Reviews - MAXIMUM ROCKNROLL

Chaotic Youth Demo 81 LP

Punk relic from the UK82 wave reissued by Nausea Records (UK), featuring Scotland’s CHAOTIC YOUTH’s demo from 1981. Teenage aggression and rotten presentation of Margaret Thatcher’s era. Really good bass lines, and the singer’s voice has a classic UK82 style, ranting and screaming for change and angst. Favorite track: “Violence in the City.” You can feel the teenage vibes, and if you played in a punk band as a youngster, you are gonna feel at home. Great effort with the archiving and mastering of the material on behalf of Nausea Records.

Cherry Cheeks Cherry Radio EP

Portland-based Orlandoan Kyle Harms is back with six more tracks of his trebly mix of DEVO, JAY REATARD, and late ’00s garage pop. The Bandcamp copy notes that this was recorded in 2020 (though, the liner notes on the physical release are silent on the matter), which would mean that these tracks likely predate those from last year’s Total Punk LP. In any case, this session seems to have yielded a somewhat poppier crop of tunes. The songwriting is as crisp as ever and the production is busy—full of intricately-laid layers of buzzy synths and warbly guitar overdubs—but fun. Worth picking up, for sure!

Collision Sur Les Trottoirs LP

COLLISION is a French band from Nantes who embrace their native tongue and write really catchy songs. Sounding like something that could have come out during the heyday of Lookout! or even a RANCID side project, COLLISION is able to fill a void in many people’s collections. Blending elements of Oi!, punk rock, and even a bit of two-tone into a raucous good time, COLLISION is contemporary rock’n’roll. I found Sur Les Trottoirs to be a nuanced album, but also something that brought to mind bands like CRIMPSHRINE, OPERATION IVY, and BRAIN FAILURE, while the French lyrics made everything fresh and just a little more interesting. Some downtuned moments of flanged guitars bring in a very minor element of post-punk darkness which only elevates the feelings of melancholy and angst swirling on this album.

Data Unknown W/P cassette

Last year’s Promo Only tape was a killer, but on W/P, Indiana’s DATA UNKNOWN steps up the weird and leans even heavier on the synths (as if that was possible). The result is a true freak stomp, barely recognizable as punk and undeniably punk as a result. Tweaked TUBEWAY ARMY sounds clashing with a triple threat of early Rough Trade, SUICIDE, and Midwestern nihilism. Total brain-melt in the best way.

Dominant Patri Heroes Glory 12″

Formed in the early ’80s in Luton, England, DOMINANT PATRI were a part of the thriving anarcho-punk movement raging on in ’80s Britain. Forty years later, their first demo tape gets the reissue treatment…and rightfully so! The title track of the Heroes Glory 12″ is a brooding peace punk dirge, while the other two tracks are more of the classic “pounding drums with drill sergeant-esque barking” anarcho-punk variety. All three tracks rip incredibly hard! Thanks to the wonderful people at Demo Tapes Records, you can experience this rediscovered anarcho gem for yourself now—go do that!

Empire Easy Life / Enough of the Same 7″

EMPIRE and their sole LP Expensive Sound (the reissue of which was reviewed recently here) has always been more famous for who it inspired than for the music itself. Like many, I heard about it as one of the key inspirations to the fabled era of Washington DC’s Revolution Summer scene. As the legend goes, the record came out in the UK, the label immediately folded soon after, and with no way to promote it, the album and band faded into obscurity. Somehow, copies made their way to the well-curated import bins of famed DC area record store Yesterday and Today and into the hands of members of EMBRACE and GRAY MATTER (among others), inspiring a more melodic and rhythmically diverse path out of DC hardcore. But even divorced from the influence they’ve had, EMPIRE’s music deserves more attention for taking on the gloomier, doomier parts of post-punk combined with the hook-injected power pop punk they had perfected in their previous band GENERATION X (a band that still seems overlooked as far as first-wave British punk groups go). Bob Derwood Andrews’ carefully crafted melodic guitar lines are the guiding star of the EMPIRE sound—spacious and echoing riffs, but also bristling with fiery solo fretwork. Forced to the mic out of necessity, and lacking any percentage of the rock’n’roll frontman genes that GEN X-er Billy Idol held in his curled lip, Bob Andrews’ vocals instead have a shy choir boy charm, singing simply and observationally about the world and his feelings towards it, letting his guitar give the songs their anthemic punch. The rhythm section of fellow GEN X alum Mark Laff on drums and enlisted bassist Simon Bernal keep a consistent bedrock under Andrews, occasionally dropping into sparse, gray sky grooves but mostly bringing a high-energy minimalist uplift to the songs. This single, containing two songs meant for the unreleased follow-up to Expensive Sound, are perfect specimens of the EMPIRE sound. “Easy Life” starts off with a rainy day descending riff and Andrews examining the trappings of dull adulthood, before exploding into a huge, ascending rock chorus. This song and the B-side “Enough of the Same” are full of the loud/quiet dynamics that would be hallmarks of alternative/indie rock/what-have-you in years to come. Though it took 40 years and a chance detour through the import bins of Washington DC, EMPIRE could finally be getting their due and an audience to appreciate them.

