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!

Pinch Points Process LP

I loved PINCH POINTS’ debut LP. It was punchy and pointed, the kind of jagged-angle punk with a POV that you leave on repeat. I didn’t think they could take such a grand leap forward, but sure as shit, they did. This collection of songs is a hell of a lot of fun musically, but the lyrics brought me to my knees. It’s all on-the-nose, but not in the way people usually mean as a lazy critique. The band says what it means, because they’re not being cute or coy. With songs about mental health, misogyny, the incarceration and murder of First Nations peoples at the hands of police, and literal calls to action against apathy, these are important screeds against the ills of our globally unwell society. Then the band wraps it all in a package of catchy, well-read hooks and illuminated playing across the board. A recent video gave a peek into the band’s writing process, and I saw something I hadn’t seen in a jam space in a long time: a white board featuring every bridge and sub-bridge and ABCs galore. It makes sense, the results are a sort of prog-but-not-for-dorks lightning bolt of punk with an effortless (sounding) execution. It’s exhilarating, and already leaves me breathless for the next release.

Pleasant Mob Irene / Trees & Flowers cassette

A two-song cassingle of chiming psychedelic softness with all the fixins—McGuinn-ish twelve-string, a groovy bass line for you to sway to, some tambourine shimmer. There’s even a flute! Second song is a strummy hummy “la-la-la”-laden cover of a STRAWBERRY SWITCHBLADE tune.

Prisão Não Pertenço EP

One of the best demos of the year, now getting the vinyl treatment from Adult Crash, and I’m grateful. Stockholm’s PRISÃO is a bit of a supergroup (members of VIDRO, AXE RASH, and FERAL BRAIN, among others), but don’t let that distract you from their power. Throaty, abrasive hardcore punk sung in Portuguese…it’s just relentless, fist-pounding hardcore punk. Like, I don’t know what the fukk else you could want.

Reflex Demo 2022 cassette

Strong demo from these French punks. Don’t let the sterile artwork dissuade you—at its core, it’s melodic hardcore, but they keep it pretty dirty and loaded with tough riffage. I love the singer, as he sounds kinda like a French-accented version of early ’80s Keith Morris, and it’s endearing to me for whatever reason when he delivers vulnerable lines like “I looked in the mirror, I didn’t see anyone” on the opening track, or “I’m not afraid anymore” on “Any Decision.” In general, there’s an urgent sincerity to the songs and they feel personal and somehow relatable. I’d really like to hear more from these guys.

Sluggo Sluggo LP

Man, I was so delighted to see this one pop up on my assignments list—I had no idea the SLUGGO stuff had been reissued! Hailing from Cincinnati, SLUGGO were one of the countless lower-rung HC bands that emerged from every nook and cranny in the USA from 1982–1984. Their Contradiction 7″ from 1984 has been one of my personal favourites in the “inessential in the grand scheme, but fucking awesome regardless” subset of American hardcore releases for quite some time. A straightedge band, many accuse(d) SLUGGO of being little more than a MINOR THREAT clone and, while they certainly wore their influences on their sleeves, I feel that calling the band a wholesale rip-off does these tunes a massive disservice because they really stand on their own merits. In addition to the aforementioned Contradiction EP, this self-titled reissue also features the fruits of a different 1984 recording session on its B-side, with most of the material being previously unreleased in an official capacity—it all rips! After this, they went in a more MOTÖRHEAD-influenced metalpunk direction that, if you can track it down, also rips. This LP comes highly recommended to any fellow connoisseurs of the classics and any fans of early straightedge bands like MINOR THREAT, STALAG 13, AMERICA’S HARDCORE, etc.

Sociedad Bastarda Maqueta Askerosa demo cassette

Florida is not a place I associate much with punk rock, but SOCIEDAD BASTARDA proves me wrong. In our modern world, we are constantly fed new music that we are told is the next hottest shit in town, so bumping by chance into a brilliant unknown band like this lot feels like a breath of fresh air. What’s not to like in being sonically brutalized by dis-loving cavemen crust music? With a front cover depicting three visibly intoxicated crusters discussing the merits of the mighty GLOOM (just another day at the office, right?), and further unsubtle references to crasher crust with a logo using the classic double crass circles and the ELECTRO HIPPIES smiling face and the band openly thanking bands like ABRAHAM CROSS or DOOM for existing, the listener should know what kind of bollocking is to be expected. Unsurprisingly, SOCIEDAD BASTARD’s music is distorted, heavy, and crustier than your oldest pair of socks, but I would not describe them as being strictly crasher-noise-oriented. Beside the obvious DOOM/SORE THROAT structuring influence, the Japanese school of crust is also proudly represented with solid hints of CONTRAST ATTITUDE and ABRAHAM CROSS, and the band is clearly into the Swedish classics as they reworked two songs from BOMBANFALL and SHITLICKERS—to top it off, I am also reminded of more modern furious Scandicrust tornadoes like FLYBLOWN or WARVICTIMS. Quite a smoothie, that one. The production is cavernous and pummeling, the band’s slight sloppiness further adds to the impeccable crust vibe of the songs, and I love how the two pissed vocalists (en Español) work together here, too. I can definitely imagine SOCIEDAD BASTARDA delivering something really good on a proper vinyl release. This is gruff crust at its most asqueroso, the way it is meant to be. Yet another good one from Roachleg Records.

