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!

Leuk​é​mia K​í​v​ü​l cassette

This is one for the historians, for those of us who dig, excavate, exhume, dust, analyze, and present to the (often ungrateful) masses. Of LEUK​É​MIA, I had only vaguely heard their 1987 demo tape, a prime example of fast and raw, angry ’80s hardcore from what was then called “the Eastern world,” at a time when punk wasn’t exactly welcome there. However, I had no idea that the band had kept going until the mid ’90s in a rather prolific fashion. Kivül is a tape reissue of the band’s 1991 demo (there was a vinyl reissue last year). Gone is the hideous original cover (thank fuck), as this tape has a cracking new visual that looks much more enticing. Like many hardcore bands at that time, LEUK​É​MIA had left the “play fast or die” approach to their music, and this recording saw them go in a decidedly crossover thrashcore direction with plenty of changes of paces and riffs. To be honest, I actually like the faster, pummeling, thrashing metal-punk moments, as the many progressive technical moments are completely lost on me—there are just too many things happening and, as granny used to tell me, “you’re a simple man who loves simple things.” It is pretty obvious that at this point LEUK​É​MIA had become good musicians and strove to progress. I guess you could file this between ANARCRUST and ACID RAIN DANCE on one side and late ’80s US crossover on the other (for my ears untrained in thrashcore). An interesting piece of punk history from a scene we hear too little from.

Life in Vacuum Lost LP

LIFE IN VACUUM is very much alt-rock of the ’90s: a big guitar sound with a touch of punk in its louder moments. The songs can take a minute to arrive at the big, stick-in-your-ear chorus. Before that, you’ll get some very pro, pretty verses to provide the build-up. LIFE IN VACUUM could coast on that alone, but they keep the arrangements and guitar lines novel enough, which I appreciated. It’s not a gimmick, but it’s not a cover…they’re bolstered by the singer’s ability to carry both a tune and an anguished roar in equal measure.

Miseria y Kompañía Mundo Muerto LP

This is a reissue of the last album by this Barcelona punk band, originally released in 1997. Formed towards the end of the ’80s, MISERIA Y KOMPAÑÍA created a body of work that is already considered a classic among Spanish punk connoisseurs. I suggest you listen to their fierce 1989 demo called …Y En Un Mal Día, and also give their split with SPATEK a chance. Unlike their early work, which had a more lo-fi and frankly brutal intensity, Mundo Muerto has better production values and more inventive arrangements that give it a very interesting creative variety and make those blastbeats harder. There is also a more marked melodic turn and even forays into ska. If you like Latin American punk, MISERIA Y KOMPAÑÍA is a band that definitely influenced the sound of that region, and this final album is a good entry point to their work.

The Obsessions The Obsessions LP

Skuzzy, tough punk from Vienna. Not as fast as REGULATIONS or as tuneful as the VICIOUS, the OBSESSIONS are still somehow reminiscent of both. They keep things tight in the pocket with mid-tempo but propulsive beats, a wooly thick guitar tone, repetitive vocals, and driving bass lines. A sense of exasperated frustration cuts through in the stark choruses and punctuated hooks. I kept waiting for a blazing fast face-melter to kick things up a notch…but that never materialized. That’s just as well, because the OBSESSIONS still rip in their own way, trading in speed for attitude and anxiety. Best kind of bad vibes.

Plague Thirteen Healing Ground LP

Neocrust is the perfect soundtrack for a post-pandemic world in which darkness seems to engulf every aspect of our day-to-day lives—there is always a glimmer of hope in the lyrics and songwriting, with its heavy-to-melodic riffs. PLAGUE THIRTEEN plays heavy and sludgy crust that leans towards the more melancholic spectrum. Filling the void left by neocrust agitators LINK (their previous incarnation), they follow the steps of TRAGEDY to early NEUROSIS. Soundtrack for the days of no hope.

Pleaser Demo ’21 cassette reissue

On the second edition of their 2021 demo, Copenhagen’s PLEASER blasts out three sub-two-minute bangers. If you put a guttural metal singer up front, this would be a straightforward thrash/crossover band, but it’s not. A mix of shouted and melodic vocals from the two frontwomen form a menacing yet playful sound. Vocals ride over deathrock guitars, drenched in reverb, and super splashy drums—there’s a jitteriness at work, paired with catchy lyrics and downright push-and-shove rhythms. Kind of a riot grrrl thing, but more metal? BABES IN TOYLAND come to mind, or the more current band MAUDIT DRAGON who I reviewed a while back. This has the making of something very good. And before you ask—yes, their debut is on the way. Look for the self-titled LP this September and pre-order now!

