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!

Mutated Void Slash the Altar EP

Nova Scotia’s MUTATED VOID seemingly went full goblin mode last year by releasing two records—this 7″ EP on Sewercide Records and the Roses Forever LP on Iron Lung—a mere week apart from each other, an absolutely bonkers move (whether the word “bonkers” entails sheer genius or stupidity is entirely up to your own interpretation) that demands respect. But fuck if that matters, it’s all about the music…and this slays. Ripping hardcore thrash performed by two skate freakos! The production is harsh and ear-splitting, but if you only want to hear HC punk with super-polished production, you frankly should eat shit and die in my opinion. The band’s unofficial logo, a crude cut-and-paste job combining the UNITED MUTATION and VOID logos, should tell you just about all you need to know. Shove this and the Roses Forever LP down your tinnitus-ridden earholes immediately!

Nukies Can’t You Tell That This is Hell cassette

Fun fact: did you know that TOTALITÄR’s hit “Multinationella Mördare” was originally a very popular Swedish children’s song, one that all school kids have had to memorize since the mid-’80s? That explains a lot, doesn’t it? NUKIES —”nukie” being either the endearing term for a nuclear weapon or the name of a Star Wars creature—are a brand new band from Stockholm playing käng hardcore punk. Can’t You Tell That This is Hell includes nine songs of rocking and anthemic Swedish hardcore with a clear guitar sound and typical TOTALITÄR-ish blazing riffs. With the heavy rock’n’roll influence openly at the front, especially with the mid-paced headbanging numbers and the emphatic solos, SKITKIDS is an obvious point of reference, and I would locate NUKIES between them, INFERNÖH, and LARMA on the grand käng scale. This is definitely a hardcore ripper, the production is great for the genre, the catchy hooks are here, all very pleasant but I sometimes wished that it hit a bit harder. This was released on tape for some reason (quality-wise, it could definitely be on vinyl) by Adult Crash, a Danish label that was very active indeed on the hardcore front in 2022.

P​ö​ls Instinto LP

This album starts with an instrumental track and then kicks into high gear with a pretty good blend of punk, hardcore, and a dash of emo for good measure. The vocalist has a sugary-sweet voice that compliments the music quite nicely, but it’s the backup vocalist(s) that really adds that extra something special that hooks me.

Private Lives Private Lives cassette

Debut release from this Montréal group that started as a husband-and-wife project during the pandemic. Now actualized as a four-piece, PRIVATE LIVES present five garage-y, post-punk songs with surf-pop drums and fuzzed-out guitars that drop into wiry riffs between distorted vocals, reminding me of CO-ED who I reviewed a while back. In general, this is hard to not enjoy: poppy enough to be catchy, heavy enough to be rollicking, rough enough to retain its edge. Looking forward to what’s next from these Quebecers.

Ribbon Ribbon demo cassette

The aesthetics of punk music packaging have evolved to a baffling place where a band called RIBBON can put crude, cherubic figures and a crumbly castle on the cover of their tape that’s filled with spindly splashes of rugged hardcore, and somehow it works. This Indonesian band’s bare-bones approach is bolstered by a cool vocal performance, and the style is hardcore punk in its original configuration—’70s attitude with the ferocity knob turned up to eleven. Their sound is striking enough that if I were to walk into a record shop where it was playing, I’d ask “who is this?”. Remember JJ DOLL? They kind of sound like the short-lived, post-IVY NYC act JJ DOLL, minus Shiva’s hypnotic guitars and with more of a straightforward Oi!-type influence.

Skarnio Horrores Da Vida LP

Fierce, metallic crusty hardcore from Brazil (of course). They’ve been tearing it up since 2009 or so and have not mellowed a bit. You could definitely give them the usual comparisons of RATOS DE PORÃO when they started to go a little metal or LOBOTOMIA if they didn’t suck when they got metal, but I’m hearing ANTI CIMEX and a little NO FUCKER as well. It’s all ripping from start to explosive ending and it’s not for a leisurely Sunday afternoon listen, unless you’re having morning tea in Ukraine. Check it out.

The Stools / Toeheads Watch It Die split LP

Filthy garage punk rock(’n’roll) in the finest Detroit tradition. Shit sounds nasty, like the shit is supposed to sound. The STOOLS come off like GORIES guzzling crack and distortion, then TOEHEADS add a seriously dark swagger to the equation when you flip the shit. Get fukkd up to one side, regret your life choices on the other—TOEHEADS’ “I Want to Be in Your Life (So I’ll Die)” is a devastating album-ender. Absolute killer on both sides; garage rock fans will eat it up, and pretentious punks will change their minds.

