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!

Thyroids A Swift Kick in the Ass EP

Some more wacky Texas punkers, this is THYROIDS from Dallas. This is some ripping, angular garage punk with some hardcore punk in the mix, along with a slight and welcome experimental bint. This EP offers three kick-ass punk rock bangers—the vocals exude attitude and the instrumentation delivers on the record’s title with ease. The song structures are unconventional, with plenty of starts, stops, tempo changes, irregular time signatures, and all that good stuff. This EP is a real blast and I dig it a ton!

Under Pressure Vicious Bite & Vengeance Demo LP

Graffiti font! American flags! Outer boroughs! It’s the whole schtick. This re-release is pretty cut-and-dry late ’80s NYHC. It retains the short-fast-loud DNA with some post-YOUTH OF TODAY breakdowns and mid-tempo beats. There’s even Cause for Alarm-style guitar shredding for good measure. The poor audio quality makes this more of an historic document than a genre highlight.

The Wild Boys Last One of the Boys / We’re Only Monsters 7″ reissue

Prior to joining the SPECIALS, Roddy “Radiation” Byers formed the Coventry, UK punk band the WILD BOYS along with his brother Mark, guitarist/vocalist John Thomson, and bassist Rob Lapworth. Roddy left the band in 1978, but the rest soldiered on without him, releasing their sole 7” in 1980. The B-side “We’re Only Monsters”—penned by Roddy—became a very minor hit in the UK, but the record was otherwise all but forgotten after the band fell apart in 1981. But like so many of the records Reminder rescues from the collector scum sicko set, this one needs to be heard! “Last One of the Boys” is a catchy little power pop number that sounds like a cross between the NERVES and the BUZZCOCKS. It’s good, but it’s easy to see why folks preferred this B-side—there’s so much to love! The delirious guitar hook, the busy-ass bass line, the infectious bubblegum streetpunk chorus, the singer’s aping of Pete Shelley to the point of caricature, all just superb shit! It’s hard to imagine how this record has remained this obscure for this long. In typical Reminder fashion, the physical edition of the release is a faithful recreation of the original 7”. However, the digital release comes with two bonus tracks—the only other songs the band recorded. These tracks are in the same power pop/new wave vein as the tracks from the 7”, but they were written for a musical called Risky City about Coventry’s violent underbelly. Incredible!

Xui Xui demo cassette

XUI from Oakland plays a fast, filthy, and agile kind of hardcore that reminds me a bit of the mighty GLUE from Austin. Speedy and groovy riffs shoot out of this tape recklessly while the singer’s frank and frothy barking incites the melee, and all four songs hit the mark. A good start.

V/A No Sabiamos Como Hacerlo, Pero Lo Estamos Haciendo: Zc Hardcorepunx Review 2010/2020 cassette + zine

Comps rule. Regional comps rule. Retrospective comps that capture a scene rule. This Hardcorepunx Review is all of this and more, with a zine and cassette that captures the scene in Campana (just north from Buenos Aires) through the last decade. Over 40 tracks ranging from disjointed punk (RATAS, FUCK DA KIDZ), noisy garage HC (BARDO, AUTOAGRESION, AMENAZA), ripping fastcore (MATA 7, LOS CAIDOS, THUMBARRANCHXS, SUGGESTION), mosh-heavy HC (NO CALLES NUNCA, SIN RETORNO, VENOSO), crust (DETTONACION), grind (KUSH)…you see where I’m going here, but I’m not finished. And neither are the folks at Discos Corrosivos. Lo-fi punk (GODZILAS, LXS ABATIDXS, PERIFERIA), chaotic punk (BALACERA), powerviolence (HOT BURRITO), a couple of passionate (almost emo?) tracks from LAS PARTES FALTANTES, and a dark shoegaze departure from PESTE NEGRA ORQESTRA. It’s a truly excellent collection of sounds even without the context, but to capture a time and a place so well is truly awesome. Highest recommendation.

Bacteria Trizas cassette

The ones that make you think are sometimes the best ones. The ones that make you stop and try to figure out what you’re hearing, those are the ones that grab you. Only five songs on Trizas, but Argentina’s BACTERIA delivers a couple of hardcore burners and some mid-tempo dark slogs, and I’m trying to figure out if I’m listening to a grunge band switching gears or a hardcore band exploring their options. The title track closes the tape with a gloriously dark two-riff groove (think WIPERS > GRAUZONE) and I found myself digging into their (extensive) back catalog before I listened a second time. 