Stupid Future Stupid Future CD

We’re only one track in and I’m really digging this. Shit’s going on in Tennessee. I suppose if we’re looking to label this, I’d call it garage pop, with a certain somberness. The pace at times seems almost restrained, not in a bad way. Sometimes it’s mid-tempo and other times it’s a little jumpy—again, not in a bad way. The balance between instruments and vocals is excellent, and the vocal harmonies are easy to listen to. It’s straightforward and it’s well done. I find myself just kind of swaying in my chair. I’ll listen to this one again and again. If you’re into CDs, you might get one of the 200 that were made.

Tin-Ear Cadastral Maps cassette

Self-described as “tweemo,” this is TIN-EAR’s debut album. Very heavy shoegaze vibes at play, with coy vocals that lead a soft and melancholic tribe. Is my teenage self brushing the hair out of his face and crying somewhere in the kaleidoscope of time? Anyway, this lot hails from the salty shores of Charlottetown, Prince Edward Island, where we are taken to sea aboard a “rickety ship that may never return to shore,” and are ultimately tossed about with the nearly nine-minute closer, simply named “Untitled.” Concept albums and long-jam enders, the type of thing SONIC YOUTH pulled off, are their own form of bravery in the genre, and for that, I give this a lot of credit.

What A Waste Demo 2022 cassette

Four songs here. Hardcore punk that has potential to be pretty good if given the chance to polish up the diamond in the coal here. Sound-wise, it definitely has some of the pitfalls implied given that this is a demo. Everything, while played well, sounds like it was recorded in a home studio with no options of layering vocals or guitars to give the songs a fuller sound or a decent mix. With that said, this is only a demo after all, and one is to expect such things. While I’m looking forward to hearing a future release from this band, it is quite refreshing to hear a demo that, in fact, sounds like a demo!

Angustia Espiritual Angustia Espiritual cassette

The album art on this cassette calls to mind RUDIMENTARY PENI, but Costa Rica’s ANGUSTIA ESPIRITUAL carves a sound out that is all their own. Playing more like a noise-injected 45 GRAVE, this self-titled EP has a production that is neither dense or sparse— instead, they offer a wall of sound that is interspersed with enough breaks to allow the creepy feelings to settle in. No haunting organs or synths, but replaced with slippery guitar and bass that slink around Amanda’s vocals. The closing track “Letargo” is perhaps my favorite, as it really highlights ANGUSTIA ESPIRITUAL’s deathrock sensibilities.

Bogus Torpedo Liquid Aloha cassette

Five short songs of hard-rockin’ punk fly by in a blur here. It’s on the superior format of cassette, so you can let it auto-flip and keep the party rolling non-stop. They have an element of Aussie punk/hard rock going on that’s a little like POWER or VENOM P. STINGER, especially on my favorite track “Taste The Blade.” A worthy six minutes of your time. Much better than a kick in the head, for sure.

Busy Weather Busy Weather 12″

Rough-around-the-edges pop punk from Asheville, North Carolina. For some of you, this says it all. For everyone else, a brief stylistic overview: the above description refers to a micro-genre of pop punk, mostly from the Southeastern US, typically without the smooth finish of an Epitaph or Fat Wreck release. There’s plenty of memorable guitars and vocals that are equal parts abrasive and melodic. The tempo rarely goes much over 150 BPM and sometimes it can slow to a sleazy crawl. This record competently covers all those bases. If you liked anything from ADD/C to FUTURE VIRGINS, this release sits comfortably alongside them in a crowded living room show.

Chainsaw When Will We Die? EP

Straightforward D-beat from Boston from members of BRAINKILLER and SUNSHINE WARD.  This is all very much by the book and does not disappoint yet does not provoke. Is that a bad thing? There is a bit of DOOM (Pickering-era), some smatterings of FROM ASHES RISE, and a heavy dose of SHITLICKERS. Add your stock dejected, grainy cover image (anarchy symbol required) and a track list replete with nihilistic song titles and away we go!!!

