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!

Headcheese Demo 2022 cassette

Kamloops’s HEADCHEESE is planning an LP, but in the meantime, we get this unhinged little demo. The band swings back and forth between sounding playful and pissed as they run through four speedy tracks of schizophrenic hardcore. These beefy tunes are centered around start/stop dynamics and often drop into spats of sparse, jerky instrumentation, not unlike the CONTORTIONS. If you like ‘em heavy and weird, this one’s for you. There’s a great hoe-down-style song called “Loss Prevention” on here, too.

Kibera Nemáš Jméno EP

D-Beat from the Czech Republic with an epic touch, good structures, and an afterlife voice. The guitars are too grandiloquent and solemn for my taste, almost with a bit of metal, but they have everything you look for in the genre.

Limbs Bin A Glass of Sour Quince cassette

Has a decade (plus) of harsh noise madness mellowed LIMBS BIN? No, young punk…not at all. Eighteen doses of chaotic, repetitive blasts shoving frenetic vocals from track to track with no time to breathe in between. A swarm of electronics fill the scant remaining spaces so the listener experiences nothing but pure mania; extreme noisecore stripped to its core elements (the “noise” and the “core”) and presented untreated, at maximum intensity. Eighteen fully-formed assaults crammed into 177 seconds…and then you can exhale.

Mess Traidores / Excuses 7″

Here are two more crackers from MESS, one of the best to do it in the current crop of Oi! bands gaining popularity. Both sides of this 7” scratch the itch, with “Traidores” and “Excuses” straddling the line of first-wave ’70s punk and classic UK82 and Oi!, influenced by the usual suspects (BUSINESS, BLITZ, 4-SKINS). Throw this on with a beer or spliff for a solid Saturday night.

Nag Human Coward Coyote LP

If you’re looking for straightforward hardcore or punk, maybe look elsewhere, but if you’re in the mood for that creepy, kind of surreal, Outer Limits-inspired punk, then stick around. NAG from Atlanta, Georgia released Human Coward Coyote earlier this year as a fresh addition to their growing catalog. This new album pushes the punk element deeper with a bit more raw production and in-your-face drums. If you’ve ever enjoyed the work of A FRAMES, then you’ll like this. There’s even elements that remind me of the ADOLESCENTS and a bit of AGENT ORANGE. Overall, it’s a fast, fun blend of darker punk interspersed with some intergalactic noise.

Non Band Vibration Army / Silence​-​High​-​Speed 7″

Two tracks that were recorded by Japanese art-punks NON BAND in 1981, but ultimately left on the cutting room floor when they released their self-titled 10” the following year. Rhythm completely guides the songs, with hypnotic tom-centered beats tumbling behind see-sawing violin scratch, elastic-snap bass grooves, and vocalist/bassist Non’s flipped-out baby doll chatters and shrieks—a splintered no wave deconstruction of (punk) rock-descended sound, but one that’s more playful and freewheeling than skronking and confrontational, sort of like the RAINCOATS by way of DNA (if you want to be reductive). Both sides are absolutely killer, and as a bonus, the 7” comes with a beautifully laid-out 48-page booklet/magazine full of archival photos of the band taken by Yuichi Jibiki, who was responsible for backing some of the wildest Japanese post-punk of the early-to-mid-’80s through his label Telegraph Records. It’s a German import and not cheap, but absolutely worth every penny and any effort involved in obtaining a copy. Do it!

Physique Again cassette

PHYSIQUE has been one my favourite US bands of the past five years, a statement that is not to be taken lightly since the belly of the beast has produced a lot of quality crust, noisy hardcore, and D-beat music in that time. Before PHYSIQUE, the word “physique,” in its English form, inexplicably evoked images of David Beckham’s underwear ad campaigns, so I am extremely grateful that it has now been replaced with visions of crust pants and Flying Vs. Olympia is not a town that one would traditionally associate with being mercilessly assailed by Japanese-style distorted atrocious hardcore madness, but this makes PHYSIQUE even better. Again is the band’s first real LP and it is relatively long for a dis-noise crasher oeuvre, no less than thirty minutes (as a comparison The Evolution of Combat was a twelve-minute affair), so clearly it is an ambitious undertaking. I have always liked how the band’s sound evolved through time, as the progression from Punk Life is Shit to Again is striking. On this new one, PHYSIQUE keeps working in the liminal space between the crasher hardcore crust school and the most brutal käng tsunamis. D-CLONE Frenching FRAMTID at a conference about the Tokyo Crusties EP and followed by a workshop about how to write your band’s name with the classic DOOM font. Basically. The sound on this album is devastating and almost scary: the drums sound insane, an impressive demonstration of the manic crasher style with its distinct rolls and transitions, the guitar’s distortion is al dente, the bass sounds like there is an earthquake next door, and the vocals have never sounded so desperate, agonizing, and almost unnaturally angry. They sound like a zombified bear singing along to SHITLICKERS on a night bus. PHYSIQUE shines on this, but it is the sheer relentlessness of the songwriting that is incredible, with only two delicious, DISCHARGE-loving, mid-paced scorchers to let the listener breathe and throw a few cool dance moves. Again is an articulated work behind its frightening ferocity, and the last song “Again (Reprise)” is a seven-minute-long galloping D-beat song that goes on again and again, precisely in the style that traditionally goes on again and again, just like war and misery go on again and again. The song never seems to stop even when it should, which is a pretty accurate metaphor for the world we live in. The tape is released on Iron Lung, but there will be a vinyl version soon enough. What a brutal experience.