Blessure Ekaitza / Sabaté 7″

More Basque Country brilliance on BLESSURE’s debut release here, with the Bilbao quartet channelling a classic French Oi! sound on this bilingual 7”. There’s touches of CAMERA SILENS and R.A.S. and even more contemporary skinhead chanteurs like RIXE, too. A real good time.

Cell Rush Demo 2022 cassette

Grimy, nasty, ten-song demo cassette from Western Michigan. Mostly meandering around at a snail’s pace, CELL RUSH comes across incredibly primal, plodding from riff to riff, staying in the mid-tempo realm of noisy hardcore punk music. They do speed up from time to time on a couple songs, but it’s usually followed by an even more stripped-down slow part. They really hit their full speed during one of the more memorable tracks, “All-American Nosferatu.” Something about this recording makes me feel very unsafe, like I’m being stalked and someones going to jump out at me from beyond the next corner. Very nasty.

The Courettes Hop the Twig / Only Happy When You’re Gone 7″

For some reason I’m drawn to duos. I’m also a fan of female-fronted punk rock. And I like my music firmly rooted in a garage. That this duo has one member from Denmark and one from Brazil is kind of amazing to me. How did these two find each other? Anyway, this is some seriously rocking garage punk. The A-side is a rocker that’s super catchy and melodic, and on the B-side they rip into a classic ’60s girl ballad. While only a single, I think I could listen to these two tracks all day long. How have I not heard of these two before?

Denim No Remorse LP

Let DENIM take you for a Viennese whirl with this slab of pure Neanderthal stomp. Eight tracks of Oi!-infused hardcore, stripped of all frills and designed to get your brain in a full nelson and not let go ‘til it’s finished. Reminiscent of a rougher HAMMER AND THE NAILS in places too, all piss and vinegar. Utilitarian guitars and bass support an increasingly furious set of vocals which at times seems like matey has taken personal offense to something I’ve done. Good stuff.

The Drolls That Puget Sound LP

It would be easy to say this is Denny and Josh from SICKO playing pretty similar stuff, leave it at that, and not be wildly off the mark. That would be unfair to not just the other band member but the band as a whole because this doesn’t sound stale or rehashed (that joke comes later). This is fresh, catchy punk that leans pretty heavily on power pop and late ’80s alternative. More LEMONHEADS than the NERVES, but with melodic hooks that drive clean, well-crafted pop songs. Great record all around, and if you are going to cover your own song, definitely pick the one called “Rehashed.”

Eddie and the Subtitles Skeletons in the Closet LP reissue

A re-sequenced reissue of OC legends EDDIE AND THE SUBTITLES’ 1981 LP Skeletons in the Closet is an interesting artifact, in that it plays more like a compilation than a cohesive album. It’s a juxtaposition of diverse styles that seem to represent different eras and mindsets for the band. This record could be successfully disassembled to create three separate and distinct bodies of work—a brief KBD-esque collection of punk-tinged rock’n’roll procedures like the opening trifecta of “Zombie Drug Killers,” “No Virgins in Hollywood,” and “American Society,” a record of goth-y, synth-heavy pop tunes, and an album where EDDIE reveals his swingin’ ’60s rock roots, which gets very goofy. “Bobbin’ Little Bobcat,” for instance, makes the STRAY CATS sound like SLAYER in comparison. Some of this also seems to be a direct reflection of the band’s live shows playing alongside the CIRCLE JERKS and other heroes of the period, with the inclusion of covers like “Louie Louie” and “Movin’ On.” Rather than be choosy, it seems that EDDIE & co. opted to put in everything they had going on at the time here and wrap it all up in an awesome Shawn Kerri cover that makes this record worth owning all by itself.

Gripe Déjame Solo cassette

GRIPE is back with another tape, playing garage-y, jangling, hyper-fast punk rock that tends to lean into hardcore, but with barely distorted guitars and bit of melodic spoken-yelling. Their sound is dense due to the constant shredding and up-tempo beat. The vocals are powerful and well-thought-out, and the additional backing pushes the overall sound into a rather gig-like atmosphere instead of a studio session. They cover a MIDDLE CLASS song with translated lyrics, and as a reference, it fits perfectly. It’s a fun release.

