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!

Perp Walk The Chain of Infection EP

Cardiff’s PERP WALK have done quite well making a name for themselves in a relatively short amount of time, opening for the likes of the CHISEL, FUCKED UP, and CHAIN WHIP. They’re poised to become headliners themselves considering the strength of their debut EP, The Chain of Infection. Playing straight hardcore punk with a sprinkle of garage rock weirdness (think the aforementioned CHAIN WHIP with a dash of TY SEGALL/OH SEES energy), PERP WALK has a fully realized sound that is both politically charged and rabid. Check out “Dogwhistle” and “Moral Compass” to hear what I mean.

Pus Demo 2023 cassette

PUS’s demo on German label STTW consists of five tracks of metallic, almost NYHC-style hardcore fury sung in a Slavic language. Despite the fact that one might consider this to be in the metallic hardcore realm, the gritty, overdriven guitars and the shouting vocals tend to make them a unique-sounding band compared to many counterparts that have a typical crossover sound. Many parts for two-stepping, border-destroying mosh tracks, a combustion of tough, energetic output.

Rabid Assault We Are Party LP

The cover depicts the band playing at a skatepark flanked by cartoon skeletons enjoying beer, pizza, and blood, the album is called We Are Party, and the first song is called “Curbs and Coping”— this is straight-up skate punk out of Bakersfield that’s completely devoid of pretense or posturing. These guys are what they are, and what they are is some hardcore thrashers having a good time playing the soundtrack to sick ramp sessions. It’s fast, metal-ish, and gauche in the spirit of early SUICIDAL TENDENCIES, except it’s 2023 and I’m too old and jaded to really appreciate it.

Shove It No Comply LP

Given the band name and album title I was expecting this to be some raging skatecore à la BONES BRIGADE, but instead, SHOVE IT hits us with snotty punk rock that has a melodic bent. Fairly standard stuff that isn’t exactly pushing the envelope…but hey, it’s not like every band has to strive to break new ground. At their best, SHOVE IT sounds like a stripped-down version of HICKEY. That’s a high compliment! At their worst, they sound like one of the post-Larry Livermore Lookout! Records bands that never got traction. Mostly, they fall into the mediocre middle of producing by-the-numbers punk rock that in 2023 is bound to get lost in the fray.

Slutavverkning Levande Charader LP

Their Bandcamp description reads “Swedish anti-capitalist jazz-punk fury!,” which is pretty accurate. With playing that hovers between jazz-rock fusion and bass-heavy noise rock with exploratory sax and clarinet soloing, SLUTAVERKNING has a unique sound and vision, held together by the deranged screamed/sung vocals concerning a pig farmer. The album opens with rolling drums and skronky sax, setting up the expectation for exploratory noise-jazz à la JOHN ZORN, but becomes much more structured and even funky on tracks like “Psykisk terror” and “Om Natten.” “Längtans Törst” features a warm, beautiful sax solo, raging vocals, and even nonsensical BOREDOMS-style vocalizing before its end. Instrumental “Attika” is a churning exercise in tension with a looming clarinet hanging over distorted bass and drums like a smoky neo-noir scene. Seeing as punk and jazz have both been anti-corporate, revolutionary forces in their best forms, the melding of genres makes sense and works well here. Recommended for noise rockers and freaky jazz nerds alike.

Smirk Polyrhythmic Ticks EP

More drum machine egg-punk, which seems to be completely dominating underground rock’n’roll at the moment. I loved it when all those Total Punk bands did it, but I think it’s time for us to move on to a different style. They’re all starting to sound exactly the same. Most of this EP is very drab and dry, and is void of anything catchy. “Bored By Everything” is the standout track, and is a much more energetic and engaging anthem than the other three. I’m all about bands experimenting, but “Bored By Everything” sounds much more like their prior work and I think it suits them better. Coincidentally enough, I’m just bored with this EP.

The Spackles Happy to See You / The Shakes CD

Let me just get this out of the way: this is two songs. That’s not a fucking CD. It’s a single. Musically, this is mid-tempo power pop. It’s catchy, but it’s got a certain herky-jerkiness to it. That can be hit or miss with me. I’m not sure this one’s a hit. I also find the vocals, both the female lead and the male backing, kind of contrived. They’re talented, no doubt, and they’re tight, but there’s something in it that’s missing for me. They don’t remind me of the BOOMTOWN RATS musically, but they do remind me of them in the sense that some of their songs I really liked and other ones I found that they just had too much going on.

