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!

Greed When the Holocaust Come LP

There is a lot of GREED in the world. Indeed, I have been able to find quite a few bands using this moniker on Discogs, from a ’90s Italian hardcore band, to a Leeds-based metalcore band, to a Japanese melodic punk band, to a nu-thrash groove metal band from Germany (this sounds pretty horrific, do not try this at home), and not one but two house dance acts. And that’s without mentioning the ’90s Swedish crustcore band that had an EP on Distortion Records—I initially thought that When the Holocaust Come was some sort of discography, but I was wrong, as it is an album from a Mexican GREED from Nezahualcoyotl that I had never heard of. The band has been going since 2011, and with a cover depicting a gas mask, skulls, and soldier skeletons, you won’t be surprised to learn that GREED play dis-oriented music, in the present case a brand of raw, primitive dis-crustcore with vocals that are not unlike those of some Japanese crust bands. The production reminds me of old-school grindcore more than crust though, and it makes sense that the singer/guitar player also makes noise in grind bands. It sounds like AGATHOCLES covering BATTLE OF DISARM and BOMBRAID. I didn’t really expect to like it, but I think it is a good record of primitive, dark D-beat crust. The vinyl version was released on Swedish label Cimex Records, the label run by ANTI-CIMEX’s drummer (duh).

Hands Off Hands Off demo cassette

Independent punk band and label from Groningen in the Netherlands, with ten tracks of swift and buzzy riot grrrl. I really enjoy the pulse beat in the synth-driven “S.I.M.” that employs the repetition of “no one has” to start every line of the song. With this type of repetition used throughout, I hear a poetry in their songwriting, which is presented calmly over synth lines, like on “S.I.M.,” or shouted over fuzzy guitars like on “Get Me One.” If you enjoyed the 1993 Stars Kill Rock compilation put out by Kill Rock Stars, then I think you’ll be at home here.

Idiopathique Idiopathique cassette

IDIOPATHIQUE throws everything at the wall and sees what sticks. They tear through a mixtape’s worth of styles, from crust to MINUTEMEN-esque jazz parts to early ’80s HC. The dual vocals are pitched screams and growls throughout. I felt my attention pulled in too many directions here. All of those genres deploy more than enough aural input on their own. Featured back-to-back like this, they just felt like a hurdle instead of a provocation. It’s also possible that my middle-aged self is just fatally out of touch with the youth of today.

Italia 90 Living Human Treasure LP

Very cool artsy post-punk from across the pond in London. Darkened dance-rock akin to JOY DIVISION, ADAM & THE ANTS, and PUBLIC IMAGE LIMITED. Spacey and ambient at points, atmospheric and subtly industrial at others. Singer reminds me very much of Nik Fiend of ALIEN SEX FIEND fame. The rhythm section provides most of the hooks while the guitar is left to wander on its own, getting lost in a sea of dissonant chords and reverb-laden licks. Dystopian poetry for an ever-growing apocalyptic world. Lovely work here.

Kat Haus Manic cassette

Fantastic EP that stands between egg-punk and post-punk, in the vein of KLEENEX/LILIPUT with the sense of humor of K Records. Songs are fun and catchy, lyrics are smart and satirical, guitars are razor-sharp, the bass wants to dance with me. A delight. My fave track is “Bum a Light.” Listen to that, right now.

Litovsk Litovsk 12″

France’s LITOVSK has released a beautifully packaged slice of life on their new self-titled 12″. Playing crisp and clean melodic post-punk with shimmering guitars and nasally vocals, LITOVSK recalls bands like MISSION OF BURMA and the REPLACEMENTS, and would fit quite nicely on a bill with contemporaries MIDDLEMAN. Lyrics range from socio-political themes like nationalism and chauvinism to themes of heartache and longing, most notably on “Riverside,” a sparkling ode to childhood in a poor town where riding mopeds and attending soccer matches distracted from the mundanity of life. Heartfelt and sincere, LITOVSK delivers a satisfyingly introspective listen.