Ilusion Ilusion cassette

Hailing from Montreal, this is ILUSION’s latest cassette release on A World Divided. There really is a difficulty name-dropping bands to make a comparison here, but the closest thing it reminds me of would be of a multiple-generation dubbed copy of some ’80s international hardcore punk compilation, except it’s a single band. This is another release where despite the lo-fi recording, it’s still musically interesting with variations of its own texture. It’s not that there isn’t a continuity, it’s definitely the same band, but despite the variation between mid-paced punk, to D-beat/raw punk, to somewhat grungy punk songs, something glues it together to have its own unique style. Definite post-punk vibes without relying on the genre, if it makes any sense. For fans of IV REICH’s first 7″.

Liquids Life is Pain Idiot LP

Considering this was on my best of 2021 list, it’s not surprising that I love this record. Revisiting it now, especially now that it’s finally on vinyl, I’m amazed at how comparatively clean it all sounds given the band’s legacy of ear-bleeding basement punk. There’s no hesitation in recommending this sprawling collection of songs, though if anything, Mat Williams’ songs have even more heft to them with the details and turns of phrase (both lyrically and musically) put into sharper focus. Tracks like “All You Say” and “Shitty Fuckin DNA” are undeniable classics that continue the tradition of mirror-smashing hopelessness that keeps hardcore and punk vital to this day. The playing is as tight as ever, the songs are perfection. This band might be tidier than ever, but that doesn’t stop them from burning everything to the ground.

Maniac Maniac cassette

I was not feeling this one at first, but this collection of off-kilter new wave slow-dancers won me over in the end. First of all, MANIAC: change your name. Discogs lists 27 bands with the same name, several of them well-established and long-running. Also, this music is not maniacal, although the vocals do slightly veer into SAMHAIN-era Danzig on “Good Friends” and “Last Breath.” The rest of the songs sound more like basement-recorded MODERN ENGLISH or GARY NUMAN with thick synths, mid-tempo drum machine beats, and detached crooning. I was ready to pack it in and move on when “Queen” came on. It’s the kind of song that sounds so instantly classic that you wonder if it’s a cover. I checked and I couldn’t tell—is it a cover? It’s catchy, nostalgic, romantic, and danceable. If word gets out, it’ll end up in a Sofia Coppola film. “Take Me Home” works the same way with a perfect NEW ORDER tribute that will swell the hearts of any aging waver. Pop it on, guaranteed make-out sesh.

Nashgul / Teething split LP

Oh hell yeah. I have not heard much from this band since the mid-2000s I’m sorry to say, but I am stoked to have this for review. Am I bummed I don’t have a reviewer copy? You bet. Says on Bandcamp there are two remaining. Oh well. NASHGUL plays brutal grind crust in the style of MISERY INDEX with D-beat and early SEPULTURA elements, and a killer RATOS DE PORAO cover and motor-charged RIP cover. One song is called “VHS.” I like that. TEETHING, also from Madrid, plays even more furious grind with tracks such as “Going on Vacation” (yes, please) and “Eat Your Boss” (ew…sick track, though). TEETHING’s side also features various hardcore moments that are more like DYING FETUS meets early SUICIDAL and MDC. If BLACK FLAG went grind? I’m just riffing now. This is a punk grind onslaught and I totally dig it. Awesome collage cover art, too.

 

Polluted Womb I & II cassette

This release is a compilation of the first two releases by POLLUTED WOMB from El Paso, Texas. The music is raw and downtuned crust punk with some odd touches of grind. And in the grand tradition of dour ’90s-era crust, it is absolutely jam-packed with samples. Of the two releases on this cassette tape, I prefer II slightly more but, if you’re into this type of thing, both releases are worth your time.

Protex Wicked Ways LP

This is the second album from the reformed Northern Irish punk band PROTEX. The best thing you can say about a reunited band is that they still sound like their old stuff, and PROTEX does a good job of sticking to that old sound. Wicked Ways has that punky power pop sound and the songs are introspective in an almost teenage-like way. They are dreaming and wondering. The only original member is singer Aidan Murtagh, but as I have read, he feels no pressure for this version of the band to become successful with any new recordings so it has freed him up to just have fun. I think that is a great attitude. I am sure some naysayers will complain (they always do), but after they have been listening to this album for forty years, they’ll have to admit I was right. If they are still around, that is.

Resin Bad Trip Bad Day cassette

RESIN’s latest cassette release by L.A.’s new label 1753. Sonically, it lands somewhere around Mexico’s MUERTE EN LA INDUSTRIA with the evil-sounding KURO-style vocals, as well as Kyushu noisecore influences. Catchy but not just drunk and pogo, and I don’t know… puke and vomit as well. But coming from L.A., these punks must have the SILENZIO STATICO catalog and BLAZING EYE/ZOLOA riffs running inside their veins. The phrasing and riffs are actually interesting enough to where it’s not dismissable as another relentless D-beat/raw punk band. This will make you go to an alley and drink 40s with the crew.