Poker Face Poker Face LP

Early ’00s full-length from Warsaw’s POKER FACE gets the reissue treatment from Enigmatic. Melodic hardcore that hits like a street punk NOFX, or the later records by NYHC bands who had started to mellow. Catchy guitar leads and determined, gritty vocal snarls, they’re at their best when the songs are short and sweet, but there’s a legion of new fans just waiting to discover this band—and I hope that they do.

Revanche À Jamais EP

A nicely-done EP from Switzerland’s REVANCHE, featuring four sturdy Oi! tracks sung in French. No frills here; this is as clean as a freshly shaved dome. Opening track “Poucave” and title track “A Jamais” are a saxophone or two away from being indistinguishable from the source material these guys are working from. For fans of the old school (TROTSKIDS) and the new school (MESS, CASTILLO) of the genre.

The Rubs (dust) LP

The RUBS make no-frills, verse-chorus-verse pop music. They have been at it for a while now, and have scrawled their name in the lengthy scroll of the Chicago pop punk sound that keeps on trucking. It has been a minute since I have seen this band around. I do remember hearing their single “The Walk” when it came out in 2015 and thinking that Joey Rubbish and company were on the  bluesy garage end of the spectrum…seven years later with (Dust), the band comes with much more of a synth-laden, dreamy pop punk feel. It all has the right feel with enough hooks, harmonies, and palmed guitar riffing to get the bubblegum popping. I feel that a good amount of the record’s tracks would almost do better with shortened lengths—the opener “I Want You” and “Dana” come to mind. I would buy this album just to listen to “Here in My Dream,” a sleepy, quiet composition. It is acoustic and woody and does not sound like the rest of the pack.

Schwach Kälter LP

Hailing from Berlin, SCHWACH has been putting out music for quite some time now, although it is this reviewer’s first time listening. All in all, it is by-the-numbers, melodic youth crew hardcore (although it does contain surprises within, including but not limited to the latter half of “Gedankenpalast,” which contains both a killer drum solo and even a pretty bitchin’ sax solo!), which isn’t a bad thing. Most of the lyrics are in their native German, but with the occasional burst of English lyrics like “Don’t give up!” that should give an idea of the lyrical content. Sure, it is far from groundbreaking, but it doesn’t need to be. This LP will be a two-stepper’s delight and comes very recommended for fans of the youth crew style.

Spark Supernova LP

Hardcore that harkens back to the youth crew revival sound that was so prevalent around the start of the new millennium. Pretty decent stuff as far as sounding like more than just a rehash of what has come before. Lyrics are more on the personal and introspective tip than just singing about straightedge, which a lot of these types are guilty of. These kids may be straightedge, but they’re not throwing it in your face, which is welcomed. Solid effort here.

Spirit Dive Demo 2022 cassette

This demo features two versions of two songs: one electric, the other acoustic. This felt a little gratuitous to me since the latter didn’t depart too much from the former. SPIRIT DIVE’s tunefulness is front and center, so it’s not like you’d miss it but for the acoustic versions. The electric versions are delivered via flanged guitar and the vocalist’s deep, from-the-belly belting. The rhythm section is definitely putting their hours in balancing the guitar’s treble with a full, lower-register sound.

Stalingrad 42 Skins’N’Punks LP

When I threw this on, the first thing that came to mind was that the vocals were vaguely reminiscent of Fuaim Catha-era OI POLLOI. That’s about the best thing that I can say about STALINGRAD 42, because it really goes downhill from there. While there are a plethora of Oi! bands currently pushing the boundaries of the genre, STALINGRAD 42 is taking a far less innovative approach. Skins’N’Punks is replete with overproduced, under-inspired songs that are so phoned-in, they should be charged for collect calls. The guitar lines sound like they were lifted from your dad’s butt-rock cover band. Oh, and there’s a ska song. This gets a hard pass from me.

Stiff Richards Stiff Richards LP reissue

The latest reissue of STIFF RICHARDS’ debut LP from 2017, delivering melodic garage rock with hooks for days. Like a mix of the SAINTS, PAINT FUMES, and BLACK LIPS, this record is a non-stop, classic-sounding jam with punk energy. For instance, “Brainwashed” has raspy, smoke-ruined vocals and guitar-hero riffs, but then lifts the “I’m seein’ red” refrain from the canonical MINOR THREAT song, “Seeing Red.” Other standouts are the earworm “Layla,” the psych-tinged “Bustin’ Out,” and the naughty pseudo-ballad “Ride on Me.” If this type of high octane, no-frills grime rock is your jam, check it out.

