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!

Cinnamon Demo ‘24 cassette

Hailing from Albany, New York and heavily influenced by the NBHC scene, CINNAMON plays surprisingly accessible powerviolence infused hardcore. Produced by ORCHID’s Will Killingsworth in his prolific Dead Air Studios, this tape has got some high-ass quality for a demo; there isn’t a blemish to be found. Every element is fully locked in, from the perfectly gravelly vocals to the frenetic drums to the crunchy and thrash-y guitars (especially on opener “Cinntro”). All in all, an impressive first showing—I’d expect to see CINNAMON on some pretty big festival lineups in the not too distant future.

Cry Baby Killer Double Black 13 LP

CRY BABY KILLER formed in the ’90s and finally offers their first full-length collection of songs with Double Black 13. Given the 23 tracks on display here, including “Sunday Best” and “Skull Shaking Boogie” which were previously released as a single back in 1996, one assumes this is a collection of songs rather than a singular album. Either way, this is a long run time that isn’t really meant to be ingested all at once. If you pick from the pile, there are for sure some solid sounds to be had, such as “Boystown,” which has a nice little NEW YORK DOLLS tinge to it. If rockabilly suits you, there’s at least a few tracks that dabble in that sound too, including the aforementioned “Skull Shaking Boogie.” Overall, there are some things to like here in smaller doses, but being presented with nearly 70 minutes of music is one thing that should have stayed in the ’90s.

Dead Ends Complaints LP

This one is a punk relic treasure straight from the Filipino ’85 punk rock movement, representing the first LP effort by Pinoy punks during the dictatorship that ended in ’86 and now brought back to life by Berlin’s Merciless Records. Classic speedy punk rock with traces of sarcasm that remind me of DEAD KENNEDYS and even the sounds of the CLASH’s early records, plus a feeling of vitality and anger only found in those critical times. A great surprise from the tunnel of time regarding forms of punk with meaning, and a real treat in the respects of mastering, mixing, and restoration. Favorite track: “Dreamer.” Recommended.

The Drolls / Gentlemen Rogues split EP

Indie/power pop split out on an attractive Snappy Little Numbers 7” disc. A-side is Seattle’s DROLLS with an upbeat pair of tunes in the Epitaph realm of good-time indie—BOUNCING SOULS come to mind on the first track “Burned Out,” while “Happy Hour” has a MIGHTY MIGHTY BOSSTONES arrangement (sans gravelly bravado and horns). The B-side comes from GENTLEMEN ROGUES out of Austin, Texas, who push further into the indie realm, even having the saccharine vocals more associated with 2000s emo in the sense that it’s a little whiny, but not exactly sad or melancholic. This music has a place, and I think is gaining popularity with nostalgia-seekers who were teens during the height of this craze—while I fall neatly in this age group, it is admittedly not my bag. If, however, it is yours, please enjoy this sugary little 7”!

Fulmine Randagio EP

This was always going to be a total cracker. A motley crew of alumni from CHUBBY & THE GANG, ARMS RACE, STINGRAY, and the NEW YORK HOUNDS, among many others, combining forces to create a love letter to rough-as-yer-like Italian Oi! The result of a session in London’s veritable hit factor Fuzzbrain studios, fuck-all practice, and a shared love of skinhead rock’n’roll, baby, this six-track EP is pure not-from-concentrate, stripped-back, hard-rockin’ Oi! There are clear influences from NABAT, KLASSE KRIMINALE, and even a sprinkling of CAMERA SILENS with a faint sax lick for all the Euro skins. Vocals like a cement mixer, bass lines so thick you could spread ‘em on toast, it’s the real deal. Plus, the online-only THIN LIZZY cover is pure pint-necking fodder. A real mid-tempo stomper that you need in your life.

Gee Tee Prehistoric Chrome LP

GEE TEE is from Australia and has been around for eight or so years now, and this is a compilation described by the label as “eighteen tracks from both the distant future and the nearly forgotten past.” I would describe it as lofi punk/pop that was very popular from around 2006 to 2018. Bands like the OKMONIKS, NOBUNNY, SNEAKY PINKS, HUNX AND HIS PUNX, and others—I can hear some of the same influence as the current Australian bands that are so popular right now. Rocking lo-fi.

