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!

Agravio Que Futuro De La Verga EP

A hasty and harsh chaotic storm of hardcore punk from Mexico City, AGRAVIO wafts forth from the embers of SARCRIFICIO playing more anxiously and less thrashy, like NEGAZIONE, VICTIMAS, ATOXXXICO, or TRAMPA. Some aspects branch out into to post-hardcore punk’n’roll and immediately fall back into hammer-smash mode. This is gnarly, raw, lo-fi, and killer. Unique structures that hold back with explosive experience then let loose with skull-knocking punk rage. Fastcore changes fit perfectly in the classic riffs and beats, as if they were stolen and tossed back, used up without care. There is a feeling of urgency on every track, never quite solved or satisfying a solution. Always left hanging, always waiting for the fall, squinting and checking the sky…what’s more punk than that?

Aihotz Matar al Superhombre EP

Latest release by Basque punks AIHOTZ from Bilbao. Their sound is psychedelia-drenched, international ’80s punk/post-punk, a third-generation mixtape copy meets UK82-style street punk like something that comes out of NYC on Toxic State, or the La Vida Es Un Mus school of punk—art school dropout, yet still quite unclassifiable. For fans of RAKTA, BARCELONA, and UNA BESTIA INCONTROLABLE.

Baby Adam Baby Adam cassette

BABY ADAM is not an actual baby, or a solo act going by an infantile alias, but a trio from Florida with a noisy indie sound and very warped pop sensibilities. These songs sound almost like they could be primitive, lo-fi covers of ’90s groups like SEBADOH. It’s captured in the carefree and creative recording styles of that band’s earliest work, but it hits levels of unpolished, organic expression that are more in tune with the more melodic efforts of PUSSY GALORE. There’s also a youthful sort of earnestness present here, the kind that I associate with emo-type bands of the early 2000s. In the end, I mentally file this somewhere near (but not close to) Butte, Montana college rockers MORDECAI. Is it art, or ineptitude? Both? If you enjoy it, does it matter?

Battalion Zośka New Blood CD

About halfway through this album, I found myself beginning to laugh, not from joy or elation, but from the growing realisation that this was one of the shittest things I’ve ever heard. A doff of the old chapeau to BATTALION ZOŚKA for creating something for which literally no one was asking, a plodding retread of a plodding retread of street punk with a needless studio sheen and zero heart. I’m sure if you’ve ever worn a flat cap to a show, or own a skateboard, you’ll think this is good. You’d be wrong, but you would think that. Avoid this like the bubonic plague.

Cartones Sala De Espera cassette

Have you ever dreamed of a world where people love late-era RAMONES albums as much as you? A fantastical land where seemingly normal passersby on the street will shout lyrics to “I Believe in Miracles” at you while you walk past? I know it sounds almost too good to be true, but what if I told you that such a land exists?! A decade of the RAMONES touring South America from the late ’80s to the late ’90s left rioting fans thirsty for more, and from then on, the heavenly country of Argentina has been viewing the RAMONES as the pinnacle of pop music. Apparently that stance shows no signs of stopping. CARTONES are no exception to this notion that I’m gonna go ahead and say is a fact. No, this cassette does not sound exactly like the RAMONES. This is not a carbon copy by any means. What you have here are ten beautiful songs of pop music, the likes of which could only be written by individuals who, from a young age, grew up hearing the blown-out, sing-songy vocals of a nearing the end of his career Joey Ramone crooning to them from the radio. I swear I was going to make a comment expressing how CARTONES’ songwriting and harmonizing style reminded me of Argentina’s premiere RAMONES-worship band LOS EXPULSADOS until I saw in the track list that Sebastian Expulsado himself is featured on one of the songs. Sala De Espera is a lot of fun, and I highly recommend it if you have an appreciation for pop music, downstrokes, and a certain band that may have been mentioned a few times in this write-up.

Chained Bliss Chained Bliss LP

High-energy debut LP from Philadelphia’s CHAINED BLISS. This has the youth crew sound similar to the new-ish ENACT. Pummeling drums, buzzed-out fifth chords, slimy guitar leads, powerful bass, and in-your-face half-sung/half-shouted vocals. I imagine their live shows rule, as I want a crowd to bounce off while listening to this, but alas, head-banging over my morning coffee will have to suffice. Turn up loud, get stoked.

Cold Brats / Gel Shock Therapy split LP

I love splits because bands usually try to bulldoze everything in their path over their own side of plastic grooves or slice of tape. In this case, New Jersey’s GEL does a search-and-destroy action with four tracks of ear-shattering and brash hardcore, blowing away any neuron connections you have left. Then it’s the turn of Romania’s COLD BRATS, with an army of sharp riffs ready to drive punks and normies alike berserk. After listening to their contribution, you’ll understand why the split is called Shock Therapy. The talent of both bands is undeniable, and putting them together is an act of pure genius.

