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!

Pure Intention Faults and Fallacies cassette

Chicago three-piece PURE INTENTION brings a high-energy jolt of punk-infused rock with their tape Faults and Fallacies, delivering six tracks that range from one to three minutes while channeling a strong Scando influence. It’s a pretty good time, but the tape loses momentum with “Fallacy,” which meanders a bit and incorporates George-fucking-W. Bush samples that I found more confusing than effective. Despite this, the tape is a spirited listen that made me feel like it would be hella fun to watch them play while throwing back some beers at a dive bar. The standout track, “No Control,” is a pedal-to-the-metal romp with fun gang vocals.

 

Reticent Street Violence EP

I was extremely willing to write this off based on the cover, because do we really need another bunch of fellas pretending to be knights and singing about waging battle under the banner of the king? And yet, on pressing play, I was really pleasantly surprised! Some hard-as-fuck Oi!/UK82 by way of Bandung, Indonesia. Pissed-off vocals, rapid-fire riffs, and a rumbling bass line rounded off by a drummer hitting the skins like they owe him a tenner. Basically listened to this with a massive grin on my face throughout.

Sad Eyed Beatniks Ten Brocades LP

I happened to put this record on for the first time on a Sunday morning, which worked out well as this is perfect Sunday morning music. Ten Brocades by SAD EYED BEATNIKS is a fantastic bunching of easygoing, slightly whimsical pop psych tunes that could only come out of the San Francisco area. These sunny, lo-fi tunes call to mind the past sounds of WHITE FENCE or the mellower side of the Elephant 6 collective, while also sitting perfectly side by side with a more contemporary reference in APRIL MAGAZINE (was not surprised to find there is some member overlap there). This may be a collection of songs written over the last couple years, but it still feels very cohesive in its flow with songs calmly washing over the listener from start to finish. Press play right when you wake up, and by the time you get to “Passing Melody,” you’ll be ready for its slightly more VELVET UNDERGROUND “I’m Waiting for My Man” street gallop. Great stuff.

Sinister Feeling Sinister Feeling LP

SINISTER FEELING is from Baltimore, Maryland and they play powerviolence, which I don’t usually listen to very frequently. This album, however, grabbed my attention from the start. It sounds gritty and a bit dirty (no offense meant). I guess I am trying to say that they sound like a veteran band that has been doing this through many long road trips in an old van and sleeping on people’s floors for months at a time, and they have distilled the essence of what powerviolence should be and put it into this album in all its glory. I don’t usually listen to powerviolence, but this stands on its own despite any type of categorizing.

Thought Control Sick & Tired of the Talking Heads EP

Hot damn, this EP is lean and fuckin’ mean! THOUGHT CONTROL from Jersey (shout out to NJ, all my family is from there) is a wrecking ball of expertly executed, zero-fat hardcore. This thing is chock-full of crunchy guitars, breakneck drumming, and fuzzed-out vocals that are perfectly muddy and distorted. While many would say the crown jewel here is the title track (which does have an amazing guitar intro that sounds like COCKSPARRER’s “Riot Squad” on steroids), my favorite track is “Anti Christ Rock ’N‘ Roll,” a fun-as-hell song that has, you guessed it, loads of rock’n’roll guitar work. It goes without saying, this one is highly recommended.

Workers Comp Workers Comp LP

I can’t tell you how many times I’ve put on an Ever/Never release and incredulously sat through the first few songs, thinking something along the lines of “what the hell is this shit?,” only to come around by the end of the record, swearing it’s the best thing I’ve ever heard. You’d think I would have learned to trust them at this point, but as I put on this album, my first thought was “Jesus—is this a fucking country record!?” And, yeah, it kind of is, but also kind of not really. In any event, it’s maybe one of the best things I’ve ever heard. WORKERS COMP is a trio out of Baltimore/Detroit featuring folks from STAFFERS, DIVORCE HORSE, and DEADBEAT BEAT. They’ve been at it for a couple of years now, releasing a handful of cassettes/EPs of anything-goes singer/songwriter-driven indie rock (in the sense of independent rock’n’roll, rather than what tends to count as indie rock these days), and this release compiles thirteen of those earlier songs on LP. Tracks cover anything from ramshackle, LOU REED-esque balladeering, to punkish slacker rock, to sneering jangle pop, to folksy Americana (at times sounding not unlike the BAND). It’s all over the place! But sharp songwriting and a rough-and-ready approach to recording really ties everything together nicely. It reminds me a lot of what I’ve loved about stuff by DAN MELCHIOR, KNEELING IN PISS, or even labelmate RICHARD PAPIERCUTS. Quite a collection of songs that I absolutely can’t stop listening to!