Top Left Club Turn and Burn LP

Beer-soaked from Brighton’s shores, TOP LEFT CLUB deals out pop-inflected pub punk rock. This brings me back to the all-ages club of my pimply punk rock teens. The songs are what you would expect, with a tinge of retro-ish Farfisa synth touches. Kind of EPOXIES meets “take your pick of early ’90s Lookout!”—fun for a few cuts, but probably not an album’s worth. I would’ve happily shoulder-tapped a Night Train and seen them live, however.

Wet Specimens Over Pale Bodies LP

If you’ve spent any time on social media in the past couple of months, then you’ll know WET SPECIMENS have released this LP. However, if you spend most of your time in a cave or a catacomb, then you may be unfamiliar with this release, so let me give you a brief description. Brutally loud hardcore, complete with screaming guitars and bashing beats, combines with deathrock to form the WET SPECIMENS sound. Like if INTEGRITY decided to fight CHRISTIAN DEATH in a pit and the last standing members shook hands and formed a band. Over Pale Bodies represents several years worth of playing and recording, and is a complete artifact ready for rotation on your turntable.

V/A Illusion of Choice: A Girlsville Benefit Compilation for Feline Rescue, Inc. LP

Girlsville does the whole comp-for-a-cause thing the way it ought to be done, which shouldn’t be a surprise considering this is the same label that put out the excellent Be Gay Do Crime comp back in 2020. This time the cause is Feline Rescue Inc., a Saint Paul-based organization that runs a no-kill shelter and foster program for cats in need of adoption and compassionate care. The fifteen tracks on here come from a wide array of acts, some of which you’re bound to have heard of before and some of which you’ll likely be exposed to for the first time, covering a fairly broad swath of sounds—a lot of post-punk/dream pop/UK DIY, but there’s also a handful of straightforward punk and contemporary weird (eggy) tracks—with a good mix of fun covers, cool originals, and interesting demos. Highlights include an excellent BLONDIE cover from STAR PARTY, a clangy lo-fi post-punker from GERM HOUSE, and the exquisite dancy no wave freakout title track from CONDITIONER DISCO GROUP. Not to mention stuff from NEUTRALS, BILLIAM, and tons more! Do yourself and some cats a favor and pick this up!

Agur Garena Gara LP

The Bandcamp info tells me these guys are from Spain. All the Zs and Xs in the song titles lead me to believe they might be Basque. A little internet research confirms that. Not all, but lots of Spanish punk really lands with me. This one is extremely catchy, with lots of “whoaaa, whoaaa” backing vocals, but also some snarling lead vocals, so it shouldn’t be a surprise that it’s one that I like a lot. At times very mid-tempo and other times quite a bit faster, but it maintains that catchiness, even when the mood is somewhat frantic. Only six cuts, but they’re all winners for me.

Atomic Tide Night Crimes CD

Second release from the San Francisco group ATOMIC TIDE, with members from AVENGERS, ANGRY AMPUTEES, GLITTER WIZARD, and the PLEASURE KILLS. This is a bombastic approach to punk with tinges of surf-y, psych rock guitars, and is gripped by the power of Lydia Taylor’s vocals, reminiscent of Yula Be’eri in NANUCHKA—deep, rich, and resonant. Their first self-titled cassette release came out in 2019, so it’s good to see this group survived lockdown and made it out with five new rippers! This is night music, if the title didn’t make that clear, so once the sun sets, pop this CD in your 2008 hatchback and let ATOMIC TIDE do the troublemaking for you.

Bad Bad Men Messed Up LP

A gritty, hard-rocking slew of songs from the veteran old guard of the Omaha scene. A brutally honest swagger that comes with years of putting in the Midwestern reps, akin to Austin’s SONS OF HERCULES. It’s the kind of swagger and self-pummeling sludge that’s reminiscent of the STOOGES, MUDHONEY, and MOTÖRHEAD.

C57BL/6 LP1 cassette

The name C57BL/6 comes from the scientific designation for the most commonly used research lab mouse. It’s a cool name, but it’s also one I will forget right away. “Have you heard that lab mouse band? C-something?” I’ve only listened to the first track so far, and I pressed pause to write about it. It rules. “Open World” is a seven-minute (!) DIY hardcore song with a basic two-chord structure that rarely alters, other than two short breakdown/chorus sections. Impassioned, shouted vocals fly over the steady, lurching chords. Near mechanical simplicity almost like something NEU! would do, building tension from bare-bones rock music through unwavering repetition. If you make it to the end, you’re in, transfixed and aghast at how the other music you listen to does so little with so much more. Totally recommended already, but let me listen to the rest. No surprises, it’s awesome. After the opening juggernaut, the rest of the album consists of shorter blasts with drum-machine and synth backing the guitar and bass with vocals that sound like RUDIMENTARY PENI. “Deep Fake” has a great two-note synth lead and “Basement” is unhinged enough to keep me the hell out of their basement. Killer release, invigorating in its economy. Highly recommended.