Quinn Rash Death Devotion cassette

A solo release from the singer of Charlotte noise-poppers ACNE that revels in scruffy, romantic pop gems with noisy punk edges. Like a mix of the best parts of GUIDED BY VOICES, early NO AGE, and maybe even the CURE, QUINN RASH captures an intangible feeling of nostalgic emotion perfectly with these four tracks. “Reincarnate” opens the tape with gruff but melodic vocals, woozy, shoegaze-y guitars, and carefully layered production. “Me and Van Gogh” dips into SST-era SONIC YOUTH dissonant guitar lines, layered and laced with melody. Every song is a heart-tugging hit. I recently saw QUINN play live, and it was a fairly confrontational affair, heavy on noisy electronics. So, this tape comes highly recommended, but I am also curious about what he does next.

Reo Sobre Las Ruinas EP

Hard-stompin’ debut from these Spanish boot boys. Those familiar with the Tough Ain’t Enough catalog won’t be surprised by the four tunes on this EP. Big, meaty guitars with harmonizing leads lay the brickwork for gruff half-sung/half-shouted vocals, replete with anthemic choruses meant to incite a beer-drenched sing-along. The production is more polished than your oxblood Docs, which doesn’t exactly benefit the source material, but it doesn’t detract from the overall experience either. Do skinheads go to rodeos? If so, this certainly ain’t the first for the members of REO, having served in prior street rock acts like SHERRY SOLDIERS and SECOND DIVISION. “1880” is the standout for being the catchiest number, and would make a good candidate for inclusion on your next Oi! themed mixtape. Sobre Las Ruinas falls on the melodic side of the spectrum, but otherwise doesn’t stray far from the traditional sound of the genre.

Siekiera Róbrege ’84 EP

I put this record down on the turntable thinking what a treat this will be. I hadn’t given it a good look yet, and realize now it is a live sampler from 1984. The SIEKIERA Demo Summer ’84 repressing was a very top record for me in 2021—one of the best reissues I’d ever heard, that was initially recorded when I was seven years old, and I had never heard until a couple years ago. So all you need to know: track down the Demo Summer ’84  record. Track down this blistering fast and tight live recording (maybe first, as it’s probably cheaper). Totally powerful and a raw, bass-driven example of their relentless hardcore punk sound, similar to VORKRIEGSPHASE if you’d like a comparison. There are four live tracks on this EP, they all destroy at the highest caliber, and only two of these songs are on the demos record. SIEKIERA was on fire in Poland 1984! Treat yourself to both!

Spam Caller Habituation cassette

“Mysterious guy hardcore” hasn’t been an approved descriptor for, what, a decade now? And I’m not going to try and turn that outgoing tide. On the other hand, the actual spam callers of this world are some of its most mysterious guys, so can we suppose their hardcore band namesake follows suit? SPAM CALLER is from Novato, CA and this, their third tape in ten months, is some blitzin’ nihilistic hardcore on that “disaffected suburbanite sicko” tip. It’s got reverb-heavy vox and freaky psych guitar (“Waste It” being the real gem in that department) for BIB and GAG kids, but also unfettered rage and powerviolence-ish compactness of, say, the REPOS. Really cool foldout sleeve art designed by Mark McCoy too, the likes of which you rarely find on a tape release.

Terror 83 Demo 12″

Brazillian-style harcore from Sweden? OK, let’s go. This disc has five tracks of original music and five covers of tunes by PSYKOZE, MERCENARIAS, and OLHO SECO. I wish I knew Portuguese because this shit rips! Two of my favorites are PSYKOZE’s “Buracos Suburbanos” (“Suburban Holes”) and “Santa Igreja” (by MERCENARIAS.) Both have catchy choruses and great bopping rhythms. Musically, TERROR 83 plays crisp and clean with crunchy guitars and a solid rhythm section.

Terror Y Miseria Destruyendo y Sembrando LP

Anarcho-punk project heavily linked with crust and hardcore, from a collective of members that are from Spain and Argentina. Destruyendo y Sembrando was recorded between 2020 and 2021 in both countries mentioned, and features artwork illustrated by Max Vadalá, a graphic artist active in punk subculture mostly in Argentina and Latin America. The album compiles ten tracks about anarchy and the present state of the oppressive system of state domination, the media’s dominance over the population, immigration and anti-terrorism politics, and the everyday struggle against the capitalist status quo. Favorite tracks: “Destruyendo y Sembrando,” with a powerful poetic evocation about monotony and inertia and alienation, and “Urubu,” more aligned with a street punk tempo. Full of passion and heart, enthusiastically recommended for those who believe in and want a better world with no oppression or state violence, and are willing to stand and give the daily fight against government power.

Verzet Verzet demo cassette

This is the first demo tape from VERZET, a brand new band from Belgium, and I have to say that, sadly, I am unconvinced. It is just not my cup of tea. Not that the band sounds terrible—they don’t, and I’m not just saying this magnanimously to not hurt their feelings and get my ass kicked—but I don’t really understand what they are trying to achieve. I can hear a lot of old-school American hardcore, especially in the upfront vocal flow and tone. The music sounds energetic but the songwriting tends to lose focus in the process (as do I). This said, I can imagine people into the US hardcore school of thought enjoying this demo. And I imagine them wearing bandanas. Definitely wearing bandanas and trainers.