The Cosmopolitans Party Boy (1979–1982) LP

The COSMOPOLITANS started out as a North Carolina dance troupe in 1975 before relocating to NYC a few years later, where they fell into the scene as go-go dancers at the city’s punk/new wave clubs and eventually decided to start writing and performing their own songs. Core COSMOs Jamie K. Sims and Nel Moore initially sang and danced to canned backing tracks at shows until they recorded a 7” in 1980 with Will Rigby and Chris Stamey of the DB’S on guitar and drums; a live band was pulled together shortly thereafter. Given how oriented they were toward the physicality and theatricality of performance, it’s not surprising that they didn’t leave much behind in the way of studio recordings—for an LP-length retrospective, Party Boy is pretty brief, hitting the group’s lone single (but only two of its three different US/UK B-sides?) and four scrapped 1981 tracks. The COSMOPOLITANS’ campy, retro-obsessed shimmy-shake was cut from the same loudly patterned polyester cloth as fellow Southern eccentrics the B-52’S: rickety “96 Tears” organ stabs, minimal rave-ups sans bass, giddy shrieks and twisted girl group harmonies, and lyrics steeped in winking irony, all exemplified in their raucous, gyration-inducing signature song “(How to Keep) Your Husband Happy,” which lifts its cheerleaders-gone-Girls in the Garage chants directly from the “advice” given in one of those wildly regressive health and beauty guides for 1960s women. Dance this mess around, indeed.

D.B.R. Boogie Nights cassette

D.B.R. appears to be a solo-recording project from Denes Bieberich. The Bandcamp copy just attributes the recording to “…a mysterious being who interacts in German bands such as BENZIN, PIGEON, LIIEK, OSTSEETRAUM, and much more.” Bieberich also makes music under the name DEE BEE RICH, which would seem to seal my suspicions that he alone is behind this project. But DEE BEE RICH doesn’t sound all that much like what’s on this cassette, and there seem to be different vocalists from track to track. All the aforementioned acts seem to be pretty incestuous too, so I wouldn’t be surprised if some of those folks are chipping in. Nor would I be surprised to learn that the vocals are being pitched up on some of the tracks. It reminds me of Mark Winter’s shenanigans, particularly around his project GSB (a.k.a. GORDON SPICER BAND, a.k.a. GOLDMAN’S SEX BATTALION). Mark’s clearly providing a musical influence here as well. But this is by no means CONEHEADS-core. Instead, this project takes some of that scene’s trappings and applies them with a light touch to create mostly minimal post-punk tracks. Like, “Nuclear Family” almost sounds like YOUNG MARBLE GIANTS, but with skittery C.C.T.V. drums and very faint cartoony rubber band funk guitars. And though some of the other five tracks are less minimal, more punk, or more sci-fi, that’s kinda the gist of the whole release. It’s actually pretty cool!

Derrumbando Defensas Sistema Criminal LP

All-female metal/hardcore band from Temuco, Chile that assembled around 2009, with three previous releases. Released in April 2022, this seven-track LP (with a great cover art by Subhuman Illustrations from Colombia) has some sick lyrics full of hatred and aggression and a sense of revenge and justice, touching on topics such as feminist struggles and resistance, and Latin American issues from colonialism to ethnocide to nature’s destruction at the hands of big foreign companies. Anti-system, anti-state, anti-speciesism, anti-fascism, and anti-nationalism positions (what else could you dream for on an LP?) combine beautifully with distorted metal strings and deep and suffering vocals with some sweet gutturals. Metallic hardcore cadences are included along with sounds suggesting outer space and mental metal chambers alike. Suggested tracks: “Latinoamérica” has some great lyrics summarizing all of the problems of this area that has been injured for too long, transmitting a helpful yet painful message which any Latin American is going to identify with. “Devastación” is a sludgy metal hardcore instrumental with screams and doomsday space sounds, working as a break between songs with lyrics. “No Me Representas” is a great anti-nationalist anthem against the Chilean state and its repression and corruption. Highly recommended project, it’s been a good surprise.

Dream Shake Ride the Disease Vol. 34 LP

You ever wonder what it would be like if S.O.D. and LAWNMOWER DETH made a baby? I hadn’t either…until now. Folks, allow me to introduce you to Houston’s DREAM SHAKE. Wild, and wildly irreverent, blasting metalpunk—it’s the punk part of that wordy descriptor that really drives DREAM SHAKE. Twenty-two doses of not giving a fukk and blasting a blast with your friends—I’m going to need to listen to this one a lot more times so I can even begin to get on their wavelength.

Ervin Berlin Junior’s Got Brain Damage / Last Time 7″ reissue

A psych-punk obscurity from Florida at the dawn of the ’80s, fished out and reissued. The A-side is a chunky-riffed caveman boogie about a drug-addled youth who liquefied his lobes on ‘ludes and dust. The B-side is lyrically loose, acting mostly as spotlight for the guitarist’s high, widdly-widdly fuzz-face solos.