Crossczech Partie Bez Ví​t​ě​zů LP

Prague SHARP skins released the follow-up to their debut a full decade later, so clearly not one for rushing into things. Forgive me for being a critical Christopher here, but one might have fairly assumed if you’ve taken a full ten years to work on a sequel to your first LP, you might have used some of that time to become better? However, this is much the same from this bunch, a relatively nondescript blend of watered-down Oi!, street punk, and some absolutely terrible ska. Perfect for after seven to twelve pilsners so you don’t really care what it sounds like. Despite all this, I will give them enormous credit for being openly left-wing in a scene where weirdo loser flag-botherers are getting more prominent and need stamping out.

Demon Demonstration cassette

Going into a Roachleg release, I was expecting some raw (like, cold hamburger in a red pool) hardcore-adjacent music. I was pretty right on with the sound quality—seriously, avoid if you’re not into the noisier side of punk. The recording is more akin to ’90s black metal demos than your average hardcore demo. Rather than using that sonic palette to bring you something fast and ferocious though, there is some groove to this. Somewhat more plodding but no less heavy than some of the best of NY’s best contemporary punk, the band also features some moaning, nearly psychedelic guitar leads to go with its mid-tempo assault of damaged fuzzed-out punk. The vocals are engaging, while unintelligible, but while these types of recordings can sometimes feel like they come from some sort of “we’re too cool to sound good” bullshit mentality, this just feels true to what the band is trying to convey. Cramped, noisy, and fucked-up hardcore.

Disappearances Meat Clown cassette

I can safely say I had no idea what to expect from Philly’s DISAPPEARANCES based on the unsettling cover of their latest release, Meat Clown. It definitely wasn’t the ’90s-influenced powerviolence/hardcore featured across ten tracks of blastbeats, quick tempo changes, and shrieking vocals. At times, it reminded me of the LOCUST, a band I’ve always had a soft spot for. While not really in my wheelhouse, I enjoyed it.

Eastern Syndrome Brain Driller cassette

EASTERN SYNDROME, out of Berlin, Germany, features members of KOBRA and SUBSTITUTE. Their first release, this five-song cassette, is a heavy dose of darkened anarcho-punk that explores a wide spectrum of noise. From bopping post-punk riffs to wall-of-noise wailing, there’s a little taste of everything. The closing song “War Victims” arranges familiar sounds, tones, and rhythms into a rocking delivery that is unique and addicting.

Hot Earth That’s Hot cassette

Amazing crust-caked madness on this smoker of a tape from Atlanta’s HOT EARTH. They let you know right where you’re at as soon as the opening “BAFII” (which stands for “Burning Alive and the Floor is Ice”) hits your ears—a chaotic and cracked realm of hardcore hell. While endowed with a bit more plunky bass and a slightly lower degree of caustic burn, the band’s battering attack reminds me of Missouri favorites PROTON, which is among the highest endorsements I can currently offer. As an added bonus, all of the songs are overdubbed with a sample of infamous brat heiress Paris Hilton delivering her vapid ’00s catchphrase “that’s hot,” with some of the tracks featuring this, uh, enhancement multiple times—an effective added blast of “what the fuck” that just makes this situation even greater. I’m going to need another round of this ruckus ASAP.

Illvilja / M:40 split EP

M:40 is presented first here, as a char-core discordant mosh cacophony. As far as newer crust goes, this registers on the blackened epic side. SLUTET comes to mind, but more abysmal and desperate, like ACCURSED or MARTYRDÖD in mood, but add some bone-grinding blastbeats and take away all glints of hope and light. M:40 is a lesson in Scandinavian blackened crust. ILLVILJA has an intro that creates a new dawn of sorts on this split, but equally reminiscent of ACCURSED. Epic chords and melancholy journeys across a desolate crust landscape. ILLVILJA plays remarkably more optimistically, if that means I’ve come to terms with the complete dread of the world. Not a feel-good split—here it is, drowning whirlpools of dark crust anguish for your embittered nihilistic enjoyment.

Miss España Niebla Mental LP

I have a soft spot for bands with female vocals, that are bass-heavy, danceable, and bouncy but at their core still aggressive punk music, that are fun but simultaneously say “fuck you” to the world, especially bands from the turn of the ’00s and ’10s. MISS ESPAÑA reminds me of that era, from WETDOG to XYX. The bass/synth/drums trio keeps a constant groove that is as danceable as no wave mutant disco, although with a gloomy atmosphere—aggressively hitting beats are all over the record like clouds above a doomed party. The whole album is really tight, with clever songwriting that makes melancholy bouncy. Another scene that comes to my mind is Swiss post-punk, with the obvious melodies of CHIN CHIN and the KICK along with the rough fun of GLUEAMS. So many references, but MISS ESPAÑA does stand out from the masses (I rarely hear such music, at least). Great record.

