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!

The Faction Collection 1982–1985 2xLP

San Jo’s pioneers of the skate rock thing give you a nice remaster of their complete ’80s recordings collection. Featuring skateboard pin-up legend Steve Caballero, you get the high-fiving bro factor in full effect on songs like “Tongue Like a Battering Ram” and “Skate and Destroy,” which aren’t so bad musically. You also get early gems like “Room 101” and “Yesterday is Gone,” so there’s some merit to this collection. Still, it’s hard for me to get through this in one sitting. I’d much rather hear the likes of LOS OLVIDADOS, DRUNK INJUNS, or even FREE BEER when partaking in the sweaty ballsack rock of yore but still, it’s a nice history lesson to the youthful shredders of the future. Dude.

Giglinger 13 cassette

A long-running Finnish outfit that has remained primarily under the radar, GIGLINGER seems content to keep plugging away at bare-bones punk rock with a distinct dark Euro vibe. Classic Finnish punk (not hardcore, punk) with touches of M.O.T.O. and EA80 makes for a compelling lo-fi listening experience. I didn’t know much of the band before this tape came across my desk, but I’m about to get hooked into a modest discography that spans more than two decades.

Irmans Hermano / I Wanna See You 7″

Wearing the SPITS’ influence on your sleeve is a curse, especially when you’re cranking out squeaky clean, lightly keyboarded songs like these. When the drums build up on the lead song and the keys underline the bass in true SPITS fashion, the head bobs almost as muscle memory. But these tracks, no matter the leather jacket look on the cover, have none of the meat-in-teeth maniacal energy that the band is promising. The B-side “I Wanna See You” is more satisfying, and seems truer to the band’s actual mission. It’s a jangly, melancholic sad pop song with nimble fretwork and a good hook. Stick to ’80s revival guitar pop, IRMANS, it suits you.

La Fraction De L’Autre Côté LP

The last LA FRACTION album came out in 2007. I drove the band on a North American tour that summer and I saw them play a few dozen times, so I should have known what to expect when I dropped the needle on De L’Autre Cote fifteen years later in 2022, but I was not prepared. Not at all. When Magali’s vocals opened “Tout Va Bien,” I fucking cried. It wasn’t something I could control, and I didn’t try. There is a magic here, and it’s not something I can describe, but the band sounds (appropriately) older, wiser, and more angry than they ever have before. Their fourth full-length is arguably their best—Magali sounds like she is doing battle with DeDe’s guitar while Boris’s drums push everything forward. It’s a perfect band, really…it always has been. And while I knew that before I started listening to this record, I was still, somehow, not at all prepared. Bands (particularly punk bands) are simply not supposed to get better with age, but LA FRACTION have defined themselves with this album, and I feel like I don’t want to listen to anything else. Ever.

Last Point A Broken Road CD

I’m fairly positive I reviewed the last album from this band, and well…they haven’t strayed at all from the sound of their last offering, proving that if you find something that you’re proficient at, why change anything? They nail the early Fat Wreck sound almost to a fault. Again though, this isn’t really my cup of tea and that’s cool. To me, this style just kinda sounds dated, but that’s not to say that there aren’t fans of this stuff who would eat this up, it’s just not me.

Mentalidad Ausente Guerra Permanente en la Cabeza cassette

Punk music doesn’t need to be refined at all, sometimes we just need heavy riffs, hellish screaming, and banging drums. MENTALIDAD AUSENTE is a trio from Costa Rica, more precisely, San Jose, and they are primitive as hell. Almost like a punker version of BONE AWL, if that makes sense. Recorded live in 2021, this EP is a great debut for these blackened punks to lean on. Knuckle-dragging Neanderthal music, and I mean that in a good way!

No Future Death flexi EP

Serving up agile D-beats from Australia, slathered in olde English fonts and Xeroxed skulls and stencils as god intended, NO FUTURE leaves you longing for more after imbibing in this slick three-song flexi. The seething buzz of the title track alone is enough to get the thumbs up from me.

