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Chaotic Berlin punk outfit that reminds one of ’80s street punkers from the same latitudes, adding some layers to their sound with economical synth effects and noise in the mix. Full of a defiant attitude and aggressive tweaks that end up with the feeling of a brawling pogo in a basement. Eleven energetic and furious tracks, urgent and histrionic, keeping the vibes of Deutschpunk at its finest. Recommended for connoisseurs who dig classic Euro street punk.
With only two tracks on one side of an EP, NUNOFYRBEESWAX makes sure to leave their mark. They’re garage punk with a more unique edge. “Deep Thoughts” sounds more stripped-down in terms of sound, but in a great, punky way. I loved the tempo change in the middle of “André el Gigante,” which was much slower and led to a smooth transition into the fading out of guitar at the end of the song (not to mention, some sharp-witted lyrics). These guys are definitely worth checking out.
Inspired by his hometown Chattanooga’s folklore and the Corpsewood Manor murders, musician Ashley Krey has made an impressive solo tape including a delectable mix of goth, punk, and electronic wiles. There are some great spooky sound effects, guitar riffs, and samples, which stylistically remind me of GHOST a bit, given the whole dark occult schtick. I enjoyed the messy, raw-around-the-edges feel of the album, particularly in “Chattooga Black Mass” and “Through The Miasma.” To me, compositional similarities can be drawn to the MISFITS, and I do find “Gargoyles on the Chickenhouse,” funnily enough, to sound like someone asked Julian Casablancas to record a Halloween track with the STROKES. You can tell there’s a vision, a meaning behind the album that adds depth to its already subterranean aesthetic. There could be some improvements to recording quality, yet all in all, this is a great listen for those fond of haunted punk ballads.
Richmond’s metallic hardcore outfit PRIVATE HELL unleashes their latest 7”, which they self-released as a follow-up to their 2023 EP Days of Wrath. PRIVATE HELL dug deep into their metallic roots, shifting their sound to a more buzzsaw-oriented muscular approach with influences like OBITUARY, HELLHAMMER, and ENTOMBED added to their dynamic mood-shifting, powerviolence-like approach. Groove-oriented savagery throughout. The digital version of the EP adds an unexpected but well-chosen cover of JOY DIVISION’s “Warsaw” that sounds like it could be on any NAILS record. A solid return to action.
It can feel trite to describe something as “fun,” but as soon as this record kicked off, I was having a good time. The REBEL SET plays surf rock filled with awesome organ sounds, tons of handclaps, and reverb-soaked guitar solos. The energy stays high throughout the eleven tracks that comprise Bummer City, and each individual track tends to fly by. I think the vocals could be a bit more dynamic, but that’s just a personal preference; heck, so much great surf rock doesn’t even have vocals, so it’s cool that that’s not the case here. Fans of garage rock in the vein of the MYSTERY LIGHTS and other Wick Records sounds will feel right at home here as well.
Long-running NYHC stalwarts toss a bit of a curveball with a tip of the (I assume Yankees) cap to their punk roots. As you may have surmised, this EP consists of three ’80s UK punk covers. It’s an interesting selection with songs originally by the PARTISANS, UK SUBS, and DISCHARGE. Tough to fuck up such great source material too badly, and with SHEER TERROR being a well-oiled hardcore machine, they pull it off adroitly. There’s not much deviation from the source material, but it is kinda cool to hear Paul Bearer croning a bit on “Blind Ambition.”
SKOTOS brings us a speedy little crust massacre out of New York City. Fast, raw, and drenched in distortion, this four-song tape is rough stuff in the vein of DISPOSE and HELLISH VIEW that will leave the ears ringing. Those who have acquired this particular taste will find it quite appetizing.
Hardcore with a twangy guitar. This is tough-guy egg-punk right here. SUCCESS has successfully (no pun intended) extended the olive branch across the aisle to our chain punk adversaries. And people say bipartisanship is dead! Very quality stuff here. Fast as hell, super-short songs, and a vocalist with the energy of a rabid bulldog. Checks all my boxes, that’s for certain! Brings to mind a combination of ALIEN NOSEJOB, CHRIMPSHRINE, and early FUCKED UP. Lovely work here, and well worth a play.