Häxorna Häxorna demo cassette

Rip-roaring hardcore punk from Athens, GA, and the debut release on a new tape label also from Athens, Total Recall Recordings. Three-song demo that consists of a total of two minutes and fifty-six seconds worth of music. I listened to the demo in its entirety three times just while attempting to decipher the bramble of a band logo on the tape cover, then again a few more times while I attempted to figure out how to type an “Ä” on a computer because I’m admittedly a bit of a caveman. Fast hardcore with D-beats peppered in for flavor. HÄXORNA bursts through these three songs with pure intensity and aggression, not letting up for a single second. Can they keep that energy up past the three-minute mark? I, for one, look forward to hopefully seeing them live to find out firsthand.

Hellscape Cujo EP

HELLSCAPE, out of West Yorkshire in the UK, is a unique band to say the least. Heavy deathrock influences pervade this recording, but there are also hardcore breakdowns and a big helping of anarcho-punk. It’s a sound that shouldn’t work out, but it does, and it’s fucking awesome. Vocalist Ciara is full of fury as caustic lyrics are delivered. Joe on drums and Lily on bass make up the rhythm section and keep perfect time with effortless stops and shifts. Guitarist Ben uses a buzzsaw tone that is absolutely punk rock. From start to finish, this six-track EP is an absolute blast.

Juventud Podrida Control/Encierro EP

Damn, I had no idea that this Panama-based band was still going. I was aware that the singer had found employment in HEZ, but naively thought that JUVENTUD PODRIDA had retired. The band released some solid records in the first half of the 2010s, notably the 1989 EP in 2012 that put them on the map. Good on them for not giving up and continuing to fly the raw hardcore punk flag at home. Control/Encierro is classically executed and well coherent with the Discos Enfermos catalog. Mean and fast Scandi-style rabiozo hardcore punk with direct and snotty vocals in Spanish and fuzzed-out distortion on the guitar but, even without taking the vocals into account, it does sound like a non-Swedish band having a go at the genre (the band must have carefully played some crusty Japanese records from Osaka). The production is very energetic and certainly packs a punch. In theory, the vocals, very reminiscent of traditional old school “hardcore en Español” in terms of singing style, should not totally fit with this distorted käng hardcore sound, but they actually do, and it brings a different vibe altogether. I was going to say “fresh,” but that’d be a bit far-fetched. A strong comeback, and I can imagine JUVENTUD PODRIDA to be crushing live.

Killer Kin Point Blank / Mr. Dynamite 7″

It’s okay, I guess. I had a big yawn at the end of it. They have energy, I’ll give them that, but it’s all kind of weighed down by a shitty performance and overly glossy production. I’d probably be able to get more into this STOOGES-meets-MÖTORHEAD sound if it had the grit of a punk band rather than the washed-out muck it serves up. The drums and everything about it just sound weak to me. Wake me up when this boring wave of punk is over.

Mènage Dètroit I’m a Fool / Would You Say (I’m in Love) cassette

This Detroit-based guitar-and-drums duo delivers two tracks, “I’m a Fool” and “Would You Say (I’m in Love),” firmly rooted in ’60s/garage rock influences. The playing is loose and raw, with a gritty, unpolished energy that fits their sound but the muddy production doesn’t do them any favors. Lyrically, the tracks delve into themes of love, loneliness, and heartache, capturing a classic melancholic vibe. If you’re into the rough edges of rock, this pair would be right at home opening for any number of bands from the Crypt label from the ’90s. I’d love to hear them revved up to eleven, but they’re currently at about four.

N.E.O.N. The Time Changes The Problems Don’t cassette

Third cassette release by this Jacksonville, Florida-based solo project. N.E.O.N (NEGATIVE EFFECTS OF NASCAR) is some sort of goofball amalgamation of harsh noise and synth punk that is incredibly heavy on the industrial music interludes. It actually starts out with a pretty straightforward SCREAMERS-type song that has an industrial drum beat behind it, but devolves into complete madness before the song even ends. The cassette kind of continues getting more confusing and unhinged as it proceeds from there.  As a bit of an outsider to the whole industrial world, this project comes across rather perplexing to me. Most of the songs on this N.E.O.N cassette feel like an unfinished, less memorable version of NINE INCH NAILS, who I have never fully understood to begin with.

Old City The Last Thing Left to Harvest LP

Portland, OR’s post-crust favorites OLD CITY are out with their second LP. This (mostly) three-piece band has developed a full and driving force of disillusionment—Dan’s ferocious, tom-heavy drums play under the leg work of Erik’s distorted bass, often acting as both rhythm and bass guitars, next to Nick’s guitar leads and downcast vocals that owe as much to Portland predecessors DEAD MOON on tracks like “Illusion of Peace” (with Sara on guest vocals to boot), as they do to mean-spirited D-beat screams on “Not Here, Not On the Other Side.” This variety, along with the penultimate “Isolation,” a short acoustic guitar-led instrumental, gives the album an undeniable depth, furthered only by the anthemic closer “Wilderness” that despairs with “And when you need a friend / We’ll never meet again.” Sara performs soaring melodies on this final track; it is beautiful and dark. The Last Thing Left to Harvest is not to be missed.

