release enveloped in isolation, confusion, and love.

Subculture Fred 12″

Among SUBCULTURE’s many claims to fame are having particularly sick drummer who went on the play in the SQUIRREL NUT ZIPPERS, being the tourmates of NOFX that christened Mike Burkett “Fat Mike,” and recording this tight little EP, which was left unfinished and unreleased until now. Rescued by the good folks at Sorry State, this six-song record from the North Carolina group was named in tribute to their late guitarist Fred Hutchinson, who passed away in 2023. Recorded in 1986, it showcases an evolution from their full-length album I Heard a Scream that was released in the previous year. Where the LP was rooted in classic SoCal style, Fred captures the band as they were morphing into more of a speedy crossover sound—a common progression of that era. It’s pummeling and punchy with a metal-y edge, but tunes like the goofy closer “KC’s Coming to Town” remind you that they were still the fun-loving punks you knew and loved. It comes with a big-ass poster and lyric sheet, and proceeds from the album will go to Hutchinson’s family.

TA-80 Turn It Up! cassette

This is straightforward, catchy punk rock. The guitar has a great sound, and the vocals are sort of infectious, with a focus on female vocals. And they don’t seem to take themselves too seriously. I like that. In fact, they border on getting a little too goofy at times. These guys might not change the world, but they’ll definitely make your day a little brighter.

Barren Hellscape Anti-Genocide demo cassette

These New Zealanders’ demo is ear-shredding to the fullest. Incessant, maddening, chaotic ’90s-style noise crust that resembles Japanese and Swedish sounds in the genre. Donations for anti-genocide actions have been collected through this first glimpse of BARREN HELLSCAPE. Noise is there for sure, along with steady, fast crust cadences. Vocals are rough and angrier than usual in crust punk projects, putting this demo on a more extreme side of hardcore punk holding to metallic-driven guitar riffage and ever-ranting drum sections.

Benzin Treibjagd LP

Garage punk from Berlin that rips through twelve songs in about fifteen minutes, with solid gold surf-inspired riff after riff like TEE VEE REPAIRMANN with Klaus Flouride on guitar. These short tracks have everything you could ask for in this strain of punk: hardcore speeds, straightforward production, hooks aplenty, a fully developed sound, and inspired performances. A few tracks expand beyond the garage, like “Botschaften,” which sounds like BAUHAUS played at like six times the speed, and the title track that features a slower tempo and vocal delivery recalling KLEENEX/LILIPUT. What a great band and a great record (and a debut full-length at that!).

Dunstan Bruce Fucking Expensive / PIN Number 7″

I was not sure what a record by a former CHUMBAWAMBA member would be like; I had no idea what to expect. Well, I’m pretty happy to say that it sounds very much like his former band. Social commentary, some dance beats, some rocking. Starting off with some nicely orchestrated strings before the beat picks up and the list of things that are “Fucking Expensive” begins, we learn everything is fucking expensive including democracy. The second song, “PIN Number,” is a dance song that has one of the most infectious beats that I’ve heard in a while. This record was very enjoyable—I really like it and I really miss CHUMBAWAMBA.

Ceresit 81 Kraft Durch Bier EP

A nice peruse through the history books with this release, a collection of fast hardcore tunes from Berliners CERESIT 81. Not their most politically-charged release by all accounts, with two-thirds of the three songs shared here revolving around beer, but aside from the relatively plodding start to the first one, it takes off like the clappers and is a lot of pogo-worthy fun.

Chilton Chilton LP

The self-titled sophomore album from Brooklyn-based CHILTON, a five-piece (super?) group, strikes a balance between honoring its members’ pedigrees and carving its own space. Founded by Josh Carothers (I FARM, EARWORMS), this album sees a couple lineup changes since their debut, including Abe Brennan (DEAD PIONEERS, MY NAME) stepping in for Bill Stevenson (DESCENDENTS/ALL/BLACK FLAG) on guitar. The recording sounds great and the songs lean toward an ALL-inspired vibe, featuring some sharp musicianship with minimal wank. The tracks “Mouth to Ear” and “One More to Go” bring to mind NOMEANSNO, and that might be the highest praise I can imagine. Propulsive, fun, and recommended.