Мир Mindecision LP

This unsung classic of ’80s USHC has me absolutely floored. Roanoke, Virginia’s Мир (pronounced “mihr”) are the archetypical small-town punk band that made a singular, killer recording that was nearly lost to the sands of time. The story essentially writes itself. Mindecision was recorded in 1984 by four high-schoolers from the middle of nowhere. Dredging up the forgotten gems can be a dicey affair, though. Often enough, the context is more compelling than the content—but not in this case! Мир is absolutely savage. The level of craftsmanship in the songwriting, coupled with impressive technical chops in the rhythm section, really sets this apart. The guitar tone is lush and colored just enough to make it sound unique. There are surf elements to the riffs that gesture toward some West Coast influences. I think of Мир as occupying a space that is the midpoint between BATTALION OF SAINTS and ARTICLES OF FAITH. They fit right into the regional context, with bands like the LANDLORDS from Charlottesville, and Richmond’s WHITE CROSS. Мир shared a bill with CORROSION OF CONFORMITY a number of times, as well. Add in what was happening at the time a few hours north in DC, and it makes sense that Мир would emerge from the cultural void of Southwest Virginia. Full disclosure, I live in Roanoke, and seeing this release get a proper treatment, including a fold-out insert with tons of photos and fliers, resonates in a significant way for me and takes me back to a time in the mid ’90s when as a teenager, I’d hear about bands like Мир from the older punks that were still kicking around. But trust me, this far exceeds the nostalgia-inducement factor. Beach Impediment has truly done us all a great service with this release. Any fan of ripping USHC will want to pick this up. Unquestionably one of the top releases of 2023.

Nurse Nurse 12″

What a pleasant surprise—this is my first time hearing NURSE from Atlanta, a band that is truly unique and defies genre. Hardcore goth, I guess? Regardless of labels, this shit is awesome. Moody post-punk perfectly meshed with hardcore sensibilities. In addition to the out-of-left-field shredded vocals, they nail the creeping bass lines, clinically cold guitars, and general atmosphere of doom and gloom. I’m struggling to find another band to compare this to, which is a compliment of the highest order. Check out standout “Big Fish,” there’s really nothing quite like it. Highly recommended.

Piss Me Off 2 Much Power LP

Shredding, solo-heavy hardcore from Cleveland that brings to mind classic skate rock and crossover in its no-frills approach to punk. These ten tracks rip, straight up, and the entire package (including the artwork) could have come out anytime from the mid-’80s to now, with its focus on chugging rhythm guitars, wailing solos, crowd-killing breakdowns, and shouted vocals. If you like carving bowls (or smoking them) to the SHRINE, the FACTION, or SUICIDAL TENDENCIES, you’ll like this. Conversion van, sweatpants hardcore (CVSPHC) in 2023—let’s go!

Powerplant Grass EP

Dark, melodic post-punk out of London. Has a similar feel to the dozens of other drum-machine-laden bands that are everywhere these days, but POWERPLANT comes off more nuanced than their electronic peers. Less DEVO, and more SMITHS meets ALIEN SEX FIEND. I might catch some flak for this, but they also remind me of a rustic THOMAS DOLBY. That’s supposed to be a compliment, but I understand if it’s not taken as such! I need to give POWERPLANT their due for using sleigh bells throughout “Walk Around (Hang My Head).” You don’t hear enough of those in punk these days. No fooling!

Pure Intention No S***! CD

First thing is the cover art—it’s a drawing of three dudes, presumably the band members, pissing on a wall. It reminded me of both the Punk Uprisings compilation and the first MASKED INTRUDER album. So going into this, I was prepared for some snotty, probably RAMONES-inspired pop punk. Well, I couldn’t have been more off-point with that assumption. Instead, what I found was what I guess I would classify as “grunge punk”? It’s rocking with heavy distortion, some rockabilly-ish elements, and what sounds like echo effects on the vocals. I imagine this is similar to what it would sound like if Bleach-era NIRVANA played SUPERSUCKERS songs. At first it was a little off-putting, but after repeated listens, it’s grown on me…a bit. Only five songs, so it doesn’t run the risk of wearing out its welcome, although I will say that if they scrapped the first song “Pure Intention” and the third song “George Jesterson” and instead put the remaining three songs on a 7”, I would be way more into this.