V/A Propeller Product Prop 4-1 2xLP

Here’s one that I wasn’t expecting to see reissued! The Boston (well, Allston)-based label Propeller Product put out a string of unassailable singles for local post-punk bands over the course of two brief years in the early ’80s, in addition to a 1981 compilation cassette featuring ten acts in the general Propeller orbit. The problem was that the tapes all had a manufacturing defect that made them impossible to play without an overpowering screeching sound, and rumor had it that the masters went missing soon thereafter—the songs would later circulate informally and in varying degrees of audio quality thanks to the internet, but this vinyl edition is the first time that the entire comp has really been properly presented. It’s pretty much wall-to-wall hits: CCCP-TV’s two tracks (“Downtown Address” and “Follow It Through”) are primo geeky, no wave-adjacent skronk in the COME ON/UJ3RK5 ballpark, and PEOPLE IN STORES stalk smoky, late night back alleys with sax-laced slowburners “Cheap Detective” and “Cat and Mouse.” “Something in Your Eyes” and “The Law” from ART YARD go toe-to-toe with Boston heavies MISSION OF BURMA in terms of razor-sharp, anthemic yet dissonant hooks, V;’s “Ich Liebe” is stern, rhythm-driven post-punk that’s more Berlin than Boston (a stark contrast with the simmering, SLITS-ish reggae beat of their other track, “In the Suburbs of the City of Pain”), “No Escape” by WILD STARES strangles a guitar Andy Gill-style while simultaneously bashing a xylophone, and their “China Song” snaps from a driving, minimalist beat to a more stilted and angular stop/start. “Let’s Be Creative” is the only recorded appearance of CHINESE GIRLFRIENDS, flailing from off-kilter DIY pop (think early K Records) to a collapsing art-punk jumble; the similarly one-off “Midge” from WHITE WOMEN is a breathless rush of seesawing, Rough Trade-ready femme-punk. The NEATS would later devolve into bland college/bar rock in the mid-’80s, but at this point in time, they were crafting great, darkly psychedelic garage nuggets in a Paisley Underground-like fashion, evidenced by the DREAM SYNDICATE-esque “Do the Things” and “Another Broken Dream.” Last but not least, DANGEROUS BIRDS’ moody “Catholic Boy” echoes Odyshape-era RAINCOATS by way of early Kim Gordon-helmed SONIC YOUTH, and the band’s keyboardist/guitarist LORI GREEN also contributes three solo cuts of skewed pop that include a totally bizarro cover of GENE PITNEY’s ’60s tearjerker “Town Without Pity.” A crucial document of one of my absolute favorite time/place-centered music scenes—you need this, truly.

Assistert Sj​ø​lmord Klimabombe EP

Their name translates to “assisted suicide” in English, and this is their debut 7″ (and a great one at that). The music is hardcore punk, and I stress the punk park of that description. This is modern hardcore punk of the highest order, no frills and a ton of energy. This band doesn’t exactly sound like these bands but they would fit right in with RAT CAGE, SCARECROW, VAASKA, DESTRUCT, and more. If you like those bands, then I think you will like this. It has been a little while since I have really taken notice of a Norwegian band, but this band really brings the punk.

Big Fuckin Skull Sea EP

I legitimately cannot tell if this is supposed to be a complete joke or not. BIG FUCKIN SKULL from Minneapolis have apparently been putting music out since 2000—I dread to imagine what it would be like to do this dogshit for at least 24 years. Musically, lyrically, and aesthetically, it’s MISFITS worship done very poorly. Nothing wrong with a bit of profanity, but there are so many unneeded uses of the work “fuck” that it just gets incredibly annoying. This sounds like a South Park parody of a punk band. Now it’s obviously not supposed to be completely serious and there’s nothing wrong with having fun with it—could you at least make it somewhat enjoyable for the listener though, please? Oh, and the production sucks, too.