Force Majeure / Tchernobyl split EP

This split has me wondering if I should shave my head. Each band offers up two tracks of hard-charging, tough-as-nails Oi! sung in French. Montreal’s FORCE MAJEURE tread the more traditional path of the two. From the razor-sharp jangly guitars and prominent walking basslines, to the clenched hi-hat drumming—this just ticks all the right boxes. Expectedly, the vocals are gruff and forceful, with just a hint of tunefulness. These lads would fit nicely on a bill with SQUELETTE or REĆIDIVE. Hailing from Paris, TCHERNOBYL pounds the pavement with boots of a darker shade. Chorus-drenched guitars lend atmosphere to what might be described best as “Oi! for a rainy day.” Building on the legacy of CAMERA SILENS, TCHERNOBYL are dour and melancholic in the best possible way, à la SYNDROME 81. There’s not a dull moment on either side of this record. Time to lace up and call the barber.

Full Bleed Bleed Out demo cassette

This is one of the most demented recordings I have heard in a very long time. I would have said that it’s lower than lo-fi, but if it’s all high end, treble knob cranked and snapped off, then what’s the term for that? I’ve listened to the full tape a few times and still can’t tell exactly what is going on half the time. Is it just a super fuzzed-out guitar with vocals on top? Is someone playing a full drum kit or is that just a snare drum being played from time to time along with the beat? Regardless, there is some undeniably cool songwriting here if you really focus in order to decipher what’s being played. The main thing that sticks with me is how much this dude has an absolutely killer voice. Picture a young Keith Morris with every line of vocals super distorted, having been recorded peaking way into the red. Wildly cool packaging on this—a cassette mailer with artwork glued onto each panel. It’s a good thing that this was sent to someone like me who is really into nasty recordings, because the packaging comes with a razor blade stuck to the front under a strip of painters tape as well as a Band Aid peeled and stuck to the inside cover. What other conclusion could one possibly reach as to what that is to be used for while listening to such a monstrosity entitled Bleed Out?

High Cost What’s Living Worth? 12″

Heavy powerviolence out of NYC. The drums are incredible, going from blistering fast speeds to slow and low breakdowns within mere seconds. The guitars and bass follow along just as closely, and appear to borrow some tricks from black and thrash metal, a really dark tone set early on that continues through the whole record. The vocals are easily the most impressive part: raw, unwavering barking that comes off very natural and relentless. Doesn’t sound like they had to resort to studio tricks to give them that edge. Speaking of, fantastic production and tight as hell.

Hog Discografía 1996–2001 LP

HOG is one of those ’90s bands I am familiar with but that I don’t actually know well. I remember hearing them and thinking they were alright, but did not bother checking their whole body of work. But since I love ’90s political crusty hardcore and Mexican punk in general, it proved to be fun to explore. They were from the Distrito Federal in Mexico and had three tapes (two of which were splits with ULTIMA RAZON MENTAL and INSURRECCION) and one proper EP released on Lengua Armada (it included their side from the split with URM), the well-known hardcore label run by Martin Crudos. This discography LP opens with HOG’s first tape from 1997 and it is probably my favourite of their recordings. They don’t sound full-on ’90s crust, but there is definitely a crusty element (they have clearly been listening to HIATUS). I can also hear that furious brand of thrashing Latin American political hardcore like the mighty ABUSO SONORO from Brazil (throw in some Scottish SEDITION, too), and it is not irrelevant to point out similarities with other raging Mexican bands like DESOBEDIENCIA CIVIL or DISCORDIA. The next songs are taken from the split with URM and show a more chaotic, grindcore-oriented HOG. The backbone is still of the threatening political thrashing hardcore variety, but the songs are shorter, a bit more complex and rougher, not unlike a more controlled REGENERACION maybe, and they hit hard. The last songs are written with a similar intent and originally appeared on compilations. It would be far-fetched to claim HOG were a classic band, but they were undeniably angry, emphatic, and honest, and relevantly reflected that late ’90s crusty hardcore vibe.

Indre Krig Destroyer EP

Yowza! Here’s the long-awaited EP from Copenhagen, Denmark’s INDRE KRIG. Rip-roaring hardcore punk of the classic early ’80s variety. While wearing their influences on their sleeves, this isn’t a simple clone. Along with the full-tilt, off-the-rails instrumentation, the vocals exude rage and frustration. Everyone is playing their little hearts out on this record with tons of passion, which is how it needs to be done. Highlights on this platter include the title track, “Pinball Eyes,” and “Claustrophobia,” but this record is wall-to-wall with bangers, so throw a dart. Mandatory listening!