Freak Genes Hologram LP

Having formed in 2016, this is FREAK GENES’ fifth LP, on which we find eclectic synth punk from the duo of Charlie Murphy and Andrew Anderson. These dudes have played in a bunch of bands (RED CORDS, HIPSHAKES, HOLIDAY GHOST, and PROTO IDIOT), none of which I’ve listened to, but all that is to say that they seem to have a plethora of creative output. This is one of those bands that has created their own universe, and plays by the rules of their creation: there may not be gravity, there may be hover-cars with cassette decks, and there’s definitely something in the drinking water. I looked up footage of live shows, and I was really hoping for some DEVO-style showmanship with matching outfits and dance moves, but sadly, this was not the case. Just saying, I think y’all could pull it off. If synth punk is your thing, this will surely scratch the itch.

Frisk Stalker LP

Loud, raw, uncompromising. Stalker is the debut LP from Leeds, England’s FRISK. This record melds early angry hardcore acts like NEGATIVE APPROACH and DISCHARGE with more contemporary noises from the likes of HOAX to create a twisted, bludgeoning sound that is all its own. The vocals growl and howl over the harsh and noisy instrumental passages. This is the perfect record for a murderous killing spree. An unnerving, unsettling listen that comes highly recommended for those with the stomach for it.

Going Off Destroy EP

Hardcore that’s short, kinda metal-ish, and somewhat directionless. What I mean by that is that there are a handful of songs here that just kind of end right when they seem like they should kick in to where the song really gets going. There are breakdowns in odd places. I don’t know, man—the whole thing sounds like a bunch of unfinished INTEGRITY songs to me.

Hägöl 진공 EP

Effective mix of pop and savage hardcore from this Adelaide band. Featuring distorted bass, drums, and crystal-clear keyboards, the songs are immediate ear candy while still retaining a punk edge. The band effortlessly switches from pop-leaning femme gang vocals to raw hardcore hollers, all under classic rock’n’roll keys. The lyrical themes cover inequality, nationalism, colonialism (the band makes a point that the EP was recorded on stolen Aboriginal land), and personal thoughts on homelife. The Korean-language track “Goyangi” has the line (through a translator on my part), “the best of the best is a Cuddle Sandwich Skeleton cat sleeping in my arms forever.” I can get down with that. Serious and catchy, cute not cutesy; this was a treat.

Icons of Filth Not on Her Majesty’s Service LP reissue

In my late teen years, I had a friend who was obsessed with ICONS OF FILTH. I was relatively new to anarcho-punk at the time, so I was given digital files, mixtapes, and even loaned a 7″ for about a week. Needless to say, Not on Her Majesty’s Service became a sort of beacon, guiding my tastes to more sonic extremes. Originally a cassette release, it’s now reissued (for the second time) on vinyl with a previously unpublished photo of the band. ICONS OF FILTH were comrades of CRASS and CONFLICT, but their sound is strongly in the UK82 spectrum with noise-level guitar distortion, heavy drumming, and an unwavering hardcore ethos. Don’t expect artsy anarcho/peace punk, but rather something more like CHAOS UK or GBH.

Konventio Konventio cassette

Eight songs of blazing, frenetic hardcore punk from Finland. KONVENTIO aren’t trying to blend genres or reinvent anything here. Rather, they lock in on a tried and true recipe passed down from forebearers like KAAOS and RIISTETYT and just rip. That’s not to say that KONVENTIO is unoriginal—their sound is quite distinct—but they are able to capture the spirit of what made the aforementioned bands so great. The guitars punch through with killer tone and some tasteful rock’n’roll solos. The drums seem as if they’re on the precipice of falling apart, like the drummer isn’t in full control of the chaos they are unleashing. This adds a nice touch of character. The raging vocals are a highlight and really keep things moving. This is a solid first release!

The Loons Cry Cry Cry EP

The LOONS, led by Mike Stax of Ugly Things magazine, present four cover songs on this EP. As is to be expected, the songs are expertly and authentically performed. Included are songs by the UNRELATED SEGMENTS, the SECOND HELPING, 13TH FLOOR ELEVATORS, and the BUSH. Another fun release in Back to Beat’s Moody Garage series.

Misery Whip Misery Whip cassette

Heavy powerviolence/hardcore from Portland, Maine’s MISERY WHIP, not to be confused with the death metal band of the same name from Portland, Oregon (wait, what’s going on here?). This eight-song cassette has both previously released singles “Misery Whip” and “Dissent,” the latter having a really brutal breakdown that screams “You are a piece of shit!” Check out the absolutely ferocious “Empty Words” for a good sample of the band. This reminds me of G.L.O.S.S. but darker in its lyrics and imagery. Accept the whip, take a listen.