Varonas Instinto Animal EP

Given that there are Spanish labels involved here and the songs are sung in Spanish, I’m going to go out on a limb and suggest that these folks might be Spanish. Whether or not that’s true, if you’re a fan of female-fronted, sometimes up-tempo power pop with a focus on the vocals, this is likely for you. There’s nothing that says that your punk rock or power pop can’t come from someone with a pretty voice. Three quick songs, and just like that, it’s over. Well-played and well-produced. I wanted more.

V/A Φωνή Διαμαρτυρίας (Voice of Protest) cassette

Now this is exactly the kind of project that gets me overexcited, almost to the point of hyperventilating. Φωνή Διαμαρτυρίας is a piece of punk archaeology. With more than four decades of punk music worldwide, in order to make sense of it all because the scope is vertiginous indeed, the global history of punk rock has to be polyphonic, like an endless, fluid, ever-evolving collection of specific stories. This Herculean task requires a quixotic nature to even contemplate engaging in such a perilous time-consuming endeavour. This compilation tape tells a particular story, one that can only be told from the inside: the rise and the stabilization of crust and extreme hardcore in Greece in the late ’80s and early ’90s. Many are not aware of the fact that Greek crust, with its distinctive apocalyptic and epic, aggressive, and melancholy metallic crunch, is an actual, proper style of crust music (try to remember it though, it is trivia-worthy), a branch on the proverbial scruffy crust tree like Japanese crasher crust or OC crust are, for instance. The man behind the label Extreme Earslaughter, Vangelis, is also the brain behind leading contemporary Greek crust act Παροξυσμός (PAROKSYSMOS), and many of his label’s tapes are great obscure stories of Greek crust, from the past and the present. This tape gathers twenty (very) rare songs (live or practice recordings) from brutal Greek punk bands, with some relatively well-known ’90s bands like Χαοτικό Τέλος (HAOTIKO TELOS), Αρνητική Στάση (ARNITIKI STASI) or Ναυτία (NAFTIA) as well as some genuinely unknown entities. I have to point out that the sound is mostly raw, if not rough, so if you have never dealt with that scene, it might be a bit of a tedious and tough listen, although it might prompt you and kindle the desire to check other works from the bands included. If you are already familiar with and fond of Greek crust, then it is pretty much a gift from the gods and the crust equivalent of finding the lost ark (but without the hassle of doing the research yourself or risking your life). The tape comes with a beautiful booklet with artwork and lyrics from each of the bands, which reminds me of the glory days of the ’90s anarcho-punk scene. This is what passion looks like.

Alien Nosejob Stained Glass LP

This band is everywhere I look. I swear, I had three friends text me this album the day it dropped. With good reason, too. It rips! Guitar-worship to its fullest out of Melton, Australia. The press-release for this slab likens it to AC/DC. While that may be true for tracks like “Coastal Living 2,” I think the majority of the record sounds more like the NEW YORK DOLLS mashed with ZZ TOP. And not even just early-era TOP. I’m talking about the ’80s shit where they took a lot of risks, especially with “Sharp as a Needle” where the rhythm section really comes out for the first time. Speaking of, the bass and drums are tight as hell. I honestly can’t tell if it’s real drums or the best drum machine I’ve ever heard. Bass stays in the pocket for the majority of the record, and really gives the guitars the time to shine. Fantastic album, but seeing as it’s from Total Punk, you may already know that.

Bart and the Brats Bart and the Brats LP

Lo-fi and trashy garage punk from La Rochelle, France. BART AND THE BRATS take us back to the ’90s when bands played to have a good time with their friends in a cavernous, sub-street-level, dingy club. They are humorous without being too silly. For a good time, check out “Records I Used to Hate,” “Constant Nonsense,” and “A Boss is a Boss.” But skip “Predictable,” which rhymes the title with “suck my dick-table.” Yikes.

Bricks Bricks demo cassette

Stone me, what an early Chrimbo present this was for yours truly! Four tracks of raging Indonesian Oi! boiled down to the bones of what makes the genre so much fun. Rough around the edges, aggy, unhinged, and as direct as a steel toecap to the spuds, it’s all you’d want from a demo. A promise of good things to come. Fans of RIXE will not be disappointed.