Public Body Flavour of Labour 12″

Tight, energetic, and nervy art-punk out of Brighton. There’s a lot here to like, at least for me—angular guitar lines, whirling new wave synths, an English man spitting lyrics about the alienation of labo(u)r under capitalism. The production (provided by guitarist Theo Verney, who has also recorded the likes of FEET and HOME COUNTIES) is clear and full and serves the material well. Every track on this EP is compelling, but the single “Formica” is a real ripper, chaotic yet expertly held together. “Reset My Password” is another treat, with big hooks and relatable lyrics about having a useless desk job. “Savings, Discounts, and More!” is more of an experimental spoken word piece, which makes me curious as to what else the band can accomplish with a little more breathing room. If you’re into other contemporary UK post-punk acts like SQUID and ROXY GIRLS, you should dig this.

Resin Pot Overdose cassette

I love hardcore punk, but this didn’t work for me at first. Musically, the hardcore is tight and hard, just like it should be. But the heavily distorted black metal vocals grated on the nerves. It did grow on me with subsequent listens because, overall, this cassette rages. “Sea of Vomit” is the best of the four tracks, with “Life is Shit” being a close second. I prefer cleaner vocals, but there’s lots to like on this cassette like great musicianship, particularly the guitar, which goes from being a wall of distortion to wailing solo and back perfectly. They reminded me a bit of FILTH, though Jake’s voice was just like that without distortion.

Romero Turn It On! LP

From Australia, this female-fronted band delivers eleven tracks of solid, traditional power pop with an occasional nod to new wave. At times, I’m reminded of both the EPOXIES and the PLASTIC TONES. It’s super catchy and uptempo for the most part, but they can slow it down at times. Some of the slower cuts have a certain moodiness to them. They’re super tight and the production is crisp without sounding over-produced. That can be a fine line. Really nicely done.

Scoundrels Oh No! Not Again! LP

Holland’s SCOUNDRELS return after 31 years absent with a not too inventively titled album. I had to do some research, being not so knowledgeable about their back catalog. They started around 1986 doing a sort of anarcho post-punk thing. While this keeps some of that element in songs like “Outsider,” much of this veers towards a later-period SoCal punk sound. It’s sort of like those mediocre SOCIAL DISTORTION or ADOLESCENTS (ADZ) songs. They do one of those bad funk-inspired politico song attempts on “Molasses” that’s really unfortunate. They keep it real on Bandcamp, loading a bonus CRASS cover/remix piece of awfulness as a bonus track at the end. Why? Well, maybe to keep you ready for another round in 2053. Punk is dead?

Solucion Mortal Live at the Fairmont 1984 LP

Such a thrill to write some words on this absolute classic of Mexican hardcore. First, a little bit of history. SOLUCION MORTAL is one of the pioneering bands of hardcore in Mexico. They formed in 1981 in the border city of Tijuana and are still active today. This historical document is a live board recording made at a show at the Fairmont Hall in San Diego, and was originally released as a tape in 1984. Unlike bands from Mexico City, SOLUCIÓN MORTAL had a geographical advantage: being on the border with California allowed the band to share stages with DEAD KENNEDYS or D.R.I. That is to say, they were able to play in the United States in their absolute prime. This led them to participate in some compilations on labels such as BCT Tapes from San Diego, ROIR from New York, and New Wave Records from France. And what does it sound like? Urban chaos, urgency, anger, and violence. A raw guitar sound,  pogo-inducing drum and bass work, absolute brutal vocals, and some of the best Mexican punk songs ever:  “Depresión,” “Maten a los Chotas,” or “Solución Mortal.” A must-have.

The War Goes On Discount Hope EP

Latest record by Copenhagen’s THE WAR GOES ON, a band consisting of ex-members of the acclaimed NO HOPE FOR THE KIDS. Discount Hope is bleak, dark punk that sounds like it was written by the kids of the black hole. Yet the band isn’t from the suburbs of Orange County, but a Scandinavian city that either gets no sun during the day or the sun doesn’t go down at night. Despite the songs consisting of darkness and bleakness, it still has this catchy pop sensibility (something difficult to achieve unless you’re from Southern California) without having the SoCal bro punk vibes—the lack of SoCal bro punk-ness does seem to add a character that is rather unique. Perfect background music to these dark times. Highly recommended.