Delco MF’s Bullshit EP

We got a wild one here, youse guys! DELCO MF’S is a solo recording project of Jim Shomo, vocalist/guitarist from Philly bands DARK THOUGHTS and LOOSE NUKES. The project bears more of resemblance to the latter of those two acts, except it’s way rawer and more unhinged. The five songs on this EP, four of which don’t even crack a minute, take the loose, feral hardcore of Cleveland’s BAD NOIDS and really amp up all the weird, gremlin-y aspects of their sound. To top things off, all the tracks are buried under an extremely murky production—the first time I played the record, I literally checked my needle to make sure it wasn’t coated in lint, which, contrary to what you might think, really manages to add to the out-of-control vibe of the record, kinda like wrapping up a roost of rabid bats in a blanket. This thing rips!

Desamparo Estás Condenado Al Fracaso cassette

Lo-fi recording of primitive hardcore. The quality supports the overall experience, since the simplified riffs and beats mix well with the blurred and blistering environment, as if your friend passed you a tape of their weekend session at the rehearsal room (which is always a nice gesture), and listening to this recording is not that distant from this feeling. Bands like DESAMPARO might have a better understanding of what making records supposed to mean than many of us—they write straight-up flawless hardcore tracks and set everything to sound even more amazing in this low-budget enviorment, because the sound is a significant part of the songs. If I listen closely and listen a lot, I can hear the guitar melodies hidden behind the desperate screams, but the real thing is the overall creation. They have deeper lyrics than the average bands in their style, reflecting everyday experiences rather than some blurry collective idea of shooting clichés. Yet I cannot say they are on constant repeat, as some of their songs are too long and monotone for me to be more excited than just considering them another great addition of the millions of cool hardcore bands from all over the world. But bands like this are the actual backbone of this subculture, who make it possible that there are great groups playing such fucked-up music all around the world. 

Eärthdögs Cry Now Cry Later EP

I don’t have an advanced degree, so I can’t tell the difference between grindcore and powerviolence, but I know a ripping EP when I hear it. Five short songs growled into your dead soul with hyperkinetic rhythms and wall-of-sound guitars. “A Soft Throat for the Grip of Domination” dips a toe into noisecore territory. This California five-piece brings the pain. I want the album cover framed on my wall, too.

Fashion Change / Hologram Live in DC split cassette

Two different solo studio bands from two different coasts of the United States (HOLOGRAM and FASHION CHANGE) came together to tour that country in May of 2022. This particular performance was recorded at Slash Run in Washington DC, current hometown of HOLOGRAM (or at least mainman Brendan Reichardt). The audio fidelity of the performances is very lo-fi, but this does not take away from the listening experience—of course, if anything, it only adds to it. HOLOGRAM, whose No Longer Human LP was my favourite release of 2021, plays several choice cuts from that slab along with tracks from their previous releases Build Yourself Up So Many Times Only to Be Brought Down Again and Again and Illusion of Control, along with, quite fascinatingly, a short cover of the intro to “Horizontal Hold” by THIS HEAT. On the flipside, FASHION CHANGE rages through numbers off of their Coward cassette and Devil’s Laugh 7″, with a couple of new songs thrown in the mix. This cassette tape comes highly recommended to anyone who is already acquainted with these two bands’ previous respective discographies—if you are not yet, make sure to remedy that! Two thumbs up for two of my favourite currently active bands.

The Frowning Clouds Gospel Sounds & More From the Church of Scientology LP

Faithful ’60s-style music from Melbourne. The songs are groovy fun with bits of folk, psych, and surf, along with a touch of Ray Davies. This album is a collection of tracks recorded in 2012 at the same time as their second album, Whereabouts. Some tracks were released as a European tour cassette, others as singles, with a few unreleased ones thrown in for good measure. It’s a nice album. Members would go on to form HIEROPHANTS, AUSMUTEANTS, and ALIEN NOSEJOB, among other cool bands.

Girlsperm The Muse Ascends LP

The return to GIRLSPERM! Five years after their debut LP, Layla, Marissa, and Tobi are back with The Muse Ascends, and it continues to be a tall order to describe the band without employing the term “girl gang.” The GIRLSPERM turf stretches directly between the feminist/minimalist no wave territory of ROSA YEMEN/Y PANTS and the ’90s agit-punk revolutionary racket of Slampt Records, with sloganeering vocals (almost always presented in a unified front of ecstatic three-part shouts), treble-sharpened switchblade stabs of twin guitar, and a structural austerity within their concise art-punk outbursts that demands each member’s instrumental contributions be placed on completely equal footing, engaging in a sonic call-and-response trust dialogue with one another as a means of defense against the squares and creeps of the world. When they subvert the signature organ riff from the ARCHIES’ bubblegum smash “Sugar Sugar” into a halting single-string anti-solo on “Sugarcide,” it’s a clear statement of intent—the history of rock music as we know it only exists to be reshaped in GIRLSPERM’s image.