Surplus 1980 Kremlin Gremlin (A Dull Fiddler) / Some Few Facts (And One False One) About Birds (Birds Are Real Dub Mix) 7″

New single from Moe Staiano’s SURPLUS 1980 project. Staunchly in support of Ukraine, the album cover is simply Putin’s face crossed out by Ukrainian colors, and all sales of the single go to the Vet Crew, taking care of animals displaced by the war. This is my first dabble into anything Moe Staiano-related, and apparently, I’ve got some homework to do. SURPLUS 1980 was originally started as a studio-only band, with Staiano playing many different instruments on the 2011 debut Relapse in Response, and transformed over the years into a collective of different musicians with some live shows. The music is a little unnerving and off-kilter, but in a playful way. Lots of odd percussion, single synth notes walking up obscure scales, asymmetrical guitar riffs, and fun backing vocals coming from all directions. “Kremlin Gremlin (A Dull Fiddler)” provides the political context, and has a little more typical song structure, while “Some Few Facts (And One False One) About Birds (Birds Are Real Dub Mix)” on the B-side is a full dub-groove experiment with a cyclical melody that is a little maddening, sounding like some DEVO hidden track. Show some support for Ukraine and get weird with SURPLUS 1980!

Tercer Mundo Discografia cassette

Cool! TERCER MUNDO’s debut EP was one of the first records I got assigned to review that I was really stoked on getting a review copy to take home as well. Encased in a beautiful hand-screened envelope with ultra-gore ¡Alarma!-style graphics and an insert with decapitated heads on one side and a woman’s armless and legless torso inside with the words “Mexico 2012—60,000 human beings dead. Now go party and score some cocaine” gave one an idea of what to expect. Brutal, violent, raw hardcore from an especially violent and bloody period in Mexico’s history. This turmoil spawned an awesome spark of raw musical inspiration much as ’80s and early ’90s Medellin punk and metal did under Escobar’s reign. Bands like TERCER MUNDO, MUERTE, INSERVIBLES, ABORTICIDIO, and RATAS DEL VATICANO were on fire with art and anguish, with a sound akin to an updated MASSACRE 68 or SECTA SUICIDA SIGLO 20. Eager American punks like me lapped it up.  Here we get that killer EP as well as the follow-up LP all on one cassette, beautifully packaged in the pictures I’ve seen. It’s limited to 40 copies so you’ll have to fight me to get one of your own, but if you miss out, member Dave Rata is making beautiful music in NYC in POBREZA MENTAL, XERO, and more. Really cool.

Uni Boys Do It All Next Week LP

Wow. This is straight-up power pop. And it’s straight-up excellent power pop. Sort of mid-tempo and driving, it’s delivered with incredible confidence. The vocals are sometimes sort of soft and almost feminine and they’re perfect for this music. It’s really incredible the way the vocals, the guitar, the bass, and the drums work together to become a single thing. This record really is fantastic.

Verdict Time to Resign LP

I am so happy to be assigned this scorching LP. VERDICT’s debut was on my year-end top ten for 2022—a raging attack of Swedish hardcore with the speed of TOTALITÄR and KRIGSHOT, plus a unique nod to American hardcore crust giants DISRUPT and FINAL CONFLICT, for example. Galloping D-beat throughout with clear accentuated vocals, this one is a non-stop hardcore pummel-fest that teeters on fastcore thrash while retaining classic ‘80s mangel and the original grinding ‘90s crust sound. So many subgenres mentioned here, and only a few bands, but some years from now, Time to Resign will still sound like quintessential hardcore punk fucking rock. Oh, this band is comprised of members from NO SECURITY, 3 WAY CUM, MEANWHILE, WARCOLLAPSE, IMPERIAL LEATHER, SLUTET, EXPLOATÖR…VERDICT is just what these guys do when they don’t want to relax.

Wayne Pain & the Shit Stains The Zoo EP

You know what you’re getting into here. This EP sounds like trash. Glorious, nasty trash. If the MEATMEN were more rock‘n’roll and put a swing into the beat, you might get something like this. It’s four tracks of blissfully blown-out and ugly garage punk presented with love and care from the always on-point Goodbye Boozy label. It’s noisy as fuck, but doesn’t grate the ear (captures the lo-fi sound without throwing production entirely in the bin). The songs are anarchic, blindingly fast, and have that tight guitar pop structure that makes a crowd go crazy. So, to reiterate, with a band like this you know what you’re getting into—and it kicks ass.