V/A Good Times RnR Compilation, Vol. 3 2xLP

What I believe started as a few of the Sydney rock mutants (RESEARCH REACTOR CORP., GEE TEE, and SET-TOP BOX) fartin’ around and playing some covers has now morphed into a full-blown spectacle. After recruiting a bunch of like-minded bands and fleshing the project out into legit comp (2020’s GTRRC II), we now find them pooling their resources with labels Erste Theke Tontraeger, Legless, and Under the Gun to bring you 46—46!—tracks across two whole damn LPs from pretty much every band in the contemporary egg-leaning punk scene. And, look, there are some cool bands on here and some cool songs, but you already know you don’t need this. It’s basically the punk equivalent of a giant sack of Halloween candy. There’s plenty of good stuff in here, but there’s also quite a few Tootsie Rolls, some generic-ass orange and black wrapped taffies, and even a few toothbrushes and pennies. Some sickos are going to sit down and eat the whole bag, and some fun-haters are going to steer clear of it entirely. But most folks are going to pick at the good stuff, setting a few things aside to come back to later. For me that good stuff—the Snickers and Almond Joys, if you will—would include SPODEE BOY (covering STICK MEN WITH RAY GUNS’ “Hell to Pay”), C.O.F.F.I.N. (FUNKADELIC’s “Super Stupid”), SCIENCE MAN (ZZ TOP’s “Sharp Dressed Man”), MUTANT STRAIN (the GERMS’ “Strange Notes”), and SPINAL CRAP (I’m pretty this is SCHIZOS playing ROSE TATTOO’s “Nice Boys”). I’m sure your pile would look a little different.

Antler Joe and the Accidents Go Commercial! EP reissue

This is killer. Minds much sharper than I dredged through the Florida muck to find the surviving sickos from this band to re-release their one and only attempt at stardom. It’s probably a Killed By Death favorite up there with EBENEZER AND THE BLUDGEONS or ED NASTY AND THE DOPEDS, which means small-town punkers playing ’70s punk a little late in the game. In this case, really late, as in 1981. I’m sure no one was listening when the masterwork known as “Bullshit” first made ears ring way back when. They most likely sat puzzled by lyrical mastery such as “I sit here this whole day / Trying to think of what to say, / No one listens anyway / It’s all dogshit” spewed forth at some weird party. “Words” ain’t no slouch either, but “Who Needs a Woman Like You” makes the blunder of including saxophone?! Ugh. Well you can’t win ’em all, but you can one day see your youthful mishaps displayed on public view in your golden years. Buy this and pray you’re next.

Bad Idea Sonic Hellride CD

Polished street punk from Minneapolis. Nothing to see here unless you’re looking for solid, gruff, catchy punk rock—like RADIOACTIVITY on a steady diet of the BUSINESS. Short, snappy, and to the point…just like this review.

Classe Suburbana Ao Vivo em 1992 10″

Consider this material as a historical archive. An exercise of subtracting vital, youthful energy from the unstoppable flow of time in order to preserve a spark of revolt and to mark a territory within the map of global punk and say “hey, here we are and this is where we were, we are part of this, too.” CLASSE SUBURBANA was a band that emerged in the late ’80s in the small town of Delmiro Gouveia in the Brazilian state of Alagoas, a deeply conservative and religious place, one of those stifling spaces for any restless youth who want something different from life. We are talking about an area far from the traditional epicenter of punk in Brazil. This compilation is based on fourteen tracks recorded live at Privê Club in 1992 and shows a band with an energy on the verge of exploding, with their sights set on the violent and repressive structures we all know: police, politicians, work, and family. This is a raw, unpolished, and harsh expression of punk rock. The sound quality is the best possible given the context I have mentioned, very DIY. The band reminds me a lot of Mexican punk bands coming from a similar social context and era: POLO PEPO, YAPS, or many urban rock bands from the Discos Denver label. Congratulations to Quilombo Discos, who are doing this great and necessary work of rescuing and promoting the punk youth culture of underrepresented areas of Brazil.

Dark Times No Hope / The Early EPs LP

Eleven years after their first release, Sheep Chase has remastered all three early EPs from the no wave/hardcore group DARK TIMES. The album doesn’t present the EPs chronologically: the order comes second, third, and first released. First, we hear the self-titled 7” (or Skull), coming in with my favorite track “Distrust” for its belabored and repetitive heavy rhythm (which I came to hear as their trademark sound). Sandwiched in the middle is the Girl Hate 7” that came out a year after the others, yet feels like it’s matured more than that. The songs are tighter, shorter, and catchier—check out “Waste.” Last up is their self-titled demo cassette where you can see the no wave and hardcore influences more separated between songs, as in the 40-second “Dead Meat” blaster, followed by the more ambient four-minute “Worlds Away.” If you, like me, missed this a decade ago, check it out now!