Rouge Rouge cassette

This has got to be like my sixth review for this label in as many months. We get it—y’all like music! Just make sure you continue putting out good shit if you want me to keep up this pace. Speaking of good shit, allow me to introduce to you ROUGE, a new four-piece out of Berlin who meld the new wave shimmy of the first B-52’S album with the drippy garage punk of THEE OH SEES’ The Master’s Bedroom is Worth Spending a Night In LP. The six tracks on this cassette kinda teeter between being more overtly punk and post-punk, but they all have a consistently gloomy vibe and a fairly unique sound overall! I’m into it!

The Scientists Negativity LP

Australian post-punk legends return with their first full-length since 1987. Fuzz on fuzz on fuzz in these rockers, combining swampy leads, proto-grunge freakouts, feedback, and Kim Salmon’s inimitable voice. Standout tracks abound, but here are a few: “Outsider” has an awesomely nasty guitar tone and a punk-blues riff that Jack White would pay a few of his millions for. “Naysayer” takes us through the slime with a track that would pair nicely with their contemporaries, the GUN CLUB. “Safe” has hand-claps and call-and-response vocals that call back to the earliest, rawest rock’n’roll and pulls the rug out from under Jon Spencer’s whole shtick. “Magic Pants” begins with a gorgeously warm distortion that cycles over a rolling 6/8 rhythm. “Moth Eaten Velvet” slows it down with a quasi-ballad complete with slide guitar and strings. Salmon suavely intones, “Faded glory / Still has stories / No one cares for history.” Negativity proves him wrong with a record that rides the classic/fresh groove and is a welcome return. If you like dirty rock’n’roll, this is wholly enjoyable. Dear SCIENTISTS, please don’t wait so long for the next record.

Scrunchies Feral Coast LP

Don’t let the quiet bass-and-vocal intro to the opener “The Houseplant” fool you, because this shit turns up and slaps. With a riot grrrl sound like SPITBOY or BIKINI KILL, this Minneapolis group has earned their keep amongst the greats. Their 2018 debut album Stunner earned them wide recognition, and Feral Coast is no lightweight follow-up. Fronted by the shouts and vocal prowess of Laura Larson (formerly of BABY GUTS and currently with KITTEN FOREVER), SCRUNCHIES is an amalgamation of too-many-to-name bands through its various members, past and present. On this release, Matt Castore’s (CONDOMINIUM) bass lines bowel-rip through the undercurrent; farty, distorted, and unrelenting. Danielle Cusack (BRUISE VIOLET) speeds through cymbal-heavy and frantic drums, only softening to let some verses be heard, then red-lines into the bridges and choruses, singing backup the whole while. It’s hard to pick a favorite track here, but “Black Egg” is up there for me with an intro that builds to the roiling “Honestly honey” hook, balancing the personal and political nature of SCRUNCHIES lyrical content. If any of the aforementioned bands pique your interest, I think you will really enjoy Feral Coast.

Self Improvement Visible Damage cassette

The whereabouts of Su Tissue following the demise of SUBURBAN LAWNS have been a source of continued speculation, but after listening to this debut from Long Beach’s SELF IMPROVEMENT, one could convincingly run with the theory that Su decamped to the UK for a spell before finding her way back to the LAWNS’ hometown, where she started the band up again under a new name and with a new accent—English expat vocalist Jett Witchalls largely sticks to a Tissue-adjacent (but considerably less art school quirky) deadpan speak/sing, only allowing her austere facade to slip into more animated squirms and squeals when the band’s wound-up wiggly world rhythms hit fever pitch. ”Ashes” circles in an ominous, bass-centered loop with near-whispered voice-over narration for a steady two minutes, before abruptly shifting into a frantic finish line dash of shrieks and “I can’t believe it’s not Northwest Indiana” robo new wave writhing, and the nervous tick of the title track sounds like ’80s weirdo staple “Janitor” if it had been written by Hardcore-era DEVO, with Jett’s blank emotion chants spiking into the briefest of melting-down shouts without ever losing control. I think Su would approve (wherever she is). 