Another month, another TEMPLARS reissue, and a litany of close-cropped completists will rejoice as their scorching debut record appears on vinyl for the first time outside of a few limited pressings here and there. What more is there to say about this record? A bona fide US Oi! classic, with one boot in the Oi! camp, and another dipping a steel toecap into other less meat-and-two-veg genres; it was and continues to be a lot of fun. Fuzzed-out guitars, furiously barked vocals meeting nicely surprisingly bass melodies. The blueprint for a generation. If you know, you’ve got it, but if you haven’t, you need to give this a go.
It’s been a relatively long wait since Tape 1 from California’s WITCH PISS, especially considering their penchant for blazing hot and concise punk. I suspect it takes a little more than meets the ear to write tunes this dense and ferocious, though. Borrowing from the tight-but-chaotic bouncing corners of garage punk with throaty vocals laden over like gravel, it’s a winning sound that takes hold of your attention and doesn’t let go. It’s not quite hardcore, but I imagine it commands a room the way hardcore does at its most literate. Plus it’s just a hell of a lot of damn fun, with trebly rumbles of bass, just a kiss of synth, and riffs that will make you pogo like a fool. Just my kind of stuff, like bubblegum in a studded jacket.
Easily one of the most intense blasts of hardcore that I’ve heard put on record this year. The vocals are just as intense as the music and sound like they’re filled with passion, as does the music. It’s quite difficult for me to compare this band to anyone. Maybe they sound like a cross between DROPDEAD and ANTISCHISM, that’s intense! This record is making me seriously consider changing my already-written top ten list for the year. A fantastic record.
Deluxe vinyl issue with screenprinted cover of a DIY boombox recording from 1992. Why this dogshit recording is being lovingly reissued is beyond me, but someone is about to end up with a full box in their garage. There are ten tracks here, recorded by two Macedonian friends, that draw from and/or parody early grindcore, glam metal, hard rock, and worst of all, funk. The vocals move from hair metal wailing to raw and reverbed growling, while the guitar and drums never move beyond beginner level. Nearly every song starts with an overlong found TV recording, which gets old in the middle of the first one. The members may have fond memories and do sound like they are having fun, but fellas, this shit sucks.
The second volume in an ongoing series of compilations to help raise funds in solidarity with Palestine. You get 27 tracks from 27 different artists contributing unreleased demos, covers, and live versions of songs, so you already know there is great diversity of sounds to be had, and new gems to uncover from bands like SPREAD JOY, CITRIC DUMMIES, SICK THOUGHTS, URANIUM CLUB, and more. The content that makes up this compilation doesn’t matter that much, even though it is a great collection to be sure. But the content as a vehicle to try and help others is and should be the focus here.
Newly-formed band from the murky, damp and dark corners of PDX. ATOMIC PREY heaps out spacy, primal D-beat that orbits around the topics of modern ills and malcontents. The sound is cutting and agitated, I can hear the likeness of SIAL, MALDITA, and other hometown greats LEBENDEN TOTEN. Now just imagine all of that with a hell of a lot more reverb. There is some live Black Water footage to familiarize yourself with, which I have now watched far more than I would care to admit…a morsel until they get out on the road. Best cover art of ’24??
I have to listen to a fair amount of demos as you may well imagine, and I sort of get a sense of what I’m in for within the first 30 or so seconds. Within the first 20 of this demo, I’d already started pulling a grimace of recognition, and considering whether the landlord would cover a spinkick-related hole in the wall as “reasonable wear and tear” come security deposit season. This demo from Lille-based BAVURE is a lot of fun, Oi!-influenced hardcore played at blistering speed, replete with perfectly moronic breakdowns. Real trogoldyte shit, Good fun.
Here is a band that knows how to break the molds of its genre. Their previous release Rejoice really nailed the strange hardcore sound of bands like NO TREND and mixed it up with “drunken late-night loneliness” noise rock á la JESUS LIZARD or BRAINBOMBS. The new EP Internal Life seems more urgent and anxious, whereas the previous one was more contained and focused on creating an aural picture of malaise. Opener “Feed” slowly builds up into a frenzy of skank beats and angry verses, moving away from the tension-building modus operandi and moving closer to their first album I Want to Be in Control. Standout track “Better To Wait” could easily be in the same universe as RASPBERRY BULBS due to its darker, off-putting riffage. A more diverse release in terms of malleability within the hardcore genre and a step towards its roots.
