Reviews

D. Gregory

Game Show Models Sunk cassette

A quick collection of delightfully lo-fi and charmingly blown-out RAMONES-inspired buzzsaws. You can hear a lot of other sounds in these four tracks, from JAY REATARD to GEE TEE to SICK THOUGHTS, but the overall package of sounds helps this gem stand out. With three of the four tracks clocking in at less than two minutes, GAME SHOW MODELS aren’t here to ponder and pontificate. The guitars sound fantastic and make an amazing racket, while the vocals dare you to pick them out of the mess, like trying to stab an ice cube with a plastic fork, which simply adds to the replay value here.

Teenage Hearts Quality Time EP

Sounding like if TUXEDO CATS hailed from France instead of Brooklyn, this EP is four tracks of snotty tunes of the highest order. Starting off with the power punk standout “Quality Time,” the listeners are then reminded that this is indeed Nantes and not New York, as the next couple tracks up the French Oi! energy with the absolutely rattling bass line of “Always Broke,” the gruffer “Gotta Get Rid of You,” and “T’es Sans Espoir” in their native tongue. These tracks are quick and without frills, and they leave you wanting to start from the top as soon as the last guitar rings out.

The Prize In the Red LP

After a small string of killer singles and EPs, Melbourne’s the PRIZE reward (sorry…) the masses with their debut full-length and, as expected, it rules. The PRIZE’s sound is both distinct and timeless, immediately calling to mind the power punk sounds of the late ’70s while also carving out their own lane half a century after the roots of their sound flourished in the underground. What’s interesting here is that the band is able to take a sort of formulaic approach to their songs that, on paper, might sound like it could get repetitive, but this crew knows their way around a guitar lick and a chorus so well that every track feels fresh. The verses tend to be filled with staccato-delivered, almost sung-spoken lyrics, but that allows the more sing-songy choruses to land that much harder, and the guitar melodies travel up and down the fretboard providing so much dynamism that an amazing balance is actually created in partnership with the vocal delivery. To boot, they trade off lead vocal duties, which adds yet another layer to peel back as you go through all ten songs. Anywhere the needle lands on this record should satisfy, but the early single “First Sight” is indeed a modern-day classic.

Celebrity Handshake Counterfeit Head LP

You know that one guy in town who’s always shouting conspiracy theories for the world to hear but they’re actually not speaking to anyone in particular at all? Well, what if that guy fronted the BUTTHOLE SURFERS? This is like a combat-shocked D. Boon fronting SONIC YOUTH. The fact that I have to make up these weird scenarios to try and explain CELEBRITY HANDSHAKE is honestly a testament to the originality at play here. This is pleasantly unpleasant, or unpleasantly unpleasant; it just depends on who’s listening. And honestly? That’s awesome.

Karl Frog Yes, Music LP

Atypical sounds for round these parts, but worth your time. KARL FROG is a Swedish musician whose music does not come with power chords or blastbeats; no breakdowns, no shredding up or down the fretboard. What FROG does offer is fantastic and beautiful artsy pop. JOHN CALE’s “Barracuda” has been a long-time favorite song, and as soon as the opener “Colonial Hearts” kicked in, I knew I was in line for something wonderful. Playing this type of music often requires good balance, as the tightrope you have to walk to not quickly fall into Wes Anderson soundtrack-fodder can be extremely tricky. FROG walks the line with ease, offering up eleven smart, poppy songs that feel like good DESTROYER B-sides or early BRIAN ENO with a bit less production. Sometimes your mind can use a distortion break. The next time that happens for you, I implore you to see what FROG is cooking up.

Dr. Sure’s Unusual Practice Blue/Bubble LP

Synthy punk stuff is great and I’m always down to dig into these sounds, but rarely do I think that it has a genuine edge to it. Enter DR. SURE’S UNUSUAL PRACTICE to challenge that very thought. This combo release of, you guessed it, their Blue and Bubble releases, provides plenty of fun, sure, but also you’re treated to a bunch of synth-soaked garage punk tunes that sound actually urgent and truly propulsive. The first two acts that came to mind were SPIRITUAL CRAMP and HANK WOOD & THE HAMMERHEADS. Of course, there is plenty of dynamism to be found across these eleven tracks that prove DR. SURE’s practice is indeed unusual. After the first few garage-y offerings, the album explores more whimsical cartoon sounds on “Blue Evening,” but then trades the staccato synth hits for sustained sounds and nylon string guitars in “Not the End of the World.” The second half of this combined release, the Bubble side, explores sounds even more, tending to feel a lot more post-punk, with another highlight in “Outside Looking In.” This LP challenges your definition of “egg-punk” and tosses you a whole slew of exciting sounds that coalesce into a fantastic listen.