Kaleko Urdangak Bizirik LP

Those who have had the misfortune to read any of my missives here in previous editions know how fond I am of boot boys from the Basque country, and it’s a genuine mystery and delight to me why this particular corner of Europe generates so many great skinhead bands. Here’s another one for you; KALEKO URDANGAK makes anthemic, skinhead rock‘n’roll. Sadly not blessed with a working knowledge of Euskera, I can’t vouch for lyrical content, but in dedicating their record to Basque political prisoners, and releasing an unashamedly Basque record, it’s at least small-p political in nature. Musically, it has a bit more studio polish than I prefer, but the tunes are uplifting enough to penetrate even the most cynical of dickheads (me). Really great stuff.

Lamictal Violent Convulsions cassette

Minimal weird garage punk rock from California that reminds me of a merge between DANNY’S FAVORITES and PRISON AFFAIR, but with hardcore cadences and speed. According to the Bandcamp page of the label Goodbye Boozy, we have little information about the one-man band that is Alex Coletto (X-ACTO, GNARLES MANSON). Four tracks in less than four minutes is my kind of synth punk (or should I say synth-hardcore?). Limited to twenty tapes, it’s a must-listen for enthusiasts of synth punk/egg-punk/totally weird minimal punk and its derivatives. Suggested tracks: “Violent Convulsions” (its title exactly depicts the song) and “Aura.. When you are starting to enjoy it, it abruptly ends, like all good things in life.

Massdead Compostable Billionaire Bones cassette

Ecological collapse is on its way. Because of capitalists’ greed and exploitation of natural resources, many species have tragically gone extinct, such as the Bramble Cay melomys, the Spix’s macaw, or the baiji, and the French social security system is bound to be next. One once-thriving species in the ’90s that everyone thought had been extinct since the late ’00s is the legendary dual-vocal cavemen crustcore. The only surviving specimen had long been thought to be MASSGRAVE. However, rumours of several sightings of the species in the wild caught my attention, and when it was confirmed that these beautiful animals had miraculously survived predatory species that had been invading their natural habitat (such as post-punk), it did bring tears to my eyes. With an unoriginal and referential name like MASSDEAD, it is pretty clear that this California unit is nodding toward MASSGRAVE’s furious grinding crustcore. That said, MASSDEAD trimmed off most of the grindcore aspect and, creatively speaking, are more akin to late DISRUPT, late ’80s EXTREME NOISE TERROR, or early VISIONS OF WAR. Compostable Billionaire Bones—a rather sensible green idea—sounds like a seriously pissed charging rhino and brings back a sound that I love dearly and that has sadly fallen out of fashion. The production is devastating and the vocals are adequately over-the-top. The persons responsible for this extreme crust assault have all been involved in bands like STORMCROW, VASTATION, and ABANDON, among many others. This Neanderthal crustcore attack was released on the excellent Blown Out Media, a label that specializes in class raw D-beat, beefy käng, and tasty old-school crust that I am following closely.

Moral Panic Validation LP

NYC’s MORAL PANIC returns with a third helping of dirty back alley punk’n’roll. Composed of real scene vets who know their way around an instrument, they belt out twelve doses of DEVIL DOGS, SUICIDE KING, and HUMPERS-style bash-’em-up trash punk. “Quarantine” is quite the topical rager, and they do an excellent CONSUMERS cover. Hope I get to check ‘em out live, being a Big Rotten Apple resident now myself. Rock on, men.

Nosferatu Society’s Bastard cassette

“Energy” would be a fitting one-word description of this demo. Like bullets being fired from an AK-47, the eleven tracks that make up this ferocious piece of music come at you savagely and without mercy. A chaotic and frantic assault of hardcore to the senses, picking up where VOID left off and paying homage to the masters of hardcore. This will make your blood boil.

Reviewer João Seixas
Label B.L.A.P. / PMT / Roachleg / Sound Grotesca / Unlawful Assembly
Issue MRR #475 • December 2022

Palánta Palánta demo cassette

PALÁNTA plays everything. Such a weird band with such a weird release, presenting a broad musical spectrum from egg-ish garage punk through Krautrock and experimental prog to hardcore. If you think about an unusual punk record and then multiply it by two, you will get close to what is happening on this tape. The vocals sound at least doubled and have the effect of coming from everywhere, while the lyrics are hard to understand, which makes it seem even more like otherworldly yells from a strange cosmos. It is rather an experimental album and got into my scope due to all the members playing in a half-dozen punk and hardcore bands from Budapest (UNIT 731, TUNGA PENETRÁNS, ÉSZLELÉS, BALTA, UNHOLY SATIVA), yet it has the “fuck you” edge and the conflict that turns rock music into punk music. Keyboards added to the classic band lineup already introduces some different possibilities, then they just change styles and are brave to not make any sense within their songs. Meanwhile, it feels consciously free, with each element organically grabbing each other and creating the complete picture. Also, it’s fun and easy to listen to—the tape has great dynamics and there is nothing challenging. It does not mean I like the release, because it is definitely not up my alley, but I could still blast it without any resistance several times in a row while typing all this in. If you are looking for a record that stretches the definition of punk, one that has multiple layers which are as exciting to be discovered as going through a sonic puzzle, and if you are into not chaotic but head-spinning, mind-bending music, then PALÁNTA just wrote an album for you.