The Clue The Clue demo cassette

Five-track demo in seven minutes by Denver’s the CLUE. Egg-punk with heavily distorted vocals that are almost unintelligible. Electronic gags and some guitar riffs are interesting. Great synths and overexposed noisy drums. The non-stop confusing lyrics may be annoying if you are not familiar with this subgenre. The cover of “Sunlight” by TINY TIM at the end of this demo is bananas. If you like frantic, rotten egg-punk, this might be right up your alley.

Cosme Demo No. 2 cassette

Short synth punk demo from Mexico that often sounds like Tim Armstrong singing karaoke. The first track has Nintendo keyboards with gruff Spanish-language vocals. It’s way too slick and toothless for me. The third track, named as the Cancer zodiac symbol, is the turning point from keyboard oddity to punk. It’s a heartfelt street-punk song that doesn’t sound too far from RANCID’s best, with sparkling keys on top. The repeated line “Time heals, some might say all those years that are gone now” gives it a wistful, nostalgic feeling, and is worth repeat plays. “Cosme,” the last track, is the most traditional, fast punk song here and ends the tape on an anthemic, fist-pumping high. I would listen to another tape from COSME, but I definitely prefer the second half to the first.

Desolat Elegance is an Attitude… To Shit On LP

Massive and fierce debut full-length from Austria’s DESOLAT. Ghosts of early-century European metallic crust emerging as a fully formed modern beast. Thick guitars ripped from ’90s noise rock drive mid-paced riffs that swing hard, until the vocals sever all connection to hope and DESOLAT really settles into their bleak reality. That reality is a world where the sounds of GNU and UNSANE and THEMA 11 and ZEROID all offer an escape from hopelessness by displaying aural wounds in the open. I haven’t heard anything like this in a long, long time…and I’ve never heard this. That’s the highest praise.

The Dummies / Gargoyles split 7″

Pretty wild to see these two band names again, as these PA and Frisco bands (respectively) both hung it up in the mid-’90s. No, they haven’t gotten back together, but someone overseas sure loves them enough to put out these two mediocre tracks as an obvious labor of love. The DUMMIES were definitely my favorite of the two bands here, and they provided some really great moments of trailer-trash punk raunch back in the day.  “Roundtop Rock,” included here, is unfortunately not one of their better moments. I never really much cared for the GARGOYLES’ blatant CRAMPS-worship when they played around town in the ’90s. The singer went on to the much better RECLUSIVES later on.  Their song here is just more of the same ilk. I would call this an unnecessary waste of valuable resources, but it seems like the person putting this out really cares, so go decide for yourself—it doesn’t even cost you a thing with the internet. Well, then.

Eteraz Villain LP

This album is absolutely punishing. ETERAZ rips through twelve tracks in a wild and noisy D-beat assault. The guitars have an extremely nasty, jagged tonal quality that is complemented by driving, buzzsaw bass. The crash-heavy drumming is top-notch, pushing everything deep into the red. Most notable are the vocals, which are shouted out in Persian. This really adds a lot of texture to the experience, and the higher-register delivery is an exquisite contrast to the rich bottom end of the production. “Terror” is a standout for me, but there’s not a single dud in the bunch. Gotta hand it to Iron Lung for consistently delivering the heat. Easily one of the top releases of 2022.

Faul Techniczny Dalej Pójdę Sam LP

Here’s a band I’d never heard before, FAUL TECHNICZNY (or “technical foul” for you non-Polish speakers) from Poland. They’ve been kicking around since 2017 and have compiled and released their first three LPs here as Dalej Pójdę Sam. NYHC-inspired fare with gruff vocals, frequent breakdowns, and absolutely no frills. In fact, there’s really no fat anywhere here—every song is very direct with little to no deviance from the formula that they’ve obviously found works for them. Unfortunately, this makes the songs blend together a little from time to time. Overall it’s not for me, but I know a few punks back in my hometown who could get down to this.

Glaas Glaas cassette

GLAAS effortlessly blends equal parts punk and darkened post-punk to create an energetic sound while maintaining an ambiance of melancholic dismay. Vocals sound like they’re screaming from the bottom of a pit while the guitars and drums want to continually attempt to bury them. The punk influence seemingly draws from a 1977-style revival sound like the HATEPINKS, but it’s all filtered through the post-punk of JOY DIVISION. A sort of beautified noise annoys approach that pairs well with a pint or a molotov.