Chronophage Musical Attack: Anarchist / Communist Friendship EP

A lot of the music reviewed on this site can be understood (if even just at a surface level) fairly quickly—this is not a slight at all, but more of just an expression that one knows what they’re dealing with often within one listen, or one track, or one chord. That sentiment is definitely not the case with the latest offering from CHRONOPHAGE. This EP may take a number of listens to cement a reaction, and I suspect these Texans prefer it that way; the tag “spoken word” is the only descriptor on their Bandcamp, despite the fact that they clearly be singin’. My best approximation of what I’m hearing here is if Carey Mercer (FROG EYES) and Dan Bejar (DESTROYER) allowed their collaborative SWAN LAKE project to be a little poppier? Honestly, put these four songs on repeat for a while and see what you land on, because your first impression is going to be that you need a second impression, and that’s refreshing if nothing else.

Put Pùrana / Tromblon split LP

There’s got to be a joke that goes “you can tell how good a screamo release is by how many different labels are putting it out.” Seven different labels coming together to release four tracks by two bands? This split is surely transcendent, no? Well, it is pretty great, to be honest. PÙT PURANA offers three hectic tracks, with often-discordant guitars and great shifts throughout each song, and at their more melodic moments, vaguely reminiscent of BIRDS IN ROW. TROMBLON offers up a different approach on their side of the wax, with one track clocking in at over eight minutes. Opening with a somber, religious feeling of organ sounds and chant-like vocals, the vocals then shed their effects and pick up intensity as the drums build, the guitars rise, fall, and rise again, and the walls of sound they build start to threaten to topple over—and this is all in just the first half of the song. Thankfully, the back half of their singular track is just as rewarding as the first.

The Stick Figures Disturbance CD

As soon as the opening track on this collection of previously unreleased tracks from 1980–1982 kicked in, my ears perked right up. “The Other Myth” comes right in with some urgency, and I was so eager to hear where it would go, hoping it would continue to sound like “Ambivalence and Spark Plugs,” the only single released by former Chicago new wave outfit IMMUNE SYSTEM. Unfortunately, the urgency that pulled me in gave way to more of a dreamy art pop that just felt too impactless. There is a certain curiosity that is enjoyable to explore here, as it feels a bit like stepping into a time capsule with these tracks being offered up for the first time in over forty years. But a lot of these tracks spend a bit too much time exploring their space, and the end product just doesn’t seem to land. Should these tracks have stayed buried? No, no, nothing like that. But perhaps I was set up for failure expecting one thing right at the drop of the needle and only getting something else entirely.

La Flingue Boredom With the La Flingue LP

A huge collection of almost all of  LA FLINGUE’s output, Boredom With the La Flingue brings together all four of their previously tough-to-find 12” releases. On its surface, 24 tracks can seem a bit daunting, especially given the average attention span in 2025, but just like the ocean, if you allow yourself to simply jump in, you’ll be glad to have submerged yourself fully. Whether they’re singing in their native French, English, or even German on the early standout “Hass Hass Hass,” these garage punk hits come fast (only one of the two dozen tracks breaks the three-minute mark) and loaded with snot. While this collection represents over four years of songwriting from LA FLINGUE, there isn’t a huge difference in sound between track one and twenty-four, proving that there was a singular mindset with these lads—once you’ve gotten into the water, sometimes you just want to stay forever.

The Unknowns East Coast Low LP

One of these days you’re going to read a review of an Australian release where things are panned, but that sure as hell isn’t going to be today. Bringing to mind other brilliant Australian classics like the RIPTIDES and the EASTERN DARK, this album is a case study in how a foundation of good taste can take you far. These tracks are brimming with power pop hooks, pub rock call-and-response shouts, and classic punk energy. While the UNKNOWNS include members of the CHATS, this is far from anything one might call a “side project,” as the UNKNOWNS have been cranking out hits with regularity for a decade.

Billiam Sylvie S Goes to Hawaii EP

The prolific BILLIAM is back again, this time with a quasi-concept EP. The A-side finds BILLIAM doing his version of an eggy MEAT LOAF, with a five-minute tale in mini movements about a vacation gone wrong. And sure, an “eggy meat loaf” might sound gross on paper, but it sounds great in the ears. While the A-side is one five-minute song, the B-side finds the inverse with five one-minute songs. Frenetic sounds that feel like they overheat and explode at any moment, but BILLIAM has it all under control. Fans of the storied, modern Australian sounds like 1-800-MIKEY and TEE VEE REPAIRMANN will of course feel right at home here.