In looking through the notes, it seems BROWER is part solo project (of Nat Brower) and part collaborative effort. I’m not sure anyone would really call this punk—I’m not suggesting that Nat or anyone else suggested they were, just stating that for fact. I’d say part power pop, part glam, part rock, part pop, and part bubblegum. Which of those is most prominent depends on the song. Very jangly and catchy, this is easy to like. Vocals remind me of GOOD LOOKING SON at times.
Super-fast, super-punk band from Canada. Most of their songs clocked in around the one-minute mark, very classically punk. I really enjoyed the overarching themes of the album that were incorporated throughout each song, I found that it really tied it all together, and I thought it was great. I also enjoyed the switching of tempos in a couple of tracks from the super-fast to the (slightly) slower, more classically HC beats. That being said, sometimes the tracks felt quite similar to one another, but I was still jamming out.
One-person-band from Utah specializing in shambolic indie garage punk. Earnestness and charm go a long way on this twelve-track tape of tinny guitar and drum machine beats. The vocals register somewhere between a manic JONATHAN RICHMAN and Hutch from the THERMALS, and the songs touch on all sorts of relatable modern ills, like working for Amazon on the standout “Bezos Bop,” inequality on “Lunch Debt,” and pollution on “Yellow Air Day.” There is nothing particularly sophisticated here, but sometimes it’s refreshing to just hear someone pick up their guitar and go for it.
Electrofuzzification, the latest 45rpm 12″ from FORD’S FUZZ INFERNO, features four new tracks along with six selections from their earlier 2024 release Fuzz Up Your Electric Chair, Baby! Comprised of ex-members of Dutch ’80s punk bands SCOUNDRELS and WASTE, this prolific duo-turned-trio (two guitarists and a drummer, no bass) leans hard into their fuzz-drenched garage rock aesthetic. The new songs? Straight-up rock’n’roll that wouldn’t feel out of place in a sticky-floored New Jersey dive bar, while the earlier songs, recorded live-in-studio, feel harder-edged, probably because of how they were recorded. Props to these aging punks for keeping the fire alive. Check out “Body Functions.”
New industrial-drenched synth punk offering from FREAK GENES out of the UK; their sixth record thus far. I love that this was released by the imitable Feel It records in Cincinnati, because while on the surface it sounds quite different than SWEEPING PROMISES, MAN-EATERS, or CITRIC DUMMIES, there is a distinct energy and attitude that makes the record feel right at home next to the rest of the roster. There is a fantastic pacing and variety to be found in these twelve tracks, and even if “industrial synth punk” isn’t your comfort zone, allow yourself to step outside that zone and digest these sounds. By the second track alone, you encounter a pulsating standout track in “Clear in the Night,” with other highlights (“Neoware,” “Forgotten Gods”) paced out nicely throughout the remainder of the exciting run-time.
The fourth release for Manchester, UK’s GOLD CUP in just over a year. Five songs of driving, mid-tempo rock’n’roll-infused punk. GOLD CUP does a really interesting job of peppering in a number of different sub-genres, keeping your attention without ever really leaving the mid-tempo range. There’s elements of post-punk, artsy punk, a dash of egg-punk, a snifter of garage punk for good measure. It’s a veritable potpourri is what it is. They even culminate with an absolute strutter of a song, with sleazy guitar riffs that could rival the catchiness of JUDAS PRIEST. Here’s hoping GOLD CUP keeps up the productivity and keeps the releases cranking out.
Chronologically and sonically, HOLOCAUST slides into the Japanese hardcore scene between LIP CREAM and ZYANOSE. Up until now, it has been difficult to find recordings by this short-lived project, but no more, thanks to Black Konflik Records who have the direct connection to the best archive of Japanese punk to ever exist. She Attacked 90’s Decades is a collection of various recordings from the middle section of the 1990s when HOLOCAUST was active. Beginning with some very raw tracks in which the drums are barely audible and finishing with some less raw but still noisy-as-fuck tracks, this CD is a great way to get in touch with a band from the Osaka scene that lacked documentation. If you dig noisy Japanese hardcore punk, then you’ll definitely want to have this in your collection.