Contractions / Savak split 12″

Here’s a split one-sided 12” featuring a pair of similar-sounding indie bands from different continents, France’s CONTRACTIONS and SAVAK who appear to be from New York. Each band offers up two cuts of inoffensive (if forgettable), melodic radio rock. There are some aspects of this record that to me just scream “vanity project,” like putting around ten minutes of music on one side of a 12″ slab of wax, and adorning the remaining side with laser-etched art. It seems like a lot of thought and care went into the packaging, which I can’t characterize as a bad thing, but feels like window dressing. Not to assert that the music is an afterthought, it’s just not as impressive as the presentation. Both groups play mid-tempo, jangly guitar pop with vocalists that sing. CONTRACTIONS have a textured sound with a killer bass tone, are a bit heavier and more atmospheric. There’s a shade of the REPLACEMENTS coloring their two songs, which adds some welcome grit to the equation. SAVAK are jammy in a way that I personally find very off-putting but would probably appeal to a much wider audience than the racket I prefer.

Corker Corker CD

A tidy power-punch eight-track EP for this trio from Baton Rouge. The vocals are raw-throated, earnest shouts like Ryan Young from OFF WITH THEIR HEADS singing for HOT WATER MUSIC. The guitar and bass really shine in the instrumental first minute of the song “To the Good Times” before the vocals kick in. The whole thing has the rough and rushed honesty of an unmastered version of ALKALINE TRIO’s Goddamnit. Two notes: the cover has some cool Picasso-inspired cubist art, and this is not the post-punk band CORKER from Cincinnati.

Deprogrammer Cult Tactics for Manipulation LP

Hailing from the underground music scene of Boston, this fearless foursome of sonic terrorists craft a harrowing debut. Their music is a relentless barrage of guitars, pummeling drums, and angry vocals that seem to emanate from a place of discontent. DEPROGRAMMER CULT’s music is rooted in hardcore but on the noisier side of the spectrum, yet not noisy enough to be called noisecore—more like a less chaotic version of COALESCE or BOTCH. There is a lot of happening beneath the layers of noisy violence; there is always an undercurrent of unbridled energy throwing you curveballs. They seek to unsettle the listener, removing layers of the veneer of normalcy to reveal the harsh realities that lie beneath the surface.

Disturd / Ulcer Warfare split CD

This CD is a dream come true. Literally. It is typically the kind of release that I dearly wish for, like an innocent teen unaware that it is actually in the works. Had I been asked, on a casual occasion like when you’re waiting in line for the toilet at the pub, which current crust bands would I like to see teaming up, DISTURD and ULCER would have probably come up. I was right to buy that lucky crust amulet off that stinky fellow last year. As he promised before passing out, it always pays off, and Kobe’s Hardcore Kitchen got the job done with this Warfare split. This album delivers what it is supposed to do and more in great fashion. DISTURD has grown into this quietly cult and iconic Japanese crust band, survivors of what I would describe as the “Crust War spirit” of the ’90’s and ’00s. They have been going for ages and always epitomized the notion of crust referentiality, meaning that their music and aesthetics heavily and openly rely on and crave to emulate very specific bands. In DISTURD’s case, it’s an undying love for ANTISECT and SDS, whose style of crunchy, heavy, dark metallic punk they nail perfectly. However, Warfare also introduces a different side of the band, as the first two songs are significantly slower, closer to the apocalyptic, atmospheric groove of early AXEGRINDER or MISERY. The vibe is moodier too, and the bleak instrumental intro and outro convey a sense of storytelling and narrativity that fits this old school crust style perfectly. Looking forward to more from this lot. ULCER plays in a similar category, but the band never treads in the fast and furious department, rather focusing on writing mid-paced, filthy metallic crust with a doom metal influence in some of the guitar leads. I like how raw, aggressive, and primitive the band sounds (again, classic UK bands like AXEGRINDER or ANTISECT are relevant points of comparison), and I definitely get a big COITUS influence here, even if this approach is particular to Japanese crust like AXEWIELD (who had two future members of ULCER) or REVÖLT demonstrated in the past. One of the strongest crust records of 2023, and a personal favourite. Now where is that ALEMENT/SWORDWIELDER split I have been also wishing for in my dreams?