The Roxies Keep You Up at Night LP

Rock’n’roll outta Berlin that sounds a bit like if members of the REAL KIDS and the BEAT got together and recruited the singer from SUEDEHEAD to add some mod-like touches. There are some great moments to be found on this album, and those moments are usually when the tracks choose the higher end of the energy spectrum. Songs like “Animals” and “Feeling” do a great job of bending your ears and make you want to turn up the volume. The mid-tempo moments drag a bit, but the sequencing of the album lets you get one of those higher-energy pick-me-ups after plodding through the snoozers. An up-and-down affair, but the highs do a nice job of justifying the lows; worth digging through to find the diamonds.

Automatic Lovers Boston Brats / Who Cares If Tomorrow Comes 7″

Punks from Madrid, singing about punks from Boston. Named after a VIBRATORS song, sounds like a DAMNED song. By this point, you probably already get the picture, but to spell it out anyway, these two tracks offer up classic UK punk sounds that are well-studied without sounding trite; AUTOMATIC LOVERS know what they like, but they don’t have it by rote. Both tracks here are high-energy, with maximalism happy to creep in—the piano chords banging along on the chorus of “Boston Brats” want to hide in the background, but they make so much sense that you can almost feel them more than hear them—and the B-side is a fantastic cover of ’80s punk band KIRK AND THE JERKS.

Terminal Am I Doing It Right / Hold On 7″

Do yourself a favor. Cue up the A-side here, turn up the volume, throw your phone into another room, and allow yourself to take a ride for the next four-and-a-half minutes. This absolutely crucial single from an early ’80s group from North Wales is required listening. It is anthemic, grandiose stuff by kids—and for kids—who were/are too big for whatever town that was chosen for them. There is a SPRINGSTEEN-like desperation at play here. This is what JOHNNY COUGAR’s “I Need a Lover” might have sounded like if he stayed on Gulcher Records, but he was destined for something bigger, just like TERMINAL could have been/should have been/must have been. This reissue represents the A-sides of both of their only two singles, from 1980 and 1982. While “Am I Doing It Right” conveys a beautiful, sophomoric desperation, interestingly enough, the flipside “Hold On” offers up a more mature, darker edge, and more than holds its own at that. The folks over at Fish & Cheap have done the masses a favor digging up these songs once again.

Artificial Go Musical Chairs LP

ARTIFICIAL GO returns with another offering of post-punk out of Cincinnati. On this go-around, you can easily hear the evolution in the band’s sound, with lush production and more genre exploration. The warm production sounds great, specifically allowing the bass lines to evoke the sounds of the SLITS, DELTA 5, or fellow Feel It Records act SPREAD JOY. The genre exploration, on the other hand, seems to provide really mixed results. The breezy Flying Nun Records sound in tunes like “The World is My Runway” and “Late to the Party” provide really nice, dreamy grooves that seem to lock in and get the head bopping. When the no wave influence gets too hot though, things start to veer the other way. Tracks like closer “Sky Burial” just feel ephemeral, and low point “Red Convertible” tried my patience to the point of fighting not to just skip forward and end it. Argue that I simply don’t get it, that’s fine, but the highs and lows on this record are so discordant that it takes the head from bopping along to banging on a table and back in whiplash-like fashion.

Psychic Pigs Psychic Pigs LP

From the jump, this slab was produced by Jonah Falco, so you already know it sounds fantastic. From there, you take in the music and find yourself treated to ten tracks of high-energy, garage-y rock in the lineage of BAD SPORTS or MEAN JEANS. These tracks come at you fast, and while it may take a couple listens for them to start to leave an impression, it’s definitely advised to flip the wax back to Side A and let these tracks start to take root in your head. With most tracks lasting around two minutes, it can be easy to miss a lot of good stuff happening here—the slick guitar lead on the title track that keeps ripping even when the chorus comes back in, the layers of pummeling drum fills throughout “Stranded in Bullshit City,” and the appropriately organ-like guitar lead-in on “Love Bite” are all great little moments deserving of their time. Ground doesn’t necessarily have to be broken for an album to bend your knees a little bit. Sometimes you just want something you can crank way up, and drown everything else out.

Teo Wise Fermo o Sparo! LP

There’s an Italian concept called “sprezzatura,” which refers to the art of making something difficult look effortless. While it’s mainly used referring to one’s visual style, it’s the perfect encapsulation of all aspects of this TEO WISE record. This collection of Italian punk, with a spaghetti Western veneer and power pop sensibilities, is the freshest thing you will hear all year. From the instrumental title track into the brilliant early highlight “Confusionale,” to the glammy pop of “M’ama non M’ama” (which is wonderfully reminiscent of the stellar ’70s Italian nugget “Shy Wa Wa” by SHY WA WA), to the eggy attitude of “Non Importa,” this record feels so nonchalant while also sounding so singular and masterfully crafted. A continuous barrage of adjectives and praise could be added here, along with pondering the parallels this record evokes in the listener compared to hearing ADRIANO CELENTANO’s “Prisencolinensinainciusol” for the first time, but truly one just needs to hear this to get it. If anything cooler this year comes along, I would be stunned.