Quirky, angular post-punk from this group that appears to be based in Zagreb, Croatia. HOW YES NO keeps things succinct and minimalist in a way that I appreciate. Of the nine songs featured on this tape, only one cracks the two-minute mark. Both of the vocalists employ a deadpan, half-spoken cadence that works well with the discordant guitar work. There is a motorik aspect to many of their songs that reminds me of FAUST. The drummer makes use of some cowbells or blocks that emerge as the only real flourishes on most tracks. Don’t try to talk to these folks about the weather. From a band that gets straight to the point in a direct and artful way, it’s no surprise that they loathe small talk.
Holy shit, this is a massive album. It’s not often you come across a self-financed double LP, but IDAHO GREEN certainly wanted to make sure you knew absolutely everything about them. This slab spans twelve years and several different recording sessions, and it definitely shows—not necessarily in a bad way. It just showcases the band’s evolution and growth over the years, and it results in a record that is absolutely all over the place. It bounces between melodic garage rock with soaring guitars—akin to EXPLODING HEARTS, MARKED MEN, and RICHARD HELL—to snarling, groovy, fuzzed-out pop-rock like DINOSAUR JR. meets FIDLAR. I am especially impressed with the singer’s range, swapping between that of a melancholy Joey Ramone, and a primal, bloody scream more often associated with hardcore than flowery Brooklyn indie rock. Interlaced between every third track or so are these pretty acoustic guitar riffs that separate the chaos from itself. This really isn’t a record, it’s an audio journey. I’m pretty smitten with it. Give this bad boy a spin if you’ve got the time.
Trying to sound like the STOOGES can be a great thing, and naming your band (presumably) after a classic CUSTOMS single can be a great thing. The LONG GONES seem to have done both, but unfortunately nailed neither. The A-side is a mid tempo affair that plods along and greatly overstays its welcome, while the B-side takes two more swings at garage rock which also miss the mark. There seems to be a desire to give the impression of “drugs, sex, and rock’n’roll,” but there’s no real danger here, no spontaneity. I wanted Raw Power, but was instead served burnt infirmity.
Absolute legends from Sweden that have been perfecting the art of käng punk on-and-off since 1982. Kärnvapen Attack is one of the best recordings to come out of the Scandinavian punk scene, influencing countless bands like RATOS DE PORÃO mainly because of their faster style of käng, and making a huge impact on the worldwide scene. The track “Kärnvapen Attack” appeared on the now-mythic P.E.A.C.E. compilation alongside bands that definitely shaped hardcore forever. The mängel meisters continue to claim the title of most brutal hardcore band from Sweden with Tills Du Dör. Just as expected, sixteen songs in twenty minutes, fast-paced and brutal punk that only has one goal: to charge forward and run over everything that stands in the way. The production only adds to the ferocity of the songs; I’m sure some purists will whine about it, but who really cares about their opinion? Also, a terrific comeback from one of the best labels in the D-beat business, D-takt & Råpunk. 100% mängel.
Perth trio MOYAMOYA gets their tunes on tape. Experimental and noisy, they pack a big sound for just drums, bass, and guitar. While this does diverge from the straight-ahead egginess of other Aussie bands, there’s still an undeniable irreverence in songs like “Fuck Life, Pa! Ma!” that ultimately dives deeper and darker than its title may suggest. Really great pedal work/effects happening on both bass and guitar, adding to that big sound, creating lots of contrast when the guitar steps aside for verses, letting bass and drums leg along, only to come blasting in for bridges and choruses, the whole lot working in lockstep, tight as can be. This Permanent Residence cassette compiles all six digital-only songs that were released over three singles, the cover art here picturing all three. This music is frantic, fun, and a little morose. Sign me up!