Drivel Drivel cassette

DRIVEL, hailing from Washington, DC, describes themselves as “noisy rock shit.” That’s certainly one way to describe it! It’s going for a blasting powerviolence thing, and they certainly do it well. I wouldn’t necessarily say that it’s anything to write home about, but it’s an enjoyable listen for anyone into the more blasty side of punk music.

Excess Blood Excess Blood cassette

EXCESS BLOOD is a deathrock band from the Pacific Northwest. Their self-titled cassette is a five-song romp through various influences of gothic, death-driven punk. The opening song “Here and There” is a mid-tempo pummeler with some excellent instrumental displays and reminds me most of CHRISTIAN DEATH. “Roses Bloom” picks up the pace which continues in the following two songs and has a T.S.O.L. sound that ranges from crooning to hardcore in a flash. The feedback-drenched closing track “To Love is to Grieve” has a sort of CRAMPS-meets-MINISTRY vibe that rocks real fucking hard. Perfect listening for this time of the year.

First in Line / Gasp / Statues / Sweet Teeth Honor Roll of Hits: A Lövely Four Way Split LP

No pun intended, but this truly is a lovely four-way split right here. A nice meld of several different styles, which leaves the entire album feeling fresh throughout. Things kick off with STATUES, who play a bittersweet, indie-rock-tinged style of punk similar to bands like GASLIGHT ANTHEM and latter-era HÜSKER DÜ. GASP is up next with some hardcore-infused rock’n’roll that brings to mind the more recent outings from bands like FUCKED UP. Really high-energy with musical peaks and valleys that keep things especially groovy. SWEET TEETH have a similar sound to STATUES, but are more akin to DINOSAUR JR. and FARSIDE, satiating the needs of anyone who misses the ’90s alternative sound. Closing things ups, ironically enough, is FIRST IN LINE, who play a style of skate punk that I feel like I haven’t heard in years. Anti-fascist and catchy as hell. What more could you want? Really great slab and well worth a listen.

Gen Gap Hanging Out With Gen Gap EP

This 7” from Philly’s GEN GAP has a sort of classic quality to it, where I’d believe you if you told me it came out at any point between 1994 and now. It’s hardcore punk with a fun sound that never gets too fancy, conjuring up sufficient power and convincing rage without ever reaching for the metal or getting especially gnarly. Consider it a hot new dish cooked up from an O.G. recipe.

Goblin Daycare Agitprop Hotline!!! cassette

Absolutely incredible solo egg-punk project from Istanbul, Turkey. Fast, quirky, driving, and catchy as hell. An entity known only as Mama Goblin is the mastermind behind this project, doing every single aspect of the process. Mama goes heavy on the catchy synth licks and it really works. This is simultaneously wildly catchy and a bit disturbing. Truly everything one could hope to get from an egg-punk solo project. Agitprop Hotline!! is the first full-length album by GOBLIN DAYCARE after an EP cassette (Q: EP? A: EP!!) and digital releases of singles and remixes, and it truly does not disappoint. Fingers crossed that it isn’t too much to hope for to get to see a live band on a US tour at some point.

Hever L​á​ska, Peniaze, Strach EP

A decent if not slightly patchy collection of songs from Czech quartet HEVER. On their Bandcamp, they cite ’80s NYHC and bands like CRO-MAGS and DINOSAUR JR. as influences, which all checks out; the riffs are big and the vocals are near-spoken-word most of the time. HEVER definitely has some chops—they play at breakneck speed, and on songs like “Succubus/Incubus” and the title track “Láska, Peniaze, Strach” (“Love, Money, Fear”), they’re at their thrash-y best. Elsewhere they lose me, like the corny backing vocals on “Popol” or the completely out-of-left-field final track “Do Čina,” an out-of-place post-punk deathrock cover that feels like an odd way to end the album. Honestly, if they trimmed this down by a few songs and stuck the landing, I’d be far more generous. Not a bad record, but not something I’ll be revisiting.

K.O. Queen #1 K.O. Queen cassette

Hardcore/screamo band that feels like they’re going to rip out your hair (in a great way). I was hooked when “Shrcc Attcc” started, and the raw, guttural sounds began. For me, it was a silly and hectic experience in the best way; the vocals were so goofy, crazy, all different pitches, that I swear only a dog could hear them. The track “Luv Bug” felt a bit out of place as it was acoustic with a banjo, unlike all the other tracks, but then the tape did return to its typical hardcore nature. Not entirely sure if I’m sold on that track or not, but all the others were a 10/10 for me.