Christopher Alan Durham & the Peacetime Consumers Play Atlantis LP

Cool rock out of Michigan exploring lots of different sounds, with a layer of art splashed across them all. Lots of sax, lots of tempo changes, lots of changes in general. Sometimes this results in killer tracks like “Seeing Double,” while at other times, the songs can feel like exercises that weren’t fully fleshed out or just ended too soon. But while their name denotes a desire to keep things civil, their music prefers to challenge; these tracks actually aren’t here to resolve how you want, or make you feel at ease. A summer read, this album ain’t, and that’s clearly how they want it. This isn’t music for your book club, unless your book club is full of freaks and weirdos who prefer ZAPPA anyhow.

O-D-Ex My Pleasure / Save : Buy 7″

A melodic yet cacophonous layer cake of digital synths and drum loops propel the two newest tracks from Mark Ryan of MARKED MEN/MIND SPIDERS and Micah Why (KITBASHES, MISSION GIANT). The A-side sounds like the soundtrack to escaping a corporate office building in a dystopian future, while the B-side sounds like the event that may have caused the future to turn dystopian to begin with. While the music won’t make you think of MARKED MEN on the surface at all, the underlying ethos definitely shares a kinship. These tunes hit hard, get right to the point, and leave before you’ve gotten too comfortable.

The Number Ones Sorry / Blind Spot 7″

Here’s your song(s) of the summer. After around seven years, the mighty NUMBER ONES have returned with two tracks that show you exactly how power pop should be done. Given the time since their last release, it reasons that this may be many people’s first foray into the band. So for the uninitiated, think of the classic slabs from Good Vibrations, your favorite BUZZCOCKS singles, or falling in love with the girl on a certain Manchester Megastore checkout desk. Side A is two minutes of pop perfection. The word “sorry” has surely been used an uncountable number of times by an uncountable number of bands, but these Dubliners make it sound like a newly discovered feeling. Side B is no slouch either, providing another earworm that you’re happy to play host to for as long as it decides to stay in your brain. Well worth the wait, and still true to their name, this is a scorching hot two-sider.

Caged View New Fuel for an Old Fire EP

Great, new post-hardcore that sounds like great, old post-hardcore. QUICKSAND, SNAPCASE, HELMET, HUM, and others are cited as references, but if you listen to one minute of the record, that all becomes abundantly clear. The sound and production choices are spot-on for the ’90s sounds that influenced this killer EP. Almost every track here feels like a standout, with “Survival Pending” feeling like a true centerpiece. Most of the songs also clock in at under two minutes, so even the mid-tempo offerings here don’t feel like they’re dragging through the mud. One of the best records/bands so far this year that I had zero previous exposure to prior to hitting play. Well done.

Bart and the Brats Missed Hits LP

Solid, solid, solid garage punk out of France, delivered by the Nashville, TN-based Sweet Time Records. Bringing to mind some of the best-energy QUEERS records, Missed Hits delivers eleven snotty tracks, most of them around two-and-a-half minutes or less, as it should be. There are some great sing-alongs to be found throughout the track list, with standout “Fascist Cops” being a particular earworm. But for me, BART and his amis are at the top of their game on the lone French track, “Mauvais Polar,” where the energy feels even more urgent, and the guitars sound even more like buzzsaws. It’s a long journey from La Rochelle to Nashville, but it’s great that these tunes travel so well.

Graphic Violets Immune From Evil cassette

Six tracks written, performed, and recorded by Rob Garcia out of Richmond, VA. Perhaps it’s the singular vision, or just impeccable taste, or some mysterious third option, but the end result here is simply fantastic. Citing the Flying Nun catalog, along with TELEVISION PERSONALITIES, SWELL MAPS, and more, Immune From Evil is here to pull the listener out of the winter doldrums and leave them feeling sunny and optimistic, even in the face of, well, everything else in the world. Each of these six tracks have a multitude of aspects that will catch your ear and get your head bopping along. Not sure if this is just a bedroom project, or a foundation laid to build upon going forward, but here’s hoping for even more in the future, because sometimes it’s just nice to have nice things.

Cyanides Black Bricks EP

Debut EP out of St. Louis, giving us a grip of out-of-this-world, synth-garage-psych-rock multi-hyphenated tunes that do a great job of establishing who they are and what they’re here to do. The combination of sounds here is the kind of thing that would be soundtracking Frankie’s Tiki Room in Vegas—by that I mean a genuinely cool-without-trying oasis that provides respite from an otherwise crushing nightmare (in this case, the strip). Digression aside, these four songs are for fans of DEVO, RESEARCH REACTOR CORP, maybe even ROTARY CLUB, or anyone who likes a coating of sci-fi in their garage tunes. Will be keepings tabs on future releases for sure.