Marcel Stol’s NEUROOT has lasted decades, and this latest full-length continues to fuel the classic EU HC flame they rekindled in 2012. There are some new tricks here, of course, veering into a more industrial rock sound on tracks like “They Lie We DIY,” which sounds something akin to the heyday of MINISTRY with throatier punk vocals. Likewise, there’s the moodier, goth-tinged “Determinate Yourself.” Overall, it would be hard to criticize a band for doing their thing since 1980 (with some time off). There’s definitely no new ground being broken here, but it’s a solid entry in a continuing legacy. If I have a gripe, the production does lean fully into an industrial chilliness when I think some warmer tones might really help boost these songs. But it’s hard not to simply applaud the doggedness of continuing.
Seattle’s PICKET LINE plays meat-and-potatoes punk from with a sprinkle of Oi! and a focus on class consciousness. While they sound good here, with proficient playing and well-structured songs, overall it sounds a little generic. I appreciate the message and the delivery, but something is missing.
Four snappy cuts of uptempo punk on this Chilean outfit’s debut EP. RUINES are hitting the ground running with this limited cassette. Catchy and well-produced, it’s an impressive introduction. The first couple songs have a garage punk bent that reminds me of SMART COPS. The second two songs inject subtle post-punk elements that complement their general sonic profile nicely. The closer “Cara O Sello” ramps up the guitar modulation and rounds out the tape with an oddly memorable chorus. I look forward to seeing what more RUINES have up their sleeve!
Nowt but guitar, drums, and vocals on here, one reads, but you might not think it—there’s plenty of bottom-end heft to Nottingham two-piece SHRYKULL’s sound, which splits the difference between death metal and crust with intermittent grind-y and/or blackened deviations. The song titles on Beyond Subconscious Realms might have you expecting some BLOOD INCANATION-type goings-on (“Chaotic Disforms of Cosmic Misalignment”), but the music is way punkier and more direct than that. “Gateway of Nightmares” and “A Glint in the Basilisk’s Eye” bend matters towards DARKTHRONE spiked-wristband chug as these nine songs variously gallop and crawl to a full-blooded conclusion.
Intense hardcore, noisy at times, a little tighter and sharp at other times. Sometimes I swear that I am hearing things being broken and other times things being built, and then the music gets even more intense with one of the best song starting riffs I’ve heard in a little while. All energy and intensity. Everyone should check this out if you like hardcore.
STRAIGHT ARROWS have been at it for a long-ass time. This LP, their fourth, now means the Sydney act has released a record in three different decades, something that’s pretty hard to fathom thinking back to their 2007 debut 7”. That was a record of unsustainably wild garage punk—two songs that elicited the same sense of danger you’d get from the best tracks off a Back From the Grave or Teenage Shutdown comp, the sound of a band burning too hot to last more than a couple of 45s. They’ve kept at it though, polishing their sound and sharpening their songwriting chops over the years, and they’ve put out a handful of excellent tracks in that time, but they’ve also noticeably cooled off a little with each release. Unfortunately, Surface World doesn’t see them bucking that trend. You can’t argue that the eleven songs that make up the record aren’t expertly crafted. They’re in some sense good, but they also never really feel like anything. A slick-as-shit production doesn’t help either—everything sounds super thin and distant, making for moments that can at best theoretically rock. It’s a collection of songs that sound tailor-made to be featured over the speakers at J Crew. Music to shop for sweaters by!
For 25 years, this Japanese act has been cranking out power pop with a punk crunch, and while not a hair is out of place on their seventh album, I wish it weren’t such a tidy affair. The facile guitar leads that dot these tracks don’t do much to boost them and the hooks just don’t grab me like others working in the genre. That isn’t to say there’s anything wrong with this music, but that’s sort of the point. It’s polished to a point of diminishing returns. Pop songs can sound too calculated, and that’s exactly what happened here. They even straight up steal the lead from BLONDIE’s “Dreaming” in the track “Talking to My Heart,” and that’s about the most brazen move they make. That’s not to say there isn’t heart and craft on display, it just ultimately doesn’t grab me.
UNJUSTIFIED VIOLENCE has their boots laced up tight and is ready to rock. Musical kin to bands like NO TIME, NEGATIVE APPROACH, and the earliest 7″ records put out by FUCKED UP. Tough-sounding hardcore filled with melodic hooks. If that sounds like it’s up your alley, these guys might just be waiting in the shadows for you. Good hardcore punk all around.
