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!

Bazooka Joe Pastor of Muppets / Send in the Klowns cassette

Cassette reissue of both 7” releases by a late ’80s hardcore outfit from Myrtle Beach, SC. BAZOOKA JOE played revved-up hardcore punk that would fit in both politically and stylistically with the likes of MDC. Formed in 1987, BAZOOKA JOE originally released Pastor of Muppets in 1988 and Send in the Klowns in 1989. The avid Maximum Rocknroll fan will recognize BAZOOKA JOE from the 1989 compilation LP They Don’t Get Paid, They Don’t Get Laid, But Boy Do They Work Hard! (MRR No. 4). The band had a total of five songs on three different compilations from 1989 and 1990, and the tracks are all true rippers. What a missed opportunity! With the inclusion of a few extra songs, this could have been a complete discography cassette. Either way, BAZOOKA JOE played no-nonsense hardcore punk, and this is a cool collection of some of the band’s output.

Boondall Boys Hard Rubbish LP reissue

Suburban Brisbanian basement punkers BOONDALL BOYS released this record back in the good ol’ days of 2007. Once found (it was lost, apparently??), the band threw it on twelve inches and pushed it into the internet to share it with the masses. There are some things to enjoy: charging guitar riffs, and a brawled-out bro version of “My War” is kinda cool. At the conclusion of the record, however, it seems almost like looking through someone else’s yearbook.

Cimitero Il Culto della Carogna cassette

Intrepid Italian duo CIMITERO returns for another dose of black-metal-infused hardcore punk, or as they so aptly call it, “candlelight punk.” Their self-titled debut already presented the band as a consistent contender in the world of “spooky chorused guitars” punk bands such as fellow compatriots LUCTA, and Il Culto Della Carogna solidifies their sound and plays on the tropes of both genres that influence CIMITERO: there are D-beats, blastbeats, skank beats, devil’s chords, and a lot of angry shouting. The four songs on this EP are as cold as they are aggressive, never ceasing to be intense, like a bastard child of DARKTHRONE and DISCHARGE. Italian hardcore bands like WRETCHED or STIGMATHE had a lot of “darker” riffing, so I’m guessing it’s natural for an Italian band to gravitate towards the colder, darker aspects of hardcore.

Cœur À L’Index Adieu Minette LP

DOLLY MIXTURE references have been turning up so often in relation to the current wave of punks playing pop music that we might be witnessing the dawn of a new D(OLLY)-beat—the Brussels-based trio CŒUR À L’INDEX falls squarely into that camp, with a debut LP that’s eight sugar-coated servings of girl-group-inspired harmonies and pastel-tinted guitar jangle. Maybe it’s the crystalline French-language vocals and the clean, crisp recording (très power pop), but the ’60s-via-’80s striped-shirt bubblegum beat of “Rattrapez-Moi” and “Loin D’ici” had my thoughts immediately wandering to LES CALAMITÉS rather than DOLLY MIXTURE, while the plaintive “Parler de Toi” and “Ca M’ira” bear the afterimage of late ’00s/early ’10s C86 revivalists BRILLIANT COLORS, or flipping back further in the singles box, TALULAH GOSH. I’m sure it’s only a matter of time until this renewed interest in pure pop for punk dreamers is completely run into the ground by lesser bandwagon-jumpers, so savor the sweet treat of Adieu Minette while you can.

Dolor De Muelas EP cassette

Rudimentary punk from Chile here with a scrappy DIY spirit. Made using little more than youthful spirit and a few chords, it has a simple charm and classic themes of restlessness, anger, and discontent. And the band’s name translates to “Toothache.”

El Destello Destruiremos Su Civilizaci​ó​n cassette

From the warm streets of Barcelona, this one-man project makes a unique release with a cold sound, electrifying hooks, and captivating lyrics. David, who also lends his talent to IRREAL and ALGARA, uses traditional post-punk elements with emphasis on the punk, creating a sound that is both nostalgic and fresh. Drawing inspiration from iconic ’80s Spanish darkwave bands such as DÉCIMA VÍCTIMA, EL DESTELLO crafts songs that echo the emotions of the human experience drenched in social revolt. What sets EL DESTELLO apart from the myriad of bands in the genre is the perfect blend of darkness and light that invites listeners to dance while contemplating the struggles of life. A compelling mix of rhythm and meaning.

Fear of Extinction / Utsatt split LP

FEAR OF EXTINCTION is from Prague and plays some pretty epic crust, truly a wall of sound. They remind me of WOLFPACK and a few of the other bands that were on Distortion Records back in the ’90s, and they are a perfect pairing with UTSATT. UTSATT is from Sweden and features members of 3-WAY CUM, WARCOLLAPSE, VERDICT, EXPLOATÖR, MEANWHILE, and more. This sounds like classic Swedish hardcore, because it is. Top-notch stuff. Great album for fans of Swedish hardcore punk and crust alike.