The Ratchet Boys Live From 1997–2001 LP

Pretty unreal collection of recordings from a DC ska troupe I had never heard of. Because I don’t pay attention to ska. Like…at all. But if the RATCHET BOYS are any indication, then that’s my fucking loss, because if you can’t get down to “Farragut North,” then I don’t even know what can help you—plus, “I’m gonna be picking up asses after the show” might be the best mosh call in history. Full horn section and a constant swing, this shit transcends your dislike (or fear…?) of ska and turns your life into a working class party. Released on CD twenty years ago, this LP is a tribute to their vocalist who passed away in 2007. Normally reviewers will say things like “if you’re into that sort of thing…,” but this reviewer is gonna suggest that this recording will win you over even if you aren’t.

R.M.F.C. Access / Air Conditioning 7″

New two-song 7” from this Aussie wailer. “Access” is an earworm of jam, with a twangy twelve-string guitar riff surfing atop militant drum rolls that aren’t too stiff. “Air Conditioner” is a cover of obscure UK post-punks the LILLETTES. A bite-sized morsel of home-recorded solo-core, priming us for a future LP in ’23.

Scan EP2 cassette

This is a new D-beat outfit from Austin, TX that plays on the brighter, cyberpunk side, with harsh vocals like Digital Evil in Your Life-era S.D.S., and sort of EXIL-style hardcore in speed and pitch. This is not very dark or dismal, but it rips hard—I could compare to some other contemporaries too, like NERVOUS SS of Macedonia or RAT CAGE of the UK whose split was one of my favorite records last year, and if a record could have three sides, this tape would bridge those two bands swimmingly. There is plenty of distortion on the mic here and the cymbals smash. I would categorize this on the hardcore punk side of things rather than raw D-beat noise. The guitar tones are at times spacey. I currently don’t have a physical version of this, but I bet that would sound even heavier. There is one remaining copy on their Bandcamp as I’m writing this, featuring a shit photo that would look better in real life, so someone grab it now if you can!

Shitshow Epic EP

Debut EP from Hamburg, Germany’s SHITSHOW with a five-song flurry, only one track of which times out after two minutes. This is mean, in-your-face, and to-the-point, with songs like “Kill” that blare out “No feet for the right wing / They kill, kill, kill!,” and “Cellphone Monkey” that shouts “Your best friend / Is just a machine, yeah!” Female vocalist, anger with a purpose, and catchy tracks? I’m in.

Strach Strach LP

STRACH hails from Berlin, Germany and plays metallic anarcho hardcore. Elements of stenchcore combine with brutal breakdowns to make this album a pummeling music experience. Heavy music and lyrical content throughout the entirety of this album will stoke the fires of your discontent. Fans of MURDERESS and FATUM take note, this album is a must-have. The song “I Shit on Your Country” pretty much says everything you need to know.

Reviewer Seth McBurney
Label Anomalia / Diy Kontraatak / Helldog / No Surrender / Potencial Hardcore
Issue MRR #475 • December 2022

Tension Span The Future Died Yesterday LP

Debut LP from this pandemic collaboration featuring members of NEUROSIS and DYSTOPIA, among others. It won’t be a surprise to fans of those bands, but TENSION SPAN pulls from punk, goth-leaning darkness, metal, and straightforward hard rock to deliver a collection that expresses the frustration and exhaustion of the difficult last few years. The production sounds cavernous and expensive, like a big-budget rock record that captures every echo and atmospheric swirl. “Cracked Society” features chanted backing gang vocals that shroud its propulsive beat in dread. “The Crate Song” has NWOBHM low-end chug with a deliberate, dirge-y pace that sounds like the slower moments on recent NAPALM DEATH records. Themes of media manipulation, evangelical attacks on science, and the virus itself are captured in the tracks “Covered in His Blood” and “I Can’t Stop This Process” that play out like apocalyptic street preacher sound collages. News clips are looped and layered over punk riffs, creating a grim snapshot of America’s underbelly. The clear jaw-dropping standout is the title track that grows from a buzzy synth line into a multilayered groove of chants, angry punk scorn, and snaky guitar. It shimmers and rages, shaking with defiance. Consider it a dystopian time capsule or a harbinger; this is a dense, knotty, heavy guitar record, effective as it is disheartening.

Ugly Shadows Ugly Shadows cassette

Initially released back in 2015, this is a more recent reissue of this EP by Istanbul, Turkey’s UGLY SHADOWS. This is fantastic! Very anthemic political punk with some welcome touches of gothic punk/deathrock—it’s pretty reminiscent of the early UK82 and anarcho-punk bands of the ’80s, with its own dark flavors chucked into the mix. This EP has been reissued on cassette by A World Divided Tapes and I highly recommend that you pick one up!

Watermelon Watermelon demo cassette

WATERMELON is a snappy three-piece from Chicago playing one-and-a-half-minute knuckle sandwiches on their 2021 demo cassette. Sonically, there’s a heavy RAMONES influence, but also a dash of EATER and MISFITS. What really stands out are the vocals, a girl-gang chant that reminds me of Holly Golightly and THEE HEADCOATEES. Standouts “Shithead” and “I’m So Happy” both sound like they’ll be on punk comps someday. Good stuff!