Dirty, sludgy, sexy—Brooklyn/Queens-based WEEGEE plays vampire rock that’ll have you sharpening your incisors. Sink your teeth into this debut LP made up of six longer-format songs, leaving plenty of room for dirgeful rhythms, squawking saxophone solos, muddy pummeling, and breathy snarls. Julie Congo plays guitar and contributes most of the vocals, saving room for drummer Michael Rekevics and guitarist/synth Adam Kastin to add some low-end verses before giving way to John Rekevics’s saxophone and clarinet madness. I hear deathrock inspired by the CRAMPS and SONIC YOUTH mixed together to form something that is as ghoulish and cunning as it is heavy and driving. Each song is tragic, hungry, and compelling, to put it plainly. No skip tracks here. I find great catharsis in this Primitive Thrill.
Violent and fiery two-track tape from this Houston, TX mayhem power trio, providing a dosage of blackened crust and metallic punk. Demonic forms are exalted and the lyricism is great in both songs regarding the doom we are all in (and that which is to come). Great dragging sludge cadences with gracefully executed string sections. Recommended.
In the mid-’80s, a five-piece band from Argentina scraped together their meager resources and recorded a two-song cassette. The cassette was a success and helped ANTIHÉROES gather some momentum, but the recording became quickly lost in time. Fortunately, Munster records and Twistin’ Bones have gotten together to issue a 7″ containing the two original songs recorded by ANTIHÉROES. Danceable post-punk with a raw edge; bass-and-drums-driven macabre. Occasionally, synthesizers and guitars take angular jabs back and forth. It’s bittersweet knowing these two songs were the only ones recorded by ANTIHÉROES, but at least they have that bop and can now be a unique artifact from a sparsely documented scene.
Four-way split effort delivered to us by Hey Fuck You! Records, featuring two tracks per band coming from Chicago, Minneapolis, Richmond, and Montreal. Crust punks BRAIN BLEED really stood out here with their forceful, female-led vocals in the track “Empty,” while INFURITATE grasps at much more precise, metallic-driven crust punk that features a minimum of powerviolence stances. RIOT DIVISION lacks precision and the mixing efforts are missed, as it sounds like rotten bananas, perhaps better live. SHIT TAX is near noisecore in its purest form, recommended for lovers of such, as it still lacks mixing effort, or rehearsal, hard to tell.
While hardcore continues to grow in all sprawling directions, it’s refreshing to hear someone doing it as concisely and ’80s-indebted as this. Think more NEGATIVE APPROACH and MINOR THREAT than some of the more metal-leaning HC swinging hard today. It’s funny to think that resembling anything like those two giants of the genre would feel novel in 2024, but here we are. There is an undeniable punk energy here, along with juicy riffs and a lyrical ethos that peers into singer Aaron Rhodes’ interior landscape of modern day stresses through the lens of Jewish tradition and folklore. It’s an interesting angle, adding another layer to an already noteworthy hardcore act.
Third LP from Newcastle, Australia’s BUSTED HEAD RACKET! While Riley Gardiner takes care of most of the drumming on the album, this project is otherwise the solo effort of Arden Guff, blasting us gracious listeners with a the lo-fi bedroom sounds of farty bass, piercing synth, and cuddlecore vocals that, while playful, still ask for our attention with tracks like “Poor No More” and “Girl Anymore (I Don’t Wanna).” The songs are catchy, fun, carefree, and short, necessitating many replays. You may ask, do we need more of this thing? This heartfelt yet fun synth-driven journal entry music? The answer is yes. With a back catalog of two other LPs and a few singles/EPs, there is plenty to enjoy here, even a collaboration with BILLIAM on Genetic Southern Hemisphere Christmas from November of 2023. Go! Go! Go! will serve a variety of purposes, from not getting out of bed all day (“Anxiety”), to enjoying the freedom of the road (“Need for Speed”), to loosening up a crowd on the dance floor (“Doo Wop”)—whatever it’s use, get your head busted by this racket now!
Hyperactive, absurdist goofball punk that has me imagining the SPITS on speed in a street brawl with HENRY FIAT’S OPEN SORE. I saw DEAN DIRG once and their singer was wearing sweatpants. CITRIC DUMMIES wear matching satin jackets! They may be dummies but they ain’t no idiots. Trapped in a Parking Garage takes all the vim and vigor of the 2023 full-length Zen and the Arcade of Beating Your Ass and cooks it down to six minutes of sheer lunacy. Fast and fun garage punk where the punk part should actually come first. Look out world…they’re eating Arby’s!