Gob Psychic Rent Payer EP

These Danes wear a contemporary Melbourne punk influence on their sleeves, but this snappy trio of tracks burns its own rubber on its own terms. Catchy, angry, and with a satisfying motorik approach to rhythm, these odes to alienation hit just right. There’s a tinge of early 2000s garage rock revival that the band might disavow, but it adds catchiness to the mix that carries you through the somewhat bloated runtime of a track like “Dead Intruder.” There are good ideas here executed well and with an authentic edge that never once feels like a put-on. I can’t wait to hear more!

H,K, Now is the Time to Change the Earth (1989–2024 Best of H,K,) CD

H,K, from Shizuoka, Japan formed in 1989, and this is a collection of tracks drawn from various tapes, compilations, and splits recorded between 1991 and 2005. Unlike some of their contemporaries, H,K,’s brand of hardcore doesn’t rely so heavily on speed or thrash elements; instead, they weave a melodic thread through many of their songs that softens their sound. Kili’s wavering vocals frequently evoke the spirit of Jello Biafra, and I enjoyed their use of gang/backing vocals. Many of the tracks tend to run longer than typical hardcore offerings, with ten out of twenty-four songs exceeding three minutes. While the sound quality starts off a bit rough in the earliest recordings, it notably improves in the later tracks. The entire collection grew on me over time, but I think my favorite songs come from the Shuzuoka Hardcore comp. Check out: “Discrimination Violence.”

Lothario Hogtied LP

Very raunchy and fun lyricism with lots of sexual themes that matched the vibe of the music. I also enjoyed the distorted vocals and distinct bass lines. However, some of the songs kind of blended together for me and made me a bit bored. I think having most of the songs in the same tempo throughout, and with similar drum tracks at times, made the songs sound quite similar. The album felt a bit long, but the bit of variation of “Doggy” to “Suckhole” back-to-back did help. Overall, the album felt a bit “meh” to me, but if you’re into this style of garage punk/rock, I’d give it a try.

Jean Mignon AN/AL cassette

Eh, it’s okay. The production is pretty good and the guitarwork isn’t bad, but it’s just very plain to me. It just sounds like every egg-punk/garage-y punk release from the last decade. I guess maybe it’s just the vocals that rub me the wrong way, because they aren’t very pleasant either. Another one I really thought I was going to like. A little too tongue-in-cheek for its own good. Sounds almost like HASIL ADKINS if he fronted GENERATION X.

Möwer II LP

This album kicks a whole ton of ass, instantly bringing to mind the MOTÖRHEAD of a new generation. That’s kind of the point, right? I mean, just look at the name. As is tradition in Lemmy-worship, this album teeters much heavier on the metal side of the punk spectrum, with searing guitar solos that tear through the fabric of each song. I’m a huge fan of the bass tone here as well. Dirty, tinny, and tucked in the pocket, but the moment it comes out for a walk, it completely imposes itself upon the listener. Great stuff here. For fans of playing video poker in your favorite dive bar until you’re forced to go home at last call.

Nag Fear cassette

Atlanta punk lifer Brannon Greene and his hardcore punk-tinged deathrock/post-punk outfit NAG—not to be confused with his deathrock/post-punk-tinged hardcore punk outfit PREDATOR—are back with a new cassette. And aside from a few tracks that could be pulled from either project, the seven tracks that make up this release really distinguish NAG as a separate entity. The base sound here is something akin to that first RIKK AGNEW solo record—driving, bleakly melodic guitar, intricate bass interplay, and maybe a light synth (or studio effects that make a guitar sound like a synth) from time to time—but they are really upping the goth this here. A track like “Nike Gate” starts off with JOY DIVISION bass melody before sliding into something like a sludgier version of early SISTERS OF MERCY. It’s some of the starkest stuff they’ve put out. Other tracks remind me a bit of CLAN OF XYMOX, albeit a punker, more organic version of that band. Of course, there are still a handful of rippers—album opener “Pupil” is among my favorite tracks from any of Greene’s projects.  Just another top-to-bottom great release from a great band!