The Downstrokes / The Prozacs Better Late Than Never split LP

More pop punk from two bands who heard the QUEERS three decades ago and thought “This is how I’ll write music for the rest of my life.” I guess that’s the entire theme of this split. Arrested development and refusing to grow old and change your attitude. But Jesus Murphy, how many more times are we going to have to hear this tired, old trope? There is nothing that differentiates these two bands from the mounds of other bubblegum punk bands out there. This review ended up being more negative than I wanted it to be, so I’ll leave you with this thought: I know that RAMONES-core in general has a very dedicated fan base, so if you’re into all of that shit, then you will absolutely love this split.

Dream World Dream World demo cassette

Five-song demo cassette from this new Richmond, VA band. DREAM WORLD plays  stripped-down, no-nonsense, modern day anarcho-punk. No frills, no bullshit. I’m not gonna sit here and tell you that they sound like FLUX OF PINK INDIANS, but if you were to remove the particularly standout FLUX tracks from the equation, nix the accent, and ditch the poetry, a few of these guitar licks would fit right in. DREAM WORLD scratches the nostalgia itch without feeling at all like a carbon copy. Now make this dream a reality and give us more!

Excrement of War What Glory in Death… LP

A very short-lived band from the ’90s UK punk scene, with members ranging from DOOM to ZOUNDS. Even though they were short-lived, their material made an impact and the crater can still be seen today. Somewhere between EXTREME NOISE TERROR and STATE OF FEAR, this is a heavy-hitting crust machine. Phobia Records put together this great reissue, which consists of their demo from 1990 and another demo from 1992, with extra songs from a 1993 split with Japanese legends BEYOND DESCRIPTION. A staple in any crusty’s collection!

Fénwär Fénwär LP

FÉNWÄR is a group of anarchists who reside at Réunion, which is a small island in the Indian Ocean, and they play toothsome, crusty anarcho hardcore. The Fénwär LP, the band’s first release, is eleven tracks of all-out blistering guitar, huge chugging bass lines, and intriguing rhythm shifts. The vocals range from spoken word, sung, and dual shouts, which keeps things really interesting, while most of the lyrics are in French. There’s also a DISCHARGE and a NAILBOMB cover, so you know from the jump what references FÉNWÄR is citing. “La Soucoupe et le Perroquet” is currently my preferred song, as it drifts into starting and builds stronger as it progresses into a ferocious pummeler. In all, don’t sleep on FÉNWÄR, as they’re top-shelf.

Frank Dux Product of Our Youth CD

Cambridge, Ontario’s FRANK DUX comes swinging with their debut full-length, Product of Our Youth. Named after the guy from Bloodsport, this four-piece has been at it since 2015, cranking out slick, fast-paced melodic pop punk with a singer who can actually sing. Despite their deceptively youthful sound, most of the themes in their lyrics are all grown-up, tackling grief, loss, and the uselessness of “thoughts and prayers.” If you’re nostalgic for that ’90s-era STRUNG OUT or LAGWAGON and love those emo-boy singers from bands like TAKING BACK SUNDAY or SAVES THE DAY, you’ll want to give this a spin.

Glass Reflexo Transparente cassette

Have you ever wondered if punk might have ruined your life? I’ll admit that in moments of weakness the thought has crossed my mind. Well, here’s the antidote to such nonsense. When a release like this comes along, it just makes me fall in love with punk all over again. GLASS is primitive, savage, and unhinged. This cassette features seven songs and a spoken word intro and makes for an exceptional debut. Everything here is jagged and raw in all the right ways. The vocalist sounds convincingly angry, the guitars are fuzzed-out, and the drums are pounded out in a manner that makes it seem like the whole thing could implode at any moment. The story goes that none of the members of GLASS had ever picked up an instrument prior to starting the band, spending their time skating around Milan. Is that not the perfect origin for a killer band? They may not be the tightest in their playing, but it’s more than made up for by the group’s obvious passion and authenticity. Most of the cuts are straightforward hardcore punk tunes with D-beat drums, but they change it up on the last track “Perdido,” with a touch of darkwave influence. Brilliant. Punk rules, okay?