Physique Overcome by Pain EP

Six more tracks of ripper crust from the reigning monarchs of crasher chaos, Olympia’s PHYSIQUE. You should know what to expect by now—raw, blazing FRAMTID worship from the very best in the game. It obviously rips. They’re as fast and as ferocious as ever on this one. It’s more D-beating goodness, but it’s still as fresh and as exciting as it ever was. A must-listen.

powertakeOff Cacophony 12″

Slow-motion reverse hardcore from North Carolina that mixes the crush of early EARTH with the spirit of classic bummer punk like NO TREND and FLIPPER. Led by Gus Engstrom (formerly of GRIDS) with a revolving cast of musicians, this time Scott Wishart of LATE BLOOMER and guitarist Kathleen Johnson, a beloved Charlotte scene icon who tragically took her life during the recording process. This release takes noise rock to new heights (depths?) with quaking Sunn amps and subterranean guitar tones that are challenging, confrontational, and off-putting in the very best way. Opener “Exorcist III” (originally by the STRANGULATED BEATOFFS, one of three covers on the record) crawls through nearly six minutes of down-tuned droning riffs and repeated vocals that sounds like a punk band stuck in a molasses spill. DRUNKS WITH GUNS cover “Wonderful Subdivion” features Engstrom’s piercing, Albini-adjacent vocals piercing the sludge with diatribes that twist the original into something even heavier, ending with a five-minute collage of feedback and chaotic crowd riot audio. “Aural” grinds over an industrial-leaning “heave-ho” rhythm evocative of early SWANS, and the band’s cover of BLACK FLAG’s “Damaged I” turns the classic inside out, leaving all the guts on the floor. Basically, if you are into any of the bands mentioned or you can handle the outer limits of nihilistic noise punk, you’ll dig this.

Prison Affair / Snooper split EP

If you’ve never heard of either of these bands, the good news is you have two great discographies to worm through some of the verviest, vibiest bedroom punk put to tape in the last decade. This split exemplifies what each act does at their best—lo-fi hard bops to tickle your brain and move your ass. “On Line” is one of my favorite tracks to date from Nashville’s SNOOPER, with its furious pace and a bass line that never ends (until it does, abruptly). Barcelona’s PRISON AFFAIR likewise keeps it filthy with overcooked lo-fi gems careening into your innerspace. Squawking, drum-machine-fueled masterpieces like “Algo Huele Mal” put you through your paces and set the tone for two more tracks of bug-eyed manic marvelousness. It’s faster than hardcore and catchy as pox. Two of the best at their best, what more do you want?

Rebeliant 12 Lat Walki Z Wiatrakami LP

This interesting retrospective pulls together 34 tracks from Poland’s REBELIANT, a long-running, eclectic hardcore punk outfit. Active from 1989 until the early ’00s, the collection features cuts from various cassette releases throughout the ’90s, along with some live material and previously unreleased studio captures. Given all of this, the sound quality is surprisingly consistent. The tunes themselves are also quite consistent in terms of quality, which shifts the emphasis on how the band evolved over time. The sound they cultivated is unique, but unashamed of letting their influences shine through. Smash the CLASH, NOMEANSNO, and DEZERTER together, and the results of that alchemy have to resemble REBELIANT. Although they don’t sound that much alike, I tend to think of REBELIANT as a spiritual sibling to CITIZEN FISH. Worth a spin for anyone interested in the more experimental side of punk.