Des Demonas Cure for Love 12″

In the Red brings us the latest from DC’s DES DEMONAS, a seven-song 12” of organ-driven garage rock that combines the musicianship and soulfulness of the REIGNING SOUND with the attitude of some of the rougher-hewn bands that popped up in the wake of the BLACK LIPS’ popularity—in particular, the record reminded me a lot of the Aussie band STRAIGHT ARROWS. Except, none of those bands are fronted by Jacky Cougar Abok, whose unique vocal delivery—a mix of barely tuneful yawping and rhythmic, non-rhyming rapping—is literally beyond compare. His voice also serves as a great foil to the backup vocalist, whose harmonies end up giving the songs like “Cure for Love” an almost alien quality.  While there’s maybe nothing on here as relevetory as “The South Will Never Rise Again,” there are also no duds—it’s a cool record.

The Ergs! Renovations EP

With recurring themes of heartbreak, missed opportunities, and broken and lost lives, country music and punk can share some similarities. Here the ERGS! are back together to put out three tracks that you could call country-inspired, but it’s all ERGS! at heart. The opener “Tonight’s the Night” is an OLD 97’S-style romp. The title track, “Renovations” has some of Jeff Schroeck’s best lyrical work to date, while “Penny in the Jukebox” is a great boozy closer. The EP manages to stretch out some musically while still maintaining that ERGS! earnest and honest punk sound.

The Fall A Part of America Therein, 1981 LP reissue

Oh, to be a fly on the wall as the FALL caromed about the US during the summer of 1981, plying their sui generis mixture of rock n’ roil repetition, surrealist non-sequiturs, and dagger-like bon mots—all while leaving a trail of empty beer cans and crumpled bags of speed in their wake. By this point, the band was functioning (at least on stage) as one unit, lashed together with the rhythmic clatter that they were bashing out like a pack of hungry wolves. Most of this set, patched together from recordings taped at an array of US cities, is a study in how the FALL subverted the dirge form and reshaped it into something approaching rock n’ roll. In this spirit, “The N.W.R.A.” opens things up, reveling in a monolithic patience while also utilizing, naturally, a kazoo. The run-through of “Totally Wired” doesn’t quite live up to its title, but it does feature some choice Mark E. Smith ad-libs mocking punks and quoting Hunter S. Thompson. Recorded in Houston, “An Older Lover” has a nice, down-the-hallway feel, emphasizing its petulant response to emotional devastation. Few songs embody wandering around barren streets in a broken-hearted daze like this sublime number. Ultimately, the Live at St. Helens Technical College, 1981 LP that came out last year is superior to this set, but, really, you can’t go wrong with the band in question. There’s always another hole to fall into…

Glycerol Standing Over You cassette

This two-song cassette from Wichita brings us a two-minute and twenty-one second burst of claustrophobic hardcore pounding. The first track bites the genre it feeds with complaints about how so much hardcore sounds the same, and on the second one, I’m not sure what they’re talking about, but they sound pretty pissed there, too.

Heavy Comforter 5 Joey and the Rapid Dogs! LP

Like the Fernando Pessoa of bedroom fuzz-pop, William Johnson (FUTURE VIRGINS, BIG KITTY, and more) has created a full band of alter egos to bring us Joey and the Rapid Dogs! Like the aforementioned Portuguese poet, who wrote under 30-plus “personas” all with full backstories and signature styles around the turn of the previous century, Johnson credits a full roster of musicians who simply don’t exist. It’s an interesting exercise that lends itself to the character exploration of Joey, the core of this shambolic “rock opera.” The songs have a grandiosity to them, in bold declarative jams like “Talkin’ Bout Mental Health,” that is tempered by the use of a drum machine throughout. It’s reminiscent of TOM GRRRL, JACK NAME, or even a much less silly GENE DEFCON. The songs are homemade but tightly constructed and delivered with a sort of detached vocal style. The whole affair is clearly a labor of love, but is performed with a couldn’t-care-less attitude, lending another layer of strangeness. The results aren’t always compelling, which feels somewhat inevitable stretched across sixteen tracks, but there is plenty here to stick around for. Looking forward to Johnson getting the “band” back together for more.