Motosierras Nene de Barna EP

Alright mates, I’m not going to mince my words here, this is truly complete and utter shite. Four dads who clearly are old enough to know better writing plodding, mewling, anodyne bollocks for the benefit of absolutely no one. Where they get the sheer brass neck to try and compare this to the RAMONES or MOTÖRHEAD is beyond yours truly, because the only thing I can even begin to suggest they have in common is that they all own guitars. Avoid this like diphtheria.

Newtown Neurotics Beggars Can Be Choosers LP reissue

The opening of “Wake Up” reminds me a lot of THATCHER ON ACID, but then the sounds shift into a guitar-forward production that sounds like a slightly downtuned UNDERTONES or even BUZZCOCKS. A heavy infusion of pop, but with a fully punk rock delivery. Lead singer and guitarist Steve Drewett wears his anarcho-syndicalist badge proudly with lyrics about working class problems and the failings of our public education systems. “Get Up and Fight” is a resistance song that outlines methods of struggle that are as equally crucial now as when the song was originally written. In all, this disc plays like a really pissed-off BILLY BRAGG or JOE STRUMMER.

Organized Chaos Still Having Fun LP

I don’t know what to think about this one. I love and have a lot of respect for what Sealed Records put out. The label makes popular classic anarcho-punk records (from the ICONOCLAST, ZOUNDS, or RUDIMENTARY PENI) finally available again to the grateful punters, giving lesser-known/underrated but absolutely brilliant and crucial ’80s bands like TOXIC WASTE or KARMA SUTRA the reissue treatment at the same time. Clearly a work of passion and good taste I really relate to. But I was a little surprised to see this ORGANIZED CHAOS album. Not that the band is bad—they did play enjoyable enough political, snotty UK punk that makes you want to drink cheap cider and spike your hair (assuming you have any), but they can hardly be said to be as classic or memorable as the rest of the label’s catalogue, although they may have been very relevant in their area at the time (would that make them a ‘’local classic” band’’?). They sound like a mix of ACTIVES, LUNATIC FRINGE, and STUPID HUMANS (the band had a connection with Bluurg Records, actually), if you need points of comparison. If you are a massive fan of British anarcho-punk and undeterred by sloppiness in punk music in general, you should buy the thing, and the amount of work put into the huge booklet is worth supporting in any case, as Still Having Fun is as much a piece of our collective history as it is a record. However, if you are not a completist or an undiscerning fan like myself, I don’t think ORGANIZED CHAOS will impress you much. There are some decent sing-along numbers like ‘’H-bomb Wars,’’ but on the whole it is pretty typical and generic, neither really tuneful enough to be really memorable nor energetic and furious enough to really stand out. I want to like this more than I do.

Perros Plaga Rechazo cassette

I had no idea what to expect going into this release. The cover’s aesthetic suggested something somber and self-serious—maybe metal, or worse, metalcore—and the cassette title, which translates to “rejection,” gave me a very late ’90s vibe, really increasing my concern that this was going to be metalcore. On the other hand, “Plague Dogs,” the English translation of their name, gives off more of a shit-kickin’, V-flickin’ street punk vibe. Turns out neither impression was accurate. Not exactly, at least. This trio from Zapopan (a large city on the edge of the even larger Guadalajara), plays something in between melodic hardcore and post-hardcore, and this ten-song cassette appears to be their official debut. The music isn’t a million miles away from early HOT WATER MUSIC or LEATHERFACE—you know, stuff that’s not quite hardcore, not quite pop punk, but definitely bobbing in the wake of DC’s Revolution Summer. These songs are lower-fi than either of those acts, giving the recording a punker sheen, and, while it would be a stretch to say this is street punk, you’re getting that same sort of energy from the tuneless gang vocal shout-alongs. It’s not bad, and it’s a pleasant enough listen. But, aside from a few head-scratching detours they take in the opening track—some weird ANIMAL COLLECTIVE coos and space rock guitar flourishes—there isn’t a whole lot here that really makes the release stand out.

Power Flower Electric Drug Fuck Up EP

Hungarian synth punk that is equal parts fun and gross. These five tracks double-dribble with punk energy, errant sine waves, and unintelligible vocals. The title track sounds like CHERRY CHEEKS layered with an ’80s War on Drugs PSA sound collage. “Get Off My Ass!” captures the catchy joy of the SPITS with rougher vocals, and “N.SZ.K.O.” has some serious pop hooks under the hood, like a bubblegum hit played at 78 RPM. “Whippit” delivers POWER FLOWER’s version of a ballad with noisy chimes, battling electronics, and a rubber ball bass line. I accidentally did a whippit a few days ago—I’m not into inhalants, but I love whipped cream. Be careful when sucking on that can! This is a cool rip through crunchy synth land with infectious results.