Eel Men Stop It! Do Something. LP

Having clear influences in your sound while also sounding fresh and unique seems like a bar most bands wish to reach, yet it’s often way harder to clear than it seems, even though, again, it’s kind of what every band sets out to do. With Stop It! Do Something., EEL MEN walk this tightrope with ease, aplomb even. This record calls to mind the JAM, SQUEEZE, early PARQUET COURTS, sure, but it simultaneously sounds uniquely itself. The guitars are punchy and angular, the vocal harmonies are effortlessly cool without coming across too slacker-y, and the drums propel these ten tracks forward with endless energy. This is all killer, no filler, but tracks like “Archetype” are a great example of all these little descriptors synchronizing like some Voltron of good taste. Perhaps the release perfectly coincides with springtime starting to bloom, but this is an easy and early candidate for one of this year’s best.

Why Bother? You Are Part of the Experiment EP

A new batch of dystopian yet simultaneously somehow uplifting oxymoronic hits from America’s heartland. WHY BOTHER?’s latest EP sees their unique take on synthed-up punk continue to expand and refine (again, oxymoronically) with four fantastic worlds built from nothing and left in ruin two to three minutes at a time, plus a great cover of COCKSPARRER’s “I Got Your Number” for the digital release version, to boot. WHY BOTHER? has been fairly prolific in churning out music since their Feel It Records debut in 2021, and Feel It clearly knew they had something special as they’ve put out over a half-dozen more WHY BOTHER? releases since, proving once again that the Midwest can be alright.

Psychoactive Don’t Wanna Wait / Seditionaries 7″

Sometimes, a two-track record is all you need to hear—whether it be because you love it from the jump or think it’s total trash immediately. This is not the case with the new offering from PSYCHOACTIVE. The A-side got off to a pretty solid start, especially when the dynamic vocals of the chorus hit, reminding me a bit of MARKED MEN. The B-side, however, stayed more kind of one-note the whole time and didn’t really go anywhere; it was kind of uncompelling, despite the guitar solo trying to change my mind. So if the A-side is more representative of the PSYCHOACTIVE sound, I’d be interested in hearing more for sure.

Der Moderne Man 80 Tage auf See LP reissue

Considered one of the first German punk albums, Tapete gives us a reissue of this incomparable LP by DER MODERNE MAN. If you’re not already familiar, congrats on getting to hear this one for the first time. This is Neue Deutsche Welle before there was a word to even describe what you were hearing. Absolutely brilliant post-punk mixed with some electronic sounds, the energy here is tense, taught, turbulent, yet fully in control. The simmering build of “Haarschnitt” into the controlled mania of WIRE-esque standout “Dauerlauf” is a perfect one-two punch. The variety in these twelve tracks is a testament to the group’s expansive sonic palette, having traveled to New York and London to dig into those scenes before creating this album—you can hear RAMONES, you can hear CLASH, you can even hear MAGMA (were they hanging in Paris?), but you’d never mistake DER MODERNE MAN for anything but themselves, pioneers in sound. Put this in your ears.

Heavy Möther II Heavy Möther II LP

Members of the GIZMOS, RETAIL SIMPS, ROCKET FROM THE TOMBS, and more combine to, well, combine their love of countless underground rock sounds. The choice of cover tunes included in the album perfectly illustrates the oeuvre this crew tapped into— TROGGS, RANDY NEWMAN, VELVET UNDERGROUND—with their rendition of “Foggy Notion” representing both a physical centerpiece and a metaphysical one. All this is not meant to detract from the original tunes offered here, which do fit in perfectly along the others. Songs like “Window in the Door,” “Couchlock,” and “Red Blue Green” incorporate even more subterranean sounds of the ’60s and ’70s. This record is a celebration of effortless cool done effortlessly well.

V/A Idle Edsel’s New York Dolls Tribute, Vol. 1 LP

A friend of mine in high school said that if your band covers another band, your version needs to either improve on the original, or add something that makes it your own, and that always stuck with me. Now I suppose a tribute album is something distinctly separate from just a bunch of covers, but I can’t escape the musings of that high school kid while listening to this NEW YORK DOLLS tribute. Yes, these are for sure competent covers, and the bands involved presumably like-to-love the source material. But beyond curiosity, or perhaps a completist’s mad desire, there’s really nothing new or interesting to discover here. None of these songs are better than the originals (obviously), and none of them really do anything to make their version memorable. Again, these are perfectly serviceable versions of amazing songs, but ten out of ten times, I’m opting for the RUNDGREN-produced masterpiece.