V/A Invasión 88 LP reissue

Reissue of a total cult classic LP released in the ’80s, compiling 20 tracks of punk rock, hardcore punk, and Oi! from Argentina—one of the first Argentinian punk compilations. Features songs from LOS LAXANTES, ATTAQUE 77, DIVISION AUTISTA’s early approach to straightedge, FLEMA’s first line-up (with their later iconic singer Ricky Espinosa on guitar), EXEROICA, COMANDO SUICIDA, DEFENSA Y JUSTICIA, RIGIDEZ KADAVERICA, CONMOCION CEREBRAL, and LOS BARAJA. Originally released by Radio Tripoli Discos in December 1988 with recordings that were made between 1982–1988. It was one of my first exposures to punk as a teenager. Highly recommended for lovers ’80s punk rock and hardcore from Latin America, as it depicts Argentina’s most notorious bands at the time who were in some aspects first in their class, reaching the fiber of the feeling of an era when punk emerged and became a fully recognizable subculture in South America. Reissued by Fuego A Las Fronteras, a Basque/Mexican label that operates in Barcelona, it includes a DVD with a short film from the ’80s called Festipunk by Patra Exeroica along with the LP, which is a trip to a much yearned-for era for the first Argentinian punks, and also works as an archeological musical project for those unfamiliar. Lot of punks in these latitudes got a first glimpse at punk and listened to it in the first place back in the day because of this album, and it is still much appreciated today. Filled with songs expressing anger, anti-political statements, pure nihilism and violence, and revolt, and even polemic statements like those on behalf of COMANDO SUICIDA (I personally discourage listening to them because of their spreading of nationalist ideas). Suggested tracks and mentions: Legendary FLEMA’s early recordings like “Buscando Un Lugar,” EXEROICA, the first all-female alternative punk band from Argentina, DEFENSA Y JUSTICIA’s street punk against police forces in “Ratis,” the chaos-charged punk rock formula by RIGIDEZ KADAVERICA ranting against the system, classic punk anthem “Operación Ser Humano” from LOS BARAJA, and “Pasión de Multitudes” by ATTAQUE 77, combining football affinity with punk rock. There’s a lot to take in, but it’s worth it. Go ahead, dive into Argentina’s crazy, wild, and sometimes anakoquilombero ’80s punk!

Aggressive Combat Aggressive Combat LP

Spanish Oi! stalwarts AGGRESSIVE COMBAT return, and if you like your Euro Oi! to sound like Euro Oi!, then hold onto yer Sambas and camo shorts, because do I have the band for you! More on the hard rockin’ end of the Oi! spectrum, with a few guitar solo flourishes to dance across the factory-rhythmic drums, it’s a bit too polished for me. Some classic silly vox, with matey on vocals sounding like he’s doing his best impression of a scary monster rather than expressing working class solidarity, talking about drinking beer, inexplicably finding Andy Capp endearing, or any number of Euro skin activities.

Ardillas Canciones de Amor, Locura y Muerte LP

Songs of love, madness, and death, brought to you by some of Puerto Rico’s most notorious rockers. ARDILLAS predate DAVILA 666, with whom they share members, by a solid decade. They’re far less prolific—but hey, you can’t rush genius! Whereas DAVILA 666 was born of the garage, ARDILLAS seem to have emerged from the dense haze of a smoke-filled pub. This is premium rock’n’roll with just the right amount of grit to keep the sing-along choruses from getting too syrupy. More infectious than the boogie-woogie flu! After a few spins, these songs will be kicking around in the damp corridors of your noggin for days. Unafraid to embrace their prowess, ARDILLAS dig into big rhythms and expand out past the confines of your typical greasy-haired, leather jacket punk’n’roll. These cats (or should I say squirrels!?) know how to pen some quality tunes. There are nods to the HEARTBREAKERS, and FLAMIN’ GROOVIES. What more can you ask for? Here’s to hoping we won’t have to wait another decade for their next release.

Bad Weed II LP

I’ve got to admit that I’m not a fan of the band name. I was expecting some sort of funny punk thing. The name aside, this record is impressive. It’s super catchy and super poppy. Some tracks have a power pop feel from the late ’70s or early ’80s, while others seem to capture the spirit of the Subway sound, a sound that I remain a fan of. It’s jangly and the vocals are very bouncy, creating a sort of carefreeness, yet remains somewhat somber. This thing is excellent from start to finish. From Austria, if that’s an important detail to you.

Beat Panic Anti Club//Club 10″

Debut release from Naarm/Melbourne, Australia’s BEAT PANIC continues the dialogue about colonization and Aboriginal displacement in Australia, thusly giving name to the Kulin Nation of Naarm. This shows up more in the Bandcamp notes than what I can find in their lyrics, but something to recognize all the same. To the music: I didn’t know what I was going to find after the synth-only opener “Sprawl,” which is haunting and tender all at once. What follows is  wonderfully rich, goth-tinged post-punk reminiscent of DAVE VANIAN AND THE PHANTOM CHORDS, especially the commanding yet reverb-hollow vocals. Definitely worth a listen—but hey, I was sold at Aussie post-punk.