Public Acid Easy Weapons LP reissue

The debut LP from North Carolina’s PUBLIC ACID is getting some well-deserved love from the dependable La Vida Es Un Mus label. Originally released in a limited run of 300 copies in 2018, this is a welcome reissue of a straight banger that showcases the band’s twisted take on brutal Japanese hardcore and the speedy, primal poisonings of Italian bands like WRETCHED. It’s a corroded carnival of feedback, buzzsaw guitars, scathing rapid-fire drum beats, and distorted echo vocals, chewing the ears from start to finish. The intense fun doesn’t let up, and when it’s done, I’m instantly compelled to play it again—the mark of a classic.

Skinman Skinman cassette

Always keep an ear perked for what’s happening in Hattiesburg. There’s been heaps of top-tier punk coming out of there for ages, and this ferocious quintet is no exception. This band hits hard with a grim touch that almost calls to mind DARKTHRONE’s more recent bizarro ’80s output. That’s not to say this is True Mississippi Black Metal, it’s fully its own brand of frenzied hardcore, but it’s coming from a far left field that makes it crushing and crucial. Don’t miss it.

Spore Rabid Intent cassette

Here comes a new band from Richmond, a town that has had a lot of solid hardcore bands for the past few years (something in the water, I suppose). I am not sure I totally get the recent floral obsession in American punk bands but a compilation with POLLEN, ALLERGY, FLOWER, and SPORE would be ace. Maybe as a benefit for a local garden centre? I had never heard of SPORE before this review, and Rabid Intent is a lovely little ripper and, impressively, the band’s first endeavour into the studio. My favourite thing about SPORE is the supremely angry, harsh, and powerful crusty-sounding female vocals. Fuck me. I am a massive sucker for female-fronted käng-flavoured hardcore, and these songs sound like you are being grabbed by the collar and shouted at for twelve minutes straight, which in real life would be pretty traumatizing but is exactly what you want from a furious hardcore punk band. It would not be wrong to claim that käng hardcore is SPORE’s primary source of inspiration (especially the modern TOTALITÄR-inspired bands and PARANOID as well), but I am hearing a lot of American hardcore as well, especially with the numerous tempo changes and the breaks, so that Rabid Intent often sounds like a US hardcore band having a go at Swedish hardcore rather than the opposite, which seems to be what a lot of bands, like the excellent AXE RASH, try to go for these days. The distorted guitar sound gives the material an additional aggressive edge and some nice textures, too. On the whole, this is a relentless recording with a lot of energy, although there may be a little too many changes in the songwriting for my taste (and too much reverb). I do believe the band has a lot of potential and is very promising, and we will be hearing about them in the future.

Sweet Reaper Microdose EP

Lovely little four-song slab from Ventura, California’s SWEET REAPER. Energetic, vocal-driven power pop with such a clean guitar tone that you’d think they were playing from an original 1950s Telecaster. Vocals are very melodic, and bring to mind MARKED MEN, RADIOACTIVITY, and a slew of other Dirtnap bands. Helps warm the bones on these chilly winter nights. Great stuff.

T.S. Warspite Stop the Rot LP

Leading us by the hand into a grim vision of the not-too-distant-future is the excellently named T.S. WARSPITE with their first LP Stop the Rot on Quality Control HQ. Following a stellar demo from 2020, the Manchester-based outfit plays a supercharged take on early DC melodic hardcore and modern UKHC; think BAD RELIGION and DAG NASTY but also BIG CHEESE and the FLEX. Singer Marco Abbatiello’s rumbling voice serves as the narrator, taking us through the struggles of getting through the hellscape that is modern society including politics, housing issues, and impending environmental destruction. Both incredibly urgent and scathingly intelligent, we’d be wise to listen to what these guys have to say. Standouts include “Scampia,” “Redemption Arc,” and “Slum Landlord.”

Warrior Tribes The Con cassette

A posthumous cassette of the now-defunct WARRIOR TRIBES. Fifteen tracks of relentless, no-frills hardcore punk recorded in 2017. Enough hooks to keep your attention without getting too showy. WARRIOR TRIBES wear their Chicago roots on their sleeve with a sound that could easily be compared to ARTICLES OF FAITH. Maybe throw in a dash of BATTALION OF SAINTS, but with a gruff, lower register vocalist. Repetitive, fast, and snappy riffs that never get boring, with the occasional mid-tempo, flange-heavy dirge tossed in for good measure. This is a real success and it’s a shame to hear that the tribe has fallen. I would have very much liked to have seen this band.

Auto Hardcore 2022 demo cassette

The title of this demo tape from Singapore’s AUTO says all you need to know—this is fast, raw, uncompromising hardcore fucking punk rock. Hardcore 2022 contains seven songs in almost as many minutes. Clearly influenced by the classic American and European hardcore bands, AUTO does a stellar job at bringing that same aggression to 2022. Initially self-released in the beginning of the year, La Vida Es Un Mus has given this rager a wider release…so what are you waiting for?

