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!

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.

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.