Brain Tourniquet …An Expression in Pain LP

Crushing debut LP from DC’s BRAIN TOURNIQUET. Although this record is most easily categorized as powerviolence, there is so much innovation here that it tramples micro-genre labels. These are epics in bursts, blasts of fury with the intricate structure of much longer songs. Take “Mental Tomb” for example: there is the fast and extreme hardcore, which rolls into a bridge of dissonant guitar noise and rolling drums, then back to the hardcore. The song is 1:17 long. Many of the tracks have this level of careful intricacy that make repeated listens a treat. There is definite influence from classic West Coast bands like MAN IS THE BASTARD and CROSSED OUT, but I also hear CRYPTIC SLAUGHTER-style crossover (especially the amazing drums) in songs like “Deny.” “Little Children Working” and “Behind My Eyes” are feedback-laden, dangerously creepy instrumentals that keep the record’s urgent and unsettling tone intact, while “…An Expression in Pain” has a slow-crawl intro that erupts into relentless fast PV and back to the doomy slow crunch. This goes back and forth over ten minutes, and it rules. This record is fresh and exciting, bold and risky without being pretentious. It’s early in the year, but I’m bookmarking this one for my year-end top ten.

Can Kicker Can Kicker LP

CAN KICKER from Cardiff has a sound that is primordial but also immediately transportive. Stabbing, fuzzy guitar intermittently blasts through the powerful rhythm section that creates the propulsion behind Luke Penny’s poetic vocal delivery. The second song on this LP, “Disassociate Now,” is aptly titled for its effect and lyrical theme. CAN KICKER seems to be one of those bands that uses the basic punk devices to create a world that is uniquely their own, while also being an inviting space to spend some time. The closing song, “Stupid Game Part II,” is the only song that seems to break the formula of the album’s other songs, almost like an alarm waking the listener back to reality.

Compilations Powerless 12″

A four-song project that features a different guest vocalist for each song. The songs are very ’90s Southern California-inspired, along the lines of the stuff that was coming out on Dr. Strange in the mid-’90s. In fact, two of the songs feature vocals from Ken Conte of IMPLANTS/BROWN LOBSTER TANK and Jeff Caudill of GAMEFACE, both of whom released records on Dr. Strange. The other two feature vocals by Francis Garcia of POP UNKNOWN/FOURTH GRADE NOTHING and Robby Cronholm of TAXES/CRUMB, and Stella Maxwell of CRUISERWEIGHT, respectively. Three of the songs are original compositions. The fourth is a TOM PETTY cover. All in all, it’s a neat idea, and if you are a fan of any of the vocalists that appear on this record, you’d definitely wanna give it a listen, although I’m not sure how often one would go back for repeat listens.

Doctor Explosión Superioridad Moral LP

First record in over a decade from Spain’s DOCTOR EXPLOSIÓN. Great collection of songs here that bring to mind KING KHAN AND THE SHRINES melded with the MAMAS & THE PAPAS. This may sound like a weird concoction, but it works well. What you get here is a combination of the raw energy of a ’70s garage rock band and the bittersweet sentimentalism of golden-age oldies radio. Very partial to the vocals here, which sound like they’re coming from the deepest depths of an AM receiver in an old station wagon. Guitar work is incredible with licks for days. Great summer jams for those hot days where you sit around and do nothing but drink beer and sweat your ass off.

The Drin Today My Friend You Drunk the Venom LP

Moody post-(pretentious)-punk from Cincinnati, but it’s not as bad as you’d think. The usual required deadpan vocals are accompanied by a bit of Australian VENOM P. STINGER/KIM SALMON musical leanings leaking through along, with the usual JOY DIVISION/WIRE/FALL influence. Some songs have almost a spooky RESIDENTS vibe, and there’s a little classic Ohio ELECTRIC EELS and PERE UBU in there somewhere. Nice. The heavier songs like “Peaceful, Easy, Feeling” are my faves here, and I could write something about beautifully textured musical landscapes or some such bullshit, but basically it’s a nice bleak winter day kinda listen but nothing to kill yourself over though. Lol.

Eel Men Archetype / West Green Pirate 7″

Second 7” from this four-piece out of London. I wasn’t really able to turn up anything about the band, so I can’t tell you much about the players here or any other projects they’ve been involved in. In any case, they play pretty straightforward ’60s-influenced garage/psych pop. “Archetype” is a reverb-heavy number that sounds not unlike the slickest song you’d find in the STRAIGHT ARROWS catalog, except something about it sounds a little more intentional, like it’s been written by a pop band cosplaying as a garage band. It’s really giving me SUPERGRASS-channeling-BUZZCOCKS vibes. Same could be said of “West Green Pirate,” probably the better of the two tracks, which goes for more of a Piper at the Gates of Dawn sound and throws in a hook built around a “Be My Baby” drumbeat. I really don’t know what to think about this record. On the one hand, I want to say it’s really good—these are well-written songs that tick a lot of the same boxes a genuinely cool record would. But at the same time, something about it just left me cold. Like, I can easily imagine a world where one of these tracks appears in a Honda commercial. But that’s probably more on me than it is these dudes. So, give it a listen! Hopefully, you won’t have my same hang-ups.