Gun Fever No Easy Way 12″

CHAIN CULT alumnus joins forces with other Athenian punk rockers for a slightly glossy take on modern street punk. Undoubtedly the choruses have that sing-along-ability that is mandatory for this genre, and it has the kind of spartan, driving guitars that, legally I believe, I have to draw parallels with Second Empire Justice-era BLITZ. However, it’s a little too accomplished for my taste—if you like the kind of stadium skinhead rockin’ of LION’S LAW, you’ll have a lot to enjoy here, but it unfortunately fails to move me entirely.

Interterror Interterror LP reissue

A reissue of seminal Spanish punkers INTERTERROR’s 1985 LP; this release tacks on one additional track from the original recording session that was previously unreleased. With nine songs sung in their native tongue, the band tackles serious subjects like suicide and the Holocaust while maintaining an upbeat and melodic sound with sing-along choruses.

Judy and the Jerks / Shitty Life split LP

Good HC/punk split record. JUDY AND THE JERKS open insanely strong with a unique start to “Something On Your Mind?—super-fast guitar, then a break for a quick bass lick. Their songs manage to somehow get faster and faster, to the point where I audibly said “goddamn,” out loud. Sheer speed and madness, loved it. SHITTY LIFE brings the same energy in a different way. While they’re less fast, the clean guitar mixed with loud and slightly distorted vocals creates a fun combination. More of a power punk band, they’re punk but with more character. “Your Life, Their Choice” is a powerful track to end the album with.

Korupuhe Näin on Hyvä EP

Deftly dancing between melodic pop punk and something with a slightly harder edge, this is an impressive little sampling from these punks from Helsinki. The production loses me a bit; it’s somewhat sterile with each element in its own sonic space rather than truly melding together for something holistically special. The songwriting and the playing is all there, though. While I often prefer shorter songs, my favorite tunes here actually take their time to spread out and explore their ideas. The finest example of what this band does right is on the harmony-rich “Rainbow Islands.” I’m less convinced by the attempts at faster and harder punk, which the band delves into as well. For me, the pop punk is right in the pocket, while the rest just doesn’t have the teeth or the riffs to sell me.

Lumb Lumb cassette

This was my first introduction to the solo project known as LUMB, and it is a lot to take in at fourteen songs and forty minutes in length. The standard problem that I feel many solo projects have of there not being enough ideas is not even remotely applicable in this case. If anything, I would suggest that the brain-child behind LUMB seems to have far too many ideas. Almost every track on this cassette sounds wildly different from the one before it, but not necessarily in an interesting songwriting kind of way. It sounds more like someone trying to play cover-all on their bingo card of all the different musical genres they wanted to touch upon. From country to new wave, from DILLINGER FOUR-inspired pop punk vocals to DILLINGER ESCAPE PLAN herky-jerkiness, from experimental art to rockabilly guitar leads and back again. There are the occasional moments where I am intrigued, but the cool parts just tend to get drowned out by the confusion that inevitably and immediately follows.

Moskwa Jarocin ’84 LP

MOSKWA is from Poland and I believe that they still play once in a while, or at least they did until the pandemic happened. They started in 1983 and I hear some similarities between them and G.B.H., although MOSKWA tends to go faster and faster while having the same kind of song structure and 1-2-1-2 drum beats. MOSKWA seems to like to push their music to the edge where it feels like everything is just going to fall apart, but everytime it gets to that point, it’s like whiplash and they’re back to a solid verse or chorus. I like bands that play with reckless abandon, and that describes this record. It’s wild hardcore punk. I’m happy to have this.