The Wirms Live at the Lamplighter Lounge cassette

Not too fast, not too loud punk rawk in what sounds like a very crappy bar (not a complaint). The singer gives us a raspy yowl and a Jello warble while playing US ’76–79-style riffs with most of the flair scooped out. Much like cover song records, I just don’t think live albums are necessary. This one does not capture the qualities which make the band’s demo and other releases a lot of fun.

An Slua How Ya Gettin’ On? EP

Irish fockin’ Oi! Enough said! This EP has everything you can ask for in an Oi! record: memorable hooks, melodic “feel-good” guitar licks, and a steady groove. What sets this band apart is their political views, particularly when it comes to veganism, which is an integral part of punk (or it should be). As someone who cares about animal rights, it’s really appealing when a band comes up with such views. Also, these four lads add a bit of post-punk influences here and there, making it even more special. Remember to eat your veggies!

Reviewer João Seixas
Label Discos Enfermos / Distr-Oi / LSM / Mister Face / Tough Ain't Enough
Issue MRR #475 • December 2022

Arma X Violento Ritual LP

Music to crush your enemies to. ARMA X from Madrid, Spain crafted a record of pummelling heavy hardcore/beatdown. With Xs Sharpied proudly on their hands, the band produces only the hardest riffing and throws an ungodly amount of dive bombs your way in between. And, unlike many heavy HxC records, Violento Ritual doesn’t overstay its welcome, containing eight songs in under twenty minutes. This is an LP that is bound to crush all the weak who attempt to take it on—not one for the faint of heart.

Baixa Permanent / Hatã HÛ/FOSC split EP

Undoubtedly one of the more interesting records I’ve had the pleasure of taking a look at. Barcelona’s HATÂ have an interesting merge of NWOBHC, of course in the vein of bands such as the FLEX and, at points, even PAYDAY, with Spanish lyrics. There is a blatant rawer and slower aspect to the music however, acting somewhat as an homage to UK82, but more specifically other more modern Colombian acts, with elements of UZI expressed at points. While I certainly admire the diverse fusion here, particularly the ode to some of my favourite bands, HATÃ’s approach ultimately felt somewhat lackluster, as hardly any of the tunes failed to truly make an impact. Catalan band BAIXA PERMANENT instantaneously makes much more of an impact from the start of their side, with a take on hardcore paying tribute again to modern Spanish-language hardcore bands, but with the addition of mosh sequences of early/mid-’80s NYHC with drum parts from the likes of KRAUT, and of course early Boston hardcore. Again, such a take is indeed intriguing, and perhaps this could be accomplished, but some of the riffs didn’t feel as iconic as they could’ve been—to an extent, this and the musicianship is what holds both bands back from fully flourishing. While it was a somewhat amusing listen, I feel there could be far more development and impact in the tunes from both bands.

Bev Rage & the Drinks Exes & Hexes LP

Second LP from Chicago’s indie/garage/queercore group BEV RAGE & THE DRINKS, led by the larger-than-life drag queen BEV RAGE. These tracks are fun, poppy, fast, and fervently personal—the soundtrack of a party that’s rowdy yet responsible (“Drink Water”), brash yet sensitive (“Younger Lover”). Besides BEV’s persona in the spotlight, I think the synth and keys add a lot to the band’s otherwise obvious indie sound, my favorite example of which is the closer track “Mist Connection,” which is almost haunting. Toss back a couple shots between your glasses of water and have a good time with this.

Cloud Rat Cloud Rat Redux LP

A remastered, partially re-recorded version of Michigan grindcore trio CLOUD RAT’s debut album. If you’re familiar with them, then you heard this when it first came out over a decade ago. The record itself is great; the guitar swapping between relentlessly brutal and beautifully elegant riffs. The drums embody the classic grind element, while the vocals are non-stop barbarity from the moment you hit play. There’s a reason why this band is one of the top players in the game today. I just don’t think I understand the point of reworking the album—I personally think the original release still sounds better. If you’re a grind fan who appreciates ever-evolving production, then you’ll love this.

The Courettes Back in Mono LP

I can’t lie: aesthetically, I was dead-set on hating this. Another garage duo, and outfits calling back to the go-go era and Brando’s The Wild One get-up that so many rocker dudes can’t hang up in the closet. But yeah, okay, sure, that’s just the record jacket. And my mom always taught me…you know. Truthfully, this album is a pleasure. Great crackling and cavernous production that gives some edge to its sprawling harmonies and baroquely early ’60s pop structures. These two Danes clearly have no interest in leaving the past where it is, and while those types of outright recreations can often feel like forgeries, you just can’t call a good song bad. And these are good goddamn songs. Written with intention and educated ears, played to hip-swinging perfection. There’s even a sort of NANCY SINATRA by way of ’60s spy spoof soundtrack number (“Until You’re Mine”) that just works. I’m almost irritated, but ultimately just happy to see someone out there pulling off this sound without sounding precious.