Warm Girls Warm Girls demo cassette

A GIRLS AT OUR BEST-referencing band name and a cover of a LUNG LEG song? This new Richmond, Virginia group sure had my number! That pair of reference points had me fully expecting some spiky, effervescent girl-gang post-punk from their demo, only for it to take a decidedly tougher and darker turn—half of the members of WARM GIRLS also played in the RVA noise punk band GUMMING, so add some gnarled SST damage to the Rough Trade/Slampt equation and you’ll be getting much closer. A rumbling bass grind stabilizes the rhythmic lurch of tracks like “Moonsick (Claire’s Song)” and “Maila Nurmi,” topped with petulant, punctuated shouts that recall NOTS or early PRIESTS, while the more animated vocal delivery and wiry guitar jabs thrown into “Inertia” and their take on LUNG LEG’s “Kung Fu on the Internet” (a cover choice worthy of a chef’s kiss) add some bright, charmingly messy strokes of art-punk color to the WARM GIRLS landscape. Solid!

Alerta Roja Punk Rock En Dictadura EP

This is killer. ALERTA ROJA was supposedly the first Argentinian punkers to record punk. Thanks to the do-no-wrong Texas punk label Esos Malditos Punks, we get this reissue of their first wax, along with some extra tunes from the session. This was recorded in 1982, but like other punk bands from the continent, they were still in the ’70s in all the best ways. Along with peers like LOS VIOLADORES, they were kicking out some high-powered, ’77-style punk jams. There’s a lot of EATER and of course the PISTOLS here, much like MUTANTEX if they had better equipment and recording studios. Lengua Armada Discos did another essential reissue some time back, but definitely track this one down or cry later.

Anxiety Spree The Vinegar Pageant cassette

Third release from upstate New York’s ANXIETY SPREE, which has turned into the solo project of Dominic Armao. Compared to the band’s last release, this is a little more focused, with no signs of the upbeat pop sound found on A Party For the Garden Rats. The instrumental intro to “The Price” reminds me of something you’d hear on a SLINT album, with mostly spoken word, to boot. Even though the lyrics are included, I find myself a bit lost in the metaphors, but that’s OK; I enjoy the syncopated vocals over the angular guitar lines. This self-released project will make you a copy of the tape by request—for four bucks this can be yours!

The Boyfriends Wrapped Up in a Dream LP

From NYC in the late ’70s, this is rock’n’roll that is clearly influenced by the likes of the NEW YORK DOLLS and the HEARTBREAKERS on the one hand and power pop of that era on the other hand. Overall, it’s damn good. It looks like some of these cuts were released as singles while others come from demos and other recordings. While overall very good, there’s definitely a range in the quality of individual songs. The title cut and “Voice on the Line” are standouts for me, but there are others right up there. Others are a little too rock’n’roll-y for me.

Bull Shannon Chill Power!!!!! cassette

Here’s a few minutes of lean punk fun. Most of the songs are fast, bare-bones, and accompanied by a nasal whine. Did I mention it’s fast? The whole thing was over before I could finish this review. “Owl Wings” is the exception, with a sluggish beat and a group chorus complete with “whoa-oh-oh”s. The cassette’s no-frills, bass-heavy sound could be a work in progress, or maybe BULL SHANNON always sounds like this.

Clarko Welcome to Clarko LP

Histrionic vocals and naughty guitar riffs coming from Reno, NV on this ten-track new wave brain-punk LP. DEVO-energy synth punk with a catchy, eggy garage twist, and even some early TELEVISION vibes in terms of tension, pauses, and the use of high notes. Synth and loop effects hit hard on this, achieving great balance (check the intro and the song “Alien Touch,” where the full spectrum of sounds and instruments merge and greet each other), but it also has a spacious sound filled with instrumental experimentation. Pretty much straightforward lyrics that verse on existentialism, with “Stifled” and “Your Time” being my favorite tracks on this release.

Cutters Modern Problems LP

CUTTERS go straight for the jugular with six blasts of quintessential Australian punk. Mid-tempo, yet still driving, the anger and tension builds with each song, portraying a worldview fraught with paranoia of impending doom and destruction. The refrain in the title track’s chorus states it best: “I don’t know where I’m supposed to live!” CUTTERS would fit well on a mixtape with ROSE TATTOO, COLOURED BALLS, and COSMIC PSYCHOS…the soundtrack for a vicious pub brawl or a rowdy house party. “Surveillance Drones” is a particularly gnarly tune, the pinnacle of LP’s angst and aggression with a hardcore bent. The whole affair is bruising and unsubtle, featuring a tightly locked rhythm section, screaming guitars, and burly shouted vocals. CUTTERS are like the CHATS’ scary cousins, and they’re here to wreck your night.