Louse / The Shits split 10″

An insert packaged with this lathe-cut 10” bills this as the first in a series titled The Red Room Collection, a repository for “the UK’s most distinguished scum rock outfits.” Clearly, you have to come flying out the blocks with a claim like that, and this occurs with the SHITS and LOUSE (from Leeds and Newcastle respectively, although I believe there’s some shared membership). The SHITS have been getting increasingly psychedelic over their short-ish discography, albeit in a disagreeable bad batch kinda way; of their two cuts here, “Gratification” sticks in the head hardest thanks to an ignorant wah pedal sound as heard in latter-day BRAINBOMBS albums. LOUSE tips the cap to their confessed influences even more straightforwardly via a cover of DRUNKS WITH GUNS’ “Fist Puppet,” alongside two of their own. “Human Ashtray” is like when you listen to KILLDOZER and ALICE DONUT and think it could stand to be a bunch more deranged. That adds up to distinguished scum rock!

Motormouth More Time / Get It On 7″

While the band is from Belgium, the songs are sung in English. This is fairly straightforward mid-tempo punk rock that has elements of hardcore, but remains pretty melodic and catchy. Some of the guitar seems a little unnecessary to me. It’s got an intensity that seems on the verge of exploding. I wouldn’t say that I loved it, but I did enjoy it.

M.V-11 6 Songs EP

Japanese hardcore alert! M.V-11 rose from the ashes of ENDLESS CHAOS to deliver a hardcore ass-kicking the way that only Japanese punks can do. Six hardcore bangers that use the same energy as bands like NIGHTMARE or LIP CREAM. A solid EP for the Japanese hardcore maniacs!

Nubot555 No Way Back cassette

Okay, this one tested my patience, but hear me out because some of the freakiest among you egg-punks might dig it. NUBOT555 is an Antwerp, Belgium-based sci-fi punk band with a vocal approach unlike anything I have ever heard. The synth-based tracks bubble along with bouncy bass, buzzing keys, and a tinny electronic drum sound. Not bad, but nothing new—until the vocals kick in. Each song is a duet between two voices: one like a vintage Speak & Spell delivering platitudes about resurrection and human life, and one that sounds like what you would make a sock puppet say to a child, but pitch-shifted. Think about it for a second. Computer voice plus silly puppet voice doing call-and-response vocals over thrift store electronics. You’re either in or you’re out; consider this the line in the sand.

Playthings Playthings 12″

Ōtautahi/Christchurch’s PLAYTHINGS have far too often been left in the shadows when it comes to post-mortem histories of New Zealand’s ’80s underground, which generally privilege bands who recorded for Flying Nun and/or the pastoral psychedelic Kiwi pop sound most closely associated with the label, but that’s exactly why this new compendium of the post-punk group’s two bonzer-certified singles (plus a bonus unreleased track) is so necessary. Bassist Jay Clarkson and guitarist Janine Saundercock each took a turn at the mic for their 1981 debut 7”—“Coloured” employs dryly recited vocals from Jay and angular twists of guitar with a dark and mysterious early UK DIY/Rough Trade feel, while the Janine-sung B-side “Sit Down (Stand Up)” explodes with bold, no-nonsense first wave New York punk energy like a femme-fronted VOIDOIDS. Janine left before the second and final PLAYTHINGS single in 1982 and Jay took over as PLAYTHINGS’ sole vocalist for three songs that smooth out some of the band’s sharper corners for a more pop-inclined approach, although there’s still plenty of tension to be found in the AU PAIRS-ish “Pure Frost” and the sharp, cutting guitar and rumbling bass that runs through “Bird’s Eye View,” with the previously unreleased “Grits” vaguely recalling Exene-led, Wild Gift-era X. There’s only 300 copies of this out there, and that’s criminal.

Psychic Death Psychic Death 2 cassette

Spokane’s PSYCHIC DEATH’s latest cassette release is five tracks of both fast and mid-paced hardcore punk, with unique songwriting styles that don’t resort to another cookie-cutter mold. Music is ’80s-style USHC, but the vocals are reminiscent of ’90s San Diego bands à la SWING KIDS or ANTIOCH ARROW—oddly, it works. Unique musical complexity, but may need a dose of simplicity to make it a more of a good hardcore release. For fans of DIE KREUZEN.