Crime Light crime//shame//illumination cassette

This is CRIME LIGHT’s debut five-song cassette. Each cut brings a very classic meat-and-potatoes hardcore sound with a touch of metal riff seasonings. The overall feel of the group and the samples they use throughout this tape brings to mind early INCENDIARY and HIS HERO IS GONE. The eponymous ending track adds a new layer of vocal harmonizing to the mix which is a satisfying left turn. Keep it coming. I wanna see them play now.

Dadar Iron Cage LP

Well-executed lo-fi egg-punk directly from Parma, Italy. DADAR’s fourth album sounds really balanced, with the right amount of loop effects and synth lines that follow the rhythm of the song, and manages to deliver a really good sound. Also, the vocals are a lil’ bit dubbed, accomplishing that garage feeling egg-punk should evoke. Suggested tracks: “Rewiring,” “Sound of Sirens,” and the last track of this album, “112.” Reminds me of WWW, cyberpunk friends from Argentina. If you like synth sounds and eggy garage punk, this is an excellent album for you. If you wish to hear emerging bands from other countries that aren’t the US or UK playing fine egg-punk, this is your choice for a starting place (at least in Europe).

Daddy’s Boy Great News! LP

“Questionably hardcore” is how DADDY’S BOY describe themselves. Maybe it’s not as much questionable, but more they’re playing a kind of hardcore that’s left of the current center. The music on here isn’t invested in having the big breakdown payoff for the crowd killers or trying in vain to keep up with what’s fashionable. Being yourself is hard enough and good enough, and the band unquestionably does that. DADDY’S BOY whips up weighty, scrambled layers of noise, the songs built on back-and-forth movements of tension and release. The bass gives the music some ballast, as the guitar and drums are pulling their leashes in chaotic directions. The vocals are under threat of being buried beneath the fray and I wish they took up a little more space, as the lyrics are stronger and more lucid than most right now—lived-in screeds against work, capital, cops, and all the other failing systems crumbling at the moment.

Eater Outside View / You 7″ reissue

Formed in 1976, EATER was there in the early days of this thing called punk. They were the kids on the block (with ages ranging from fourteen to seventeen) who managed to gain the respect of the DAMNED and the BUZZCOCKS to such a degree that both of those bands opened for them at various gigs. In their day, however, they were considered average, even “run-of-the-mill”—but here is why that conception is not entirely correct, and why this reissue is such a critical piece of ephemera. Reason one: I wish at the average age of EATER I was in a band of peers capable of creating such a passionate and refined piece of sonic history. Number two, I don’t know if it’s the age of the band or if it’s the hindsight of time, but EATER sounds far ahead of their time, as if EATER’s youth gave them the ability to play with greater intensity and an authentic fuck-all attitude compared to their contemparies, and these characteristics and attitudes allowed them to accept and even accentuate the rawness of their art, thus creating a work that is so far ahead of its time that I could play this EP for someone and they’d guess it was a recent recording. I would even hazard to say EATER is more articulate and culturally relevant than some of the stuff that goes around saying it’s punk rock nowadays. “Outside View” is a rhythm-heavy romp of pogo-able, pop-tinged lyrics about the struggles of being working class. Chunky bass guitar lines with quick runs abound on both tracks, the guitar work is often light and jangly with a slight delay or decay giving it a mild ambient effect, the drums are kept snappy with quick fills, and the vocals have a sound that is only achieved by having more passion than Johnny Rotten and having breathed in more mill soot. This is one of those discs you flip over and over endlessly as both songs are completely infectious

The Ejector Seats Brand New Catastrophe LP

Many songs on Brand New Catastrophe seem out-of-tune at first, but soon roll out a complementary riff and presto! It’s an earworm! It’s a gimmick, but a good one. Unfortunately, other gimmicks age poorly: I think the vox-thru-a-megaphone move peaked by 2002, and just because you can overlay a riff with a keyboard mimic (think My Brain Hurts-era SCREECHING WEASEL) doesn’t mean you should. But sometimes all these extra bells and whistles provide a nice kick, like an espresso shot in your coffee, which is good enough for me.

Foil Peruvian Coke flexi EP

Short and ferocious, Peruvian Coke is a wall of reverb and distortion-drenched spleen and spit. KCMO’s FOIL has been kicking around for a few years, and the band has released a handful of demos and cassettes, some through the band’s lead screamer Jame Mendenhall’s Dirtbag Distro. All three tracks on this are very solid and bring Grown Up Fucked Up-era RETARDS to mind a bit. I need more.