Happy Kadaver Self Liberation 12″

Four doses of dreary German punk that start out more than a little reminiscent of a rudimentary EA80, but far rougher around the edges. While I appreciate the intent and approach, the execution leaves a lot to be desired, and I find myself listening to HAPPY KADAVER for what they will become instead of what they are…and then they change course and I find myself listening to a mediocre, mid-tempo German bar punk band and wishing I were listening to a mediocre German dreary punk band, and then…then, I start to question my life choices.

Infra Combo Exsanguinated by Punk cassette

Experimental guitar album that approaches punk through textural noise and rhythmic loops, like TELEVISION by way of the DEAD C. “Exsanguinated by Punk” appears as three movements with JOHN COLTRANE-style parenthetical descriptions: “Acknowledgement,” “Empathy,” and “Ascension,” painting a theme with seemingly improvised passages that meld the vocabulary of punk and jazz. The beautiful opener “Eulogy for Jean-Luc Godard” combines droning chords with exploratory noodling over stumbling drums. And while we’re on the subject of Godard, he was punk as fuck. Keep your Repo Man and give me his film Weekend, where consumer culture literally crashes and burns, as the ultimate punk movie any day. Similarly, INFRA COMBO stomps through genre conventions and treads on our sacred traditions with the second and third iterations of the title track. “Empathy” contains the lines, “When all the spikes have gone limp / And the chains have lost their chrome / When my leather jacket has gone back to the earth / We pack up and go home,” while “Ascension” builds into a detuned march that Thurston Moore and Lee Ranaldo would happily put their names on, with the lyrics “If this is all there is / Then my heart breaks / If this is all there is / Then the style isn’t worth the space.” It’s a challenging album that rejects the staid conformity that comes with this territory we inhabit while embracing the radical experimentation that brought us here in the first place.

Insanity Defense Asylum: Complete Recordings 1983–1985 LP

This is that ’80s hardcore I live for. The early 1980s were swarming with hardcore punk bands coming out of every nook and cranny, with too much attention always given to just a few bands and miniscule historic records of bands that should have mattered more. INSANITY DEFENSE is one of those bands that has flown under my radar (and I’m sure many others), and I’m sorry for having missed out for this long. INSANITY DEFENSE easily hold their own sonically against the great titans in the coliseum of early hardcore punk, and demonstrate their talent throughout each song on this historic document. The vinyl album, and accompanying zine, preserves two different recording sessions spanning a two-year timeframe. In this period of time, INSANITY DEFENSE honed their sound from speedy, houseparty hardcore punk into a deathrock-tinged hardcore powerhouse. The LP is further worth owning as it splits the two recording sessions between sides, serving not only to highlight the maturation of the band, but also as a unique listening experience in that Side A will attract fans of DOA and MDC, while Side B plays similar to AGENT ORANGE, TSOL, and even moments of CHRISTIAN DEATH.

Jeff Hill Band Entertainment for the Fun Generation LP

I’m just a few songs in, and I can tell you what these guys are about: these guys are about super melodic pop music. It’s very much got that feel of power pop from the early ’80s. And whether the sound is pop or power pop, the influence is clearly the pop music of the ’60s with all sorts of different genres represented, including doo wop and surf. I like it. I like it a bunch. Fourteen songs is a lot on one album for me. My magic number is ten. And I like songs to almost always be less than two-and-a-half minutes.

Kirkby Kiss It’s Gonna Cost You LP

I don’t know what’s going on here. Musically, this starts out as some decent post-hardcore-type stuff in line with Dead Reckoning-era SMALL BROWN BIKE with effects pedals, but when the vocals kick in, it’s wild. Like hardcore-as-fuck wild. Then a few songs later, it goes full-on DISCHARGE/HOLY MOUNTAIN, followed up by a song with spoken vocals that reminds me of some early ’90s Ebullition/DC-type vibe. This record is kinda all over the place while staying in a specific lane the whole time. It’s something that I could find myself revisiting on occasion, but not a lot.