Slander Tongue Ride / Lockdown 7″

While it’s good enough to hold my attention, this glam-focused single isn’t my favorite thing I’ve heard all month. The A-side starts off well enough, but it feels like it’s supposed to go somewhere, and it just doesn’t. Jesus, finish me. The B-side is a little less glam and a little more punk, but it still is missing something for me. Sort of mid-tempo and catchy, just not compelling. I feel like Slovenly is generally pretty dependable. I’d say this was a little disappointing.

Terminal Addiction EPs 2020–2021 LP

This is a collection of two EPs from Russia’s TERMINAL ADDICTION compiled by Not For the Weak Records from the USA. TERMINAL ADDICTION offers some ripping, Scandinavian-style D-beat that is sure to get your fist pumping in earnest. These two EPs are packed to the brim with riffs, rage and bitchin’-ass guitar solos—this platter rips! Recommended to those who like their D-beat ragin’ and rippin’.

Yambag Strength in Nightmares EP

Now here’s an aural equivalent to smelling salts. Hailing from Cleveland, YAMBAG transcends tradition by infusing their heartless brand of bumping punk with spasmodic, nerve-shaking blastbeats. The seven tracks here shift between rocking, stilted, and pummeling shards of hardcore that erupt into brutal, rattling bursts of relentless powerviolence when you least expect it, and somehow it all feels like a party. It’s a ruthless, calculated killer, and is easily the best record of all time to feature bastardized versions of the McDuck family on the cover.

Agathocles / Shitload split cassette

AGATHOCLES pumps out raw, unhinged mincecore sounding like it was recorded in a public toilet. Nasty, brutish, and short, each of their 25 tracks on this split is a punch to the face. Some tracks, like “Porcelain A,” fold some of that sweet D-beat into the mix. All of it has that trademark snare drum/cymbal overload and growling, political vocals you’d expect from these veterans. Then, taking a huge swerve into another dimension, SHITLOAD starts blasting straight-up migraine fuel. The second of their seven tracks of dissonance and shouting is entitled “Kazoos, Whistles, Feedback and Noise.” I appreciate when things are labeled precisely as what they are. I don’t even know what to compare this stuff to, but I do love their track titles. My favorite is “Brah, You Shoulda Seent Da Looks People Were Givin Me When I Wore My Mawbid Angel Shirt With Da Sleeves Cut Off In Rouse’s.”

Aŕesi Aŕesi cassette

I’m not sure what’s in the water of the Bay of Biscay, but Bermeo has once again produced another belter of a band in AŔESI. If you like you like their fellow compatriots STA. CRUZ or REVERTT, you’ll be on board with this—good ol’ fashioned skinhead rock’n’roll and catchy as fuck. Excited for more from this mob.

Beex / L’Amour split LP

Two bands with a shared member and shared sensibilities. BEEX plays slightly rocked-up, boilerplate blues. Thankfully we’re spared lengthy guitar solos. L’AMOUR delivers more of the same with a RAMONES-y, MÖTORHEAD-y tilt. The sound on this LP is pro enough, though I suspect poorer quality would’ve been suitable, too. The soundtrack to a perfectly crappy bar.

The Casual Dots The Casual Dots LP / Sanguine Truth LP

Of all of the fruits borne from the DC/Olympia punk alliance that flourished in the riot grrrl era, the CASUAL DOTS were definitely one of the sweetest. Christina Billotte (of AUTOCLAVE, SLANT 6, and QUIX*O*TIC), Kathi Wilcox (of BIKINI KILL and the FRUMPIES), and Steve Dore (of DEEP LUST) formed the band somewhat spontaneously to play Ladyfest DC in 2002, put out a full-length on Kill Rock Stars two years later, and then went completely silent—Sanguine Truth is the trio’s first new recording in eighteen years, and the out-of-print debut album has been brought out of early ’00s CD-only purgatory along with it. Starting off with a surfy instrumental (“Derailing”), The Casual Dots rides on Billotte and Wilcox’s intersecting twin guitar interplay, darting between points with a plotted rhythmic precision (no need for bass) over Dore’s stripped-down beats. “Evil Operations Classified” reignites SLANT 6’s wiry and needling econo-punk spark, the knotted and woozy “Flowers” recalls what Billiotte’s AUTOCLAVE bandmate Mary Timony went on to do in HELIUM, “Mama’s Gonna Bake Us a Cake” is a hip-shaking, bare-bones garage stomper in a GOSSIP-ish mold, and the inspiration from vintage soul and R&B is laid out even more directly in the choice of great early ’60s covers that bookend Side B (“I’ll Dry My Tears” by ETTA JAMES and LAVERN BAKER’s “Bumblebee”). In comparison, the new Sanguine Truth LP has a more meditative and introspective air about it, smoothing out some of the punky raucousness of the self-titled record into ten smart, subtly spiky pop songs for uncertain futures. Christina’s trademark dissonant spy theme guitar lines build an anxious tension in the extended intro of “High Speed Chase” that’s completely countered by the too-cool calm of her vocals when they finally cut in, while “Live For Yourself” could pass as a lost ’60s girl group tear-jerker with its slow dance drumming and doo wop harmonines, and the haunting “Descending” reaches YOUNG MARBLE GIANTS-worthy levels of stark, minimalist beauty. More than worth the almost two-decade wait.