Gatsu Generación Atormentada Tratando De Surgir Unidos cassette

Directly from the La Florida neighborhood in Santiago, Chile, we hear a loud message of positivity and great inner force being cast by this band. A solid project giving the most intense experience with inspiring lyrics, backed by a merge between classic ’90s East Coast hardcore and intense fastcore with crossover nods, great powerful drums, and thrashy, high-pitched guitar. Solid sound and lyrical performance and flow, the vocal carrier of a high-energy, never-stop-fighting vital force. The enduring urge to mosh comes right away. Classic breakdowns ending in even faster string cadences are carriers of inner strength, pumping you up—you can tell they are all good friends and didn’t just click to do this band. Self-overcoming and personal growth is encouraged, as GATSU stands for guts, exuding determination, bravery, and self-knowledge. More than an interesting project and format, not seen as often as it should be nowadays. Suggested tracks: “El Mensaje” and “El Desafío.”

Hourglass Atomic Clock LP

Atomic Clock packs a lot into each song. They sound well-rehearsed, but I’m not sure such a busy sound is a good fit for hardcore. Often, they’re playing dissonant, jazzy chords at a stop/start pace before a pummeling doom or sludge metal chorus. The songs feel very deliberate and arranged, a real contrast to hardcore’s stripped-down M.O. The vocals are mixed right up front, which ensures you’ll hear the similarly elaborate lyrics. The band sounds eager to push the genre’s constraints. Whether that’s good or bad is up to the listener.

Larsen ¡No! EP reissue

I love a niche, boutique reissue label precisely for bringing me nuggets like this early ’80s power surge of militant Spanish punk. A bit of an overlooked artifact, and it’s not earth-shifting material, but this is pretty ferocious stuff that manages to stay catchy. The vocals have interesting character, veering somewhere between theatrical snottiness and political vitriol. Also, the bass tone is great, much brighter and more present in the way records from this time often get right. “Vomitas Sangre” is definitely the standout here and scratches an itch for something truly unhinged. The rest is worth hearing, but there aren’t really any revelations to be found in this brief historical document.

Mass Separation Semarak Api EP

There are bands that your granny may definitely enjoy if you include them on her birthday playlist, like the UNDERTONES for example, or maybe your terrible high school pop punk band because she’s too kind to hurt your feelings. Kuala Lumpur’s MASS SEPARATION is not one such band. I had not heard of them in ages and thought that they were no longer active, but I was fortunately wrong. Incidentally, MASS SEPARATION was the first band from Malaysia I came across back in the ’00s through their split with ATROCIOUS MADNESS, so their name clearly has a positive connotation for me. The Semarak Api EP includes six songs, three of which were actually recorded in 2007 and remastered for this release. If you are not familiar with the band, MASS SEPARATION plays—and indeed have played since 1996—noisy grinding thrashcore with a punk attitude and lyrics in Malay and English. It is a little out of my perimeter and there are probably too many tempo changes for my tastes, but I am into the harsh, aggressive vocal style and the political nature of the band. Not totally my kind of raw noise, but I can tell that they know what they are doing, that they are doing it properly, and that they are for real. In it for life. This EP was released on Bollocks Records, a new local label run by, well, the singer of the BOLLOCKS.

No Comply East Coast Powerviolence LP

Holy shit, this fucking shreds. This 42-song collection gathers tracks from the Florida band’s storied history. Like GODSTOMPER, this is bass-heavy powerviolence with noise interludes, threatening samples, and absolutely unhinged shrieking vocals. I don’t have a lyric sheet, but the songs have a meanness to them that can’t really be translated anyway. The production varies a little from track to track due to the different source materials, but all the tracks sound thick, blown-out, and filthy. Some of the songs venture into near grind/noisecore with brief bursts of screech, while others stretch out into doomy breakdowns, and we even get a few STIKKY and SPAZZ covers. “The Noise Set (9 Songs)” is like a Whitman’s Sampler of the band with furious PV, emoviolence passages, and jazzy bass. It all rules, and if you like powerviolence, consider this essential.