Nein Danke Ich Weiß Nicht, Wo Ich Bin 10″

Nine tracks and ten inches from Neuwied, Germany’s NEIN DANKE, a duo playing some synth-and-drum-machine-heavy beats with poppy, sugary vocals. Some influences of Neue Deutsche Welle here: MALARIA! comes to mind, as well as KRAFTWERK—both are maybe too-easy comparisons. The songs on Ich Weiß Nicht, Wo Ich Bin are at times bright, at others dark; slow and sweeping on “Immer Denken,” or fast, driving, and jittery on “Alles, Was Ich Muss.” The last track “Illusion” brings all of this together—at 3:40, it has time to wander back and forth from that pumping drum machine to just synth lines hanging out to dry. Would highly recommend.

The Pist Right to Choose / Jim Martin 7″

Since reforming last year, the PIST has been very active, and can now log this 45 as another hallmark. Full of their signature style of streetwise hardcore and a barrage of gang vocals to boot, “Right to Choose” is an anthem for reproductive freedom and bodily autonomy, and also features additional vocalists from a host of East Coast punk bands. The reverse side, “Jim Martin,” is an ode to punk rock champion Jim Martin and brings an even bigger serving of Oi!, definitely sing-along ready with a sort of bar rock energy. After releasing a fresh album and gigging regularly, it’s astounding that the PIST has time to release a fresh artifact all in a year, but here it is and it rocks.

Problems Beg for Release EP

Hailing from Oslo, Norway, PROBLEMS release a thrashing hardcore attack on this seven-song EP. It’s an orgy of powerful, pounding sound that starts off intense and never lets up. Meaty and menacing, it’s the kind of stuff where the singer makes little noises of disgust from time to time between belting out the lyrics, and the energy of anger is strongly palpable. You could be in a great mood, put this on, and ten minutes later, you’re totally pissed. Which I think is a compliment?

Rabbit Bardo EP

RABBIT’s latest EP Bardo is a melting pot of styles; death metal, punk, powerviolence, metallic hardcore, all stewing together to create a sonically powerful and satisfying EP that will appeal to a wide audience, not unlike their most cited influence GULCH. The thrash influence of the Big Four is especially evident on tracks like “Tail Wags Dog” and “Anti-Priest Summons Baphomet,” whose stink-face-inducing riffs and over-the-top vocals would satisfy even the pickiest of metalheads. Extra points for the amazing artwork, a consistent feature of all of RABBIT’s releases so far. Excited to hear what they’ve got coming next.

Savage Pleasure Savage Pleasure LP

Sick metal punk with spiky, sharp rhythms and distorted to the fullest. Fast-paced cadences filled with a filth and precision that could intoxicate advocates of metallic forms of punk, with two spoonfuls of powerviolence in it. Feels like a dark chamber of doomed figures between the final two tracks, the last of which (“Chasm of Distant Dreams”) is a bit more than five minutes in length that’s well worth the spin. Endure the intro. Recommended.

Scontro What Else Can I Do? cassette

Debut full-length release from this Portland, OR “socially conscious punk rock band.” Eleven songs of very slickly recorded and produced “punk rock,” with politically-driven lyrics strongly front and center. There are some cool guitar leads, the bass licks on some of the songs are driving and catchy, but the nature of the lyrical style and delivery left me feeling as if I had just attended a lecture. I absolutely see the point of intermingling political views with music, and the importance of entry-level political stances as a way to share ideas and thoughts to newcomers, I just personally could do without feeling like I just experienced an auditory Ludovico Technique.

Skamfläck Synka Alla Klockor för Midnatt LP

First off, the cover here arrives in the grand tradition of cartoony depictions of apocalyptic dystopias (think Cause for Alarm or The Day the Country Died): a grim vision of reality via rounded lines and primary color. The music is a few sibling genres held together by a very metallic crust punk. There are some capital-M metal riffs, but the guitars are otherwise on the “punk” side of the ledger (grimy and spare instead of epic and layered). As usual, I think the run time here is excessive. As Coco Chanel said, “Before you go out, take a look in the mirror and remove one track.”

Tuxedo Cats Fake Punk EP

TUXEDO CATS, a power punk outfit out of Brooklyn, return with their second four-song EP. With an increased velocity compared to their solid debut Out of the Bag, the tunes here on Fake Punk burn bright and burn fast. At first listen, one might think the influences here can be plucked out easily, but on multiple listens, the breadth of their taste really starts to unfold. Fans of Good Vibrations records, ’70s Belgian punk, the NEW YORK DOLLS, or simply spending an inordinate amount of time in record shops will all find plenty of satisfaction here. While all these sounds may read as all over the map, literally, TUXEDO CATS seem effortless in their ability to blend a litany of influences. And I’d be remiss not to mention “Jaguar K-11,” a scorching, one-and-a-half-minute ode to the folding knife, as one of the very best B-sides I’ve heard this entire year.