Languid A Paranoid Wretch in Society’s Games LP

If D-beat was an Olympic sport, it would probably be diving—like diving, to the unversed, it pretty much always sounds and looks the same. Only self-proclaimed experts can actually tell the brilliant kind from the mediocre one, and everyone can spot a really botched dive just as well as an excruciatingly boring D-beat band. And if D-beat was an Olympic discipline (it won’t be until 2032), then LANGUID would possibly win a gold medal. This Edmonton band has been going since 2015 and has delivered quality orthodox D-beat ever since, but their new album A Paranoid Wretch in Society’s Game (a very COVID-compatible title) takes them to new heights. D-beat is a subgenre based on strict expectations, and LANGUID knows the game well and totally meets it with a heavy production, perfect Swedish D-beat riffs, some groovy bass lines, a very pure version of the beat on the drums, and shouted vocals with the compulsory scansion, flow, and accentuation. LANGUID belongs to the Swedish branch of the loving D-beat family and clearly aims at emulating DISFEAR (A Brutal Sight of War-era), DISPENSE (In the Cold Night-era), and the most obvious reference by far, Remaining Right: Silence by MEANWHILE, a band who under the name DISCHANGE were one of the very first bands in punkstory to try to sound just like DISCHARGE. So from a creative stance, LANGUID tries to sound just like a band who tried to sound just like another band. Referential punk poetry in action. This album is a pure declaration of love to the mighty D and probably the strongest work in the Swedish-styled D-beat category in a few years (it is admittedly a narrow category). This gem was released on D-Takt & Råpunk Records, a label that specializes in such delicacies, the aptly nightmarish artwork was drawn by Adam Kindred (from CONTAGIUM and ZYGOME), and it was mastered by Kenko…from MEANWHILE. A future classic, to be sure.

Lesser Minds Futile cassette

New Jersey’s LESSER MINDS come out swinging with this debut cassette EP. Futile is a very pissed-off, riffy affair in the vein of classic CEREMONY, with some of the dissonance of chaotic bands like DEADGUY. The abrasive and oppressive sounds omitted by LESSER MINDS is certainly far from easy listening. Recommended.

Money Final Bag demo cassette

A while back I called the Roachleg Records “hotline” in an attempt to get more info on the VIOLENT CHRISTIANS. A whiny, Jerky Boys-type character answered the phone, sounding confused and annoyed by my call. “Wild Christians?” he replied, “what about ‘em?,” as he went on to deny any knowledge of the existence of that band, or any other band for that matter. It was a hilarious, baffling exchange, and I’m not sure why I expected anything less. Over the past couple of years, this Brooklyn-based label has established itself as one that gets my immediate attention upon dropping a new release. In a world increasingly populated by copycats and cosplayers, Roachleg’s commitment to releasing truly abrasive and gnarly music has earned them a special place in my ever-blackening heart, and this demo adds to the filthy pile of perverse tapes that they’ve been steadily foisting on the unsuspecting public. Naming their band after “the root of all evil,” MONEY rips through three tracks of nasty hardcore rumbling. The band has a grim, noisy, and driving sound punctuated by madman guitar noodling and led by unintelligible, cretinous vocals, all dripping in the sonic scuzz that has become this prolific label’s calling card. In fact, the blurred and belligerent delivery of it all could easily distract one from the fact that there are some serious chops at work here. It’s hot shit, and I’m hoping we haven’t heard the last of it. Want to learn more? You better call Sol.

Ojo Por Ojo Leprosario LP

“This sounds like a lot of other albums I’ve heard” is my default phrase of criticism, but in the instance of  OJO POR OJO’s release Leprosario, I mean it as the highest form of praise. Listing all the amazing inspirations OJO POR OJO certainly draws upon would take an entire page, and rather than just mimic other bands, they instead opt to carve a trench of their own, using a barrage of extreme music elements as their digging machine. This is one of those albums you can put on for your punk friends and your metal friends, and every subgenre and derivation of, and they’ll all ask, “Who is this?” There aren’t a lot of sounds coming from metal that really make my head turn these days, but OJO POR OJO gives me whiplash. Mixing elements of hardcore punk, crossover, and metal seamlessly so that you’ll never see what’s coming around the bend, OJO POR OJO continually gifts the listener with suprises and unique transitions. “Pisadas” opens this LP with a sludge-laden snarl that chugs along until suddenly a guitar begins picking a fast riff and this album switches into overdrive. “Borracho de Gasolina,” the next song, is a thrash fest ready for circle pits. Essentially, this album is a ten-song stampede in which OJO POR OJO demonstrates just how musically skilled they are. When you peruse the liner notes and realize this is a three-piece unit, and that the lead singer and guitar player are the same person, you’ll wonder how OJO POR OJO is capable of such immense power and precision. “Mausoleos de Metal” is a standout song; powerful, thrashing drums, soaring guitars, voracious vocals, everything OJO POR OJO is capable of, poured into a single glass, and served straight-up.

Pacino Sedm Sv​ě​tů LP

PACINO has real energy under their sometimes understated delivery. The bass and drums propel the songs, though you might miss them at first—behind the riffs, they’re defining and pushing the music forward. The guitars mostly play around the bass, providing complementary notes instead of a louder, more distorted mimic. The rough vocals have a wonderful harmony at their core. The band’s genre feels familiar, but I’m struggling to identify it—’90s alt rock? Lo-fi indie? If you’re interested in the answer, please give it a listen.