Data Unknown Cylinder 1 cassette

Indianapolis oddballs drop their fourth or fifth release since they began putting out stuff in early 2021. This time we’re getting six tracks of the fucked synthwave you’ve come to expect from this mysterious act if you’ve been following along. If you haven’t, it’s probably time to get on board—this thing is great! At times they sound like CHROME trying their hand at drum machine egg-punk, at others they sound like one of the weirder Ralph Records acts (probably SNAKEFINGER) covering, like, “Let’s Have a Party” by PSYCHOTIK TANKS. If only more acts were this eager to annoy while being this unbothered by trends!

Deathfiend Beyond Life LP

Sizzling doom metal punk from Birmingham. This reminds me of when members of DOOM went in a more dismal SABBATH style in a doom project called GLOOMY SUNDAY. Speed-wolfing HIGH OF FIRE riff addiction with sinister, blackened vocal tones like SCOLEX. Tasty riffs without a bunch of technical mumbo jumbo, just all-around killer D-beaten crusty doom metal. Vocals at times recall BOLT THROWER, but are much more evil. Clearly pronounced and gnashing (ex-DOOM, POLICE BASTARD, SORE THROAT—ahem). Parts ENTOMBED, parts BRAINOIL, songs clock in at around three to four minutes, with an abbreviated intro track and an epic outro track. Paces are full of variety but groove throughout, never getting overly aggressive, mostly filled with despair and world-eating interstellar gloom. DEATH STRIKE also comes to mind. I am only halfway through and the production and sharp changes have me hooked. Definitely check this out if you enjoy grizzle-charred death punk metal played sturdily as the old oak tree. Tie a black ribbon for good ol’ DEATHFIEND, kudos on this LP.

Ex-White This is Future LP

If you had told me this band came from the late ’80s/early ’90s Chicago punk scene, I wouldn’t have doubted you for a second. Hailing from Germany, EX-WHITE’S first full-length ranges from dance-driven post-punk to raw, Midwestern melodic hardcore similar to NAKED RAYGUN and LEATHERFACE. Very much in line with some of the classic No Idea bands. I can’t lie, there’s a little bit of AC/DC thrown in here as well, especially on the titular track. Catchy as all hell, and released at the right time. This is a summer jam right here, folks. Give it a spin, you won’t be disappointed.

Flop Machine Machine Beat Rock and Roll cassette

Nine songs of mid-paced, synth-driven garage punk out of Norway. If geography is indicative of genre, I would’ve guessed FLOP MACHINE to hail from Memphis, ‘cause this cassette has that Goner Records sound nailed. The vocals, in particular, feel very JAY REATARD-inspired. The layered yet lo-fi production is fitting, the guitar hooks are working, and there are some spicy little phrases being banged out on the keys, but my attention started to drift after a few songs that seemed to have the same tempo. After a closer listen, it became apparent that literally every song has the exact same BPM. Ah, the perils of drum machines! Gotta give that tempo knob a twist!! Setting that aside, FLOP MACHINE is clearly on to something. If you need more bleeps and bloops in your life, or just can’t wait for the next DIGITAL LEATHER album, flip on some FLOP MACHINE.

Grawlixes / Unknown Liberty Chaos NY split EP

If you love CONFUSE, you will adore GRAWLIXES precisely because, just like you, they also love CONFUSE, and therefore loving GRAWLIXES is like loving the love for CONFUSE, if you know what I mean. The band is from Albany and some of its members played in NEUTRON RATS, if that rings a bell. There are four songs on their side, very well executed given the template: it’s fuzzy, loud, distorted, fun, a bit silly and delightfully pogoable. Proper punk music. Ten or fifteen years ago, there were a lot of bands doing the Japanese noisepunk thing (like the WANKYS or SAD BOYS, for instance), and I reckon GRAWLIXES do it with gusto. On the other side, we have UNKNOWN LIBERTY, who are mostly unknown I guess, from nearby Kingston—a band that I had noticed with their rather good Chain of Madness demo tape last year. They also have a Japanese hardcore punk influence, but they don’t rely as much on the Kyushu tradition as GRAWLIXES, although there certainly is a noisy distortedness about them and they do love some feedback in their punk. On that level, I am reminded of CFDL and crasher hardcore bands like (Osaka’s) ICONOCLAST or DECEIVING SOCIETY, but UNKNOWN LIBERTY also has a more versatile side and they do add some nice dissonant guitar leads, not unlike some Italian greats maybe. The vocals are harsh and insane-sounding, and as the crude dove logo suggests, they obey the peacecrust doctrine. This is a split that I would love to own.