Kirkby Kiss Ouroboros CD

The sounds on Ouroboros rotate between staccato, rapid-fire guitar and more trad HC/punk rhythms. There are quieter, prettier build-ups which provide an almost screamo tinge. The band packs a lot into each song but keeps things short. That’s a good choice, because even when they’re boundary-pushing, most punk songs petter out after the two-minute mark.

LASSIE Temporary Cemetery / Frowning Term 7″

Leipzig’s LASSIE has been putting out new wave-inflected choppy garage punk for a handful of years now. The typical comparisons to DEVO and REATARDS apply here. “Temporary Cemetery” is massively endearing, buzzy and infectious and possessing a delicious synth hook. The B-side “Frowning Term” isn’t as immediately irresistible, but it’s still a solid slab of oddball synth punk. I don’t want to imagine the kind of person who doesn’t like this—they’re probably a jerk!

Les Calamités Encore! 1983–1987 LP

LES CALAMITÉS are too often reduced to having been “the French GO-GO’S”—three teenage girls with guitars (plus a boy drummer) who rejected the plastic excess of mid-’80s new wave in favor of sugary (power) pop and ’60s girl group-styled harmonies. But the GO-GO’S started out as bona fide L.A. punks, even if those roots were obscured in their sound, while LES CALAMITÉS might as well have emerged from an almost entirely pre-punk world of early twist-and-shout rock’n’roll, sock hop shimmies, and mod garage beat; “the French DELMONAS” would probably be more accurate. Encore! gathers all sixteen tracks from their modest discography (an LP, a couple of singles, and a comp cut), plus a song each from French rockers DOGS and English garage outfit the BARRACUDAS featuring LES CALAMITÉS backing vocals; it’s a tidy primer on these filles dans le garage, even if it doesn’t add anything new to the story. Those GO-GO’S comparisons come most clearly into focus on “Le Supermarché,” “Pas la Peine,” and “Toutes Les Nuits,” all of which nail that ebullient Beauty and the Beat bounce, and just as the DELMONAS did, there’s a handful of CALAMITÉS-ized takes on choice ’60s cuts, further paying tribute to some of their obvious inspirations—the WHO’s “The Kids Are Alright” sped up as an ecstatic jangler, the AD-LIBS’ doo wop classic “The Boy From New York City” translated into French and given a yé-yé spin, a gender-swapped version of the TROGGS’ bubblegum garage nugget “With a Girl Like You.” C’est un délice.

Mindcollapse Estado de Sitio EP

Absolutely crushing grindcore out of Madrid, Spain. There’s twelve songs on this 7” EP, most being under a minute in length. Even if my Spanish was better, the vocals are incomprehensible growls, but holy frijoles, the music doesn’t stop punching you in the face. “24H Control + Explotación Asimilada” (“Assimilated Exploitation”) sticks out for its three-minute length, but also because it plays with tempos in interesting ways, dipping down into doomy sludge and then ramping back up to crusty hardcore speeds. The aptly named “Punker than Grind” closes the EP with a fun, strange, mid-tempo stomper. Cool piece of work.

Nafra Seny i Rauxa LP

NAFRA, the Catalonian powerhouse, is back after their excellent self-titled album released last year. Nine songs of fast-paced, high-energy and uplifting hardcore punk that will put a smile on your broken mug and make you take on the streets. Also, you can’t go wrong with VARUKERS and R.I.P. covers.

Nightfeeder Exploited Partisans EP

Just yesterday, I messaged my pal Grant while I was listening to DEATHRAID to let him know how underrated I thought the band was, and he replied, ”you should hear their new band NIGHTFEEDER.” Well, I’m hearing them now—a band made up of four motherfuckers who were in DEATHRAID (and CONSUME and countless other Seattle/PNW bands) and seem determined to deliver whirlwind hardcore punk rock at any cost, and Grant wasn’t wrong to suggest adding NIGHTFEEDER to my “must listen” catalog. Dirty-ass rock’n’roll influence is shameless, modern hardcore punk of the highest caliber. Moral? Always listen to your pal Grant.

Protospasm Unreachable Summit LP

These Aussies have given unto the world an album that is equal parts well-written hardcore punk and slick-as-hell rock’n’roll riffage. Somewhat reminds me of L.A.’s SWEAT a bit, but with RIVERBOAT GAMBLERS/TURBONEGRO-ish riffs.