Nov LT Recesses cassette

The use of certain descriptors can feel very reductive. Being in a band ain’t all it’s cracked up to be, and having the time and energy spent on writing, rehearsing, and recording songs boiled down to a couple words seems kinda lazy and (over) easy. So I ain’t gonna do it! On to the matter at hand…NOV LT (pronounced like “novel tea,” I presume) plays ultra lo-fi, new wave-y punk, served up hot and runny, right off the breakfast plate. The snot-nosed vocals and modulated guitars remind me a lot of SKULL CULT, but more damaged. Fuck art, this is nerd-damaged. The opening track is called “Daniel Johnston on Love Island,” for chrissakes. Not a chain in sight. If you’re familiar with XTRO’s catalog, then you know precisely what I mean. If I have any complaints here, it’s that for a band named NOV LT, I expected them to bring something new to the table. But hey, these lads are quite good at what they do and there’s nothing new under the sun. After all, you can’t make an omelette without breaking a few…ahhh, forget it.

The Overprivileged / The Revelevens DCxPC Live Presents, Vol. 31 split LP

Pleased every time I see a new volume pop up, because the DCxPC Live series is the epitome of a labor of love. Nothing fancy, and the packaging is typically minimal—just live recordings of DIY punk bands who are often underknown and/or underappreciated. Two turn-of-the-century Baltimore/DC area bands here who reunited a couple of years back at Ottobar and played a ripper; the REVELEVENS are fast ’n wild with a cowpony tinge and ultra-upfront femme vocals. The OVERPRIVILEGED are harsher (maybe also drunker) but hopelessly catchy street punk, and their set is a wee bit looser (in a good way). Both bands deliver maximum intensity sets and were (according to the liner notes) integral to their respective scenes in their respective eras. And you see, this is why I’m pleased every time I see a new DCxPC Live volume pop up.

Pigmale Brains Sanity? Okay! cassette

Weird, punky band from Indianapolis. I thought these guys were so fun to listen to, they were so different and weird that I was immediately hooked. My absolute favorite track was “Big Struttin,” where the guitar and vocals mimic one another tauntingly, then morphs into this just absolutely heavy metal scream that was so distant yet guttural, I was blown away. I also loved the variety of kinda funky bass lines with both heavy slower guitar (like the explosion of noise in “Liar Liar,” wow) and more classically punky guitar. The way the vocals and instruments worked off of and balanced one another was so impressive because they weren’t separate at all but continued to create one cohesive musical space. The vocals also reminded me of Kat Moss of SCOWL at times, but with a more kinda whiny and unique quality. Absolutely loved these guys.

Punitive Damage Hate Training 12″

Vancouver’s PUNITIVE DAMAGE returns with another set of politically charged hardcore on their latest EP, Hate Training. Filled with cool tempo changes, wailing guitar solos, tough gang vocals, and I think a little tambourine(?), the band sounds sharp as hell while admirably speaking on the atrocities being committed in Gaza. If the current crop of modern hardcore bands and the rest of the Convulse roster are your thing, check this out.

Rad Gnar Rad Gnar cassette

This tape brings to mind SIDEKICKS, the GET UP KIDS, SOMOS, JIMMY EAT WORLD, and SIGNALS MIDWEST, but with far less intensity and instantly forgettable. I researched this band and they have a covers LP, and by looking at their choice of covers (GUIDED BY VOICES, DINOSAUR JR, DEAD MOON, SEBADOH), I feel like they think they are something that they are not. This band is very musically competent, but overall, these songs sound compromised, which in this case has led to diluted songs being plopped along by bored people. I say this with the best of intentions; this band should break up and go start four new bands. I have been in bands like this before, and I know that half to three-quarters of the people in this band are bored and don’t want to compromise anymore, they want to make their own thing. I’m being 100% honest when I say that I will be the first Bandcamper to purchase whatever their new bands become, but this will be a thing I listen to once and then file with stylistically similar bands that don’t feel like their songs are muscle memory or gap-fillers. This cassette is ten regular songs of medio-core.