Lejonen Lejonen 12″

Leonine supergroup LEJONEN with a debut 12” here. Made up of various bods from other notable bands such as OXLEY’S MIDNIGHT RUNNERS, VICIOUS RUMOURS, FATSKINS, et al, you do end up asking the question “why did they bother?” It’s too polished, it’s not memorable in the slightest, and with lyrics bemoaning “kids these days” and the Vietnam war, it basically feels like the reactionary middle-aged ramblings of a father at a divorce hearing set to GarageBand presets. Not to mention pretending to be a medieval warrior is just about tolerable when the TEMPLARS do it, but here it has the same cognitive dissonance of seeing someone from Wigan wearing a cowboy hat.

Mechanizm Demo 2024 cassette

Metallic forms of hardcore punk and a pinch of powerviolence are combined in this demo released in June. Vocals are draggy and desperate with traces of reverb and distortion probably by compression. Music is mid-paced in almost every track, with a repetitive yet sufficient formula regarding guitar and drums. Bass lines excel but are constantly missing in the mix. Good first effort, but still lacking determination and definition in some respects.

Moon People Lunar Secrets cassette

Legend has it that the entire composition of the song “Telstar” came to Joe Meek in a dream. Listening to Lunar Secrets begs one to inquire as to the type of nocturnal aquatic fever that may have birthed MOON PEOPLE. Behold the dawn of cosmic surf! May we all bask in the glorious spray of a cascading lunar tide. This six-song cassette will transport your undeserving flesh suit from the depths of a dank synthetic dungeon out into the cold, unrelenting stratosphere. If the VENTURES stole Dick Hyman’s Moog and replaced it with a Casio DG-1, these songs may have been programmed into its deepest memory bank. Or if DICK DALE was the king of surf keytar. Fully synthesized and ready to shred the barrel, MOON PEOPLE crush your typical twang and ‘verb into eight bits or less. The results are antiquated futuristic instrumental lunacy and it’s utterly brilliant.

Nontoxic Intoxicated LP

Unearthed from East Germany’s underground cassette releases of the ’80s, the Tapetopia project brings us a set of NONTOXIC tracks based on 1989’s Haus der Jurgen Talente show (often stylized HdjT, a youth center in East Berlin). Gleaned from drummer Henning Rabe’s write-up on the Tapetopia site (worth reading if this music resonates with you), lead singer Bernd Shulz, who at the time had a blues band with guitarist Danilo Steinert, heard the title track from the the CURE’s The Top album beaming in from a West Berlin radio station, after which they quickly traded in their twelve-bar aspirations for something darker and more spacious. While inspired by the CURE (and perhaps the English darkwave scene writ large; SISTERS OF MERCY also come to mind), NONTOXIC tried to carve out their own sound and image, away from British imitation, and away from the boots, army belts, and shaved heads of local bands. The fact that the dark, cold, and angry cries of this music found a home in the heavily oppressed GDR comes as little surprise, and while the genre wasn’t created in East Berlin, its social landscape of the ’80s makes for no better poster child. Fascinating history aside, I do genuinely enjoy all ten tracks on this Intoxication LP—maybe wait for a colorless day this fall and brood in the icy synth and guitar, in the deeply rich and sad vocals, in the clamorous shuffle of drum and sludgy bass. Very cool that this music has seen a new release since its inception, given the fact that during that time tape recorders were scarce and the music had little circulation. I’m excited to hear more from this nearly misplaced era.

Phane Maniac LP

PHANE is from Vancouver, BC, and they are bringing the G.B.H.-style hardcore punk to the turntable. They’ve got it down, too—the song structure and the great guitar riffs, shouted vocals and powerful drums. If you’re a fan of UK82-style hardcore punk with some modern updates, you should rush out and grab this now.