Red Rot [Title not identified] cassette

Imagine a protest chant set to music, and you’ll get pretty close to RED ROT. In style and substance, this band sounds like they assembled for the express purpose of playing a rally or march. The guitars are there, but felt like an accent on the drums and vocals. Those last two parts dominate the recording, repeating their grievances. It’s snotty, oppositional, and on-the-nose.

S.G.A.T.V. S.G.A.T.V. LP

Synth-driven new wave and dirty punk rock combine to form a sound that skips the day-glo and instead fuels itself on frustration. After spending the past few years creating in Switzerland, S.G.A.T.V. has finally released a full-length LP, and it goes hard. From the opening track “Never Trust the Rich” to the closer “The Twilight of Infinite Loneliness,” you’re in for a fun trip exploring the depth of sole creative Severin Beerli’s feelings about the contemporary world. If the BOOMTOWN RATS mated with the EPOXIES, the progeny might come out sounding something like this.

Silicone Prairie Vol. II LP

Ian Teeple’s one talented dude. His unconventional guitar work is largely responsible for making WARM BODIES one of the most unique hardcore acts and all-around best bands of the ’10s. NATURAL MAN BAND, his egg-punk follow-up project, stood out in a genre largely defined by its sameness, even feeling somewhat like high art compared to the other records coming out of that same scene due to Ian’s unique, freewheelin’ style of making music. His first record as SILICONE PRAIRIE, a bit of a COVID-era solo-recording extension of what he was doing with NATURAL MAN BAND, saw him expanding his sonic palette, freeing him of some of genre constraints that were potentially hemming in his earlier work. Even through its Pure Guava-esque bedroom pop tape warble, you could tell My Life on the Silicone Prairie was an intricately produced labor of love absolutely brimming with creativity. Vol. II continues this trend—he’s jettisoned more of the herky-jerky punk that he made his bones with, and has replaced it with even more intricate compositions. A track like “Mirror on the Wall” starts out as another breathy WEEN pop number until some jaunty flute melody that wouldn’t sound out of place on a SUFJAN STEVENS track gets layered in, alongside some guitar that sounds like it was pulled from a sped-up version of the ISLEY BROTHERS’ “That Lady.” It’s certainly a unique sound. Overall, the record has more of a jazzy soft rock vibe than the last record, and it reminded me at times of stuff like the SEA AND CAKE’s Oui, STEELY DAN, a new-age infomercial, and even the STEVE MILLER BAND. It’s a record that I truly do have an appreciation for, and in a lot of respects it’s infinitely bolder and more creative than most of the stuff I like. But I have to stop short of saying that I enjoyed the album, because I do not really like any of the things that I reference above (except for maybe new-age infomercials—those rule).

Slith Slith demo cassette

Stenchcore hardcore punk full of tweaks and even some resemblances to the MISFITS, but with a style of its own. Killer drums in a psych ward, demonic voices from hell, frenzied killing cadences, and a crazy chamber-like feeling all around. Dead Air Studios hits again in the raw punk department. Vibes from the vocals mix with the sounds delivered by the instruments—deep-pitched screams from hell plus rabid chords and smashing guitars and bass lines. Suggested tracks: “Miserable Fuck” and “Umbilicus.”

Thirsty Giants Infinite Monkey Theorem CD

Self-described as “basement punk,” THIRSTY GIANTS sound like they’re having a great time making goofy tunes in the cellar. Organically lo-fi, most of Infinite Monkey Theorem is mid-tempo garage rock with some elements of ’90s alternative rock sprinkled in here and there. A couple of the songs bring to mind a stripped-down version of TIMMY’S ORGANISM. With so many bands taking themselves way too seriously, it’s refreshing to encounter a group that does their thing in pursuit of fun rather than notoriety.

Unspec Century of Torture cassette

Indonesia’s UNSPEC brings a relentless attack of stompy hardcore. It could have easily become metallic chugging mayhem, but instead it went towards a raw, noisy, evil hardcore approach, along the lines of HOAX or GAG. A sonic expression of raw, full-force ferocious madness.

Wrong Worshippers (Not Actually) Live From Hep’s Garage CD

As the title states, this is not an actual live album, rather an album with skits and the sound of audience members thrown in here and there. This concept is fucking stupid. It’s not humorous and adds nothing to this recording. Now let’s move on to the band. Bass, drums, vocals. OK. It’s actually not that bad, but for me, this is also something I would probably ever listen to again. Part of it is the dude’s vocals. They’re annoying in a less shrill, wannabe Biafra kind of a way. I just can’t do it. Musically, it’s fine. The whole thing just leans way more towards goofy alt-rock than I personally prefer…and there’s an “interesting” cover of TAYLOR SWIFT. Weird.