Berosszulás / Parasite Dreams split LP

Split LP from two Central European bands hailing from Budapest and Vienna. BEROSSZULÁS (“toxic deterioration”) plays rolling pogo-beat punk that always reminded me of KURO mixed with a lot of hooks that are rather familiar from early hardcore nervous-teenager breakdowns—their songs are both buzzing and stomping. They are not falling apart anywhere at all; rather, they create and maintain a great tension that is varied with witty stretched-out solos, screaming string bends, and well-placed changes which result in a playful bounce. It’s music to shake your fist and lose your mind. Sonically, everything is identifiable—the base of the music might be reminiscent of basement raw black metal elements but it is not a cacophonic sonic warfare, you can hear the bass drawing its own territory with unusual ideas, and the few-note guitar riffs are neither drowning in overdrive, although they do not spare distortion. The whole record has a great momentum, it’s pushed all the way through by the anger of the band. BEROSSZULÁS passes through different styles and tastefully collects from each what they like to hear the most, yet it does not turn them into a showcase of unmatching gimmicks. What are they, then? A great hardcore band. On the other hand, PARASITE DREAMS from Vienna are closer to the already mentioned raw black metal that is basically a punk sort of aesthetic. In their songs, the “sounds coming from next door” effect (which blocks the in-your-face power of the tracks) and the noticeably different recording quality compared to the other side of the record both break the cohesion of the split. They put more effort into creating an atmosphere, building it with intros, outros, and extended tracks where the guitar keeps playing while the drums rest. Mostly mid-tempo, sometimes even slower, each song is built from a catchy primitive riff and very minimalist drums. The vocals change between distant screams and monotone speak-singing. It’s interesting when they turn to a rather atmospheric sound that does not recall tree-hugging metal but vicious post-punk. The big dilemma here is how much a different mixing would butcher their core idea. On the other hand, they are determined to have everything as they imagined and that should be respected. In this current age, attention is at stake, so listening to PARASITE DREAMS could be a good challenge to train your focus, because when attention is paid they are pretty entertaining, but they also easily slip into being background noise. Without the usual dilemma of splits, this is a great record—if you like ugly, nasty hardcore, then check it out.

Blatant Dissent 1985–1986 LP

As a teenager growing up in the Midwest during the first half of the 1990s, it’s perhaps unsurprising that I enjoyed the rock band TAR. TAR was a kind of emblematic middle-of-America noise rock band—they constructed their guitars from aluminum and they put out records on labels like Touch and Go and Amphetamine Reptile. But unlike, say, COWS or LAUGHING HYENAS, TAR was actually kind of a straight-ahead band, playing a sort of glum, deceptively hook-filled mid-tempo rock music. They even pulled a neat trick by having their final album, 1995’s Over and Out, be their finest work. But before TAR, most of the members learned their trade in the post-hardcore group BLATANT DISSENT. This collection LP pulls together two different recording sessions that resulted in a couple 7”s and the Hold the Fat album, and includes unreleased versions of some tracks. The first side was recorded with famed engineer Iain Burgess, who recorded many classic T&G sides, while the ’86 side is the early work of one Steve Albini, who also remastered this material from the original tapes. What’s interesting is that a lot of the 1985 material isn’t that different from the sonic trademarks of Washington, DC’s concurrent Revolution Summer scene. Even the lyrical concerns, often addressing their fellow punks, echo these sentiments. Hell, “Undermine” is practically a straightedge anthem. “Is There a Fear?” channels NAKED RAYGUN like they were born to it, while “My Hands Are Tied” opens with a PINK FLOYD-like acoustic bit before erupting into a tuneful swift kick that isn’t far removed from a late ’90s “melodic hardcore” band. “Eleven Days” shows how the band is able to give shape to the bleak, colorless days that dot the Midwestern calendar year. “How Can I Lose?” and “Status Quo” are highlights, all nervous energy and killer hooks. For obvious reasons, the 1986 sessions reveal a far tighter and more powerful band. By this point, BLATANT DISSENT had locked down its sound and it was only a matter of time until they would craft their aluminum guitars and solidify the sound of TAR.

C0mputer Masturbation Ritual cassette

I’m going to make up a new subgenre: Outsider Tech Death. If you can imagine kids weaned on SLIPKNOT and SYSTEM OF A DOWN who create a DIY metalcore band…that’s what we’re looking at with Florida’s C0MPUTER. It doesn’t make sense, but in the same way that JANE and SYSTRAL didn’t make sense in 1998, maybe the punks just need to grow into these sounds. Maybe the future is Outsider Tech Death. Maybe the future is C0MPUTER.