Raskol Raskol cassette

A warm, lo-fi embalming of class-itch hardcore. The bass distortion is particularly crunchy, while the songwriting is traditionally stompy with outstanding trembling drum rolls. Vocals are belted with intense power—a furnace recalling INTEGRITY and REACT, and later ANTIMOB and GOLPE. As the four tracks move on, RASKOL gets more comfortable with their flow while simultaneously bashing you up with thunderous hardcore punk beats and dark beatdown riffs. MIND ERASER and HOAX come to mind, bringing my stomach back to an unsettling point, and my mind to euphorically grinning, pre-pandemic pits, if that makes sense? RASKOL feels new and relevant but from a timeless place. This is a short, sharp shocker of a tape that you’ll return to immediately, as it really settles into being special about a quarter of the way through. That’s a good thing. Get with the flowgram and follow that snare…

Science Man Mince’s Cane LP

It’s a rare feat when an album can transport the listener to a place beyond the confines of quotidian cognition. Enter SCIENCE MAN. The brainchild of John Toohill, SCIENCE MAN embodies more than a band or project in that it is an amorphous entity that continually expands, contracts, and creates. Mince’s Cane is an ambitious undertaking that has spawned the seven utterly ripping songs found on this LP, along with a seven-part accompanying short film produced by Toohill and Lindsay Tripp which is available on a professionally duplicated VHS. The videos and the music are truly of a piece, however, they are crafted with such deftness that each can stand on their own. Listening to the album decoupled from the video component is interesting because the music is both imaginative and evocative in its own right. More explosive than a lab experiment gone awry, Mince’s Cane pushes the boundaries of hardcore punk in an unrelenting aural attack. Frenetic drumming undergirds blasting bass and guitar riffs that create a haunting atmosphere for the mutated wailing vocals. The lead guitar parts are forward in the mix, and provide the extent of what one could consider harmony. These leads are juicy, though! As a whole, the album is so ripe with character and perverse charm that it just oozes mystique. That’s where the sense of being transported to another realm comes into play. The songs feel bigger than their constituents, hinting at otherworldly psychotropic visions. Drop the needle and strap in, SCIENCE MAN will strip you of your mortal coil. 

Suspect Demo EP

Five-song banger of a demo by this German outfit. Hardcore punk songs that all clock in at under two minutes. This has everything you’d want in a band like this. Fast parts? Check. Slower but not overdone breakdown parts? Check. The only downside to this is the recording itself. It’s a demo, so one should not expect a full-blown, highly produced recording, and really it’s not too bad. There’s just something off about it that I can’t quite put my finger on. That aside, this has potential to be awesome.

Taünt Taünt demo cassette

Blackened noisecore filled with hints of powerviolence, coming up from Albuquerque, New Mexico. Use headphones for a better experience, as the vocals are heavily echoed and synth mayhem is strong in this one. Suggested tracks: “Dawn” and “No” (“Future dreams / Days of peace / Broken bombs / Nature keeps / Hunger fed / All released / Open arms / Can human escape? / No.”). This debut consists of five relentless tracks in less than six minutes, containing a noisy intro with detonations and even fighting video game sounds. Extra credit for the lyrics being on their Bandcamp site, which happen to be synthetic yet very good. Great noisy start for TAÜNT, keep ‘em coming!

Träume Ob​ł​ę​d EP

First recording from this Warsaw-based hardcore foursome. TRÄUME (or “trauma”) and Ob​ł​ę​d (“madness”) give the English-speaking sap like me a context for the rage within these four songs, which are over within seven heated minutes. The band rips—pick slides and chugging guitars galore with straightforward tom-pummeling drums. Vocals remind me of the way BAD BRAINS shout, howl, and emphasize end lines by swinging up an octave. Not a clue what they’re singing about, but I’m all in!

Uzumaki Uzumaki cassette

This is the musical testament of UZUMAKI, a Galician punk duo that made noise between 2013 and 2016, and you can now listen to all their recordings on a limited-run cassette. Razor-sharp guitars, melodic bass lines à la Kim Deal, a hyper-accelerated drum machine, and a voice that rips and is reminiscent in a very pleasant way, of yes, Kurt Cobain. Think of FUTURE OF THE LEFT, but more unhinged. Think of those bands that deliver everything on stage with absolute conviction in what they do and that you find in an unexpected way, bands that slap you in your face with their forcefulness and awaken in you absolute devotion by the end of the show. This cassette is your little secret, your own private beach of visceral catharsis, a code that only you manage to decipher. The world sucks, but then you come across gems like this and the birds start singing again and all that.