Radio Days I Got a Love EP

Pop music with punk influences. Is there anything better? Awesome. I can hear the PARTRIDGE FAMILY in this! That’s a high compliment. I can also hear the EXPLODING HEARTS. At its core, this is pop music made by folks whose musical interests are varied and broad and include stuff that stretches way beyond the Top 40. If you like power pop that is catchy and maybe even a little corny at times, you’ll like this one. I loved this right off the bat, and I feel confident that it will continue to grow on me. Worth looking for.

Sectarian Bloom New Spring cassette

Second release from the darkwave-meets-post-punk group SECTARIAN BLOOM, out of Oakland, CA. For a trio, they really fill out these songs, creating the ambience of a genre often accompanied by a second guitar and synths. Will’s vocals are clean and stark, like Peter Murphy of BAUHAUS, while Susi (I could only find first names here) sings passionately and hangs onto notes over the glassy guitar riffs. The lyrics are poetry, like some JOY DIVISION coldness found on the opener “Static”: “A new found passion / A new found hate / But now aware of what fate waits / Expired incandescence / Flowing coils losing sheen / Silent detachment waits at every corner / Just static.” Transylvanian claims to have “the darkest waves in the Bay,” and I think that does well to sum up SECTARIAN BLOOM.

Slaughter Boys Til the End of the Weak LP

Get ready to get hooked. San Diego’s SLAUGHTER BOYS are back with an LP packed with hit after would-be hit. Classic-sounding punk that sounds like ’80s Southern California (think DICKIES, ADOLESCENTS) crashing full speed into the BLOOD and EDDIE & THE HOT RODS, all with an overt glam/garage tinge. Definitely not what I normally go for (at all), but I’ll be fucked if these punks didn’t absolutely nail it.

Smegma Dives Headfirst Into Punk Rock 1978/79 CD

SMEGMA were the true freaks of Portland punk’s first wave. A gang of mutant anti-musicians originally from Pasadena, CA and involved in the Los Angeles Free Music Society, SMEGMA moved to Portland in the mid-’70s and found themselves swept up in the freedom of the early punk movement. While the group gigged with the WIPERS, NEO BOYS, and ICE 9, and even had a young Jerry A. from POISON IDEA in their lineup, they weren’t exactly playing three-chord rockers. This compilation is an expanded edition of a 2015 tape and documents those early years, through live and home studio recordings, also including the rare 7”s Disco Diarrhea and Flashcards. While songs like “Front Row Lloyd” and “Get Away” come closest (while still being miles away) to doctrine “punk rock,” chugging away monotonously on furiously out-of-tune riffs, most of the music documented on this is droning, skronking, screeching, strange, creeping, cacophonic, freeform, improvised, and id-driven. While rooted in the punk rock history of Portland, SMEGMA were massively important in creating space for noise and experimental music in the city, and I’d declare them to be just as influential to the legacy of DIY independent music-making as DEAD MOON.

The Templars La Premiere Croisade LP

Noted as the lost first TEMPLARS album, I was surprised to see that this even existed. La Premiere Croisade includes the band’s first EP Poor Knights of Acre, as well as a handful of songs from the same recording sessions. This is your classic Oi!, through the lens of mid ’90s teenage Long Island. It lands with chugging tempos, plenty of string bending, and faux-British accent growls. Comes off like BLITZ circa Voice of a New Generation, but more lo-fi and with less production. Cool to see this reissue happen and hear a scene from a time and place long ago—the LP satisfies the street punk itch and will have you in braces by the last cut.

Zanjeer Parcham Buland Ast EP

Born out of frustration and the anger of being stomped by the system, ZANJEER was first conceptualized in 2020 in Bremen by members who come from all over (Colombia, Pakistan, England, and Germany), and who used to make noise in bands like MURO, AMENAZAS, and MULTINATIONAL CORPORATIONS, just to name a few. This provides a multicultural and multilingual output on life as someone that is against the established system. It means that their ferociousness is channeled through Urdu, Farsi, and Punjabi lyrics and vocals. ZANJEER raises the flag for the disenfranchised, the excluded, the victims of religious oppression and post-colonial nationalism. Sonically, it’s somewhere in between DISCHARGE, DISRUPT, and a darker CHAOS UK, with a vocal delivery that could be on a RATOS DE PORÃO record. To complete the full vision of the band, they recruited Nicky Rat to do a powerful cover that encapsulates what is inside the record.