Salem Wolves The Psychotron Speaks cassette

Listen, I need to start off this review by saying that I am extremely impressed with the production and general care SALEM WOLVES put into this concept album, telling the story of a downtrodden pro wrestler who utilizes a magical device called The Psychotron to make all of his wildest dreams come true, ultimately leading to his own self-destruction (I think). It’s like Lord of the Rings, except instead of the Ring, it’s a Psychotron…whatever that may be. The band took it a step further and created a zine and trading cards that pair with this cassette to bring the story to levels that I can only describe as world-building. Musically, it sounds like if BRUCE SPRINGSTEEN was signed to Drive-Thru Records during their darker period in the late 2000s. As a fellow fan of pro wrestling, I was more than excited to dive into this release, and I would again like to reiterate that SALEM WOLVES have completed something that very few underground bands even dare to begin, let alone finish. But in the end, this release is slightly boring at best and, at worst, a slog to finish. It all feels flat, and nothing really ever kicks into second gear. The musicians are all clearly very talented, but I’ve listened to this album a handful of times now and nothing has grabbed me or left a lasting impression. There’s very little catchiness here, and while I understand that the storytelling is the most important part, you gotta give me a reason to want to come back. This may play well for those who value pageantry and theatrics in their music over anything else, and if that’s your thing, then I suggest you give this a listen.

Smokers The Rat That Gnawed the Rope LP

From Oakland, SMOKERS deliver a sort of frenetic, moody, dark punk. It’s also got elements of power pop and even a demonic/metal edge to it at times. Still, in the end it remains very much rooted in punk rock. It’s self-described, or “tagged,” as “detached-garage,” one of the funniest things I’ve heard in a long time. Go check this out.

Terminal Δ​ε​ι​ν​ό​ς Ε​ξ​ε​υ​τ​ε​λ​ι​σ​τ​ή​ς EP

Don’t be fooled by the cover art, this is a ferocious D-beat album! TERMINAL is a solo effort from Apostol of Kifisia, Greece, and he manages the job well. Since the first demo released in 2018, TERMINAL has been putting out songs that grab you by the collar and shake you awake to the realities of the world. The TOTALITÄR influence is prevalent throughout, but it manages to stay in its own lane. Δ​ε​ι​ν​ό​ς Ε​ξ​ε​υ​τ​ε​λ​ι​σ​τ​ή​ς offers a cathartic outlet for the downtrodden with its unrelenting ferocity and stands as a defiant middle finger to the powers that be.

V/A Tributo a Camera Silens LP

Tribute album to the late, great Gilles Bertin and CAMERA SILENS from an assortment of Tough Ain’t Enough bands. While none of the participants actively defile the legacy of one of French Oi!’s greats, it did just make me want to go and dust off my copy of Réalité more than anything. Go do that instead.

Ambient Noise I Was There at the Texas Chainsaw Massacre 12”

Quite possibly the catchiest KBD cut of all time, 1980’s “I Was There At The Texas Chainsaw Massacre” by NY weirdo rockers AMBIENT NOISE gets promoted to a big ol’ 12” courtesy of trusted historian Harry Howes at Brooklyn’s Almost Ready records. A humorous homage to the 1974 cult film, this hokey little earworm of a tune famously features sing-along lyrics that are impossible to remove once embedded in the brain, as well as oddly anthemic guitar soloing, resulting in fun for all ages. After this goofball classic comes three more jams—the B-side from the 7” and two unreleased songs from the same recording sessions. A quirky little ode to artificial insemination, the previously unheard “Test Tube Babies” melds a rudimentary new wave groove with classic rock noodling. Next up is the original flip, the sleepy, CCR-esque “Hostage Hotspot,” with its offbeat political commentary accompanied by a requisite shaking tambourine. Finally, the decidedly less jovial “Another Day Gone” most closely resembles an earnest attempt at expression from this short-lived act. It’s always cool when records that have become prohibitively costly are supplanted by a more desirable version, and this is an exemplary instance of such. Scoop it up and cross this one off the checklist for good.

Battery March Winter in America LP

Bilingual Beantown street punk, as indebted as much to Nantes as New England, with a follow-up to their debut 7”. Vocals are pleasantly gravel-gruff, clearly been listening to his TEMPLARS tapes, but the plodding chug that underwrites the ambling middle of this album really tests the patience—a song over four minutes? Chill out, RICK WAKEMAN. Ultimately, I cannot be too mad at a record that has this many tunes about how coppers are all a bunch of bad bastards, but it could really do with a kick up the arse to speed up a bit.

Bloodstains Bloodstains 12″

Orange County punk rockers with exultant SoCal influence all over them, almost like waves in their vast sea. Flawlessly recorded by Jerry “This Ain’t Disco” Adamowicz, the engineer involved in recordings of JFA, US BOMBS, T.S.O.L., F-MINUS, STITCHES, and more, so you know what you are getting here, and it is excellent. Such an embedded sound can’t deny ADOLESCENTS, AGENT ORANGE, and the whole spectrum contained in between, with reverbed sounds and steady cadences, fierce palm-mutes and ever-ranting vocals, plus strident guitar sections that evoque pool skating sessions from the early ’80s and beyond. Suggested tracks: “Antisocial,” “The Last Rites,” and “When Men Were Men.” Great record, give it a spin.