Cult Crime Cult Crime LP

CULT CRIME’s self-titled album—courtesy of the nothing-but-consistent Ugly Pop Records—is a fantastic crop of snotty, ’80s-inspired rockin’ punk. “Nervous Breakdown” came to mind by the time the fantastic track “Suburban Violence” came around, and that energy seems a more than apt comparison here. CULT CRIME is creating hard-hitting sounds that demand your attention, but you can also tell that they’re probably having a great time doing it and aren’t afraid to get a little tongue-in-cheek (“Nuke Hollywood”). Speaking of BLACK FLAG, are the punk sounds coming out of Vancouver and Toronto the modern equivalent of ’80s L.A. and NYC? Is there a friendly rivalry between the Canadian coasts? Can PACK RAT ever miss? Do any of these people even work at a Häagen-Dazs? Anyway, this album rips.

The Thingz From A to Z LP

I wasn’t familiar with Chaputa! Records until I reviewed another of their releases last year. This THINGZ record being my second exposure to the label has me realizing that I need to be paying more attention, because I had the exact same initial reaction to this one—this music is fun. And that sounds far too simplistic, which it probably is, but it also just seems accurate. Sixties garage sounds with plenty of organ and keys, From A to Z is horror-tinged without being over-the-top, not too unlike a West Coast version of HUNCHBACK. This isn’t a record that’s for everyone, or even for most, but if this kind of music hits for you, then this should easily land in your rotation.

The Speedways Triple Platinum LP

This collection of tracks from the SPEEDWAYS’ first five years has everything you want in this style of power pop—hand-claps, catchy-as-hell choruses, key changes, you name it. A perfect rendition of early ’80s power pop, when new wave sounds were starting to creep in but nothing was ruined by major label pariahs just yet. Even better, as this is a collection of mostly singles, you don’t get any of the filler that was almost a gimme if you decided to snag a full-length by, say, FOTOMAKER, the SCRUFFS, or (to a lesser extent) 20/20. Some of these are re-recordings or remixed versions, and it adds to this collection of hits almost feeling more like a deliberate album. Forty-five years ago, the SPEEDWAYS would have been lapping their peers, and honestly, they still do today.

Thee Rogue Telstars To the Moon / Do the T.E.L.S.T.A.R. 7″

Whenever a band opts for “Thee” over “The,” the hope is for some proper garage rock, and THEE ROGUE TELSTARS provide exactly that with these two tracks. If THEE HEADCOATS went to space, it would sound something like this. Simultaneously frantic and tight, “To The Moon” bursts with energy from start to finish, while the B-side starts slow and retro, but quickly finds itself back at the same breakneck speed with a tasteful rockabilly sheen slapped on top. The perfect use of the medium, it’s no surprise this hot slab of Canadian wax was put out by Toronto’s Ugly Pop Records.

Plastic Act Now! EP

Always great when a release can catch your eye with design and layout alone, and the latest effort by PLASTIC ACT accomplishes just that. Even better when the music delivers to your ears what your eyes knew to be true. This Now! EP is three bouncy and poppy tracks that leave you wanting even more. While these tunes brought to mind any number of late ’70s Boston area obscurities—the FLIES, HOT DATES, SHANE CHAMPAGNE BAND, etc.—these tracks happen to come from our neighbor to the north. Fantastic music for the incoming spring thaw and beyond.

Snarewaves Snarewaves cassette

Is nu-metal-inspired egg-punk a thing? What if E-TOWN CONCRETE moved to Bloomington and got really into Gulcher Records? Should I put mayonnaise on my peanut butter sandwiches? Pass. Pass. Pass. Honestly, if I had to pick one of these, I guess I’m eating a PB&M sandwich. Eggy punk, or whatever you want to call it, is usually best when it’s pretty self-aware and tongue-in-cheek. The problem here, aside from the initial questions it had me asking, is that SNAREWAVES have opted for irony instead. Or at least I think they opted for irony? Either way, this ain’t it. But Painters Tapes did also put out the WE R TY cassette by TY this year, so I was able to cleanse my palette with that after this one.

Liquid Images Liquid Images cassette

Seven tracks recorded over two years and cut to tape, and while I don’t know if they’re presented chronologically, there was a steady progression of songwriting on display here. About halfway through, I got hooked, and by the end, I was a total convert. LIQUID IMAGES play an aloof, cool-without-effort type of garage-y punk, that calls to mind the VELVET UNDERGROUND or even early STROKES at times. The track “Running Out of Time” reminded me a lot of WARM SODA, which was right around when I got hooked on this tape, and that sound held on throughout the wickedly strong B-side. Tetryon Tapes seems to consistently find killer and varied sounds to put out, and this tape was a great reminder to stay on top of whatever they’re offering. Fantastic stuff.