Delivery Forever Giving Handshakes LP

Melbourne, Australia five-piece that plays in a comfortable place between garage and indie. With all five members contributing to vocals, these songs keep you guessing. “Wear It Well,” and generally the female-sung tracks, remind me of contemporaries AMYL AND THE SNIFFERS, and are scrappier than the male-led songs, which have a more breezy, indie flavor. Lots of trebly guitar riffs on these longer-format songs, with plenty of instrumental breaks between verses featuring carnival keyboard lines. “Baader Meinhof” has a music video on their Bandcamp site, if you want to see these Aussies in action. It took me a few listens, but I think there’s a lot of fun stuff here.

Dustpan Out of My Mind LP+CD

Blistering collection of 30-second-long fastcore/crust blasts from Chiba’s DUSTPAN. I’ve come across some doses of their brand of mania before (the band has been kicking around since the early 2000s), but Out of My Mind is next-level; FLASH GORDON-caliber fury with LIFE assault and production. Might be tough to snag this one outside of Japan, but it’s well worth the effort.

Earth Mother Fucker IVF CD

Live recordings are a tough sell in the best of circumstances. I tend to avoid them, even with bands that I love. I do not love EARTH MOTHER FUCKER. They’ve apparently been around since the late ’80s, though this was my first time hearing them. IVF is a seven-song live set of bog standard angular noise rock. The bulk of the songs appear to come from the band’s early era. Maybe they sounded more inspired then. Their signature track is titled “I Fuck Therefore I Am.” Cool. This is like hearing JESUS LIZARD overdose on Ambien and boredom. Snooze.

Ella Se Peló Resiliencia cassette

ELLA SE PELÓ shifts musical gears throughout this record, usually at a manic pace. It’s not that thrash metal riffs, post-HC noise, or melodic hardcore are so different from one another, but the frequency with which they’re rotated here left me spinning. It felt like I was listening to a sampler of 30-second-long songs by different bands. Luckily, each of those bands was quite good. ELLA SE PELÓ is incredibly tight and executes all those riffs, breakdowns, and instrumentals with skill. Each part, however different, sounds great, if a bit brief. I would have preferred to stay with one or two styles the whole time, or for longer stretches.

Frvits Stupid Era EP

A fluctuating debut EP from a Canadian four-piece that brings together what sounds like (and comes off as) unfinished song after unfinished song. This is rough, I can’t grasp any of it without pondering what the amount or type of substances consumed to produce this body of work could possibly have been. Each song becomes progressively more annoying throughout the six songs, with the climax at the end with “Your Shopping Cart Misses You.” Blag Dahlia is somewhere on this EP, but I could not make him out on any track. Bad apples.

Graven Image Studio Sessions: ’82-’83 LP

It’s a great day when I get to hear an unknown (to me) 1980s USHC band, especially from the South, in an age when dug-up material that’s better off unheard is spewed all over the internet daily like rancid old discharge (not the band). I immediately recognized “My World” from my well-worn-out copy of  the Party or Go Home comp. Everything else here is new to me, not being from Richmond, VA, where they reigned for a good year or so (a long time in teen ’80s hardcore years). They have a lot in common with bands from the era like WHITE CROSS, NO ROCK STARS, or HONOR ROLE—GRAVEN IMAGE’s half of a ’82 split tape with the latter called Your Skull is My Bowl! (best title) is included here. You also get their Kicked Out of the Scene EP, as well as some unheard gems from each session. Shit. If you’re really feeling it, the band has a live set on their own page for your listening pleasure, and there’s a really good article out there on the tragic demise and death of their singer Dwayne Curd if you search for it. Thanks once again to Beach Impediment for the education and just for bringin’ it.

Hank Wood and the Hammerheads You Could Have It / I’d Rather Be With Me 7″

Vinyl reissue of their limited 2019 tour cassingle (which, if you’re keeping score, was issued thrice for a total edition of 560 copies). And it’s quite the upgrade! Despite the waning popularity of the 7”, I gotta imagine this would still be the preferred format over a two-song tape. Plus, this art looks great blown up, and you’re getting a hilariously unnecessary lyric sheet! This initially came out between 2018’s self-titled LP and 2020’s Use Me EP, and it definitely sounds like it. HANK’s still rapping, but he’s getting further away from the early ’70s JAMES BROWN-aping of that LP and closer to that Anthony Kiedis patter you got on the EP. “You Could Have It,” with its motorik, loud/quiet groove and searing but tuneful guitars, sounds like a more profane and anti-social EDDY CURRENT SUPPRESSION RING. It’s great! “I’d Rather Be With Me” sounds like it could have plucked off their 2018 LP, except it’s got this odd, atmospheric, almost indie rock guitar running through it. It reminds me a little of MODEST MOUSE’s “Float On”…which I don’t think I mean as a negative. In any case, HANK WOOD AND THE HAMMERHEADS are one of the most important acts of the past decade, and this release is accordingly essential.