Yankee Cowboy Yankee Cowboy cassette

YANKEE COWBOY openly call themselves “Calgary’s answer to the ALPACA BROTHERS,” and if that incredibly niche reference means anything to you (it certainly commanded my full attention), you probably don’t need me to convince you to jump on this one. Five originals and a cover of RUDIMENTARY PENI’s “1/4 Dead”(!!), all infused with the dark-edged, ragged tension of various mid-’80s NZ bands who leaned less purely pop (the ALPACA BROTHERS, true to form, but also SCORCHED EARTH POLICY, the MAX BLOCK, the TERMINALS, etc.), with tape-warbled echoes of TIMES NEW VIKING’s 21st century revival of much of the same source material serving as another vital link in the chain. The hopscotching bass line of “Me and Pinocchio” carries the song’s melody like the CLEAN smudged with post-punk fingerprints, the sweetly off-kilter dual/dueling vocals of “Critters” gradually dissolve into a storm of gnarled, BAILTER SPACE-worthy feedback, and the blown-out jangle of “Not a Whole” is textbook Flying Nun, just spiritually relocated to the plains of the Canadian Prairies—full-force faux-Kiwi. 

Asinin Asinin demo cassette

Right from the start, this Norwegian band unleashes a torrent of overwhelming hardcore, fueled by relentless energy that leaves the vocalist gasping for breath as he races to keep up with the escalating chaos. Most tracks barely exceed one minute in length, and the mixing is impeccably executed, ensuring the listener’s unwavering attention. The guitars offer a captivating dynamic, featuring sharp tones rather than harsh ones, filled with intricate riffing and a willingness to explore melancholic melodies. The breakneck pace, driven by the manic drums, leaves no room for boredom or distraction. As a band, they sound exceptional, although their sound leans towards a modern and somewhat unrooted style. A banger.

Besta Quadrada The First Four Weeks cassette

Here’s a whirlwind of noisy punk lunacy. BESTA QUADRADA blasts out seven tracks of gritty hardcore oozing with character. Distinctive riffs are in abundance here, striking just the right balance between catchy and tough. Top-shelf drumming lends even the dirge-like numbers a propulsive quality. The vocals, dialed a touch back in the mix, tie everything together and draw the listener down into the mire. Not quite as frenetic as FUGITIVE BUBBLE, but not far afield either, I’m reminded of the short-lived JJ DOLL and a bit of the much beloved TYRADES. Killer stuff.  

Bridge Burner Grave Mistake cassette

File this one squarely under “tough guy hardcore.” BRIDGE BURNER’s 2022 cassette Grave Mistake is a pretty straightforward listen, featuring all of the hallmarks of the genre: two pissed-off vocalists who want to fight you, stomping mid-tempo breakdowns, and plenty of metal riffing. Complete with hip-hop instrumental opening and closing tracks, as well as the trademark intimidating, hoodie-wearing cartoon characters on the cover, this tape checks all of the beatdown boxes.

CC Voltage Berliner Pilsner / Bummer Party 7″

Seriously, this one has elements of garage, glam, power pop, and even a little hint of country. I’m not kidding. Leave it to the Canadians. It’s super catchy and I’m certain that if you had a lyric sheet, you’d grab a hold of that and be singing along in no time. The vocals have a great rhythm about them and the songs are well-written. The only drawback, and this is really a personal thing, is that there’s a little too much lead guitar work at times.

Curbsitter Grip on Reality EP

CURBSITTER from Milwaukee is coming in ferocious and funny on their debut 7”. The band is sounding well-honed, playing surging and vibrant hardcore with an inherent daffiness that comes from the singer’s unique voice and delivery, although some of the songs have subjects of a more serious nature. These six tunes are fast and melodic, and the obnoxious, mildly-warped vocals are a little corroded in places, spouting lyrics with a humorous lean that are often repetitive to pleasant effect (as expressed to the extreme in the stand-out track “4 Years of Repetitive Motion.”) The sound, at its core, is interesting and weighty punk with old-school sensibility and a bit of slapstick edge that may endear it to fans of FEAR, VANDALS, and other jokesters.

The Dissidents / Vitrolic Response split EP

Cool split between bands from the US and England. The DISSIDENTS feature MISCHIEF BREW’S former bass player on drums and play your typical sloppy punk rock, but the vocalist is so intense and charismatic that it brings everything together. A true pissed-off poet, and the kind of singer I’m sure a lot of bands wished they had. Seriously great stuff. VITRIOLIC REPONSE plays classic UK hardcore and sound like a modern GBH with barking vocals, but also incorporates doom/black metal elements, like slowing the tempo and using sinister arpeggios. Both bands sound different enough that it creates a great dynamic.