3D & the Holograms 3D & the Holograms LP

Man, I’m sure someone out there is going to read this and consider it blasphemy, but my first thought upon hearing 3D & THE HOLOGRAMS’ self-titled release was “this is what GG ALLIN wishes he had sounded like.” Rock’n’roll chaos that is as brutal as it is catchy. There’s no build-up or warning. Once you hit play, you’re immediately thrown into the tornado of sound. Much like a caffeine-induced panic attack, you feel trapped. The walls are closing in around you and there is no escape. However, you find yourself enamored with this unadulterated fear. You embrace it. You crave more. But with a blink of an eye, it’s all over. Fantastic stuff here.

A 5 Kalte Erotik / Längst Vorbei? 7″ reissue

The debut EP from Germany’s A 5 (1980’s Erst Ausgabe EP) was a fairly trad expression of early ’80s Deutschpunk, all speedy, bouncy rhythms and rapid-fire dual vocal trade-offs, but for this 1981 follow-up (also their final record), they waded into the much darker and icier waters of Neue Deutsche Welle. The sinister rhythm of A-side “Kalte Erotik” is intensified by percussive piano stabs and disorienting waves of synth as the female vocalist (who delivers her lines entirely in German) switches from a stern, dispassionate MALARIA!-esque tone to wild shrieks with shades of NINA HAGEN, while her male counterpart responds with shouts in English about, uh, ice cream—an unintentional psychic synth punk bond with KITCHEN AND THE PLASTIC SPOONS’ “Ice Cream to God” from the same year?! On the flip, “Längst Vorbei?” is comparatively more bright, with bubbly new wave keys behind a breathless call-and-response and a charging minimalist beat, like HANS-A-PLAST with a little more PETTICOATS/PLASTIX-modeled eccentricity. Post-punk really did suit them much better, das ist gut.

Big Mess Chartbusters cassette

I love when a band just tosses out a strong four tracks of well-written, earnestly performed and unfussy rock‘n’roll. That’s exactly what this is, and it never fails to amaze me how refreshing that is. No pretenses, just a lot of fun with enough teeth to really bite down. I don’t think everyone realizes how much harder it is to write songs with juicy hooks in under two minutes. Most bands seem to have a problem with editing, not so with these Danes. It’s lean as you like, and a hell of a good time.

Blonde Revolver Good Girls Go to Heaven, Bad Girls Go Everywhere LP

If the title of the debut LP from this six-piece, all-female ensemble of Melbourne punkers doesn’t draw you in, then simply hit play. With members coming from BODY MAINTENANCE, CARPET BURN, DELIVERY, FUTURE SUCK, and GUTTER GIRLS, this lot is churning out some snotty, synth-drenched, Aussie-signature tracks that truly make you want to move. The album opens with the theme from Buffy and goes into a song about vampires (“Raise the Stakes”), they lean into their leather and fishnet aesthetic on “Lipstick and Leather,” and in “DOC NRG,” which is my favorite track, shouting the chorus “We’ve got big DOC N-R-G.” Late ’70s rock’n’roll irreverence in a modern, doom-driven context that finds a way to laugh the whole way through. I think of an all-female SICK THOUGHTS, and fans of JUDY AND THE JERKS would definitely enjoy this. Dirty and grimy sounds covered up in bright makeup—what’s not to like?

Brody and the Grodies / The Minor Inconveniences A Grody & Inconvenient Split cassette

Pairing a Connecticut one-man band with a campy garage quartet from Seattle, this tape showcases two types of homespun punk action. The MINOR INCONVENIENCES is a gentleman by the name of Zach Fontanez playing bass, guitar, and vocals on some digital drum-assisted hardcore punk tunes with a ’90s type of lean. He follows two solid tunes that ride the line between melodic and maniacal with a cover of POISON IDEA’s “It’s An Action” that’s equipped with a razor guitar sound that’s pretty sweet. BRODY AND THE GRODIES come next with “Who Drank All the Beer,” a goofy-ass stomper with an intentionally obtuse attitude à la PERSONAL AND THE PIZZAS. They continue the juvenile party rockin’ with their band theme before wrapping it up with a SUPERCHARGER cover that’s somehow even more “budget” than the original. Good, clean punk.