Z-Pak 15 Minutes With Z-Pak cassette

This rules. Second tape from Philly punks that delivers weirdo hardcore of the highest order. Z-PAK sounds like Doc Dart of the CRUCIFUCKS fronting SACCHARINE TRUST on speed. The shrill, frenzied vocals pierce the fast punk, and we even get some BLACK FLAG-style atonal soloing on “Jaws of Life.” On “Whiplash,” vocalist Alex’s voice cracks through the octaves like MARIAH CAREY going through puberty. Unhinged and exciting, this is a band that is probably best taken in fifteen-minute doses, repeated a few times a day.

Alambrada Rios de Sangre LP

The successor of Muerte Preventiva, Rios de Sangre serves up a relentless barrage of fiery riffs, driving rhythms, and socially-charged lyrics that resonate deeply with both the pulse of Bogota and the broader struggles of the heart. From the opening track, we are thrust into a whirlwind of fast hardcore à la VOID or KORO, expertly layered with both frenetic urgency and poignant storytelling. Each track reflects a powerful blend of breakneck speed and relentless power, showcasing the band’s charisma for crafting anthems. ALAMBRADA aren’t timid when it comes to confronting political and social issues head-on, articulating the frustrations and aspirations of a generation longing for change. From the busy punk aficionados from Rat Trap, with killer projects like MURO, UNIDAD IDEOLÒGICA, and ATAQUE ZERO, the question remains: how do these guys have time to make such great bands?

Bad Image II cassette

Five smoldering cuts of pissed-off hardcore punk done just the way I like it, relentless and raw. Word on the street is that their singer, Jaedyn, is known to wield an eight-foot chain during live performances. Sick! With a couple tapes under their (bullet) belt, BAD IMAGE has cultivated a noisy, raw-punk-inspired style that radiates energy and rage. Having relocated from sunscorched Phoenix to dreary Seattle, one has to wonder if the change of location has led to a shift in disposition. No complaints here. From furious D-beat to fist-pumping pogo punk, they are checking all the right boxes. Can’t wait to see where they’ll go from here.

The Brides Suburban Vermin: 1996–98 LP

Now this rocks. Chicago punk is known for its vicious guitar sound, and this collection of ’70s-influenced punk is a perfect example of that. It’s pretty lo-fi due to most of it being demos and live recordings from the ’90s, but I think it adds to the charm if anything. The vocals are pretty typical for a punk band, but I think the sheer energy the BRIDES display here is enough to warrant checking this LP out. I like the cover of CRIME’s “Baby You’re So Repulsive” a lot as well. The guitars are raunchy, the bass is groovy, the drums are hard. Listen to it.

Celebrity Sighting …They’re Just Like Us cassette

This album opens up to the listener like a field of flowers, blooming to show their colorful fuzz pedals reverberating in a musical garden. …They’re Just Like Us has the distinct indie ingredients of “screaming down the hallway” vocals, a tempo carried by cymbals, heavy bass, and raw, undercooked guitar to add the cherry on top. The tracks are distinctly political but fun, with “Are You Insured” asking the listener a crucial question should they jump into the pit of a late-night show. The song titles unsurprisingly cover serious topics like “Climate Change;” I’ve noticed this is the newest wave of political cacophony for recent pop punk releases. The album cover is very cute and in my opinion, resembles something HOLE would have released if they were still together. “Market Value” takes on a faster pace to pick up where the more contemplative beats leave off and “Hypocrite” closes the album leaving a reminiscent feeling of the early days of the FRIGHTS. Being CELEBRITY SIGHTING’s first release, they should be glad to know they’ve created a great coming-of-age soundtrack and an even better garage pop staple.

Circus One Big Joke 12″

I don’t know what it is about clowns, but I love them. I’ve got a small collection of clown paraphernalia peppered throughout my home, and have a low-key obsession with the lucha libre trio Los Payasos. So imagine my excitement when the new CIRCUS album came across my desk. I initially thought the band name and clown motif were surface-level gimmicks, but no. The theme permeates throughout the entire record. CIRCUS plays your typical hardcore akin to bands like FROSTBITE and NEW LOWS, and while the music is tight and quite good, it’s the lyrics that bring it to a whole other level for me. Featuring such classic lines as “Bozo motherfucker / Got a bone to pick / Forty clowns deep / As the tiny engine rips,” as heard in “Clown Car Pile Up,” and “You honk the honk but you will never walk my walk,” from the track “Silly Prison,” CIRCUS continues to maintain the classic balance of insidiousness and innocence that we’ve all come to known from the storied history of our favorite, face-painted buffoons. Fantastic stuff here, even for those who suffer from coulrophobia.