Ordinance Ordinance demo cassette

Crushing raw punk done right. Hailing from the thriving hotbed of hardcore that is Richmond, Virginia, ORDINANCE plows through four songs in under seven minutes. Buzzsaw guitars blanket the entire production in a cocoon of harsh static, while the drummer pounds out pulsing D-beats. The slight delay on the shouted vocals allows for a touch of depth, tying it all together. This fits right in with fellow Richmond rockers FUTURE TERROR  and SPORE, with an injection of Swedish influence for good measure. I imagine ORDINANCE being raised on a steady diet of the SHITLICKERS, CRUDE S.S., and MOB 47, with Scandinavian jawbreakers served as dessert. My favorite track, “Hatestrung,” disrupts the formula with a tempo change that gets mean and stompy, but make no mistake, this demo is an ax-swinging ripper. Noise > music!

Plastic Tones Power Pop Testament LP

I fell in love with this female-fronted Finnish band years ago after reviewing a single of theirs—I remember thinking that they reminded me of someone when I reviewed that record. I still think that’s true, but I also still haven’t solved the mystery. It bugs the fuck out of me. Nine perfect cuts that are seemingly equal parts pop, punk, and new wave. All are super catchy and the vocals are just plain pretty. Despite the pretty vocals, there’s an underlying eeriness in all of their songs. Highest recommendation.

Positive Violence No Such Thing! CD

Poland’s POSITIVE VIOLENCE play Oi!-influenced, East Coast-style hardcore with some UKHC influences on 2022’s No Such Thing!. Pretty standard fare that unfortunately falls prey to feeling a little generic at times. There are, however, a couple of odd exceptions; POSITIVE VIOLENCE has a penchant for beer and hippies, so much so that each subject gets its own song (the former on “Pearl Among Beers,” the latter on the aptly titled “Hippie Chick”). Curiously enough, each of these tracks trades the tough-guy hardcore act for more of a goofball pop punk thing (which helps explain the equally eccentric album cover). Kind of a bizarre listen, but also an interesting one.

The Remote Controls The Remote Controls CD

Self-titled debut from this Indiana power trio. They pretty much have that early SCREECHING WEASELS/QUEERS pop punk snot down pat. As a fan of said genre for 30-plus years now, there’s definitely nothing new here, but they attack the genre with enough verve and gusto to make it sound fresh enough.

Rudimentary Peni Cacophony LP reissue

To review a classic record is a difficult task. Ideally, a serious reviewer should pretend to be unfamiliar with the work before writing about it in order to be somewhat objective and maybe offer something fresh. The risk of being in awe before a canonical record and therefore unable or unwilling to think critically about it is also serious. After all, there must have been dozens of reviews about Cacophony in the past 35 years, and most people already know about the record. Why bother when I could just binge-watch a mediocre series that I will inevitably forget about? Originally released in 1988, Cacophony is one of RUDIMENTARY PENI’s most famous recordings and some people rate it as the band’s best work, but I am not one of them. The band’s uniquely deranged, bizarre sound, magnificent creepy aesthetics, their reluctance to play live, and the mystery surrounding them have clearly created a legend, and few bands can claim to be as cult as PENI. There is no doubt that reissuing Cacophony is a brilliant idea and a necessity, as it is a classic album that just should be available. More than a collection of songs, it has to be listened to as a gothic trip, if not a descent, into the life, psyche, and oeuvre of Lovecraft, an uncanny world governed by fear, madness and eeriness. It is as strange as it is particular, unlike any other punk albums. To be honest, I like Death Church much better, and I think Cacophony makes more sense if you take PENI’s previous output into account, as it is a clear departure from conventional punk songwriting, if not from the classical definition of punk itself. Taken individually, the 30 songs that made up the LP are not particularly meaningful—it is only as a cohesive whole, as a full narrative, that they create deep meaning. Musically, Cacophony is hard to describe. Polyphonic, versatile, dark, free, macabre, insanity-driven, undead, strangely sensual, anguished and tortured, creative asylum punk rock. It is great, essential even, but I am still struggling to know if I love it or if I am just fascinated. Whatever the answer, we should all thank Sealed Records.

Shattered Dreams In Bremen March 1993 CD

Under-the-radar, high-energy hardcore from Bremen’s SHATTERED DREAMS, who left us with just one (killer) EP before disbanding, not long after the show captured on this disc. Metal-tinged hardcore punk with an excellent recording that reminds me more than a little of RKL’s Double Live in Berlin—this disc is a winner as an introduction or a posthumous document. Top cuts: “Feel the Change” and the more melodic “Into the Dark.”

Shitstorm Demonic Alien EP

This EP checks the boxes. There is all the snarl and sass that one would expect from such a band that is SHITSTORM. There is some PRISON AFFAIR for sure, laced with vocals that could easily be coming from B.A.’s offspring. The tracks are all fast and just kinda furious, with the sloppy lyrics being the only point of discord throughout the listen. The party ends with the slow-moving tank of a track “Get It Right.” Hell yeah! Let Missouri continue to be the depository of this satisfying filth. I can feel the septic Midwest bubbling away.