DSM-5 Skärblacka D-Beat LP

I am not familiar with DSM-5. As a band name, it reminds me of MC5, M:40, SPACEMEN 3…but here I see they are from Sweden, and their album is titled in such a manner. First impressions are of a more hardcore attitude, thinking of TOXIC NARCOTIC, ANNIHILATION TIME, S.H.I.T, MIND ERASER, or RAT CAGE, with some call-and-response compositions. Most songs come in around two minutes, so there is ample time for some interesting changes. A song titled “Sick of It All” continues to remind me of hardcore when it was fast and punk. This is an accomplished hardcore punk album with intense musicianship and palpably pissed-off messages. DSM-5 is ugly and angry, and the entire play sinks into more dismal tones around the halfway point. “Empathy” is a true depressor with uneasy industrial effects. Seriously, once Skärblacka D-Beat hits its stride, you’re going to want to hold on. I could imagine this band obliterating a live set. “Word” brings some absolutely scorching vocals that seem to be from the addition of a guest vocalist—think DISRUPT’s “A Life’s a Life.” A relentless LP with both impact and melody that took me a moment to catch up with.

The Dweebs Goes Without Saying EP

This EP from Plymouth, UK’s the DWEEBS is ten tracks of British punks playing fast ’80s-style USHC akin to the earlier Dischord catalog and bands like YOUTH OF TODAY or UNIFORM CHOICE. Reminiscent of another USHC-inspired band from the UK, the STUPIDS, but despite having a similar fast approach to their sound, it’s still quite its own thing, a product of its own environment. Still nasty-sounding enough for the MRR realm, yet it’s straight-up circle pit music. Straight-ahead, full-speed attack of action-packed hardcore.

Electrolytes Ultralyte cassette

Garage pop with big riff energy fuses with punk rock delivery in the chemical slurry that is ELECTROLYTES. Unpredictable musical twists and turns make this a very entertaining and interesting listen. Sugary-sweet synthesizer lines decay into aggressive guitar blasts, and all the while, ’60s-style crooning attempts to keep everything in order. There’s a no wave influence running through this cassette that is hard to miss, from the LYDIA LUNCH-esque vocal delivery to the occasional repetitious guitar bangs and noisome stabs.

Eskorbuto Eskizofrenia LP reissue

A long time ago, a lover of Spanish punk rock explained that, in this Iberian country, you basically had two distinct tribes when it comes to the identity of the ultimate classic Spanish band. You are either in the team of LA POLLA RECORDS or in ESKORBUTO’s. The rivalry is mostly friendly, but I have been told that, in some cases, particularly heated arguments did end up in nasty pub brawls. Some of the most fanatical have been known to hold entire record collections hostage to emphasize their point. My friend was adamant that proper punks with a decent taste in music would definitely go for ESKORBUTO. This band, from the fiercely rebellious Basque Country, is something of a legend: crude, dark, nihilistic, spiteful lyrics, two of the original members dying in 1992 and an old-school punk rock sound that has had a massive imprint on el punk en español. The internet has significantly spread the band’s unique take on punk music to a worldwide audience that they never really had outside of the Spanish-speaking world. It is a little tricky to review a record from such a cult band. Because I was not familiar with the band’s work in my youth, I approach the music with objectivity—like I would other international treasures like DEZERTER, EBBA GRÖN, or CÓLERA—and ESKORBUTO was a great ’77-influenced punk rock band with attitude, style, snot, and a strong ability to write catchy songs. If you grew up listening to the band, you probably find them absolutely wonderful, unrivaled, and genre-defining, because it is the teenage heart speaking. Although I prefer Anti Todo, Eszkizofrenia is indeed a classic punk album (with a weirdly distracting effect on the drums), the obvious qualities of which I wholeheartedly acknowledge even though I struggle to really feel it and get excited, and I have to confess that the very strong Spanish accent (by which I mean actually from Spain) is a little overwhelming at times. ESKORBUTO is the epitome of a band that can either be loved with the absolute passion of youth or appreciated from the analytical point of view of a lover of punk music. And while we’re on the subject, I am team RIP all the way.