Candy Apple Comatose LP

Latest LP by Colorado’s CANDY APPLE, reminiscent of Youth Attack releases or TOTAL ABUSE-style hardcore from the late ’00s era; somewhere around noise rock meets the faster side of ’80s USHC. Chaotic aural destruction with tons of noise, distortion, and feedback to annoy your roommates. For a noisy hardcore release, it does have enough interesting phrasing where it doesn’t become too overwhelming, yet it’s still cohesive.

Chelsea Radio Active Tapes LP

The UK.’s CHELSEA may be best known as the starting point for a young William Broad (a.k.a. BILLY IDOL, who quit with most of the band to form GENERATION X), and for being contemporaries with bands like the SEX PISTOLS, the DAMNED, and the BUZZCOCKS. But this collection of outtakes and demos from their 1977–1980 period captures the raw energy of a young scene channeled through music that sits somewhere between rock’n’roll and new wave. The playing is solid and frontman Gene October can really sing. By today’s standards, this music is more pop than abrasive, and it wouldn’t be difficult to find this band’s DNA mixed in with a lot of Lookout!-style pop punk from the ’90s. Versions of these songs are already in circulation, but this collection has been remastered and it sounds great. They might not be your next favorite band, but there are plenty of worthy tracks here for your next mixtape. Check out the song, “I’m on Fire.”

Cutre Yendo a lo Oscuro cassette

Gloomy, frantically pissed and maddening, distorted and blistering classic raw hardcore punk with a grim and raging twist that I personally enjoy very much. Crazy, upset vocals rant about existentialism and social critiques on behalf of their singer Diente. The string section is on-point delivering never-ending riffage, with such a strict grip that makes you pogo instantly—as tight as mayhem-filled hardcore punk can be, while the drums are ever-ranting, speedy and well-executed in the fill sections. Suggested tracks: “Hongo Entero” and “No Comparto.” This blasts without doubt, and they are a violent party live; chaos is assured.

Dead Hero 2015​–2024 LP

Formed nearly a decade ago in the punk hotbed of Bogotá, Colombia, DEAD HERO is mostly composed of members of SECTA in addition to vocalist Paula Suarez, whose snappy vocals give a refreshing spin to their brand of BLITZ-worship Oi! Collected here are their demos, splits (one with the aforementioned SECTA) and 2017 LP La Vida Continua. Opening with a tastefully executed cover of BLITZ’s “Solar,” DEAD HERO’s collected material show a band committed to and proficient in ’80s British and French Oi!, proving over and over again that they know how to play catchy and anthemic rippers in the vein of mainstays like COCKNEY REJECTS and the BUSINESS. From the catchy singalong chorus on “Nuestra Vida” to the ringing guitar intros of “Por Siempre” and “La Vida Continua” to the sparse post-punk of “La Ley,” DEAD HERO has the sound down to a science. If you’re enjoying the current wave of modern Oi! bands like the CHISEL and MESS, pick this one up.

Disciplina Limitar Yo Tambi​é​n Yo No LP

A handful of quick and buzzy songs, featuring the oddly light sound of a certain flavor of Spanish punk. Seriously, how do bands like LA URSS and FUTURO TERROR achieve that “distortion cut with clean guitar” sound? It’s too gritty for just a boost, but not nearly full-blown distortion. Anyhow, the music here is bouncy, (usually) punk-moderate tempo, just right for pogoing.

Diuretic Zero Days Without Incident EP

It’s been a long moment since I’ve listened to a grindcore album and simultaneously enjoyed the riffs while giggling at the jokes. Enter DIURETIC, a four-piece from Philadelphia. With all the ways grindcore is stretched to fit these days, it’s really refreshing to hear a band that sounds like old school, straight-up, no-holds grindcore. NAPALM DEATH and UNSEEN TERROR-inspired guitar with speed-shifting rhythm and blasts that race through your aural canal straight to your brain. DIURETIC chose to write this ten-song EP with the theme of “workplace accidents” as the inspiration. Song titles like “OSHA Supersoldier,” “Forklift Certified Early Retirement,” and “The HR Rep is Dead” deepen the joke behind the album title. A really fun listen and definitely something I want to catch live.