Illvilja Mörkret 10″

Since its beginnings, neocrust has always walked hand-in-hand with black metal. The sense of gloom approaching is prevalent in both genres, so it only makes sense that one should combine the two—HIS HERO IS GONE had one of the blackest riffs the crust world has ever heard in “Headless/Heartless.” It’s all about the atmosphere! ILLVILJA does exactly that, melancholic neocrust with a black-as-night atmosphere. And it makes even more sense since they are Swedish, they are born with melody in their veins.

Late Shift Late Shift cassette

LATE SHIFT is a one-person hardcore band in which Patrick Baxter, also of SPAM CALLER, plays everything himself. The results, on this debut tape, remain within the realms of blown-out HC, but change the formula up a bit. There’s a really appealing ignorant bootboy vibe to the arrangements, especially when they slow down a bit—sometimes I get NEGATIVE APPROACH, sometimes ’90s Cleveland scene bands like H100S—and a possible noise/industrial influence comes through the guitars on “Bummer.” Black metal-lookin’ logo, but no metal on these three songs really, nor will you feel like you need any.

Le Jonathan Reilly 7″, Demos & Other Rarities cassette

I guess we’re getting to a point where forgotten garage punk releases from the mid ’00s are ready to be rediscovered. Better start collecting those Douchemaster, Tic Tac Totally, and Boom Boom 7”s now while they’re just a couple bucks—it’s only a matter of time before some comp appearance really drives up the price! Valencia-based label Discos Peroquébien is doing their part to get the trend started by issuing this odds-and-sods collection from hometown heroes LE JONATHAN REILLY. It’s an eighteen-track cassette pulling songs from their two split 7”s (with TYRADES and CHRISTMAS ISLAND), as well as some compilation tracks and demos. They also put out a full-length album and a split LP with BLACK SUNDAY, but neither of those releases are represented here. The brand of garage punk these folks peddled was part CHEATER SLICKS’ detuned lurch and part COACHWHIPS’ aggro one-two stomp, but they managed to skirt straightforward turkeydom by letting just enough FALL and URINALS influence shine through. They’re also not afraid to stretch out a bit and let their guitars carry a melody—“A Question in the Answer” almost sounds like it could have been pulled off Daydream Nation. I don’t know that any of these tracks quite approach “lost gem” status, but I bet most folks (particularly in the US) were unaware of this act, and there are certainly enough cool tunes on this collection to make it worth your time.

Masque Demo 2023 cassette

Weird and messy crust punk with no surprises coming from Portland, Oregon. An angry, non-stop screaming voice with no direction, plus an overlap of noisy guitars and ranting drums. An eight-track demo where intrigue and mystery are promised, but I still got none of it.

The Neanderverbs The Neanderverbs CD

From Virginia comes this plodding guitar rock combo. The vocals are monotone and recorded in that “sing a line, punch in another” style to give a “singing at yourself” vibe. The songs are mainly all the same tempo, and there’s some nice reverb-laden guitars and maybe a tambourine in there. I would give them a DEADBOLT or DMZ comparison. It’s thankfully only six songs, and one’s a not very interesting L7 cover. Move it along, fellas.

Optic Sink A Face in the Crowd / Landscape Shift 7″

This is the new single from OPTIC SINK, a band that takes a very minimalist approach to synth punk and who released their debut album in 2020 through Goner Records.  Side A, “A Face in the Crowd,” reminds me of OMD’s “The New Stone Age” being channeled by the URINALS, while Side B, “Landscape Shift,” could have come straight out of Mute Records in the late ’70s, but not really, because it’s timeless—it actually inhabits a dimension of its own where some transhumans invited you to dance in a club that is a white room floating in the eternal ether of creation. It is really good.

The Passengers Coming Down / What Lasts Forever 7″

This lathe-cut 7″ is the latest single from San Diego’s the PASSENGERS. The tracks sound like a continuation of their 2021 full-length Under the Cruel Light: emotionally charged, synth-heavy goth rock with catchy, deep-end crooning. The two songs offered on this record are much the same, with layers of synth playfully dancing with drifting and distorted guitars. The baritone bass vocals are featured right in front and help to balance the tonal range. Both tracks are totally danceable, and either would make a great addition to your favorite gothic playlist.

Ratos De Porão Al Kasal LP

This LP consists of live soundboard recordings of RATOS DE PORÃO from the mid-to-late ’90s at various squats and venues in Mallorca. The tracks are from the band’s crossover era (Feijoada Accidente? and Carniceria Tropical), with a few covers for the punks. Perhaps the audio isn’t the greatest quality, but it successfully captures the pure aggressive live energy and the tension in the air that would not be able to be replicated inside any studio. May not be the most representative era of the band (such as Crucifados Pelo Sistema), but is when the band decided to cater to a wider audience while still staying true to their roots. Something to add to your RATOS DE PORÃO or Brazilian HC collection.