Crimetime …Let There Be Crime LP

First let me address the album cover. Band name, album title, and a drawing of the Hamburglar with boots and a baseball hat with a flipped-up bill. Simple, eye-catching, and most importantly, it really gives the listener no clue as to what this band is all about, which I actually prefer when going into hardcore records. Now, let’s talk about the record itself. Hardcore punk, fast and angry. Overall, pretty good. Some of the songs may be a bit too long for my liking when it comes to bands like this, but that’s personal preference. I think with a bit of spit and polish recording-wise, this could have been a pretty good-sounding record. Parts of it just don’t sound as good as they could, but all in all, a pretty decent outing. Even the last song with the ska parts didn’t bother me.

Crocodiles Upside Down in Heaven LP

L.A.’s CROCODILES have been a mainstay in the rock’n’roll scene for years now, and they sound tighter and brighter than ever on their latest Upside Down in Heaven. Ten punchy, power-poppy bangers that recall the best of the early days of Stiff Records mixed with a moody shoegaze sheen. Lead single “Degeneration” sounds like Arabia Mountain-era BLACK LIPS tipping their cowboy hats to the WHO, while title track “Upside Down in Heaven” sounds like the Reid brothers adding some color to their palette. And while sticking closely to the revved-up “April Skies” sound, CROCODILES keep things feeling fresh with surprises here and there, like the ripping saxophone on “Surfin the Dead,” or the sterling guitar work on opening track “Love Beyond the Grave” that would make the STROKES proud. Just in time for summer, Upside Down in Heaven is a blast and wouldn’t be out of place bumping from a stereo on the beach with a beer or three.

Daltonz Hier, Demain, Maintenant LP

La République has always been a bastion of Oi!, and while the current crop of current cropheads waving the tri-colour are doing a lot to drag the genre in the direction of more spartan, post-punk influences, it’s nice to see grizzled vets DALTONZ steadfastly sticking to the old ways and sounding great twenty years in. Firmly in the tradition of the COCKNEY REJECTS or 4 SKINS, it’s eight solid tracks of full-fat, 100% not-from-concentrate skinhead rock’n’roll, and it sounds great. Vive La Oi! Vive Les DALTONZ!

Demoralized Demoralized demo cassette

There’s no mincing words here, folks. This is some of the best grindcore I’ve heard in quite a while. DEMORALIZED’S demo is very true to the genre’s nature—raw as hell, unlike a lot of the overproduced, studio grind you get nowadays. Drums sound natural and range from fast to fastest. Feels as if they were all done in one take, I mean that as a compliment. Guitars are heavy as hell and the vocals go unwavering. I’m usually not a fan of heavy treble on the bass, but it fits the DIY aesthetic so well that I can’t be mad. I terrorized my neighborhood last weekend by blasting this while grilling in my backyard. You kids make me feel young again.

Eat My Fear New Era LP

Angry, fast, and loud, EAT MY FEAR’s New Era is a collection of political punk songs about solidarity, conflict, gentrification, friendship, and community. According to the album’s write-up, it was recorded during the COVID-era lockdowns amidst the displacement of many local DIY spaces in Berlin. You can certainly feel the power and urgency behind these songs, mostly in the vocals which are shredding in near-desperation throughout. Sonically, EAT MY FEAR ranges from straightforward hardcore to skate punk to nearly pop punk, but what carries this album is its venom, its intent, and its message.

Fatigue Precious Rage cassette

Killer fuzz, solid L7 vibes, an opener titled “People I Want to Punch,” and I’m standing at full attention. The whole band is digging deep into early ’90s grunge for influences (I’m gonna mention that fukkn fuzz again because it’s that damn good), but between the aggressive approach and the snarky snarling vocals, FATIGUE sounds anything but tired.

Gaoled Bestial Hardcore flexi EP

The Bestial Hardcore EP from Perth, Austria’s GAOLED is a wall of aural hell. Raw, nauseating, distorted guitars with boiling magma drum sounds from hell (the vocalist is undoubtedly a golem). Reminiscent of where CROSSED OUT and other local veterans RUPTURE left off, but with the contemporary metallic influences of BEHERIT and BLASPHEMY worshippers. Perhaps it has something to do with great weather and this almost reinforced sense of happiness and positivity, but all RUPTURE, CROSSED OUT, and NO COMMENT seem to come from similar environments and ended up with similar sounds. Includes a cover of Boston’s CROSSED OUT worshippers SCAPEGOAT.