Himnos / La Cruz split LP

Both of these bands appeared on Crossbar’s excellent Oi! The Antidote compilation from 2021. Although neither of their contributions were among my favorites, I was looking forward to hearing what each would deliver on this split long-player. Hailing from Mexico, HIMNOS belts out five cuts of mid-paced street rock’n’roll. All the elements are present—tough, raspy sing-alongs, bouncing bass, four-chord guitars—but I’m left with the feeling that something is missing. There were a few surprises along the way. I wasn’t expecting to hear the whine of a harmonica in “419” for example, but that’s not the type of surprise I would ever champion. On the flipside, we have Spain’s LA CRUZ. Listening to this left me with the same basic impression that I got from HIMNOS: nothing is technically missing, yet something is missing. Again, we have some competent Oi! that meets but does not exceed expectations. LA CRUZ’s curveball is the saxophone that turns up on the rocksteady-inspired “Recuerdos.” Sorry (not sorry), but wind instruments get you nowhere with me. Despite it all, I’ll be watching out for both of these bands in the future. There’s obvious potential, this just falls a bit short.

Ingrates Don’t Wanna Work / Leather Lover 7″

This EP has a slight transporting effect and breams with teenage eagerness. INGRATES hail from the cosmic, otherworldly desert of Joshua Tree and don’t want to work, to the extent of singing a song about the matter. Who the hell can blame them? The title track is the drunken, power pop-tinged record I want to hear in the damp, dark corner of a bar. The slightly longer B-side moves into more lo-fi pop harmonizing in the name of leather endearment. The EP summons a time when the BOYS screamed “Brickfield Nights” and does a good job doing so.  It’s the record I could see my thirteen-year-old self buying with saved lunch money.

Killing Frost The Declaration of W.W. cassette

With a name like KILLING FROST, I was expecting some CELTIC FROST worship—that’s kind of what you get with this release from these Finnish rockers, but there’s also a whole lot more. Prepare yourself for an extensive auditory journey when you put on this four-song release, as you’ll be treated to a vast amount of underground sounds, from doomy, slow, sludge work to fast-paced thrash, and no scheduled stops in between. The final track “Killing Frost ” seems to approach the band’s pinnacle, with a sound similar to ONSLAUGHT stirred together with AGE OF COLLAPSE: heavy drum work, soaring guitars, ethereal organ, and powerful vocals. Definitely put this cassette on if you’re in the mood for something dense and a bit different.

L’Odi Social Que Pagui Pujol EP reissue

Formed in 1981, L’ODI SOCIAL from Barcelona was one of Spain’s first hardcore punk bands, and this 7” is a facsimile of their much-revered 1986 EP with a fold-out cover and complete original artwork. This is some old-school, DC-style hardcore filtered through a European lens. It’s fast and fun, delivering five speedy tracks with a devil-may-care attitude. While a lot of their contemporaries used English language in their music, these guys opted to pen everything in their native Catalan tongue. I no hablas, but the spirit of this classic record still comes across loud and clear.

Marmalade Duplex Snot Bath! LP

Second LP of purposely obnoxious noise rock made by a handful of dudes—they’ve chosen the names Telly Salmonayonaise, Brad d. Slab, and Pectin Bungalow—from Guelph, Ontario, Canada (a small town about an hour west of Toronto). Depending on how you count, you’re either getting six or eleven tracks—the B-side is listed as a six-part single track that effectively functions as six separate songs. The music can be plodding and abrasive, like SCRATCH ACID at their slowest, soundscape-y, and meandering, or wacky and dance-y. The vocals are primarily spoken and often multi-tracked slightly out of sync. Imagine Fred Schneider, BOBBY “BORIS” PICKETT, and a ‘luded-up Will Shatter, and you’re somewhere in the ballpark. At times, it doesn’t sound that far off from stuff I really love, like PERVERTS AGAIN. There are also times where it doesn’t sound that far off from stuff I really don’t love, like CAKE. The lyrics can get a little cringey, and the whole release seems rife with inside jokes. Still, I imagine there’s a very small set of people that this thing would really appeal to. I’m not in that set, but I wouldn’t say I hated this.

Nasty Rumours Bloody Hell, What a Pity! LP

Stuff on Wanda can be kind of hit or miss for me. I mostly like it, but you can’t help but notice that it’s almost entirely based on nostalgia. I suppose every label has its thing. All that said, this is super catchy punk rock that takes you right back to 1977. When this sort of thing isn’t done well, it’s absolutely terrible. When it’s done well, it can be infectious. If you’re a fan of bands like the BRIEFS, you’ll likely enjoy this. I even get a little TOY DOLLS every now and again. This is entertaining stuff. Seriously, they bat twelve for twelve for me.

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!