Slug Continuing Growth LP

I may be biased, but nothing hits quite like hardcore from the Midwest. Very cool shit from SLUG, an Ohio-based outfit playing lean and mean punk on their EP Continuing Growth. There’s some lurching WARTHOG goodness here—check out “Axe” and “…Tired” to see what I mean. I’ve seen some Hate5Six footage of SLUG and all I can say is that I’m anxiously awaiting a Chicago date.

Snailbones Tinnitus Alrightus LP

Three session musicians from Portland get together with vague ideas of forming a band. One dude is really keen on starting a NIRVANA tribute act. He’s “nailed” his Kurt impression and thinks it would be funny to name the band DUMB, but then put in much smaller letters “a NIRVANA Tribute Act.” The other two are considerate friends—they pretend to mull the idea over, but gently encourage everyone to keep thinking. Ultimately, they decide they should try their hand at doing originals. Stuff that sounds like a mix of their favorite bands—X, L7, MISFITS, DEVO, and, sure, even NIRVANA. It doesn’t matter that they’ve never written songs before, they’ll figure that out along the way and have a ton of fun in the process…or at least that’s how I imagine the SNAILBONES story goes. That would at least explain how this LP of slick-as-shit-sounding, cringe-inducing grunge-punk came to be. Does not explain how it ended up with this title, though. Yikes! To be fair, it does genuinely sound like they’re having a good time, and that’s not nothing. Still, this was a tough one to get through.

Snuki Demo 001 cassette

Six rage-filled songs of plodding, fuzzed-out, nasty hardcore punk. Shockingly memorable despite these songs being completely devoid of anything standardly deemed “catchy.” SNUKI sounds like they would be very appreciated by the lovers of CULT RITUAL and other popular mysterious guy HC bands from a handful of years ago, but it’s certainly not on that same powerhouse level. It is a bold claim numbering your very first demo with multiple zeros in front of the one. I expect at least 99 more demos from SNUKI, or I want it known that I am now officially on record as being pissed about it.

Stereo Joy 10 Minutes With Stereo Joy cassette

Hitting more like a bedroom than garage, this solo project brings some nimble and nifty punk with enough genre experimentation to really craft something you can sink your teeth into in the promised ten-minute runtime. With surf excursions such as the aptly-named “Whirlpool,” as well as the more shambolic, apocalyptically grunge-tinged opener “Mind Imperfection,” this tape really showcases a broad range of what Joey Roest-Aleman can do. This is all while maintaining a cohesive sound of wet (like, drenched) and agile guitars, clear and punchy bass, and strange disaffected vocal delivery. The one gripe, and it’s biased, is the computerized drums. I get it, finding a drummer is every punk’s nightmare sometimes, but I’d love for this project to find one. It would really seal the deal.

Unarmed World of Shit EP

It boggles my mind that this four-song 7” opus was originally recorded in 1998. For over twenty years, it was sitting on a shelf somewhere, aging, waiting to be unfurled. The instrumentation forms a Neolithic-styled D-beat assault, while the guttural vocal delivery blends and balances to form a brutal wall of blasting crust. UNARMED forms a sound that is so dense and heavy that it’s difficult to make a comparison, except maybe to say it’s monolithic. This edges heavily into the extreme category and occasionally crosses the metal border with indifference. “World of Shit” grinds along with a quick guitar sizzle towards the end, but is then followed with the very Motör-inspired “Your Dream.” UNARMED seems to focus more on heavy delivery than technique while occasionally allowing their refined technical skills rise to the surface. This is also one of those EPs that does the thing where the band buries their most skillful songwriting on the backside. Honestly, I could listen to this one on repeat a lot, and never find it tiring.

The Vaxxines Suits EP

Rising out of the ashes of the PATHOGENS comes this catchy-as-hell band with mainstays of the East Bay punk scene on board. There may be no Jesse Luscious or Cinder Block present, but the patented Gilman-style male/female trade-off vocals and catchy (but not wimpy) pop punkedness made famous by BLATZ and TILT carry on. “I Wanna Be In Quarantine” is definitely their best shot for a hit here, but I much prefer “Drink Beer And Destroy.” Go figure. Keep it up.

Welt Star Ich Hasse Blumen cassette

Here is an international collaboration featuring the brains behind DIODE, BOBBY WOULD, and VAGUESS. Needless to say, I was thrilled to dive into this German (by way of L.A.) punk that is moody and fun all at once. The drums absolutely bop, there’s a tasteful amount of synth, and the guitar and bass interlock like some kind of all-angles double helix in a way that hits from the heart and not the head—this isn’t some erudite post-punk, but something much more populist and propulsive. It’s a total blast to hear these musical minds intersect, and though by all reports it could be a while until we hear more from this project (if ever again), I will be anxiously waiting. “Cool” feels like a meaningless word these days, but if anything is cool, it’s this. Tell me “Monstertruck” doesn’t have you shouting along and I’ll tell you to check your pulse.