Disarm Existence Demo 1985 LP

My first thought was that this would be DISARM from Sweden, but this band was from Virginia. They played hardcore that at times approached crossover thrash in the vein of CORROSION OF CONFORMITY and sometimes early D.R.I., and even a little first album SUICIDAL TENDENCIES. There are a lot of other influences, but those stood out to me right away. I am always happy to find old bands that I haven’t heard before, so a big thanks to Beach Impediment Records for bringing this to us all. Great listen, and I immediately knew I was listening to hardcore from the ’80s.

Dope Sweater ’20–’21 Singles cassette

The long-running, self-proclaimed “Indiana garage punk kings” return with an unorthodox release. Recorded during the height of COVID isolation, the three members of this band recorded their own parts alone and sent files to one another to create what we have before us. Six songs which span a lot of ground stylistically—personally, I much prefer the dingy garage/JAY REATARD-inspired tunes to the somewhat more meandering, long psychedelic jams, but on a whole, this is a cool release with some damn good songs and an interesting tale. Physical copies limited to 25.

Enola Gay / Phantom split LP

A post-mortem collection of the Łódź, Poland-based post-punk group PHANTOM, who formed in 1979 and later renamed themselves ENOLA GAY in the mid-’80s, so the “split” status here is more that of a split mirror. To make things especially confusing, the five songs on the A-side were all recorded as ENOLA GAY in 1983, while the five B-side tracks are 1984 recordings credited to PHANTOM, so I’m assuming the name change must have been fairly temporary? PHANTOM reportedly started out by covering the likes of the STRANGLERS and GARY NEWMAN, and the influence of the latter is definitely perceptible in the unnerved, slightly androgynous delivery of vocalist Bogusia Michalonka and the syncopated new wave backing of the band’s ENOLA GAY iteration—the synth-squealing anxiety of “Grzybobranie” is basically a Replicas replica (but a really good one). It’s total android oddness on that half of the record, while the PHANTOM tracks put a touch more emphasis on the shrouded doom and gloom that was a hallmark of Eastern Bloc post-punk. The lurching rhythms and anguished undead howls of “Dusseldorf” gesture toward the death drone of early 4AD fixtures REMA-REMA, as the synth-forward “Puszka” and “Marionetka” split off in the direction of an elastic, danceable sound that’s vaguely NDW-like. Like so many bands who operated behind the Iron Curtain, ENOLA GAY and PHANTOM were never properly documented in their own time, but the labels behind this LP have really been putting in the work to preserve the histories of the Polish punk underground, and these songs were certainly worth rescuing.

Epoxi Demo 2023 cassette

Bloomington, IN hardcore punkers deliver this five-track cassette in less than ten minutes, filled with strident drums and ever-ranting vocals that never seem to stop delivering screams. You can extract and see the punk roots of this project, as it gives the feeling of something done extremely DIY with sufficient execution levels, like a homemade tape that has that special crunchiness and crust that all well-appreciated DIY projects exude. Indiana punks dripping with attitude in each beat. It’s interesting enough to wait for more.

Former Mormon Discography 2017–2017 cassette

Complete discography cassette of a band that seems to have been wildly active for only a handful of months in the year 2017. At first glance, FORMER MORMON had me thinking there was a “too many cooks”-type situation going on. With songs ranging somewhat wildly stylistically from track to track, it was easy to assess that maybe there were multiple songwriters all bringing their own ideas to the table. Turns out that wasn’t the case at all. A few of their releases credit a single songwriter, which was somewhat surprising. FORMER MORMON seems to be the missing link between Bay Area pop punk stuff, by-the-numbers fastcore, and a little sprinkling of the MINUTEMEN tossed in for good measure—I didn’t realize these were things that had a missing link between them. Limited edition of 25 cassette copies.

Goblin Shark Rat Bone CD

Garage is in a tough position, having gone through revivals too many times to count, and frankly it is difficult for it not to sound somewhat stale when not trying to do something altogether singular. With that preamble in mind, sorry to say, this doesn’t quite refresh the genre to my ears. There’s plenty of energy and songcraft on display, plus a sort of gonzo theatrical edge, but rather than the anarchic roots of the genre, what we get here is something a little safe despite all its best efforts to seem wild and dangerous. Partly to blame is the production, with the vocals way up front and sounding like BEEFHEART sucked on a lozenge. Everything else is a little too compressed, the fuzz a little too trimmed. There are good moments to be sure, like the licks in “Human Fountain” that harken to the guitar work in underground legends like GROUNDHOGS. But even then, it feels these moments come from reference points across time and not from some wellspring of true rock’n’roll inspiration.