Psyop Dare to Live EP

PSYOP’s Dare to Live, recorded in West Liberty, Iowa in 2022 and released through Iowa City’s DIY label Pokeys Recordz, is a blistering, no-frills hardcore attack from the Midwest. This four-piece band puts speed above precision with these eight guitar-driven songs, each never crossing the two-minute mark. While most of these songs would fit right in on an ’80s hardcore comp, at times they also veer into noise rock territory, like in “State Violence,” which echoes the dissonant weirdness of Goo-era SONIC YOUTH. Singer Dolly Sperry (also of BOOTCAMP) sing-talks lyrics tackling topics like war apathy and police brutality, rejecting meat consumption and finding solidarity in an anti-authoritarian tribe. It’s raw, urgent, and unpolished in the best possible way. I hope they lean further into the weird without sacrificing the energy. Check out the track “Dare to Live.”

Punky Tunes Still Going Strong CD

If you’ve ever wondered what it would sound like if the DISTILLERS met KIDZ BOP, this EP is it. Still Going Strong by PUNKY TUNES delivers the sound-blasted confection key to pop punk sounds. The band caught on quickly to what makes a good bubbly tune, with electrically charged drums by Matthias on every song and great melodic guitar by Laurent on tracks like “Keep On” and “Still Going Strong.” Coming from Sélestat, France, this EP calls back to the country’s roots, making the past proud with the politically charged lyrics of “Eco-Anxiety” and “Attitude” calling for a revolution, hailed energetically by vocalist Marie. Though nothing standout or provocative, this is certainly the right EP if you’re in the mood for a fun hit of upbeat music.

Radar Radar 12″

Brooklyn garage-y/power pop foursome out with their debut LP. Syrupy female vocals full of hooks over heavy riffing, trading lead lines back and forth between the two guitars—this is driving and fun the whole way through. Featuring members of MELTAWAYS, ADULT MAGIC, GIANT PEACH, and BACK-UP PLAN, to name a few. Catchy, crunchy, full of heart. Awesome!

Raya Raya cassette

Ultra lo-fi, synth-accompanied garage punk from Madrid. Sounding like a mix of CONEHEADS and CHERRY CHEEKS, the six short tunes here buzz with ear-catching guitar and synth leads. The laidback, sung/spoken vocals maintain the vibe without overpowering it. Standout “Simpatia” has a mysterious hook and a theremin-sounding synth warble that buries deep and refuses to let go, but really, all the tracks flow so well that it’s better to just listen to the whole thing and repeat. Enveloped in near-surf levels of reverb and sounding like it was recorded on a boombox down the street from the band, this tape is truly a no-fi affair, but you can’t deny the musicianship and energy. If you are on the lookout for bouncy egg-punk, this is about as good as it gets.

Sissy Spacek Diaphanous LP

The barrage of noise in the intro serves as a premonition of the intensity to come—emphasis on “intensity.” SISSY SPACEK delivers a high-velocity attack of grindcore, solely using bass, drums, and vocals. You don’t feel the need to listen to some distorted guitars on top of this, as the drums and bass do a proper job of keeping the songs interesting. A blastbeat-driven fury of classic grindcore acts with the technical precision and sonic density of more modern exponents of the genre. The band has demonstrated a knack for crafting epic grindcore albums (28 songs in 12 minutes) that pack a tremendous punch despite their brevity—the songs rarely extend past the 30-second mark, but manage to feel epic in scope. For fans of extreme, boundary-pushing grindcore acts.

Smooth Brain Demoted EP

Back in the early 2010s, the same troupe of Cleveland scamps behind acts like PERVERTS AGAIN, CRUELSTER, KNOWSO, and the CARP put out a couple of 7”s under the moniker SMOOTH BRAIN. They recorded a third 7” in 2014 that got shelved for whatever reason until it got rescued by Just Because, who are issuing it here for the first time. Compared to the releases from their other projects, this record feels downright conventional. It’s five quick tracks of downstroke punk that mixes mutant pop and dum-dum slop, occupying some territory halfway between the HEX DISPENSERS and the SPITS. Honestly, it sounds like something that might come out on Dirtnap. Of course, these dudes can’t avoid getting their weird-ass Cuyahoga stink all over things, so even if you couldn’t guess the specific players here, it’s not like you’d mistake them for anybody normal. It’s maybe not the most memorable thing these guys have put out, but nevertheless, it’s a cool piece of history for one of the era’s most interesting (and best) collectives. Plus, it rips!