V/A You Didn’t Think We Could Take It, Vol. 2: A Tribute to Subsonics LP

Graduating from the 7” format of the first volume is this second tribute to Atlanta’s SUBSONICS. The band’s lo-fi, minimalist songs allow for interesting interpretations. The bands doing the covering are from all over the globe, including KID CONGO POWERS, SLOKS, BLACK MEKON, BANG BANG BABIES, DISTURBIOS, COLT COBRA, and more. A fun collection whether you are familiar with SUBSONICS or not.

Added Dimensions Added Dimensions cassette

ADDED DIMENSIONS is the new home recording project from Sarah Everton, most recently of Philadelphia’s great (and unjustly slept-on) minimal punk trio BLOWDRYER, and previously of TELEPATHIC and READING RAINBOW. Sarah’s trebly/jangly guitar riffs and sneaky bass lines are backed by a charge of unfussy, driving drums from Rob Garcia, all cloaked in the perfect amount of Tascam grit, as she lyrically pares down the heavy psychic weight of modern living (the social cost of convenience and connectivity, the inane routine of labor as a means of survival, etc.) into disarmingly hooky mini-manifestoes—even the sugar-coated melodies can’t hide the harsh truths behind lines like “running in place so you can get paid” (“Behavior”), or “live in a fantasy, suffer anxiety, waking up dead” (“Obvious Device”). WIRE rubbing elbows with the SHOP ASSISTANTS as a C86 band? A Kim Deal-fronted URINALS? Charms you can’t resist!

Belly Jelly The Universal Language cassette

On the crowded dance floor of fringe synth-driven punk, it takes a special toolbox to stand out. Luckily, Indiana’s Sean Albert (SKULL CULT) has one with several deep compartments. A solo endeavor, BELLY JELLY is surprisingly broad in scope. This tape is an ambitious and deliciously weirdo odyssey, much like digging through a bag of jelly beans in every flavor (gosh, did I just stumble onto the point?). Each track brings a new shade of sharp, bouncy punk that can grate and inspire gyrations all at once. Far from cutesier iterations of this type of sound, Albert is keen on hitting you hard with syrupy hooks—like a rock covered in jam thrown through a window. A track like “Phobic Neurosis” exemplifies what this project does best, a bouncy nightmare of sharp riffs and effects-perverted vocals all set to a mechanically-precise rhythm section. Top marks all around!

Billiam Turrets Over Craigieburn EP

Nothing like straightforward, stripped-down punk to cleanse the palate. Apart from the distorted vocals, which remind me of MR. CLIT AND THE PINK CIGARETTES (who bark into a microphone made from a banana phone), these six tracks are cleanly recorded, mid-tempo, lo-fi, and fun. “Number 19 Pancake Parlor Special” features some keyboard action that hearkens back to some early B-52’S vibes. Great fun out of Melbourne. 

Contusion Haine et Souffrance 12″

Band name in Old English-style font? Inexplicable medieval woodcut imagery as cover art? Vocals that can only sound like that as the result of smoking two packs of Gitanes a day? That’s French Oi! baby, and this is very much that. CONTUSION emerges from the same Parisian scene that birthed FACTION S and OUTREAU, and indeed they share many of the same members, as well as a penchant for rough-as-yer-like Oi!—gang vocals, thundering bass, good-time mid-tempo skinhead rock’n’roll all present and accounted for, just how you like it. Nothing earth-shattering here, but we’ll leave that for the longhairs and prog fans.

The Courettes Salta Il Ramo / Non Ti Lascerò 7″

For me, the COURETTES are the next big thing, though I think it’s likely they’ve been around for a bit given their volume of released music. Still, this Danish/Brazilian duo takes a favorite genre of mine (garage punk) and really delivers it in a special way. This single happens to be two of their originals, this time recorded in a foreign language. I would have expected it to be Brazilian (or even Danish), but it seems it’s Italian. Doesn’t matter—two real garage rockers here that will keep your head bouncing while doing internet research trying to figure out who the fuck these guys are. Female-fronted, which is always a plus for me.

Dangerous Girls Present Recordings 1978–1982 LP

This is a great collection. Not one song included here is from their four 7”s, yet almost every one seems like it could have/should have been released on one. DANGEROUS GIRLS were from Birmingham, UK and existed for four years, 1978 to 1982. The songs on this collection span those years. The earlier stuff is more poppy punk with a snarky attitude and humorous lyrics. The later stuff gets more arty in cool ways. Unlike most collections of this type, there is only one live song (“Plug Me In”) included, and it is an unreleased one, too. The live track brings the album’s momentum down a bit (it appears halfway through the second side) and doesn’t sound as good as the studio songs, but it’s a pretty good song so I can forgive the misstep.