Savage Beat The Singles: 2018–2022 LP

Solid, self-proclaimed “street boogie” out of Amsterdam. This is the kind of music you can make your mind up on within the first twenty seconds; if you like the first track you hear, you’ll probably like the rest of them. That statement rings even more true here, as this is a collection of singles, so there’s no attempt, or need really, for much dynamism from track to track. This is twelve tracks of high energy, guitar-licks-a-plenty, SLAUGHTER AND THE DOGS-inspired rock. Sounds like there is a full-length on the way in 2025, and I’ll be sure to see how they go about creating a cohesive album, but as these individual singles are apparently tough to come by, this gathering is a great holdover until then. Shout out to the great cover of “Paper Dolls,” too.

Two Minute Mile K-Town, 3 AM CD

I love stuff that you can’t easily figure out. TWO MINUTE MILE self-released this CD, and as soon as I started the first track (“Hangin’ Around”), I was hit with some great NEW YORK DOLLS-meets-DICTATORS-style energetic punk’n’roll. This shit is fun. But then a few tracks later, I made it to “Taco Man,” and I couldn’t even make it through the whole song. This shit is not fun. A couple tracks later, and “Joyride” brought back fun, and I realized this is just dumb fun, in the best way. You don’t have to contemplate what “Joyride” is about; it’s about going on a joyride. And that holds for the rest of these tracks. Once you realize the simplicity, it’s the best way to appreciate these tunes. Without knowing anything about the band, you could tell me these tracks were all written when the members were thirteen and that would make sense. Whatever the case, I’m happy to join in on the call-and-response of “Bad Abuela.” Just don’t make me have to listen to “Taco Man” again, okay?

Guerrilla Teens I Cyclops / Pride of the Savanna 7″

What if Glenn Danzig’s favorite movie as a kid was Rocky Horror Picture Show? And so his favorite music was the soundtrack to Rocky Horror Picture Show? Like, imagine young Danzig going to every midnight showing of the flick, knowing all the little audience participation parts and gags. Right, so this is what his first band probably would have sounded like. Campy horror punk? If I’ve conjured an exciting image in your head, that’s my bad. The actual product here is far from exciting. The A-side might have been saved by a good chorus since the instrumentation is pretty decent, but instead you just get the word “cyclops” shouted a bunch. I’ll just go back to picturing little Danzig in the theater, singing along with Tim Curry instead.

Telegenic Pleasure Telegenic Pleasure cassette

Fantastic synth punk out of both Londons (Ontario, Canada and England). While the bulk of this cassette is filled with eggy, sugar rush synth spazzouts, there’s an undercurrent of power pop here that really makes things feel huge. The first track, “Sealed Off,” is perhaps the best example of this, with a melody that just soars from start to finish. That’s not to say this is a power pop record by any stretch, but just to highlight that there is way more depth here than what may be conveyed if you just listen to one track. Some DEVO influence seems inevitable as you listen, but with each track you realize the better comparison is any variety of bands from the We Are Not Devo (U.S. Synth Punk 79–84) compilation, or another lost classic like “Trust in Technology” by ADAPTORS. Dive into the deep end with this one and enjoy.

Patrol Cold Blood EP

This shit rocks. Their Bandcamp says it’s for fans of THIN LIZZY, BOSS, and SICK THOUGHTS, and that pretty much sums it up. The perfect amount of sleaze, of glam, of metal. Come for the riffs, stay for the riffs. Really, my only complaint here is that this is four songs and not forty, but I’ll just flip the record and start over again.

The Streetwalkin’ Cheetahs Call the Dogs 10”

Look, if you’re going to name your project after a STOOGES lyric that even your uncle who only listens to the classic rock radio station knows, you’re going to have to bring it. The STREETWALKIN’ CHEETAHS have been around since the ’90s, and so maybe at one point they did indeed bring it, but that ain’t the case here. Honestly, this sounds like OK GO drank too many whiskeys and tried to be the bar band for the night. Also, if your four-song release is too long for a 7” record so you have to put it out as a 10”, just take that as a sign that your songs are too long. If you truly ain’t got time to make no apology—as Iggy says—well, then you shouldn’t have time for five-minute songs.

Evening Standards The Shining LP

Nice indie pop from Gainesville, FL by way of Bloomington, IN. There is a familiar lineage in the sounds here, but said sounds are delivered squarely through a 2024 lens. By that, I mean certain bands and labels of the past two decades will come to mind while listening—LEMURIA, RUN FOREVER, PLACES TO HIDE—but the proliferation of Americana and alt-country can be found peppered throughout these tracks as well. In fact, it’s those tracks with slide guitar (“Family Man”) or the dual vocals and harmonies (“Exploding Head”) that stand out the most here, because they do feel like they are attempting to tread new ground. The tracks that follow the more traditional-sounding indie/pop punk template tend to wash over without leaving much of an imprint (“Edgelord”). EVENING STANDARDS relocating to the home of The Fest and No Idea Records makes a lot of sense, and I hope they keep exploring open chords over power chords, especially if it means more tracks like the album’s closer “Mountain Top.”