Hellish View Demo ’21 cassette

HELLISH VIEW only worships three things: lyrics about war, D-beats, and Kawakami! Nothing new, no improvement, just good old raw hardcore the way that DISCLOSE and SHITLICKERS used to do it. As it says on their Bandcamp page: “New bassist and drummer, still worshipping DISCLOSE.”

Ibex Clone All Channels Clear LP

Back in 2019, a handful of Memphis musicians (folks from NOTS and EX-CULT) put out an LP under the name HASH REDACTOR. The music they played was part wry post-punk, part brash noise rock, part swampy garage punk, and 100% my shit—easily one of the best records of the year. Alas, like most good things, HASH REDACTOR wasn’t made to last. About a year into the pandemic, they announced they were ramping down operations. But they also offered a silver lining: three quarters of the band would continue on as a new project, IBEX CLONE. So, when Goner announced this debut LP two-ish years later, I was stoked. Now, I don’t know what I was expecting from this outfit, but I did not foresee a pivot to adult-oriented jangly guitar rock. It’s gotten me all out of sorts. I’ve listened to this album countless times at this point, ready for it to click, but it just hasn’t. It’s certainly no fault of the production. This thing is sonically incredible, probably the best a guitar will sound on record all year! But the songwriting is leaving me cold. The label copy calls this “post-pop,” a term I’ve never heard before but instinctively want to say is inaccurate (for context, the band that popped in my mind was HOME BLITZ)—there’s just not enough pop here. They also mention XTC and GUIDED BY VOICES, which, yes, absolutely. If anything, I’m tempted to call this post-slacker rock, as it’s clearly indebted to the latter act while featuring enough of the former’s intricacies and proggy-ness to leave no doubt these songs weren’t just casually tossed off. But therein lies the problem. This is decidedly uncool music. It’s music for grownups—stuff that needs to be actively appreciated rather than passively enjoyed. And, look, that’s fine, it’s just not what I’m looking for in my punk records. I’m looking for drecksounds.

Kellerasseln Geradeaus EP

Geradeaus is the latest EP release from the long-running German hardcore punk band KELLERASSELN. With ten songs in almost (but not quite) as many minutes, these tunes are short, fast, and loud, with not a single song exceeding the one-minute mark. They aren’t without any tunefulness though, as most personified in the vocal delivery. Not necessarily something to write home about, but a solid EP that I would say is worth your time.

Left On High The Green Album CD

Really mediocre rockin’ punk with a hint of hardcore and some metal guitar. I guess there’s a Red Album and an Orange Album as well. The flag of Zambia? Dunno, but this is barely twenty minutes long and I’m still having a hard time getting through it. There’s some really cringe-worthy STONE TEMPLE PILOTS-like moments on “Laughter in the Rain.” Maybe that’s your bag? There’s moments where hillbilly rhythms and Southern accents arise (they’re from Florida) like “Tomorrowland,” and sludge-heavy riffs as on “Knew You.” There, I made it through. Oh shit, there’s one more. Can’t do it. Zzzzzzzzzzzz

Martø Martø cassette

Ripping fast powerviolence from Lille, France that sounds like the best of the microgenre. This is a great twelve-song demo, full of full-throttle guitar/bass assault, machine-gun blastbeats, and dual vocalists: one shrieker and one graduate of the Chris Dodge school of caveman-core. It’s all top-tier intense hardcore, and there is enough variety to keep it from being a power blur. For instance, “Baton” opens with a heavy bass-led groove, “Enclume” has classic hardcore riffing, and “Pointe” features crunchy metal chugging before exploding back into furious PV. Place this next to your CAVE STATE and NO COMPLY records and let it blast.

Obsoletos Obsoletos demo cassette

Garage punk project from Chile, with frantic vocals talking about existence and systemic disposable culture. Bits of post-punk, but primarily focusing on the garage-y side of punk, with wide open, high-pitched reverbed guitars that go along just fine with the vocal exultation that leads the music. The formula might sound redundant as each song is similar to the others, but all of the three tracks have something interesting and different to offer, even nodding to classic punk rock as in “Pandilla Agresiva,” which reminds me of high-energy early NEW YORK DOLLS. Solid and interesting demo, I’m eager to hear more.