Croatian egg-punk via the Fort Myers, Florida-based Xtro label. This is six tracks of high-energy, all-gas-no-brakes, synth-laden freakouts, a twelve-minute sugar rush after-hours. The short runtime plays to the band’s favor here; much longer and a cavity might set in from just too much of everything. It’s fitting that the last track translates to “Electric Orgasm,” because that really seems to illustrate what is happening here. The build-up is fast, the pace is almost unsustainable, and the result is an explosion of synth, guitars, and wails all over the place.
I’m a total sucker for male/female vocals, always have been. While this is pop/power pop/folk music, it’s got a darkness to it. There’s a kind of jitteriness to the guitar which reminds me of SONIC YOUTH, and the harmonies have a somberness to them. At first I was unsure whether I liked it or not, but by the time we were midway through the third cut, I was hooked. Plus, the band name and the album name are pretty sweet.
FRVITS’ The Great Internet EP is a garage rock whirlwind from this Montreal-based four-piece, cranking out five multilingual tracks with samples and spastic synthesizer noises like it’s a party you’re barely keeping up with. The energy is relentless and unapologetically wild, driving the whole thing forward at breakneck speed. Their thrashy cover of “Wipe Out” by the STUPIDS doesn’t mess with the original’s raw energy—it just adds to the frenzy. This whole damn EP is an absolute riot.
Another nicely-produced live LP from DCxPC, this time a split between two bands who have a similar style of beer-drenched political punk. On the A-side, KILLED BY FLORIDA plays street punk with some blastbeats and occasional Jello Biafra-style banter. I particularly enjoyed the parts where they drag Tucker Carlson and Ron DeSantis. On the flipside is GOAT ROPE, who lean a little more into a ’90s skate punk vibe with a fairly odd mix of vocal styles ranging from deep growls to melodic singing. They also end with a cover of BEASTIE BOYS’ “Sabotage.” Overall, I can’t knock it too much. While none of this is really my style, it definitely sounds like everyone involved had a fun time at these shows, and at the end of the day, that’s all that really matters.
Ausradiert is a wonderfully vintage-sounding 1983 re-release from the label Tapete, a vampiric LP reawakened from its sleeping undead coffin. While keeping with HANS-A-PLAST’s upbringing as a punk band, this album has distinctly goth and new wave influences, heard in tracks like “Monstertanz” and “Schwarz und Weiß.” Vocalist Annette Benjamin’s severe voice, aided by the German language’s declarative sounds, adds a hypnotic, almost Siouxsie Sioux delivery to sarcastic lyrics such as in “Gut im Bett,” with an additional X-RAY SPEX ode. Jangly, echoing guitar, occasional synth, and sporadic reverberating drums serve to create an exciting veiled atmosphere. The song “Sacco Di Roma” cements the dark, gothic themes of the LP by utilizing church organs and undertones of catholic irony. As the sun comes up and all night-walkers must head indoors, “Barfuß in Scherben” ends the sabbath with an upbeat, poppy melody and lends this album a deserved iconic status in the post-punk genre.
INFERNO PERSONALE contains members of such bands as MURO, UZI, and EX-DOM, and is based out of Bremen, Germany. They seem to have solid roots in Japanese hardcore while bashing out some great-sounding crust—I notice some similarities to the OFFENDERS, as well as influence from European hardcore classics. Excellent record!
Stripped-down, SPITS-as-a-genre punk here from RYAN KIDD. This juicy long-player is the band’s second release following their 2023 EP, delivering sixteen tracks with a familiar sci-fi RAMONES feel emboldened by searing guitars. These rocking tunes conjure up classic and iconic vibes, and the nihilistic title cut name-checks ALEX CHILTON, JEFF BUCKLEY, ISAAC HAYES, and JAY REATARD, in that order. Clearly, the guy has taste, as further evidenced by his choice of the ALAN MILMAN SECT’s “I Wanna Kill Somebody” as a cover song.