Spitting Image Full Sun LP

Great collection of snaky, noisy post-punk jams from this Reno, NV band. Instrumental opener “Intro” gives a table of contents of sorts with strummed indie guitars that build with shimmering distortion and chiming, atonal layers à la SST-era SONIC YOUTH. This is punk, but it’s been soaking in psych, desert-dirge country, and deathrock, and left in the sun to bake. “Spirit Trouble Flash” builds and releases heavy guitars along syncopated drum beats until the chorus hits, and it really hits. Tracks like “Not This, Not This” and “Devil’s Bloom” pound a menacing bass and drums cadence until serpentine post-everything guitar lines creep in and hover over the sound like dripping icicles. “In Menace Meadow” takes us to the dunes with clean strums and slide guitar twang. Check this out when you’re in the mood for expertly produced dark, knotty punk.

Surrogates Surrogates demo cassette

Holy shit, this is a white-hot ripper from Minneapolis’s SURROGATES. If you like some nasty metallic hardcore punk à la WARTHOG, ELECTRIC CHAIR, and FAIRYTALE, you’ll dig this. Lead singer Lulu delivers frantic vocals over crunchy guitars and furious hardcore beats, letting up on the gas exactly zero times throughout the entirety of the cassette. I recommend “Waste” and “Repellent” as standouts, but every track here is worth a listen.

Terry Call Me Terry LP

There’s a fairly crowded field of modern OZ DIY bands trafficking in jangly pop with post-punk smarts that owes more than a little to their nation’s ’80s greats (the GO-BETWEENS, the CANNANES, the PARTICLES, etc.), and TERRY has been one of the best of that bunch. Call Me Terry is their first full-length since 2018’s I’m Terry, which was itself the third in a rapid-fire succession of three LPs in three years, and even though previous TERRY efforts have always been skillful exercises in contrasts (the blurring of macro and micro lyrical concerns, perky melodies laced with darker subtexts, meticulously crafted pop song structures that still retain a feeling of shambolic looseness), it’s even more dialed-in this time around. With their multi-part guy/gal harmonies and non-stop carousel of hooks, tracks like “Centuries” and “Gold Duck” could have tumbled straight out of the International Pop Underground convention, but listen closely and the lyrics will shatter any lightweight twee fantasies—TERRY turns their focus to subjects ranging from colonialism to bodily autonomy to late-stage capitalist wealth disparities, and does so in a brutally honest and direct way without ever being didactic or clichéd. “Excuses” is a fuzzed-out stomper calling out the toxicity of privilege (“Blazer boys take after father / No excuses, knowing loopholes / Excuses for the entrenched”) before collapsing into a jumbled skronk of horns, and “Jane Roe” continues a dialogue that was started on an identically-titled but completely different song from the band’s previous LP, with playfully buzzing keys and shuffling beats circling a deceptively sugary-sweet chorus (“Baby, baby, baby / It’s a choice / It’s yours / You choose”) that’s more timely than ever. The most understatedly punk album of 2023.

Ultra Razzia Jusqu’au Bout de la Nuit LP

Very little warms the cockles of this cynical old herbert more than a good ol’ fashioned slab of Francophone Oi!, and ULTRA RAZZIA has done so in spades. Not quite as brickwall as broader scene contemporaries FORCE MAJEURE or FUERZA BRUTA, instead a slighter darker take on the genre, without fully slipping into the type of glacial post-punkery that has snuck in round the fringes. Certainly on the heavier end of the scale for Oi!, with riffs like treacle and bass that could cause a hazard to shipping, but never quite losing that “get your mate in a headlock” sing-along chorus that keeps us coming back for more. Keep it coming.

Warkrusher Epitaph / Victims of Mortality 7″

This is a record I have been anxiously awaiting since I first heard the band’s convincing 2019 demo. If the tape’s cover was pretty much unreadable, the content was certainly more clear and unambiguous: stenchcore for the unwashed. I suppose the rather unoriginal name did give it away, and an experienced linguist would have easily hypothesized that WARKRUSHER would probably sound like a cross between BOLT THROWER’s War Master and HELLKRUSHER. Not bad at all professor, thanks for dropping by. WARKRUSHER is from the prolific Montreal hardcore punk scene, and the members have played in a bunch of other bands that you have probably heard of like NAPALM RAID, PMS 84, and PARASYTES. This is the band’s first endeavour into the world of vinyl and it is, as I hoped, an absolute winner. The production is much better, crunchier and groovier, than on their previous recordings (and I do really enjoy the Pils Session, and not just because it is a terrible pun I wish I had come up with)—it just sounds heavier and more aggressive without falling into the merciless “we wish we were a death metal band” trap which is the equivalent of the Odyssey’s Sirens for crust bands. WARKRUSHER loves filthy metal, but they are in essence a punk band. There are two songs on this 7”; the A-side is a classic mid-paced stenchcore track reminiscent of early HELLSHOCK, SANCTUM, and early ’10s CANCER SPREADING. On the other side, “Visions of Mortality” opens with some AXEGRINDER-esque synth which always gets my attention straight away; it is the equivalent of a whistling toy for crusties. This one is probably more epic and I can picture myself riding a war horse (or more realistically a friendly pony) in the wasteland. What I especially like about WARKRUSHER is that they play the genre exactly as it is supposed to be played and write proper songs instead of just offering a D-beat version of BOLT THROWER. One of the best old-school crust bands around, without a doubt. The tape version of this gem has three additional tracks, two covers from AXEGRINDER and COITUS and an original.