Pestigor Baptized in Pus LP

Described as “bubonic hardcore,” this filth from Denmark is reminiscent of SACRILEGE or TEMPTER, with some power metal falsetto vocalizations like HIRAX. But almost more importantly, I’m feeling a strong relationship to the PLASMATICS, as well as the chosen theme of this band, Warhammer 40,000. PESTIGOR plays a ravishing mix of D-beat and thrash metal in their malevolent Realm of Chaos and space marines. They sound fun and furious. The last two tracks are my favorite—this is the kind of album where I wasn’t sure how impactful it would be at first, but once it warmed up and the cosmic war theme sponged through my soft Warhammer-able skull, I was all in. Wild cover art in the BOLT THROWER fashion: content of Realms, in the hand of In Battle…PESTIGOR shares members with the very good gothy post-punk but similarly D-beat (and peace punk as well) band MOTORSAV, and that kind of proficiency in different styles is additionally cool.

Rough Kids The Black and White and Gray LP

Admittedly, on first listen I thought maybe this was nothing special. With my often jaded snob glasses on, I was probably thinking something corny like “well it’s not that rough, is it?” But this is goddamn good. Melody in punk is a tough gig, but this Los Angeles group has perfectly hit that intersection of late ’70s energy and an ear for tunefulness that is immensely satisfying. Making harmonies sound tough is no easy feat, and most punks can’t pull it off so they don’t even try. I’m hard pressed to think of a stronger display of just down-to-basics songwriting in recent years, and it doesn’t let up track to track. Dig into “She’s All Gray,” which hits like GENTLEMAN JESSE fronting DEAD BOYS, and tell me you’re not hooked. I definitely am.

Squish Days of the Grumble CD

Has-been garage punkers from the mid-2010s that started a band specifically to make weird concept albums. This is from their Bandcamp page. Sound like a good thing to you? Kill me. Their first offering that I’m blessed to review here is a punk magnum opus about maggots invading the earth. Oh wait. Sound familiar? Yes, the PLASMATICS did this much better on their last album Maggots: The Record decades ago. This apparently comes with a comic zine that could give this a little more cohesive power, but really, it’s just lukewarm HIVES-like garage slop with deadpan vocals that the CHILD MOLESTERS or DICTATORS did much better. It’s not totally awful and there’s moments to be had, such as the SPITS-like “Collective, Correction, Collection,” but overall it’s hard for me to care. Wendy O. is coming back for them and she’s not happy.

Stray Bullet Factory EP

Latest release from Sheffield’s STRAY BULLET consists of four tracks of a fast ’80s USHC/Swedecore approach, meeting the UK82 style of contemporary UK hardcore. Fierce combustion of straight-ahead, full-speed hardcore with its own groove. Solid recording quality that doesn’t resort to hiding underneath low-fidelity or any other gimmicks. Absolute no-bullshit, in-your-face hardcore, and they mean it.

Street Sweeper Fallin Outta Love (With Myself) EP

Debut release from this hard rockin’, power poppin’ quartet out of Melbourne, comprised of folks from ALTAR BOYS, HYDROMEDUSA, and GRIM RHYTHM (a couple of those gotta be fake band names, right?). You’re getting three tracks that are a fine melange of ROSE TATTOO, COLOURED BALLS, SYLVAIN SYLVAIN, and THIN LIZZY—good-time RnR made by dudes with wispy Cliff Burton mustaches, equally suited for a night out at the pub with your mates or a night in the backseat of your Trans Am with your partner.

Tasiemka Wanna Po Dziadku LP

The moody post-punk of Wanna Po Dziadku is constantly tense, rarely providing catharsis or relief. Like others in the genre, the bass and drums lead, but the guitars still provide more than just backup. The chords and notes float over or through the more pronounced rhythm section. It’s an unnerving effect which makes the songs feel spare, harsh, and fleeting all at once. The music has a repetitive quality, but in fact subtly adds layers and evolves. Just don’t get your hopes up for an anthemic chorus or faster beat. TASIEMKA keeps things uncomfortable.

Violent Pigz The Night a Pig Came Home! cassette

Japanese hardcore punk band that’s heavily influenced by classic West Coast hardcore punk, and especially hardcore and skate punk from the early ’80s in line with the legendary CIRCLE JERKS, TSOL, and D.I. (this last reference linked directly to the label that released this, coming from Orange County). Aggressive and fast tempos, lyrics in English, and expeditive yet sufficient drums with good solid beats. Released in January 2023 but it seems to be from another era, and it sums up the band’s activity from 2016–2022. Suggested track: “Fix and Insert.”