G.O.O.N. God’s Only Option Now LP

As the pile of modern hardcore records heightens at speeds previously unseen, the number of them that can be considered “meaningful” entries sharply decreases. There has to be some established mathematical principle that applies to this conundrum, and, whatever it is, Denver’s G.O.O.N. triumphantly defies it with their latest release. On this follow-up to their excellent 2019 debut Natural Evil, they cook up a big, decompressed, and scathing sound with unhinged vocals. For lack of a more apt comparison, it’s along the lines of beloved 2010s miscreant BLACK PANTIES singing for a darker and beefier CEMENT SHOES. With the exception of the five-minute-plus cover of the classic proto-punk PINK FAIRIES incantation “Do It,” the songs here are brief, yet potent, each hinting at potential progressions for this up-and-coming band. I wouldn’t mind witnessing a lengthy evolution of this promising style.

Human Trophy Primary Instinct LP

Wow, this is a wild listen! As per the prerequisites of Iron Lung Records, there is plenty of noise, but HUMAN TROPHY also brings a gothic deathrock experience that I was not prepared for. Guitars that sear and screech descend from every direction while the bass rumbles in perfect time with the drums. A creeping, ambling voice emerges methodically delivering lyrics in a gloomy monotone. The Primary Instinct album is full of mid-tempo darkness, but there are also songs like “Devotion” that are pogo-ready with a more D-beat-inspired rhythm. Personally, “The Cabin” is my favorite song on the album, with its haunting pace and spectral guitar work. If you like noise and the sounds of desolation, then I highly recommend HUMAN TROPHY’s Primary Instinct.

The Judges Guns / (The People Want a) Show 7″

Hot on the heels of last year’s great Judgement Day LP, these Aussie proto-punkers (featuring folks from LIVING EYES and CEREAL KILLER) are back to sentence us to another nine minutes of riff! Here we’re getting two exceptional tracks wrapped in one excellent sleeve. Folks, this is how you make a 7”! The A-side, “Guns,” is a five-and-a-half minute dirge built on a two-and-a-half-chord riff, establishing something between a Funhouse groove and a Dopesmoker drone. The Bandcamp copy tells you the lyrics are some sort of statement on arms trafficking and imperialism or whatever—and that may be true—but they’re being delivered more like a threat issued by the seediest member of a biker gang from a ’60s exploitation flick through a Valium haze. It’s maybe the best song I’ve heard all year. The B-side, which is more of a revved-up, Raw Power-ed number, is maybe slightly less memorable by comparison, but it also rules. Do yourself a favor and seek out a copy!

The Makebelieves Someone Threw a Tiger Out the Window LP

A re-release of the MAKEBELIEVES’ 2004 album, including a bonus track appended to the end, Someone Threw a Tiger Out the Window is twenty minutes of MC5 and STOOGES-style high-energy garage rock. As they were a Midwestern garage outfit in the early 2000s, comparisons to early WHITE STRIPES material make sense, although the urgency in these songs feel more natural than anything Jack White has carefully constructed. The vocals are a little one-note, and the band seems to only know one speed—there’s a mid-tempo track sandwiched in halfway through, but beyond that, this is fast-fast-fast, with the understanding that things could collapse at any second. While there isn’t too much variety to be found track to track, the caution-to-the-wind style that these seven tracks are played with does a pretty nice job of steadily building up tension from first note to last, and that made me want to stick around and see if they make it through to the end.

Marbled Eye Read the Air LP

On the distant heels of 2018’s Leisure LP, Oakland’s MARBLED EYE is out with their second LP Read the Air. Vocalist and guitarist Chris Natividad also leads the band’s stranger, moodier cousin in the solo project PUBLIC INTEREST (I reviewed Spiritual Pollution last year, and it took me a minute to remember this connection). With the departure of MARBLED EYE’s original bassist (who also had the studio space and did their production) and the pandemic isolating the band, it’s no wonder this next album took some time, but it is surely worth the wait. Inside we find ten songs of vocal-droning post-punk pleasure, complete with guitars that wander in and out of each other’s riffs without sounding crowded, and disrupter bass and drums that rest and then pummel their way back to the main rhythm. These guys just went on a crazy Midwest and East Coast fall tour, hitting thirteen cities in thirteen days. Wow. Read the Air: not to be missed.