Faucheuse Rêve Électrique LP

There is so much to say about FAUCHEUSE that it’s challenging to find the right place to start. There’s just not another band on the planet that sounds anything like them. They synthesize a range of distinct influences and sculpt the raw material into a totally novel form. Scorching käng fretwork mayhem is injected with a tinge of classic rock sensibility, while Emilie’s searing and unexpectedly tuneful vocals catapult their sound into the goddamn stratosphere. Have you heard a D-beat band make use of an organ? On paper, this might not make much sense, but in practice, FAUCHEUSE absolutely shreds. Rêve Électrique pulls together five songs from their demo and an additional five brand new ragers to create an incredibly memorable album. If you listen to these ten cuts and aren’t immediately sold, it’s worth playing through a few more times to let the full scope of FAUCHEUSE’s brilliance come into clear relief. A top-tier release, one of my favorites of the year.

Freak Activity Cassette Tape #2 cassette

From the solo bedroom (read: basement) project of Myles Page, the fairly prolific FREAK ACTIVITY drops another cassette. Buzzy guitars greet us on the opener “Come to Me,” with simple backbeat drums, distorted vocals, and a generally pop-forward sound, maybe BILLIAM-reaching. While this is true for tracks one through four, five through nine take a different tone, trading a freewheeling irreverence for a melancholic shuffle. The B-side also brings in the synth, which is at times cantankerous (“Lots of Things”) and at others catchy disco-poppy (“Material World”) like a COBRA MAN song. There’s a cover of DIGITAL LEATHER’s “Physical Man” as well, which is booming, spacious and doom-filled, leading perfectly into the last track “Lost at Sea,” featuring a mesmerizing synth line with lyrics that repeat “I lost my ship along the way;” a sense of loss, despair—insert whichever feeling you like—and is my absolute favorite of the album. From what I can tell previous releases—something like five EPs, a few singles, and an LP—were all self-released digitally or via hand-dubbed tapes or CDs with personalized drawings on each. Cassette Tape #2 marks the first label release on Painters Tapes, self-described as “Detroit’s Worst Cassette Label.” So, congrats, and please keep up this enjoyable FREAK ACTIVITY.

George Crustanza George Crustanza cassette

Does anyone remember the ’00s band CRUSTINA AGUILERA? They had a hilarious name and played top-shelf snotty anarcho-punk, and since the GEORGE CRUSTANZA moniker immediately reminded me of them, I thought I might be in for a good surprise. I was expecting straightforward, energetic, political, fast hardcore punk, and once again my punk radar was right—I have not been disappointed, to say the least. Despite the pun, GEORGE CRUSTANZA from San Francisco is not a crust band, although they do have some käng influence and are able to pummel the shit out of the casual listener if necessary. The band can switch from a fast primitive hardcore beat to a stomping mid-paced one and then conclude on a D-beat, all in 90 seconds. They are versatile and very much in tune with the modern school DIY hardcore music in that respect. What I appreciate here is that they don’t hide behind dozens of pedals and mountains of effects (which I increasingly tend to find rather distracting instead of engaging) in order to accomplish their punk mission. It is direct, unpolished, energy-based, and it works perfectly. I love the female vocals here, angry but still keeping a snotty sense of tune. Overall, a very enjoyable tape.

Hammer and the Tools Hamma cassette

Seemingly all of greater Mississippi underground punk came together to create this frenzied second HAMMER AND THE TOOLS demo. The band, from Jackson, features members from BIG CLOWN, and it was recorded in the southern punk mecca of Hattiesburg, MS by Hampton (Earth Girls Tapes, JUDY & THE JERKS, BAD ANXIETY, and countless more). Seven songs of kooky, witty, quirky, clangorous hardcore punk that somehow feels both intelligent and incredibly juvenile. Add in a weirdo, manic, indecipherable spoken word noise track and you’ll likely find yourself “Contemplating the Tool Box” as well.

Joro Path Golden Lines cassette

I’m absolutely smitten with this release. Hardcore rock’n’roll fronted by a rabid King Kong recorded directly to tape. Well, at least it sounds like it was recorded directly to tape. The production for this EP is perfect. Gritty, raw, and messy as hell, the audio peaking at the correct times, leaving the drums sounding as if they’ve come through a twisted black hole. Four insane songs clocking in at nearly five minutes; this is one of those EPs where the entire thing is parked on only one track. No need to cut them up anyways, you’re gonna wanna hear it through from start to finish each time.