Robits Here Come the Robits cassette

Ten tracks of garage-y pop punk out of Milwaukee, Wisconsin. ROBITS’ delivery is catchy, light-hearted, and fun. Any of these tracks would have felt at home on Lookout! Records’ classic Can of Pork comp. “Hello Old Friends” reminds me of DESCENDENTS’ “Ride the Wild.” It’s refreshing, sing-along, summertime goodness. Exceptions are the final three tracks: “Aquamarine Eyes” has a harder punk edge, and “Robit Bop” has a sound like a kinder, gentler MEATMEN à la “Meatmen Stomp.” “Lampreys” closes out the tape with something to slam dance to.

Rude Television Distractions cassette

I miss my Tascam. There is something totally different about how you approach recording music with limitations, whereas if you start using a DAW, you can get lost in the options. This tape exemplifies what you can do with a point of view, the ability to play multiple instruments, and capable yet not limitless technology. The results are laser-focused bedroom punk with a synth-y undercurrent. It would be easy to compare this to R.M.F.C. and it has its similarities, but this project has its own voice that is snotty and fun in all the right ways. It has its debt owed to the DEAD MILKMEN as well, at least vocally, but what is impressive is how varied the sound is from cut to cut. This isn’t some homogeneous same-y six tracks of “been there, done that” bedroom punk. The songwriting is solid, the rhythm tight and right on, and there’s just the right amount of fuzz and echo to sell you on the authenticity of it all. Spaced-out rockers like “Operate” strike on a reptilian level, you simply have to bob your head. Cleaner tone forays into post-punk rhythms, such as on closer “Transformer No. 1,” are just as satisfying, proving the project has legs to walk wherever it wants to next.

Screensaver Clean Current / Repeats 7″

This single is the second release from Melbourne’s SCREENSAVER, following up from 2021’s full-length Expressions of Interest. “Clean Current” is a sweeping synth-pop number, with the kind of propulsive bassline and swirling, atmospheric synths that were a hallmark of early ’80s post-punk. “Repeats” is a slower, moodier piece that doesn’t do quite as good of a job at holding my interest, though vocalist Krystal Maynard has a rich, mournful singing voice that compliments the music well. SCREENSAVER is quite obviously influenced by the likes of the CURE, the SOUND, and SIOUXSIE, but you’ll never catch me complaining about that (especially if the songs are as appealing as “Clean Current” is here).

SFA The 87–88 Tapes LP

SFA (STANDS FOR ANYTHING) formed in 1984, joining the burgeoning NYHC scene to play alongside other early bands of the genre like TOKEN ENTRY and SHEER TERROR. During the twelve-plus years they stuck around, they’d share stages with the likes of AGNOSTIC FRONT and frequently play at the top clubs like CBGBs—this LP collects two sessions previously only released on cassette in 1987 and 1988, as well as some bonus live material. To differentiate themselves from the popular “posi-core” movement of their era, the band coined the term “hatecore” to describe their music. They definitely hated stuff, notably ska and Kurt Cobain (as expressed on songs from their ’90s LPs), but before that, they were pounding out tunes with a recognizable 7 SECONDS and MINOR THREAT influence that can be heard on the on the 1988 Tanks a Lot tape that occupies the A-side of this record. The 1987 demo on the B-side is a bit thrashier and gnarlier in nature, even when they cover BOBBY DARIN’s 1959 hit “Dream Lover.” This collection comes with a cool booklet with lyrics, interviews, and side-by-side pics of the band members then and now, and your NYHC collection is not quite complete without it.

Toeheads Mixed Up / Told You So 7″

Detroit’s TOEHEADS do their best early OBLIVIANS impersonation. It’s a hard-to-fuck-up formula guaranteed to get Mom shakin’ it. They do it well, and they have a fuck-ton of other releases online, including a MISFITS cover EP(!). Bedtime.