Mechanical Canine To My Chagrin LP

Perhaps it’s because there are so many ways to interpret the genre, but emo has, beyond all expectations, shown itself to have staying power after decades of misunderstanding and permutations. Maybe it’s unfair to just hang the emo cap on a band like Philadelphia’s MECHANICAL CANINE, but as a longtime defender, I mean it as a compliment. These songs connect threads of everything from poppy mallpunk to more plaintive touchstones like the WEAKERTHANS, and yet it all comes together in its own mold. One impressive element of note is the runtime of some of these tracks, which regularly clock in around or even under a minute. It shows off the band’s ability to pack in hooks and get their point across quickly. Tracks like “Hey Buddy” get in and out but leave you feeling like you traveled somewhere, deftly hopping melodic ideas and genres in a way that feels cohesive. Overall, the band reads as bristling with creativity, which is always refreshing regardless of genre. Then they go full opus for the closer, “Watercourse,” which builds impressively to several emotional payoffs before ending with a classic twinkling, clean tone Midwest emo outro. I don’t want to paint this crew into a corner with genre signifiers though, and ultimately it’s just damn good songwriting on full display. But when the band itself jokes through the song title “Mechanical Canine Saves Emo,” it doesn’t leave everything to the imagination.

Naatlo Sutila Naatlo Sutila LP

NAATLO SUTILA is a hardcore band from Bordeaux, but rather than playing straightforward hardcore, they decided to mix their old school sound with deathrock and anarcho-punk. The outcome fucking rocks. From the opening drumbeat and bass chug of “Voices” to the thrashing speed of “Hell” and all the way to the end of the CRASS-like feeling of “Revolution,” NAATLO SUTILA presents a romp of a self-titled album. As a three-piece, it’s amazing the power this trio is able to generate and deliver. If you get a chance, definitely give this one a listen.

Panikattack Ett Sista Farväl LP

By far this month’s most unsurprising record, but should you expect anything different from a Swedish hardcore band releasing an LP on the tireless Phobia Records, a label bent on känging up the world? Uppsala’s PANIKATTACK belongs in that category of bands that I know I am going to enjoy conservatively before even listening to them. To an extent, I don’t even have to listen to them to enjoy them. I just know. Ett Sista Farv​ä​l is the band’s last record, and it does not disappoint. With current and ex-members of ANGER BURNING, MAKABERT FYND, and DISCONTROL among others, the lineup is experienced and the band knows what they have to do and how to do it. Twenty minutes of classically executed, energetic, pummeling käng hardcore with angry vocals and an apt production keeping it raw and heavy. No messing around here as PANIKATTACK never slows down, and delivers what they are expected to. To be enjoyed in the same old school way as bands like DISSEKERAD or VERDICT, with a hint of mid-’90s DISFEAR. If you are not an unconditional käng lover, you may find the album a little long, if not upsettingly redundant, because, as objectively effective as it is given the template, it is pretty much a straight line.

Period Bomb 24-Carat Clit cassette

Miami-based project that blends no wave, weirdo pop, and electro-punk into a sound that is hard to pin down but often exciting. Opening track “Melodaze” sounds like a CHICKS ON SPEED and SCREAMERS collab, drum machines and synths colliding with nonchalantly spoken vocals. “No Puedo Ser Nada” flips the chaos switch, evoking a feral LYDIA LUNCH locked in a closet. “Deal with God” continues this no wave streak with atonal singing and a squawking saxophone in the background. Standout track “Might Not Survive” showcases the band at their best—an otherworldly KATE BUSH-style mutant ballad played out over rolling bass and a disco beat. The unique sound and theatricality of singer Cami’s voice hearkens back to the early “anything goes” days of L.A. punk and is worth a listen. FYI, ARIEL PINK, guest on Tucker Carlson and a visitor to a particular rally involving a former president, did some production work on this and released a split tape with the band. Make of that what you will.

Rabid Children Does the Heartbeat LP

Not quite sure how to categorize these guys, but I’d say somewhere in the noise pop/experimental rock realm. The album kicked off with some great noise and gloomy vibes, and each song that followed was unique to the one prior, with some nice tempo changes. It slowly became more pop than rock as the album progressed. The ghost-like keyboard sounds were a unifier throughout the album, which I thoroughly enjoyed. To somewhat finish off the album, the mega solo in “Other Dreams” definitely felt like I was being exported to some other world; truly rad. Overall, I tended to like the first couple of tracks the best as they were the most experimental, but I thought that this LP was a gloomy good time.

Satans Cheerleaders What the Hell: Complete Recordings 1982​–1986 2xLP

Active in the mid-’80s, SATAN’S CHEERLEADERS were a standout, often underlooked band in the New York hardcore scene. They might have gone under the radar due to the boom in hardcore bands coming from their vicinity, but now it’s impossible to miss them due to the internet and avid record catalogers such as F.O.A.D. Records, who released their discography on vinyl, along with other Unsound releases such as INSANITY DEFENSE and FATAL VISION (both bands adjacent to SATAN’S CHEERLEADERS). Their sound is pure raw hardcore punk, driven by frantically energetic riffs and an undeniable youthful energy. Going as fast as possible and with a chip on their shoulders, they managed to add a unique flavor to their hardcore roots. Each of the 45 songs on this compilation of their demos is explosive, showcasing the band’s short trajectory and also adding in some rare recordings from the band’s beginning. Hardcore purists, get your hands on this one.