Clone-Z Nuclear Junkies cassette

A beast of a tape. Nine tracks of raw D-beat, monstrously rabid and brutal, with great guitar leads and great guitar solos. Short and to-the-point. To be listened to under the effects of fury.

Decomp Condemned to Earth LP

Full-throated Earth Crust from the realms of DISTURD, AMEBIX, and HELLSHOCK. Clenched-fist machine gun snare, constant metal crust churn, Condemned to Earth is a ruthless pummeling—starts fast and refuses to let up. Even with the sub-two-minute D-beat ripper “Paranoid Coward,” they never stray far from their influences, and I don’t want them to. Excellent.

Ex-White / The Gobs split EP

Turbo Discos, a cool new label out of Germany, aims to please. You all were clamoring for more split 7”s, so that’s what they’re delivering! That’s right—with their fourth vinyl release, they’re giving you two sides, two bands, two songs apiece. But bad format aside, this thing absolutely smokes! I think it helps that these two bands are so sonically similar—like, if you didn’t know any better, you’d probably just assume all these songs were coming from the same band. Both play blistering punk with a sci-fi, dum-dum edge. It’s loose, it’s noisy, it’s great. EX-WHITE, a four-piece out of Germany, play things a little more straight, with a couple of REATARDS-esque burners, while the GOBS, an act out of Olympia, WA, crank out two murky, SPITS-ophrenic numbers. So good it left me wanting more! Like maybe a couple more songs apiece…split over two releases…with each act getting their own 7”.

The Front Wet Things LP

A collection of poppy, goofy new wave songs from this Miami, Florida band. They were around from 1980 to 1983, and released two singles and a posthumous album. Some songs from those releases are here, plus a bunch more. There is no info about when the other tracks were recorded, but they sound like studio recordings. Unfortunately, only one of the three songs from their debut First Strike EP is included. The standout track is the B-side from their second single—“Poor People,” a catchy, upbeat synth-led song with silly lyrics like “Ship them off to Arkansas or somewhere else that sucks.” The FRONT was apparently on its way to major label stardom, but broke up instead. They made the correct choice.

Grasping at Pieces We Are GAP, Not JFA CD

From the title and cover art, one could assume that this was some long-lost ’80s skate punk demo, but GRASPING AT PIECES is a nowadays Alabama band of teen punks who can’t be any older than sixteen. It’s exactly what punk should sound like when you’re that age, and it’s exactly what I remember high school punk bands sounding like when I was that age. They got turned on by whatever their gateway band was, got a guitar, learned a power chord and how to play it fast, found some friends to play drums and bass, and ran with it. Every song on here is fast, snotty and less than a minute, and the titles tell you everything: “Don’t Touch My Vans,” “Puke,” “Bible Belt.”

Iron Lung Mental Distancing flexi EP

Three-song flexi that was culled from material the band recorded before the pandemic began. Okay, it’s IRON LUNG. I knew it was going to be good, but it’s really fucking good. “The Psychology of Quarantine” (how’s that for a pre-COVID omen, Jesus) opens the EP with a noisy soundscape and then delivers the absolutely pummeling guitar/drums powerviolence we know and love. The lyrics, “Their power / Fueled by depression / Granted access first to the mind / And then to its declining vessel / During crisis there is insatiable hunger / And an endless food source” encapsulates the chaos, confusion, and downward cultural spiral of the last two years in a 45-second invective. “Everything is a Void” is another grenade blast that has a stuttering, glitched-out guitar phrase before the blasting begins. “Our brains know what sickness tastes like,” indeed. The third track, “Only Human,” is a RUDIMENTARY PENI cover, and I was excited to hear what IRON LUNG would do with the original’s rolling drum cadence. My expectations were dashed, reconfigured, and handed back to me in a stunning way—they go industrial-influenced hardcore like a mix of GODFLESH-style booming low-end noise-bass and the filthiness of PIG HEART TRANSPLANT. It’s nasty and unique in the best way a punk cover can be. Even the best powerviolence records can run together a bit because of the fast blur of songs, but IRON LUNG, as usual, makes every track an innovative, distinct, unnerving experience. Can a stopgap, album-teasing flexi be one of the best punk releases of the year? Essential listening.