Standard Issue Living in Leicester / Religion 7″

Under-documented UK femme-punk, rescued from the dustbin of history—the two tracks on this limited (50 copies!) lathe-cut single were recorded at a 1980 show in STANDARD ISSUE’s hometown of Leicester, and it’s the first time (as far as I can tell) that their music has actually been made available for public consumption outside of the fixed-time, had-to-be-there ephemerality of live gigs in the late ’70s and early ’80s. True to context, what’s on offer here is rickety DIY post-punk by way of some vaguely CRASS-style anarcho sensibilities, with clinging-to-tune guitar, stumbling drum beats, doubled-up vocals from two female singers, and lyrics that simultaneously balance being pointed, political, and poetic (“Who is right? / Fighting to see who’s seen the light,” as posed in “Religion”); I’m definitely reminded of early HONEY BANE, RUBELLA BALLET, or HAGAR THE WOMB, if less exuberantly danceable and much, much scrappier. Wish we could have gotten some studio recordings out of them, but I’m still glad that STANDARD ISSUE is getting their due now.

Total Hell Killed By Evil LP

The debut LP from this kind of supergroup featuring members of SICK THOUGHTS, STATIC STATIC, and others is a jewel that seems like an ’80s relic of demonic metal raw punk. Brutal, anthemic, and filled with a crusty aggression only to be found in ’80s heavy metal and raw crust punk from the same era (read: D-beat) here. Cursed vibe, cursed drag, plus an excellent string section and riff selection. Favorite tracks: “Demonized,” “Nuclear Satanic Warfare,” and “Banished to the Tombs” for a specially twisted experience. Putrid minds beware, this is gonna like you.

The Ward The New Dykes / Mike, Mikey, Michael 7″

Two old tracks from a short-lived Toronto group circa 2011 released as a 7”. While the songs are over ten years old, they manage to concurrently feel fresh and timeless. These songs would be right at home on a Lookout! Records release from the ’90s, or a No Idea release twenty years after that. While having pretty different runtimes (one at less than two minutes and the other at over four minutes, respectively), both tracks are massive sing-alongs filled to the brim with hooks and energy. I’m glad Ugly Pop gave these anthems some new life by rereleasing them, and hope they find a whole bunch of new ears to appreciate.

Abyecta EPs Collection LP

Fuck yes! ABYECTA from Chile rocks super hard. Part Japanese hardcore, part UK82, part thrash metal, all killer! Blazing, melodic, metallic. And all recorded and written by one woman—an immense display of talent and creativity. This 12” combines two previously released 7” EPs on one slab, both brooding with equal parts intensity and tunefulness. I love this one! Fans of the SEXUAL, the EXECUTE, and the SKEPTIX should get a lot out of this one.

Aihotz Niebla Total 12″

Instrumentally, this release by AIHOTZ sounds a lot like the ADOLESCENTS or AGENT ORANGE. However, vocalist Bea brings a range that is hard to beat and ends up landing somewhere near Eve Libertine and Poly Styrene, but with something almost operatic. The blend between band and vocalist makes this 12″ an enthralling experience. The summation of the parts is something that sounds like anarcho-punk but with a heavy rhythm section ready-made for dancefloor antics or skateboarding background tracks. Definitely check this out if you like punk rock. Absolutely check this out if you’re into intriguing vocals.

Bed Maker Bed Maker LP

Without any prior knowledge of the band, my original reaction was “wow, this sounds a lot like the way Ian MacKaye sings,” just for me to find out that his sister Amanda MacKaye is the lead. Her vocals though have a touch of the droning of Siouxsie Sioux, mixed with the spoken yowling of Ian MacKaye. The majority of the songs are slow-to-mid-tempo with a kind of post-punk and artsy punk vibe. A couple of the songs sort of blended together to me, as they were sonically pretty similar and didn’t have a ton of variation. However, “Pan-Pan” had a nice tempo change and I think it’s a great song to end the album with.

Cinnamon Demo ‘24 cassette

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

Cry Baby Killer Double Black 13 LP

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

Dead Ends Complaints LP

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

The Drolls / Gentlemen Rogues split EP

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

Fulmine Randagio EP

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

Gee Tee Prehistoric Chrome LP

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

Häxorna Häxorna demo cassette

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

Hellscape Cujo EP

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

Juventud Podrida Control/Encierro EP

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

Killer Kin Point Blank / Mr. Dynamite 7″

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

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

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

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

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