Gino and the Sharks Just a Few Stitches EP

We’ve got another unearthed “classic” on our hands. But at least this one has a cool backstory! Gérard Mosiniak, aka Gino, grew up in a small mining town in the north of France. His grandmother helped him develop a passion for cooking, which led to him taking up an apprenticeship at a Michelin star restaurant. Throughout the ’50s and ’60s, he became enamored with rock’n’roll via LITTLE RICHARD records and the local clubs, which would feature acts like the KINKS and JIMI HENDRIX. It became his second calling, and he vowed to one day sing in a rock band. In 1971, he learned that Keith Richards had recently moved to a villa on the French Riviera and was looking for a chef. Gino got an interview and won over Richards with his cool hippie style. As their live-in chef, he hobnobs with all sorts of famous music folks and eventually uses his ties to Keith to get a gig as a DJ in one of the hottest clubs in Cannes. While there, he falls in love with a Londonite, whom he follows back to England with hopes of making progress on his dream of fronting a rock band. To make ends meet, he gets a job selling souvenirs on Carnaby Street alongside a musician named Neil who’d also moved to London in the hopes of starting a band. Unfortunately, the two are unable to help each other due to a difference in genre preferences. Neil was looking to play stuff that’s a little heavier and a little more technical. Things work out for Neil, though—he moves back to Canada and ultimately hooks up with the band RUSH! Gino gets a job managing the now-famous Great Frog jewelry shop, where he meets plenty of musicians looking to get some sick skull rings, including Lemmy from MOTÖRHEAD, who gives him the advice he needs to start a band, and he eventually recruits the SHARKS, including drummer Pedro Ortiz, who’d go on to play with JOHNNY THUNDERS and DAVID BOWIE. They recorded this three-song EP in 1978, and it was supposed to come out on Stiff Records until their manager picked a fight with the label, and the record was shelved until now. The music is fine…maybe leaning good. It’s pretty typical stuff for first-wave UK punk—dumbed-down, recycled rock riffs that are glammed up a bit—but it’s a little rough around the edges and Gino’s broken English lends the record a bit of a KBD vibe. It’s nothing to get too excited about, but wow, what a story!

Hope? Your Perception is Not My Reality EP

The hotly anticipated follow-up to 2021’s Dead and Gone cassette is finally here, and it fucking rips! Four tracks packed with even more crucial lyrics—Manda pushes the vocal limit beyond the brink, while the band plays an even tighter and heavier version of their D-beat-styled hardcore crust. Desperation and urgency are the strong emotional undercurrents that will pull you under immediately and get you slamming in short order. Opening with a brutal, beat-heavy treatise on gender politics, “The Patriarchy Must Be Destroyed” could be a standalone song, but there’s a lot more here. It’s followed by “Obey,” a warp-speed reminder of how fucked planet Earth really is. The B-side opens with “Take Back the Night,” a rocking tribute to punk life and a simultaneous decree of action. “Retrograde” closes out the disc with Kalvin throwing in just a pinch of psychedelic guitar that makes me want to listen all over again. If you liked the Dead and Gone cassette, then you’re going to love this 7”.

Interpunkce Nen​á​vid​ě​t Srdcem, Milovat No​ž​em EP

The latest EP by Prague DIY punks INTERPUNKCE, with six thrashing tracks of speedcore hardcore punk fury. Politically-driven lyrics with English translations to get their message across to a wider audience. No hesitation, urgent, raging songs bringing up social issues that many of us face around the globe. The Slavic language vocals offer a unique and distinct type of hardcore reminiscent (yet still different) to some ’80s Polish bands such as DEZERTER and MOSKWA.

Love in Hell Love in Hell demo cassette

Fun twee-pop demo from Portland, Oregon’s LOVE IN HELL. Draped in floral printed dresses, this all-female trio plays sugary beats with a crunchy guitar, bobbling bass, and syncopated vocals that tell personal stories and ask pointed questions like “What would make it all worthwhile to you?” High school locker-art aesthetic (awesome), fun and heartfelt, a name that’s a little obvious yet somehow perfect, and did I mention floral? Sign me up.

Manacles / Viimeinen Virhe split cassette

The MANACLES side of this split features four songs by the Lithuanian band that capture their hallmark sound, which is somewhere between raw punk and bass guitar-powered hardcore. The opposing side features five tracks by Finnish band VIIMEINEN VIRHE playing their style of D-beat hardcore. The split joins the two bands together like a perfect dystopian union: the similarities are there, but the unique differences of the bands is also highlighted. This might actually be one of my favorite splits in recent years, so give it a go!

 

Mass Separation Semarak Api CD

Grind-crust out of Malaysia. Sloppy and noisy as hell, the way the genre is meant to be. As is with a lot of these types of releases, the drums immediately stick out to me, as they are blisteringly fast and never waver. Guitars have a very powerviolence/metalcore tint to them. Lots of crunchy breakdowns, squealing pinch harmonics, and dissonant chords. Vocals have a ton of nuance and range from deep-throat growls to banshee-like screams. All in all, a decent release if you’re a fan of the genre.