DJINN Hell is Real cassette

DJINN, like the invisible spirits the band shares a name with, seems to be a mystery. They hail from Hammond, Indiana, but beyond that I am at a loss with any other details. Their Hell is Real cassette is straightforward harcore with a knack for horror themes and fury. There is definitely a slight metal influence within the band and a rabidly atonal hollering that carries the load.  The band keeps it tight, and the drumming in particular stampedes through twelve tracks in under fifteen minutes.  It adds up to something that in the end becomes a bit stale and dry. 

E.V.A. Un Sitio Barato Para Soñar EP

Debut recording from Barcelona’s E.V.A., offering up four tracks of dreamy post-punk on their aptly-named EP, the title of which translates to “A Cheap Place to Dream.” These songs are bass-forward, with simple, steady drums, clean, beautiful guitar riffs, and femme-led vocals, the sum of which reminds me of the post-punk coming from neighbors in France and Germany, like on the Symphony of Destruction label. And for a €1 digital copy, this shit is cheap!

Illegal Leather Raw Meat LP

Anyone who has followed Marco Palumbo’s exploits over the past couple of decades with his bands the GAGGERS, DISCO LEPERS, and others, knows that the London frontman has mastered the art of crafting catchy ’70s-style garage bangers, and ILLEGAL LEATHER’s cold and caustic sound pulls this classic energy into the modern age. Equipping their simple and snotty approach with digital drums and dual male/female vocals, the band makes some of the least boring pop music ever to dabble in the realms of “new wave,” keeping it urgent and never crossing into “cute.” Right from the mechanical melancholy of the anthemic opening track, I can’t help but be reminded of the SPITS. It’s timeless style delivered with machine precision and a fun sci-fi edge, grounded firmly in reality by the gun-toting gimp who graces the cover.

Las Partes Faltantes Las Partes Faltantes cassette

Buenos Aires foursome with their debut release, an experimental mixture of math rock and hardcore(ish?). The opener “Campana Zarate” has a heavy breakdown near the end that finishes with a college jam band bubbly guitar solo (trust me, I got dragged to see too many of those). And while this jammy thing continues throughout the album, what those college bands were missing is made up here in the heavier, technical rests and tempo changes (read: math rock), that are paired with yelling and super soft near-aria vocals—a good example of this duality is on “Ghosteas”. Check it out for something different.

Mark The 1st 2 Albums cassette

God bless the blown-out bedroom pop singers that keep the dream of guitar-based, melody-laden rock songs alive and well. The eponymous MARK offers up two full-lengths of just that on the best format for the form—cassette. At its best, the songs remind me of Matt Sharp’s post-WEEZER output, with a sort of detached but emotive cool. I’d advise against listening to both albums back-to-back, however, as the songs do tend to meander here and there and blur together into a nice-enough soup of pretty decent jams with some high points scattered throughout. Overall, The Short Shrift (the first album) is the more satisfying overall listen, with its more rough-around-the-edges production and straightforward emotive rock sensibility. There are great songs on both though, such as the more ponderous and expansive “Can’t Make it Honest” from Quiet Days. This is clearly a labor of love, and you couldn’t question the sincerity in play here, even if you might find yourself tuning in and out more than you should.

 

Mitraille Mitraille LP

Debut LP from this Belgian act who’ve been at it for about five years now, with a handful of EPs under their belt. My internet sleuthing didn’t turn up too much about the band, but everything I did come across wanted to inform me in some flippant manner that these guys play garage punk. And they do. It’s just not nearly as tossed-off and cool as their Bandcamp copy would have you believe. Actually, this is some pretty slick-sounding shit—you can tell some real work went into both the production and the songwriting here. These guys wanted these tracks to sound good. The problem is they just sound fine. They’re clearly aspiring to some big, catchy sound (or like the underground garage punk equivalent), but the songwriting isn’t quite up to the task and something about the execution sounds insincere. A rougher production might have helped hide these shortcomings, but the approach taken here really lays them bare. It ends up sounding  like a facsimile of the BLACK LIPS at their most anodyne, or an antiseptic band like PARQUET COURTS covering the URANIUM CLUB. It’s not the worst thing I’ve ever heard, just exceedingly OK.

Nailed In Shovel LP

Croatia’s NAILED IN offer some pissed, fast hardcore on their Shovel LP, taking clear influence from other pissed-off fast hardcore such as INFEST and the early ’80s Boston bands. If you’re into that type of stuff, then you should dig this slab a fair amount. It doesn’t quite grasp this reviewer as much as it should, but I do like it and would recommend it a listen.

No Comply / Sidetracked split EP

The SIDETRACKED side will come as no surprise to anyone familiar with their erratic start/stop, no time to breathe approach to powerviolence—seventeen tracks in three-and-a-half minutes, taken from different recordings and different sessions, so it sounds even more fucked-up and weird than they normally do. But speaking of old heads, NO COMPLY is still in the game after more than twenty years, and still they sound like they just crawled out of the grooves of a 1994 dollar bin score. Treble-heavy and bass guitar-driven, classic PV in the West Bay tradition—there’s nothing polished here, but there’s a lot that’s pure. This split needed to happen, and it didn’t disappoint.