Killseduction Demo 2023 CD

We got riffs on this one! Three quick thrash metal tracks with an …And Justice for All-style medieval intro from this Japanese band. The production is super clean, and the playing is impeccable, riding the finest crossover line between straight thrash and hardcore. Blastbeats abound, and the rapid-fire spoken vocals make this premium fodder for classic Big Four fans as well as SUICIDAL TENDENCIES devotees. Cool CD.

Litige 2 Degrés EP

This EP is some really great melodic punk. I also hear some late ’70s early ’80s French power pop and new wave. Whatever you want to call it, this record makes me want to tap my toes and get up and dance. At times, the music can almost be called hardcore-influenced in the choruses of a couple of songs, reminiscent of the DILS or WEIRDOS, before settling back into some new wave power pop, something like the band LES CALAMITÉS. I want to hear more from this band.

Moral End Demonstration cassette

K-town punk’s blistering sounds are definitely here—chainsaw guitars with acute sharpened tones, sick-sounding pinched vocals, plus maddening drums with excellent fast cadences that never seem to stop jumping on this record. Suggested tracks: “Black Eye” and “Back Against the Wall” for a pulsating urge to pogo the life out of you. It rings with speedy classic punk rock and hardcore, yet it has a twist of filthy modernity to it. Highly recommended.

The Mystery Dates Who Are the Mystery Dates? LP

From San Antonio circa 1982, here come (or there went?) the MYSTERY DATES. Overall, for the time, the recordings are really good and seem to capture the energy of the band and how groundbreaking the sound was at the time. At times, it’s very hardcore. Other times, it’s traditional, melodic punk. And then sprinkled in there, you get power pop and new wave, along with some quirky bits (think B-52’S, CRIME, FLIPPER). Very cool. This isn’t just some garbage someone unearthed and decided to put out. This is legit. Eighteen tracks.

Neuf Volts Ignorance cassette

A HC/classic punk band from France. The cover of the cassette originally drew me in with its classic punk vibe; it has drawings in the style of American Traditional tattoos, including the mythical creature, the Griffin. The fun doesn’t stop there, though. Using a combination of both French and English, NEUF VOLTS brings a high-energy sound (yet with no screaming, only loud vocals) that makes you feel like you are seeing them live at a show. The contrast of the higher-pitched yelling creates a delicious contrast to the fuzzy and distorted guitar. If you like any style of punk or hardcore, I would check these guys out.

Nyx Negativ Kalrshamns Punks 1981–1984 CD

NYX NEGATIV was a Swedsh hardore punk band who were around from 1981–1986. This compilation starts off with some good chaotic hardcore punk, and then they progress to being a fast hardcore band that seems to get their influence from This Is Boston Not L.A. and early JERRY’S KIDS. At the end of this, they are playing slower and with more melody, and then we get a couple of live tracks as well. Most of this album is pure fast hardcore and it’s great. It really does have the same type of sound that the very earliest recorded JERRY’S KIDS had—fast as hell and sounding like it could fall apart any second, but all that does is make it sound more punk.

Olexi Voicemails cassette

Oh my god. When I first started listening to this, I couldn’t believe it was actually the LP I was reviewing, but here it is. This is bad. This just sounds awful, like it was recorded in somebody’s dingy apartment on a flip phone. The vocals are not sung, but spoken in this obnoxious deadpan voice. The voice of the “vocalist” is just bad, and the production is practically non-existent. There’s these really thin synth and drum machine sounds that made me really question if this was even a serious music project at all. He’s not even rhyming most of the time, and when he does, it makes me grit my teeth. On the song “Miss You,” it’s him talking as a mother who misses her son and wants him to come home. It just really drives me up a wall, because he talks in this wimpy, feminine voice while that awful synth music plays. Then when it gets to the “I miss you” part, he starts screaming like he’s getting his asshole waxed. It’s horrendous. It tries to critique punk rockers, and I would be able to get behind that, however I can’t help but notice that the music is atrociously bad. I can’t recommend this, not even to the most die-hard synth punk fans.

The Pist Is Risen LP

Hailing from Connecticut, THE PIST is legendary in certain punk circles. This LP is their first since 1996. Reunion records like this are often a hit-or-miss affair, but this one is really good! Some parts are better than others, but it’s overall a super solid slab. The music is still rockin’ after all this time and the lyrics actually mean something. Overall, good stuff! Always great to see an older band still making dope music.