Scoleri Brothers Scoleri Brothers cassette

A hardcore three-piece from Pennsylvania, SCOLERI BROTHERS play songs that have an early ’00s metalcore vibe on their self-titled and self-released cassette. I tried to find out more about these guys, but all the internet spit out when I searched their name was info on the characters from Ghostbusters, so that was a dead end. Overall, the music here is cool, it’s well-played enough, but I’ve never been a fan of this vocal style. Over the years I’ve given bands who have a similar sound a shot and just don’t really get it. But hey, music is subjective and that’s the beauty of it. This isn’t for me, but maybe it’s for you.

Subdued Abattoir LP

SUBDUED is from London, and I feel a definite anarcho-punk vibe from the band—ZYGOTE and EXIT-STANCE, and maybe even a little bit of SACRILEGE immediately came to mind.  This entire album makes me feel like it’s dusk no matter what time the clock says it is. The lyrics are as thought-provoking as they are dark. They are filled with substance and not mindless songs about nothing important. This is a great album, and one of my favorites of the year.

Thatcher’s Snatch White Collar Man EP

THATCHER’S SNATCH popped onto my radar a couple years ago with their brilliant self-titled debut EP, so I was excited to get my grubby paws on this follow-up. Straight away, the opening cut grabbed my attention with an eerily familiar bass line. They’ve torn more than a few pages from the UK82 songbook and used them to make a cut n’ paste ransom note-cum-love letter addressed to cider-swillin’, glue-sniffin’ gutter punks the world over. Snippets of various influences poke through in each song, but it never comes off as cheap or contrived. That opening bass line I mentioned? It’s a dead ringer for the riff from “Tube Disasters” by FLUX OF PINK INDIANS. Later in the song, when the chorus kicks in, the low register backing vocals are uncannily similar to those found in the classic VICE SQUAD anthem “Last Rockers.” These recurring instances of homage are like cracked little easter eggs for spiky-haired nerds. I don’t think most bands could pull this off without it seeming totally derivative, but THATCHER’S SNATCH have their sound (safety) pinned down so well that it bolsters the experience rather than tanking it. Highly recommended.

Visual Learner 2024 Demo cassette

Loud and fast demo with scrunched-up rhythms from a new Minneapolis foursome. A little bit slacker rock “don’t give a fuck” jaw-hanging, a little bit indie rock whiny contempt. Instrumentals are tight, with guitar leads sprouting out of every verse’s end, ride-tapping drums, and upper-end crunch from rhythm and bass guitars. For fans of Phillip Hill bands.

Zulu A New Tomorrow LP

L.A.-based hardcore band ZULU delivered an explosive and genre-expanding experience with their 2023 release, A New Tomorrow. Clocking in at under thirty minutes, the fifteen-track album intersperses metallic hardcore and powerviolence with unexpected yet cohesive elements like soul-jazz instrumentals, spoken word poetry, violin and piano, and clips of classic reggae and soul songs that act as musical interludes and add layers of political and cultural commentary. This isn’t just a hardcore album. It is a love letter to the exultation of Black culture, identity, resilience, and joy, balancing both anger and hope in its sound and message. The record is filled with plenty of heavy riffs and spinkick-inducing breakdowns, but it’s also deeply thoughtful and it might challenge some listeners to open their minds to some new sounds and ideas. Recommended for fans of the heavy and fast who are open to a blend of genres and a strongly underrepresented point-of-view in extreme music. A New Tomorrow stands out as a vital record in today’s expanding scene. Check out: “Fakin’ Tha Funk (You Get Did).”

V/A No Sleep Til Palestine is Free cassette

What a weird collection of music, I loved it. Nothing is more punk than a collection of bands in the name of an issue they deeply care about, and No Sleep Til Palestine is Free is a perfect example of that. The variety of genres was refreshing, as it had experimental electronic, punk, no wave, garage rock, folk, and more. This album really has it all and keeps you on your toes, not knowing what to expect next. While in some of the tracks, you can hear that the recording quality is not the highest, but I feel that it contributes to the angry punk vibe that’s felt throughout the album. The tracks that really hit home for me were “No Sleep (Live),” as I feel they really embodied the vibe of the whole album and was great to hear it as a live version. Overall, I loved how strange and fun this collection of music was!