Ass Life 3 LP Discography CD

I’m not sure if I fully get this L.A. band’s mix of D-beat, stoner riffs, and surreal humor, but maybe I’m not supposed to. This CD compiles three ASS LIFE tapes into a thirty-one-song endurance test. The tracks (especially the older ones) are heavy—mostly blistering D-beat assaults with occasional forays into MELVINS-esque sludgecore, with lyrics that often read like inside jokes without a punchline. For instance, “Sildenafil Penis” links Viagra with the war-torn city of Aleppo (I think), and I’ll leave “Shapeshifting Lizard People,” “Gape It,” and “Boofing w/ Chris Farley’s Ghost” up to you to investigate. But then, there are other moments that seem almost sincere, like the lines, “I used to party / I don’t do cocaine / My son is my drug / My son is my drug” in “My Son is My Drug.” In “Serious Man,” we have “I’m a serious man / And we’re a serious band.” So, who’s to say what is irony, or if it even matters. The songs all rip pretty hard with full-throated hardcore and borderline metalcore chugging. The playing, thick production, and fat distortion tones are all top-notch, and the vocals, as disconcerting as the lyrics can be, fit perfectly. Near the end of the most recent collection, there are some interesting left turns. “Vomitive Hues” opens with a distorted, monotone rendition of the BEACH BOYS’ “Barbara Ann,” and “Really Cool Cars” surprises with clean guitars and sung vocals about “Pretty cool cars / Dependable, safe cars” that highlight L.A.’s economic disparities that allow some people to flex Lambos while others must use their cars as shelter. It goes from BILLY BRAGG folk to heavy alt-rock like FAILURE without sounding contrived. Weird and recommended.

Belgrado Intra Apogeum LP

La Vida Es Un Mus never ceases to impress, especially when it comes to the diversity of albums they put out. The latest case in point: BELGRADO’s Intra Apogeum, a stunning eight-song long-player that is so assured in its style that you’d be fooled into thinking you’d heard it before. BELGRADO wears their influences on their sleeve, and in this case, imitation is the sincerest form of flattery. It’s icy and clinical but catchy, danceable, and full of romance, not unlike Berlin-era BOWIE, NEW ORDER, and most certainly Siouxsie Sioux. Each song’s propulsive auto-drum beat bops along with bouncy synth effects, rubbery bass lines, and vocalist Patrcyja Proniewska’s ethereal voice, all coming together to create a rich and cinematic sound that makes for an unforgettable listen. A year-end top ten album, to be sure.

Bina Utlåst EP

Following their single “Död Svan Blues,” BINA released a three-song, ’77 punk rock-inspired gem by the name of Utlåst. BINA strives for melody creation, as all three songs are super catchy and get stuck like glue in your head, and the energy is always to the max. Don’t believe me? The first and last songs have freaking harmonica solos, for god’s sake! Did I convince the redneck in you yet? This is pure Swedish punk rock à la KSMB.

Completed Exposition & Blackphone666 / Transient & Bastard Noise split EP

Nothing makes me happier than seeing BASTARD NOISE still active and evolving after over thirty years of making ears bleed. Their most recent reincarnation has them teamed with Portland grindcore vehicle TRANSIENT, a partnership that has blossomed over the last several years. This pairing takes up the A-side, and it’s pretty much what you’d expect. Brutal powerviolence infused with classic industrial. COMPLETED EXPOSITION takes up the B-side and continues the flow with a style of death-grind that mirrors CARCASS mixed with MAN IS THE BASTARD. Go figure. A wonderful slab to add the collection for any extreme music fan.

Counterweight Sculptured in the Flames of Victory and Blood LP

Vegan straightedge hardcore band from Poland that existed in the late ’90s. This LP collects two separate releases—the first five songs have a noticeable difference in sound quality from the latter ten, which leads me to believe the first release was a demo and the second was the album. This is very metal. Like yeah, they band is described as a hardcore band, and the album cover has camouflage and your standard “singer among the crowd” picture, but this is full-on metal. Not something I’d really find myself revisiting often or at all, really.

The Dark Dressing the Corpse LP

The songs on this album were recorded by Cleveland punks the DARK in 1984. If you like T.S.O.L. circa “Code Blue” or early MISFITS, then you should absolutely listen to this album. The riff-heavy, freakout-style hardcore blends seamlessly with the deathrock atmosphere and creates a haunting realm similar to partying in a cemetery after dark.