Gefyr Gefyr LP

Now Sweden, you are just being unfair; you are taking the piss. Seriously. Of course, käng hardcore was born from your womb, so it makes sense that your progeny would master the style. But still. A study from the World Hardcore Agency recently revealed that the ratio of D-takt/käng bands per capita in Sweden was as high as two in major towns, meaning that each Stockholm or Malmö inhabitant plays in at least two Scandicore bands (one of which has to start with the prefix “dis’’ by law; what an odd country, right?). For comparison, we in France have one D-beat band for ten million. I had never heard of GEFYR from Hudiksvall, which is almost insulting since I am a massive sucker for that style, but it appears there are just too many ace bands in Sweden to keep track of. GEFYR’s album, released on Gothenburg’s Flyktsoda, is a pummeling, furious slice of käng with a perfect production for the genre. It has relentless power while keeping a certain hardcore rawness. What a massive kick up the arse. The band is heavily influenced by classics like TOTALITÄR and NO SECURITY, and INFERNOH or PROFOSS also come to mind if you need a modern point of comparison. How could GEFYR fly under my omnipotent radar? The thing was mixed by Jan, engineer at D-Takt Studio and an actual dis-legend—pretty much to Swedish D-beat what Cristiano Ronaldo is to hair products—so it makes sense that it sounds so good.

HHH A Por Ellos… Que Son Muchos Y Estan Super Cachas!! LP reissue

HHH should not need an introduction; their fastcore approach in the late ’80s put them on the map with INDIGESTI, LÄRM, HERESY…all the bands that people started aping relentlessly a decade later (for good reason). Riffs border on blur-core (“Ai Otro Lado De Las Ramblas” in particular) and they just sound so fukkn weird and unhinged all the damn time. Everyone talks about Intelectual Punks (and for good reason), but this 27-song LP might be the pinnacle of their signature breakneck thrashing hardcore. On the one hand, it seems weird to see a parade of reissues of records that are not that hard to come by and have been reissued in the last decade (this one got the treatment back in 2014), but then I drop the needle on A Por Ellos… for the first time in a long time and I’m reminded how much people need to hear this shit. So keep pumping out versions, keep reimagining ways to introduce people to the classics, keep the fire on and keep the fire hot. I just hope that these later versions are ending up in new hands (and ears) instead of a bunch old heads buying burner copies…

Hogg Arahant cassette

Swirling, bass-forward hardcore out of San Francisco, this brief but intense release by HOGG foregoes blistering speed for driving, circle-pit rhythms. “Stuck” brings some D-beat, and the closing track “Steep” is the longest, most complex, and most interesting in terms of pacing and mood. Overall, it’s a strange mix of head-scratching lyrics, odd audio samples, and gritty punk.

Holehog Dystopian Reality LP

The latest release from Sacramento, California’s HOLEHOG is a rip-roaring blast of punk chaos—a marked influence from UK82 and early street punk with a touch of crust and D-beat makes for an intense listening experience. This platter drips with rage and frustration aimed squarely at the modern world (the dystopian reality, if you will) that we all have to live in and that we all have to survive in. This LP from HOLEHOG is a direct middle finger to the hellscape we currently occupy.

Intensive Care Antibodies LP

Apocalyptic nightmare soundscapes from the mighty INTENSIVE CARE. Expanding further beyond hardcore into beat-driven industrial noise, this collection features a cohesive vocabulary of crumbling electronics, loops, and distorted vocals that sound genuinely unnerving. I stopped taking notes after the woozy swirl of the third track because it all flows so perfectly together, with the closest reference point being BASTARD NOISE with steady rhythms. When the vocals hit, usually as a distorted blast, they offer such a release from the bubbling tension that they hit hard. Some standout passages (although seriously, just listen to the whole thing in sequence) are the eerie strings and pounding of “Closure” that sound like the best parts of the HAXAN CLOAK and the BODY, and a dread-inducing knocking sound that emerges from the audio miasma of “Visible Distance.” This is innovative, menacing noise built from the charred bones of hardcore.

King Bee King Bee LP

With most of the records in the DEAD MOON universe (including the WEEDS/LOLLIPOP SHOPPE, ZIPPER, the RATS, and the RANGE RATS) currently in print or easy to track down, it was high time for a KING BEE reissue. This was the band Fred Cole started just as he started to hear rumblings of this “punk rock” thing that was sounding very familiar to what he had done in the ’60s garage days. Enlisting bass player Mark Sten and drummer Pat Conner, KING BEE quickly came together, opened for the RAMONES at their first Portland gig, put out a three-song 7” on Fred’s Whizeagle Records, and then promptly broke up in 1978. Famously, Fred’s frustrations with keeping a band together would eventually lead to him teaching Toody how to play bass and forming the RATS. But KING BEE had much more up their recorded sleeve than just that 7”, and the remaining twenty songs on this LP were culled from scrapped sessions and live gigs. Musically, KING BEE bridges the gaps between the garage of the WEEDS, the hard rock of ZIPPER, and where the RATS would eventually end up. KING BEE is also notable for being the first band Fred played guitar in, after just being lead vocalist or playing bass in his previous groups, and his raw right-hand rhythm and picked open-chord style already sounds in place here. Songs like “Suicide Mission” have a more funky swamp groove, like if CCR ended up as an obscurity on a Pebbles comp. “Carolina” and “When I Was 21” are almost archetypal DEAD MOON songs ten years early, full of Fred’s lyrical world-weariness. “Castaway” is a perfect moody psych slowburner and with some bigger ’70s-type production “Hot Pistol” would’ve been a world-class denim vest hard-rocker like AC/DC or something. Overall, this is an interesting record in how you can kinda hear Fred figuring out what would eventually become DEAD MOON. Now that we’ve got KING BEE taken care of, I beg on bended knee, please someone reissue Toody’s solo 7” with “Coming on Strong”!