Pleasants Rocanrol in Mono LP

Australia continues to be the number one exporter of fantastic, pure rock n’ roll, this time from the remote city of Perth. PLEASANTS play with the typical power pop energy we’ve grown used to seeing these days, combining elements of RAMONES, DEVO, and MARKED MEN with a little bit of the STONES thrown into the mix. Shit, the singer sounds like a younger Mick Jagger being run through a megaphone. This was recorded to a four-track cassette station which is absolutely amazing to me. This sounds brilliant. Just goes to show you don’t need any of them fancy doohickeys to capture the true power of the rock’n’roll spirit! Really great stuff here, well worth a spin.

powertakeOff / Squelch Chamber split cassette

Split release by North Carolina’s POWERTAKEOFF and Pennsylvania’s SQUELCH CHAMBER. POWERTAKEOFF’s side is rather ambient; long feedback sound with some sort of inaudible sample of someone rambling about something. SQUELCH CHAMBER is proper noisecore (not in the CONFUSE/GAI kind of way, but more so the grindcore side of it), so noisy to where it crosses over into noise music territory. A release that brings out the weirdo side of the genre.

Puncture Mucky Pup / You Can’t Rock and Roll 7″ reissue

General Speech is a shoo-in for 2024’s reissue label of the year. Those DEEF LPs, the LEGION OF PARASITES 12”, those two DIE ÖWAN collections—just absolutely essential shit! And this reissue of PUNCTURE’s 1977 classic, the 7” that kickstarted Small Wonder Records (one of the first independent punk labels in the UK) is quite the cherry to throw on top of all that. For my money, “Mucky Pup” is one of the best (and maybe punkest!) numbers to come out of the UK’s second wave. Just an absolute burner of a track, a two-minute ode to being a gross teen from a bunch of gross teens who preferred the DAMNED to the PISTOLS and were too Cockney to be bothered with all the bondage pants and safety pins of their contemporaries, looking instead like they’d been outfitted at the UK’s equivalent of Sears. The track’s loutish attitude would serve as inspiration for the emerging streetpunk subgenre—in fact, the EXPLOITED covered it on their debut LP—and its unbridled immaturity (including some extremely wild synth racketry) ultimately earned it a spot on one of the Killed by Death compilations. It’s really great…but you likely already know that. What you’re less likely to be familiar with, though, is this B-side. “You Can’t Rock and Roll” is less a punk track in the KBD sense and closer to one in the Nuggets sense. It sounds like one of the more R&B-influenced beat groups (let’s say the YARDBIRDS circa 1964), but it’s stripped back to the point of almost qualifying as a skiffle number. But with an attitude straight out of a kitchen sink drama and a yobbo-ass sense of humor, it ends up sounding undoubtedly punk. Fuck—I just love it! What an incredible 7”!

Shitbots Live at the Butt Can cassette

SHITBOTS from Winnipeg, Manitoba seem to have been putting out records since 2017, and after familiarizing myself a bit with their studio-recorded output, I am absolutely floored by how much more I like this live cassette. Let’s first dive into the “live” claim. It certainly sounds as if it was recorded live, but the crowd sounds between the songs are pretty clearly the band hooting and hollering at themselves until the next song begins. It all actually comes off incredibly entertaining. While I am sure that the previous albums released by this band are fine on their own, the eight songs on this cassette are debatably the way a band of this style should be heard. Super driving and stomping garage punk in a Back From the Grave-worship kinda way. Dementedly lo-fi recording, making any sloppiness sound endearing and intentional. I am a big fan, and if there is ever any vacancy at this Butt Can that the band members all seemingly live at, sign me up on that lease.

The Side Eyes What’s Your Problem? LP

The SIDE EYES range from punk to hardcore to a touch of hard rock, all throughout one album. With a range of lyrics of the classic punk “get out of my face” style, to more thought-out lyrics as a comment on society, they give a classic hardcore, head-bopping vibe. Their LP is loaded with a shit-ton of super short, super powerful songs. Specifically, the tracks “False World” and “What’s Your Problem?” go so hard, so fast. Without giving you much time to think, they dive into their next track with a new kick to the face.

Street Panther Muscle Rock LP

Naming your band STREET PANTHER and putting out a record called Muscle Rock lays out a pretty damn tight rope you gotta walk to pull off; fall one way and it’s all too jokey, fall another way and it’s all too coke-y. Well, not to worry, because STREET PANTHER nailed that walk with ease. These are self-aware, tongue-in-cheek rock anthems about being an aggro, fist-fighting, street boy, troublemaker heathen (and yes, those all happen to be song titles as well). This record is about the primitive urges rock’n’roll was created to convey to the masses. So drop any pretense, drape yourself in denim, turn it to eleven, and don’t forget to always “Flex hard / Keep on flexin’.”