 

The Path Dies Screaming EP

Latest release by Vermont’s the PATH, consisting of six tracks of raging fast hardcore. Some of the song breakdowns are remiscent of screamy ’90s political hardcore groups, or some youth crew stuff coming out of that area in the late ’80s, yet faster and without the militancy. Politically-charged lyrics reflect the current state of the world that we are facing, and the last track is a melodic acoustic antifascist anthem. Their message is clear, and Vermont probably rules.

The Reflectors Faster Action LP

Cake icing. The REFLECTORS are sweet, almost cloying, but balanced, more like butter cream?  On Faster Action, the L.A. power pop foursome belts out a crisp twelve songs in the vein of the ZEROS, mixed with equal parts PHIL SEYMOUR. The band has done their homework and put an emphasis on riff-laden lead guitar, vocal harmony, and lyrics that Chrissie Hynde would approve of. The LP has some great standouts like “All Made Up,” “Radio Signals,” and “Can’t Sleep Tonight” that bring the aesthetic and sensibility that defines power pop. Throughout the cuts you can hear the REFLECTORS coming together and finding their sound, which adds to the appeal. Faster Action is catchy and yummy with a little filling, look forward to seeing what’s next for this band.

The Sheaves Excess Death Cult Time cassette

Take a drunken somersault through your lo-fi ’90s records with a graduate of the Mark E. Smith Vocal School. Mixing angular, dissonant, chiming guitars with slurred, flat-affected vocals, the SHEAVES carve a very particular niche from influences like the early eras of GUIDED BY VOICES and PAVEMENT with likable results. “Lariat Slung” has a mysterious guitar line that brings some subtle post-punk menace. While definitely listenable, some of the tracks seem to lack a focus and build untuned strumming on top of itself over curious non-sequitur lyrics until the song ends. “Hit Silly,” the final and by far best track, does the opposite with a propulsive beat and repetitive riff that sounds like the FALL in the best way. If slightly shambolic, noisy nuggets are your jam, check it out.

Sukob Tvoje Misli Su Nečija Umjetnost LP

Debut LP of a new Croatian band playing hardcore and referring to both POISON IDEA and CELTIC FROST. Based on this description (written by their label), I assumed “oh so, you sound like WARTHOG,” but even if in theory both bands have the same inspirations, this record differs from their contemporary. For one, SUKOB started with an full-length album, and they are way less metal-influenced and much more unstructured hardcore, which does not mean chaotic but instead a gimmickless riffage and not-so-varied songwriting. The tempos change between galloping riffs, straight-up brain-hitting direct parts, and mid-paced. It is a short record and lacking that overwhelming effect that is usually created by close-to-pitching mixing and mastering—the sound does not explode out from the speakers, and the listener has to turn it up and pay attention, otherwise it could become decent hardcore/punk background music. The singer screams with lots of passion, almost spitting out his throat, occasionally switching to rather bitter spoken vocals. This emotional outrage is constant, which makes the sound of it a bit monotone. Listen, readers of MRR: this is not a bad record, even if I was not super excited about it so far. I like falling apart, chaotic, larger than life, weirder-than-VOID hardcore, which means I have a though time in general to find bands that really interest me. If you are not that busy sabotaging your own life and you are just looking for decent hardcore coming from less familiar places, then SUKOB is your band. If you are into non-stop tension, tight ripping, riff carpet bombing and super-pissed atmosphere, then I recommend this. It’s an honest one, the love of this type of music comes through every song—take your chance, thrash your room listening to them, prove that I am just a picky asshole.

Syndrome 81 Prisons Imaginaires LP

SYNDROME 81 stands apart from the majority of their contemporaries in the Oi! scene, taking as much inspiration from latter-era BLITZ or even ROSE OF VICTORY as they do CAMERA SILENS or TROTSKIDS. This darker, solemn take on the genre with touches and flourishes of deathrock and post-punk is a bit of a palate cleanser compared to some of the more tedious caricatures that the Sambas-and-camo-shorts mob farts out semi-regularly, and on their debut full-length they sound tighter and more fully-realised then ever before. Punchy and anthemic, this has the potential to be one of the best releases of the year.

Teenagexorcist Teenagexorcist demo cassette

Four-song demo cassette of blown-out, lo-fi, noise-infused, powerviolence-influenced hardcore. Slow and sludgy repetitive riffs followed by fast and spazzy blast parts with feedback before and after each track. The weird pedals/noisemakers peppered in are the coolest and most memorable parts.