Jane Doe Ensemble The Corruption of What Cheer? LP

With two singles (one vinyl, one digital) and an EP of demos behind them, this is JANE DOE ENSEMBLE’s debut LP. Their NYC roots are not to be missed on this minimal, no wave art-punk recording. Organ and synth-led, most songs are slow and reflective, with jabby guitars, floppy drums, and chorused lyrics focused on social and political commentary, like “What is Left is Also What is Right.” These songs are not catchy, you won’t get them stuck in your head, and they’re not foot-stompers, but they will make you think. On “Respect,” I hear some slanted DEVO influence, but my lack of depth in the art-punk world doesn’t give me much else to reference here, which is maybe part of the point. If you’re not already feeling weird and uncomfortable enough, then have a listen.

Last Affront 10 Track EP

Fast and ripping hardcore punk the way it should be done. LAST AFFRONT from London/Brighton, England put out this blasting EP in 2021 following a slightly disappointing demo back in 2019. On this EP, the band perfectly translates their live power and presence into a studio setting. The instrumentation is fast and furious (not unlike YDI or SSD) while still delivering some top-notch musicianship, all performed underneath a shrieking, hoarse vocal delivery. This was one of my favourite records to come out last year and it still holds up.

Merked Murk Mob cassette

Oakland’s heavy hitters MERKED play twenty tracks of sinister, grinding powerviolence with a gruesome slab of sludge, recalling HARD TO SWALLOW and UNRUH. Excellent stuff that does not tire on the ears like some forms of PV can. Punk grind attitude, somewhat sloppy at times, in a fluid way. It sounds like they are having a good time doing what they love and I like that. A three-piece that sounds like a mammoth, lots of breakdowns and some mid-tempo moments. I got through the entirety of the twenty tracks and it sort of felt like a play. There is definitely a story here and they don’t overdo it; the tape simply slams start to finish. I reviewed CHOKE from the Bay Area some months ago as well, and still have yet to see them. Lame of me, but it would be rad to check both these bands out. That would vibe nicely, I think.

The New Brutarians Hysteria LP

My love of duos is well known. Bands like the HUSSY, the COURETTES, the GOOCH PALMS, the MAXINES, and now the NEW BRUTARIANS are among my favorites. It’s probably not coincidental that all of those bands also feature one male member and one female member. If you took the energy of 1977 punk and focused it into more of a pop theme, you might get something like this Hysteria LP. The band they remind me of the most is the HEARTBREAKERS. It’s super catchy and mid-tempo and melodic, but also has a garage element to it. While it’s got its more traditional punk moments, at its core, I’d call this pop music, but it’s got an authenticity rarely found in pop. They even throw in an acoustic number. It’s fun to listen to pop music played by folks who grew up on punk, as opposed to pop music played by folks who grew up on Top 40 radio. Just a different thing entirely.

The Nightingales Hysterics 2xLP reissue

An expanded reissue of the second album by these John Peel favorites, and an unknown quantity to these ears. I feel like I’m fairly literate in British post-punk, but somehow I have not heard any of the NIGHTINGALES’ albums. I acquainted myself with their first record Pigs on Purpose before heading into Hysterics, and between both I found a distinctive sound. The drums dominate their songs, never playing a straight beat but instead creating an unsettling base of rollicking toms and accenting snips of hi-hat for the guitar and bass to sway seasick upon. The rhythmic unease is offset by what I hear as a distinctively English folk presence being experimented with on this album. A violin sidles in mystically on the second track, and on the third, the group somehow merges a funky break with banjo plucking. Lead singer Robert Lloyd has a huge sonorous voice, confident in its everyman timbre. I’d say this is jangly and melodic enough for a fan of the MONOCHROME SET, JOSEF K, or ORANGE JUICE, but with enough upside-down experimental quirk for you to listen to next to DOG FACED HERMANS, the RAINCOATS, or GLAXO BABIES.