Utrota 7 Track Demo / Radioaktiv Ödemark LP

Crispy and sizzling splashes of D-beat noize käng from Sweden. This is an LP comp of UTROTA’S two demos, limited to 300 copies on black or white vinyl. Overall, this is classic D- beat played in the raw and higher register such as DISCLOSE or GLORIOUS? Some aspects remind me of HORRENDOUS 3D. There is something seething and mechanical about it, though. This is a timeless entry in the slew of bands like this. UTROTA sounds like a demo that would cost you hundreds today had it been released in 1984. It’s sort of laid-back but equally pulverizing. Could it all use a bit more bass? Perhaps. The floor tom takes care of all that, anyway. The second demo is heavier, also. Think the build of STATE OF FEAR as this LP progresses into the late second half. They lay it all down sharp until it becomes a slow burn. A perpetual cycle in the demo zones; in its purest hardcore-mangel form. Vibing SVAVELDIOXID on the last couple tracks. So don’t miss out on this—I really wish they had sent me a copy, but I’m now about to take my own advice.

Vivisected Numbskulls Swine in Chains EP

Solo venture of Max Parker of such delightful acts as 100% BLOOD, HOUNDS OF WAR, and SUBVERSIVE RITE. If the 4-Track Demo was good, Swine in Chains is even better! This isn’t for everyone, but the ones who truly appreciate the UK82 sound with D-beat undertones will love this. There is also a metallic aura about this recording that is undeniable and will reach the metalpunk enjoyers as well. Imagine DISCHARGE jamming with the PARTISANS in a sewer in post-apocalyptic Nuke York. To sum things up, all of his mentioned bands have a specific ambiance to them that will remind you of discovering some obscure band from the ’80s. Total raw assault!

White Stains Blood on the Beach EP

Punk has always been defined by either how much you give a shit or how little, and Pittsburgh’s WHITE STAINS exemplifies the appeal of both. The music feels urgent, it’s seasoned, driving, old school punk rock with a good sizzle to it. Early ’80s California scene-indebted but not corny or retro. The vocals, on the other hand, sound like they were recorded with a beer in one hand while sitting on the couch. I mean that in the best way possible. The sarcastic “ha ha ha” on closer “Laughing Gas” drips with dismissal. Like you’re dumb for even listening. It’s the kind of degradation that leaves me desperate for more. Each track has teeth and chews on you like a bone, the songwriting is solid and varied. As the Steven Wright punchline goes, “see, that’s how you do that.”

V/A Bonded as One, Volume 1 2xLP

Running the gamut of styles, mostly made up of melodic punk bands with some street punk, hardcore, and ska-punk peppered in here and there. This compilation is ambitious in its attempt, and the fact that this is “Volume 1” means that, in theory at least, the folks at Dead At Zero have plans for future volumes. While there’s not really a bad song in the bunch, perhaps they could have trimmed this down to the best of the best, made this an LP’s worth of songs/bands, and saved the other LP’s worth of material for a potential “Volume 2.” Not a bad first outing here. Definitely would recommend to anyone who grew up on the Punk-O-Rama and Fat Wreck comps, as this definitely has the same feel. There are a handful of well-known bands on here, although I’m not sure if any of this stuff is unreleased as there is really no info other than track listings. Additionally, when trying to get a bit more info on this thing, I scoured the internet and could only find an Instagram page, but no ordering info. So good luck with that.

Big Clown Big Clown cassette

Excellent blast of high-speed screech-punk from this Memphis band, collecting two previously released tapes and a live set from Gonerfest. The band lays down fast and freaky riffs while vocalist Lucy sings in a pitch and style nestled somewhere between Poly Styrene and Carrie Brownstein. I thought there were dual vocalists until I heard the live tracks and read the liner notes, since many songs have them overdubbed an octave apart. It sounds awesome—immediate, frenetic, and intense. Not that the songs or band sound particularly angry. Take “Freaky,” a bubblegum pop tune enveloped in distortion and dirt that stands out as a little capsule of joy. Lucy sings “You don’t have to be nice to me / You don’t have to be nice to me / You don’t have to be nice to me / I know that you think I’m freaky” as a one-minute declaration of independence from the normies of the world. “Burger Salad” is another fun one that swirls with dissonant guitar lines, handclaps, and a sing-along chorus of “I wanna eat my burger salad.” Although frequently a joyous bounce, there are heavy moments of fast, churning punk like opener “Smell a Rat,” the raucous and atonal scream duet on “Hissy Fit,” and the chaotic blastbeat outro on “Big Girl.” The Gonerfest set sounds amazing, with the band jamming in absolute pro-mode. The only thing I don’t understand is the lack of audience sound. BIG CLOWN deserves a crowd into this as much as the band is. Recommended!