Long Knife Curb Stomp Earth LP

Crucial release from this Portland band that melds the perfect combination of POISON IDEA and early FUCKED UP to kick major ass. This record shreds from start to finish and adds unusual elements that keep it fresh the whole time. It is straight-up exciting. Opener “Modern Fatigue” starts with a goddamn full church choir that matches the epic, grandiose nature of the songwriting and riffs with divine power. Sounding like a gimmick at first, LONG KNIFE brings back the choir amidst the blitz-fast hardcore to awesome effect. The energy never slows from that moment and often uses intricate crossover riffing, time changes, and full-cheese thrash solos on songs like “Blue Rose” and “The Curse.” The thing is, it rules instead of feeling corny or overproduced. Take “Scum” for instance: Castlevania organs underpin the punk and later solo like there is a bat-winged candelabra on the guitar amp. It sounds like MURDER CITY DEVILS meets, forgive me, GHOST, but it rules. Essential, innovative hardcore that never lets up. If you don’t like this, your idea of punk may differ from mine.

Monster Squad I Love Punk EP

What a frigging racket…and that’s a good thing to me, baby! A celebration of 25 years in existence, this record is a fun little excursion down memory lane for those familiar with MONSTER SQUAD. Street punk with hardcore tinges played at breakneck speed, sticking around just long enough to not become irritating. Songs taking on Nazis and celebrating brotherhood and unity, it’s all good gear. A fun time for under fifteen minutes.

More Kicks Punch Drunk LP

This trio from London gets me thinking of the JAM right away, without actually sounding like the JAM—something about the cadence of the vocals. It’s super catchy and melodic, which is always a plus for me. And the second track has me thinking about the BUZZCOCKS, which is where most of the remaining tracks end up with me. This is definitely on the pop side of the punk spectrum, but in the end I’d call it power pop. (Don’t ask me to explain the difference between power pop and pop punk, but there is a difference.) Anyway, the record is well-done and these guys are talented and can sing. This won’t be for all you punks, but it will be for some of you. And it is for me.

Mutants Curse of the Easily Amused CD

Fabulous. Growing up in San Francisco, the MUTANTS were a band known to me by name and legend long before I actually heard them or saw them live. At nine years old, my friend’s big brother had flyers of CRIME, AVENGERS, VS., and the MUTANTS on his wall that I would stare at endlessly, sucked in by the garish, disturbing black-and-white images which were better than any cartoon show. While not being my favorite of the pioneer SF punk bands, you have to hand it to the MUTANTS for putting in so much work for that early scene and for just being so much fun! Shit, they even organized that whole Napa State Hospital show with the CRAMPS. This collection of outtakes, remixes, and live tracks is hands down the best MUTANTS release I’ve heard. While I’ve held onto my ancient copy of Fun Terminal, if not just for the cover photos of the long-gone sleazy arcade, the mixes of those songs on that record were always too clean for me. The songs are great though, and it’s criminal that they didn’t make it as big as the GO-GO’S or OINGO BOINGO (tell me “Love Song” isn’t top-ten worthy), but it’s still lacking the seedy grittiness needed for my repeated listenings. There’s lots of amazing pics inside here (would have loved more), as well as tales of their art-school-turned-punk progression into local greatness. There’s no “New Drug” here, but there’s ones you’ve probably never heard before that are just as good or better. So ingest whatever mind-altering chemicals you have, slap this on, and dance! Also make sure to see the Emerald Cities movie if you get the chance. You won’t be sorry.

Namen Namen Namen Namen CD

Modern-sounding garage rock with an indie twist from the Midwest. Swimming in the same stream as fellow Indianians APACHE DROPOUT and the COWBOYS, NAMEN NAMEN pulls from a broader stylistic range than the former, while being less imaginative than the latter. Fans of TY SEGALL and AUDACITY will find something here to sink their teeth into. The first cut, “The Horrors of Spider Island,” really shines, showcasing the group’s prowess with impressive guitar licks and layered vocal melodies. Unfortunately, the high production value is working against the band’s energy. Maybe record at a shittier studio next time? It’s a matter of taste, but I want music from a garage that’s grimy, dangerous, and on the verge of collapse. All the broken glass here has been too carefully swept up.

Omega Tribe New Peace Movement CD

I wanted to like this album. I mean, I really wanted to like this album. No Love Lost and Angry Songs are in my personal music archives for a reason. I gotta say though, I did not care for this album. “Ain’t Gonna Let Em” is a decent song, and there are moments on the album that reminded me of things like TOM ROBINSON BAND, CHUMBAWAMBA, and even early BOWIE. However, there are not many “angry songs” on this album, and instead a bunch of hippy-dippy songs. I’m serious, like “Aquarius/Let the Sunshine In”-type stuff. This is absolutely not my bag of grass.