Pet Mosquito The Plaza Records Sessions Vol. 1 CD

Lo-fi, fuzzed-out garage-y punk-y stuff. While this type of thing is cool on record, the recordings don’t usually do it justice, and these types of bands benefit from the live setting where the wild energy that always seems toned-down on records can shine. I feel like this is the same situation, and I bet they kill it live.

Punitive Damage Strike Back EP

A powerful unit with members hailing from Vancouver and Seattle, PUNITIVE DAMAGE drops three all-too-brief bombs on this bright yellow 7”. This is some heavy and tight hardcore with a classic sound and a rabid singer that is absolutely pissed. If that murderous opening track “Legacy” doesn’t get your attention, don’t even look at me. More, please.

Refedex The Top of Off LP

Australian post-punk/noise rockers with an approach somewhere between US MAPLE and the JESUS LIZARD. Thick, bobbing bass lines meet snaky, mysterious guitar lines with build-ups that build and build and build with no release. Tension abounds, harmonics chime, and floor toms pound. Restraint meets desperation with the tight rhythm section, led by erratic, exasperated vocals. Every song here is a sneaky, smoky killer, making its way into your unconscious mind. Great release that could have come out on Touch and Go back in the good old days. Recommended.

Remote Control Remote Control EP

REMOTE CONTROL is a new recording project from the ever-prolific Ishka Edmeades (SATANIC TOGAS, SET-TOP BOX, TEE VEE REPAIRMAN, and probably every other band out of Sydney). This time he’s opting to apply his sharp songwriting chops to some synth-free blistering punk tracks, and—big shocker—it’s cool! You’re getting three sub-two-minute corkers here (along with a couple of tracks of soundscape-y farting around). This is probably the closest Ishka’s come to putting out some straightforward USHC, but, of course, coming from this dude it’s not gonna be all that straightforward. It’s still a little cartoony and still sounds like something the weirdest kid you remember from high school might cook up. In other words, it’s real good shit!

Savage Pleasure A Harrowing Cry… From the Shadows cassette

Metal-infused punk or punk-infused metal? It doesn’t matter, what matters is that it rips! Equal parts AMEBIX and HELLHAMMER with some nods to VENOM or early VOIVOD, but always keeping a punk edge. From the cover to the samples, there is this occult folky feeling that just seals the deal and glues the whole thing together. Overall, this demo is a great debut from SAVAGE PLEASURE. First-wave enthusiasts, get your hands on this one.

Sewer Trout Meet the Sewer Trout LP

This rules. Full disclosure, I’m a little impartial, being friends with Hal MacLean and having shared hosting duties with him on radio shows forever. SEWER TROUT were legends from Sacto, California and included Hal and his late brother Jim MacLean. They were part of the Lookout! Records roster for a quick blur, but were always a bit more clever at songwriting and musicianship to be lumped in with some of the later “pop” punk ilk on that label. You can really hear elements of the BEACH BOYS and even the BEATLES or WOODY GUTHERIE here, along with contemporaries like CAMPER VAN BEETHOVEN, BLATZ, and the LOOKOUTS. Well ahead of their time, they cover timely political issues (“Coors For Contras”), gender dysphoria issues (“Vagina Envy”), and complex spirituality (“God’s Got Balls”). It’s a complete discography sorta, but still, most of the hits are here, along with some of Hal’s stellar artwork that’s been gracing well-deserving punk flyers and records forever. Cut short much too soon by Jim’s tragic death, their spirit lives on in the music and cheap beer. I think there’s even a tribute cover band now?! SEWER TROUT for president indeed.

Spad Spad demo cassette

New cassette release on No Solution Ltd. from Orange County’s SPAD. The first thing that came to mind listening to this band is ’80s USHC/Italian bands such as RAW POWER and INDIGESTI, except this band can play their instruments. Rather dry recording without too much distortion or effects—perhaps something about the weather may have some sort of influence on the dry sound like this. Fast, thrashy hardcore punk.

The Stonemen Faded Colors / In the Evening 7″ reissue

This is heavy, heady stuff, the way unearthed garage should be. What really stands out on these tracks from this woefully obscure Canadian quartet is what a downer they are. This is heavy not just for its fuzz or its four-on-the-floor stomp, but also for its doom-laden atmosphere. I love an unholy racket, and this satisfies that while also bringing the melody. Not as bluesy as the GROUNDHOGS and more straightforward than the MONKS, this carves its own space in history of the bummer side of stonerdom. Crucial listening.