Ženevski Dekret Protest 1986–1988 cassette

A compilation by Yugoslavian hardcore legends ŽENEVSKI DEKRET, with songs recorded before the war. Protest 1986–1988 has two demos rescued by the guitarist’s sister during the war—how many bands from the area can say that they recorded before the war? Yes, all these bands talking about war from the comfort of their suburban homes can learn a thing or two about humility from this band. If you are unfamiliar with their sound, think Finnish punk mixed with METALLICA. Strange but it works!

V/A Mendeku Diskak Promo Kasetea, Vol. 3 cassette

This ten-song sampler gives a tantalizing peek at what Basque Country’s preeminent punk/Oi! label Mendeku Diskak has in store for our undeserving ears. For those familiar with the label’s previous output, what lies herein may not surprise, but it certainly will not disappoint. If you dig gruff punk, Bovver rock, and Oi!, then you’re in the right place. Tracks by COLLAPS and RÉSILIENCE stand out, but there are really no duds in the bunch. Mendeku Diskak expands out into blackened hardcore as well with the inclusion of PURO ODIO, and caps things off with an excellent garage-y number by LOST LEGION. All signs point to more great punk from a label that doesn’t really miss. Now, prepare your wallets for the impending onslaught.

Antagonizm Freeze Motherfuckerz EP

Coming in hot after last year’s gnarly debut live tape is London’s ANTAGONIZM with their first EP Freeze Motherfuckerz, a batch of expertly-built UKHC bangers from a group of seasoned players in the current punk scene. While they have a diverse sound brought together by many influences ranging from ’80s NYHC to current UKHC, I prefer the CELTIC FROST-leaning vibes on “Progression?” and “Euthanized.” Truthfully though, if you have an itch for any style of hardcore, this EP will scratch it.

Bibione Quattro Formaggi 12″

Riot grrrl, post-punk, darkwave, surf guitars—whatever you want to call it, it’s a delicious four-cheese blend that will drip gooey sass and pizza(zz) all over your turntable and into your ears. This threesome (with occasional help from a possessed trumpeter) comes from Prague, Czech Republic and achieves a softness and rage wrapped all together, best actualized on “Spin It,” which is tragic and droning and fucking amazing. BIKINI KILL anger mixed with CRIME OF PASSING iciness. If after this quick listen you’re looking for more, BIBIONE’s self-titled release from 2021 is also fantastic. Keep it coming.

Billy Batts and the Made Men / Close Encounter No One Knows About the Secret Potato split EP

Hey, April Fool’s! Hahaha…oh shit, this is real. If you’re misty-eyed for the glory days of AVRIL LAVIGNE or SUM 41, look no further than CLOSE ENCOUNTER to fill your soul with some non-edgy, mediocre pop punk. Maybe this shit flies at the mall in suburban South Carolina, but to these ears, it’s weak like a warm Slurpee. Atlanta’s BILLY BATTS ain’t much better, with an almost identical vocal attack that simply makes them a punker version of the previous band. I’ll put them up a notch in punk points to an almost QUEERS or DESCENDENTS category, but man, I’ve always hated the DESCENDENTS. They all look real young and I’ll give it to them for getting out there and doing something, but that’s about it. No more, please.

The Buzzers Behind / Incoming 7″

The BUZZERS with two mercifully short tunes here on this 7”. Band bops along at a decent pace, but for some reason the singer has chosen to adopt the voice of some kind of street-smart crow, perhaps wearing a bowler hat, smoking a cigar, and saying “what’s the big idea?” It’s a shame really, because it truly is passable for what constitutes modern Oi!—has a bit less studio shimmer and is not un-TEMPLARS-like in places, too.

Cran Natë LP

CRAN is a Parisian punk band that infuses their sound with a heap of Oi! and a little bit of post-punk. The resulting sound is reminiscent of a dark VICE SQUAD, or more similarly, contemporary fellow countrymen COLLISION. The song “Ad Vitam” has a slow opening that quickly jumps into overdrive only to close out with a slow, vicious beating. The gang vocals on “L’Amour” invite a communal feel while delivering a scathing treatise on the realities of love. This album is as equally strong on instrumental technique as it is on thematic content, making it easy to play on repeat.