Display Homes What If You’re Right and They’re Wrong​?​ LP

Debut LP from this Sydney three-piece following a couple of EPs, the earliest of which came out back in 2017. And this thing kicks off with quite a track! “Nitty Picky” starts out as a energetic post-punk number—the rhythm section provides a bit of a bounce but keeps things relatively stern, while jagged guitars stab into the track, and the vocalist blurts out her lyrics in a shout falling somewhere between NOTS’ tuneless contralto and WARM BODIES’ manic, sing-songy yelp. But about twenty seconds in, the track shifts gears. The bass line gets busier and more tuneful and the guitar launches into a shimmering melodic chorus—like Andy Gill and Dave Allen morphing into Bernard Summer and Peter Hook mid-song. The remaining nine tracks on the record also more or less teeter on that same seesaw with GANG OF FOUR on one end and something closer to new wave on the other, but it’s never as balanced as it is on that album opener. Nevertheless, it’s an extremely listenable record by a band that clearly reveled in the act of making music together and seemed capable of growing and delivering a classic in the near future. Tragically, this will be the last we hear them. The guitarist passed away suddenly about a year prior to the album’s release—something I was devastated to learn after spending so much time listening to the record and thinking specifically about how much life his guitar breathed into it. I can’t imagine the toll this loss has taken on the surviving band members or the scene that was touched by their music. It’s made subsequent listens tough. Still, I encourage you to give the record a spin. It’s music you can’t help but enjoy.

Fuck Sorry! Eat Shit LP

Femme-fronted hardcore group from Vienna, Austria with their debut LP. I can’t decide if I like the band name or the album title better, but needless to say, they’re both amazing. Very politically-minded, they start us off with “Prime Time War,” singing “They all stare at the TV in awe / Disgusted but fascinated / And excited by the spectacle and the misery.” The song is laden with clips from newscasts and the sounds of machine guns repeating. I’m not usually into sampling like this, but it works here, reminding us of the buzzing, distracted nature of media consumption that leads to confusion and apathy. The following track “Eat Shit” is a fucking ripper, and refreshingly short after the long opener. The you-are-what-you-eat adage is put into focus with a pummeling reminder of how much plastic has made its way into our food and water systems—“Finally we are eating our own trash.” If you’re looking to get pissed à la CRASS listening, then tuck that napkin into your collar and get ready to Eat Shit with FUCK SORRY!

Goblin Daycare Q: EP? A: EP!! cassette

Really digging this debut cassette from Istanbul, Turkey’s GOBLIN DAYCARE. “Mama Goblin” does it all in this project, combining bedroom synth waves with garage punk and resulting in an equation that reaches the highest level of egginess that weird punk could reach. Lo-fi punk maniacs and DEVO-core worshipers casting sounds with deranged guitars quite in line with the Spanish band PRISON AFFAIR, good mashing synth mayhem, and heavily reverbed electronic drums, plus an on-point distorted voice that’s still audible with non-stop ranting in the fashion of cyberpunk band WWW (and even reminiscent of Jello Biafra’s vocal register) and a bit of DEVO’s stop-and-go songwriting. Imagine if DEVO and Jello were fighting in a steamy basement and add it all to the experience of surfing space in a videogame. Suggested tracks: “Coup De Grace” and “Officer Down.” Things are getting quite eggy in the realm of weird punk.

Hozomeen The Void LP

There’s an identifiable type of noise rock that sounds, above all else, weary: beaten down by life, just about keeping its exasperation from boiling over. That doesn’t really read like a compliment, but it’s intended as one, certainly in this case. HOZOMEEN, a one-man project from northeast England, has this sound locked down. At its most effervescent, it sounds like the JESUS LIZARD after they got big but before they signed to a major label; elsewhere, the riffs are similarly big and hulking, but slower, like when you drag your own sagging carcass out to face the day. Not doom metal or slowcore, but on speaking terms with those things, and “One Kilohertz” is on an unmistakable MELVINS tip. There are some guest trumpet parts and unorthodox, maybe even dub-influenced production touches if you listen carefully. Graham Thompson, who is HOZOMEEN, has been in a solid list of bands over twenty-something years (thrashcore in JINN and NEUROSIS-via-hardcore in GRACE are the two I’m most familiar with) and has hit on something really neat here.

Illiterates No Experts LP

The newest release from Pittsburgh’s ILLITERATES does not disappoint. These guys have been releasing quality hardcore punk music for a while now, and No Experts is absolutely no exception. Featuring twelve tunes blazing by in about as many minutes, ILLITERATES know how to do this type of thing right. Fast for the sake of it, loud for the sake of it, and dumb because it’s all they know how to be—just like so many of the classics. Recommended!