Bipolar The Source of Loneliness cassette

The rawest punk outfit to ever come out of Greenland. Another swift discharge of chaotic noise-mongering in the fashion of cult classic DISASTER. They take the blueprint left by DISCHARGE, the mindset of DISCLOSE, and they just rage. Four tracks that sound like an enormous door slamming in the depths of hell.

The Condos The Condos cassette

High-energy synthwave/post-punk coming from Adelaide, Australia. This debut EP was recorded live in 2019, and on the first few listens I wrote it off as another modern try at a darkwave revival, but maybe there’s more at stake here. I think they nailed the sparsity of instrumentation; ranging from synth intros, to bass and drum lead verses, to wall-of-sound choruses where the reverb-bleeding guitar riffs hang behind snarling Aussie vocals. It reminds me of the DAMNED’s goth rock years, only set to a dance beat. Check out “Suffice” for a good sample.

Depress Discography cassette

I couldn’t find much information on this band, either in English or Spanish. I know they’re a ’90s band from Malaysia and this is their entire output remastered for our enjoyment, all released originally by Broken Noise Records. The first half is songs from a split with Indonesia’s ANTIPATHY, and the second half were part of the Johor Hardcore comp. The twelve tracks are a blast, unhinged and blistering hardcore with some cool melodic and street-punk-like vocal hooks. Great song arrangements, furious vocals when needed, and a clear socio-political stance against authoritarianism and war. Would love to hear more from DEPRESS, hope there’s some more tracks in some vaults out there.

Desborde Todo Es Una Mierda cassette

Fast Argentine punk with synth parts. I don’t want to call it synth punk, as the electronic parts seem to be very appendaged-on for this recording. You hear them in the beginning or the end of a song, but the guitar generally drowns it out once it roars in. Aside from that, this is a tape full of rippers.

Joyride! Miracle Question LP

Bubblegum pop punk, as if it were blaring from the open window of a car that’s clearly having more fun than you. A decade going, this is JOYRIDE!’s fourth LP, jam-packed with syrupy and finely-tuned female vocals, aided by fast instrumentation; guitar riffs and tom-drum bridges in all the right places. But here’s the deal: it’s 2022 and pop punk isn’t all sheen and passive content—it’s fun and provocative all at once, and that’s why I like it. “In the Afterglow” gets in your head with “We get attached to what we think we know,” while “Flyover States” brings environmental disasters to light, and then “Routine Maintenance” spells out “k-i-s-s-i-n-g” in the chorus, like you’d expect from the genre. Just listen and try to have fun while not being ignorant—and if you figure out how to do that, let me know.

Nexø False Flag LP

Copenhagen’s NEXØ plays an obnoxious arrangement of post-punk skate rock with interludes of twisted cold/no wave, similar to if DEPECHE MODE collaborated with PROPAGANDHI and added even more thrash elements. The trudging riffs of SKITKIDZ and the optimistic speed of NO HOPE FOR THE KIDS. Overall, this is quite unique, and I give it great acclaim for that. Super well-produced and masterfully played punk rock. The minimal vocals are excellent—when they are on, they are intense. NEXØ makes a racket that is perfect to zone out in for measures longer than usually edited for this style of music. So NEXØ brings forth the unexpected and they do it well. There is a lunacy to their music, but it is very precisely rehearsed. I don’t know where to categorize this outside of art-core proto-punk. There are some elements of industrial and carnival madness. The LP listen only gets faster, like a ride you can’t get off, interspersed with melodic soundscapes throughout. Sheer escapist punk with a lot of heart.

Noose Sweat Death Denial flexi EP

Highly effective powerviolence from this Vancouver, Canada band. Raw, ferociously fast, incredibly well-executed, greasy, precise, murky and severe. Seven songs that last as long as it takes you to read this review. Huge cover art by the great and subversive artist Tommy Wilson. Stunning.

Public Opinion Demo 2021 flexi EP

If no one told me that this band was new, I would have believed that it was recorded in the late ’80s. Short, fast, and vicious, PUBLIC OPINION delivers an ass-whooping on this four-song demo. It sounds like you are at a basement show right in front of the action, as the sound on this demo is super raw. One for the hardcore lovers that lean more to the rawer, grittier side of things.