Loose Lips One More Chance EP

Featuring members of the PRIZE, the CHATS, and CHUBBY AND THE GANG, I was definitely set up with high expectations and interested in what sound might win out in that wild game of rock, paper, scissors. Fans of any of those bands will be excited to hear these songs, and I think the classic punky power pop sounds of the PRIZE jump out first. One thing here which helps differentiate this EP from the sounds made in the members’ other projects was the splash of bar boogie, especially in the track “Told You So.” And while I don’t think these tracks vastly outshine their other projects or anything (at least in this first offering), I imagine they had a blast putting these songs together, and that energy definitely shines through. Would love to hear how this project might evolve further in the future.

V/A Degenerates and Dickweeds cassette

Thirteen tracks from thirteen different artists around the world, compiled for this release from Nashville, TN-based cassette label Knuckles on Stun. Plenty of snotty, synthy egg sounds to be found here. If you’ve checked out anything from Under the Gun, Goodbye Boozy, or the Australian synth punk scene, you’ll easily find things to dig here. As these are previously unreleased tracks, not every one is a highlight, but highlights are indeed here and ready to be discovered. Early standout “Drooler” by GARBANZO is a fantastic GEE TEE-sounding ode to some beloved mouth-breather, and “Normal Afternoon” by MEDIA PUZZLE is a great one-minute sugar rush. This collection whizzes by quickly, given the nature of the sounds, and makes perfect sense for a cassette release.

The Rebel Set Bummer City LP

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.

V/A Palestine Solidarity Compilation, Vol. 2 cassette

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.

Freak Genes Delirik LP

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 Long Gones Long Way Home EP

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.

Dezinformacije Pijesak u Oči cassette

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.

Food Fight Zeitgeist Impressions LP

Absolutely stellar power pop out of France. Sounding like Joe Strummer fronting a mod revival band, these twelve tracks are truly top-tier. I was pulled in from the jump with the call-and-response of “What’s Wrong?” and locked in till the end. Truly surprised to find this their debut full-length; it’s clear that this group is made up of veteran musicians who know their way around a three-minute tune. There was also clear attention given to the sound on this record, as the bass tones are so clean and warm, the group vocals sound so full of life, and the guitars are crisp and bright. If you dig the 101’ERS, PROTEX, the NIPS, or any notable ’70s punk, this album will feel familiar. One of the finest albums in a minute, Zeitgeist Impressions is an absolute standout.

Tube Alloys Evil Angels / Lizard Kingdom 7″

TUBE ALLOYS return on the heels of last year’s fantastic debut album with a double A-side single for their most recent US tour. These tracks are taken from the same material that became Magnetic Point, so if you dug their debut, you’ll be drawn to these tracks right away. Both tracks here are stellar post-punk. “Evil Angels” is stocked with a propulsive bass line, wiry guitars, snotty vocals, and a brilliant sense of urgency. “Lizard Kingdom” is more post-punk, but you can feel the krautrock seeping in from all sides with its repetitive, almost droning instrumentation, not to mention its brief sample of TRIO’s classic “Da Da Da” to kick things off. Top-tier stuff, as you might expect from the always reliable La Vida Es Un Mus.

Eyes and Flys All the Tigers in Texas / Seabird 7″

The two-song single can be the ultimate medium to tell potential listeners exactly what your band is about. There’s no world-building, no narratives attempting to be woven, just a single and its flip. The perfect format. And EYES AND FLYS definitely seem to feel similarly, as this single follows the given mold, but it’s only in theory. The A-side is the rocker, the B-side the more exploratory side. As soon as the needle drops, you get what this band is about. Nailed it. The A-side “All the Tigers in Texas” does indeed hit the ground running with fast guitars, dual shouted lyrics, and energy that jumps out of your speakers, but for me, it seems to run out of breath before getting to any destination. The song feels like it’s going to culminate into something awesome, given how strong it starts. Instead, it just slowly comes unwound in a wash of guitars, like they went in without an ending and it just stayed that way. In theory, this EYES AND FLYS single is how the medium is done. In practice, I’m still not sure what this band is going for, even after multiple listens.

Stiv Bators It’s Cold Outside / The Last Year 7″ reissue

Munster reissue of this stone-cold classic from STIV BATORS. Originally released by Bomp! in 1979, “It’s Cold Outside” is a cover of the garage classic by the CHOIR, but BATORS’ version takes the song to new heights. If you’re not already familiar, and late ’70s Bomp! didn’t already give it away, this is apex power poppy punk music. The B-side, while not a classic on the level with the A-side, is a lovely, contemplative tune that continues the sounds of its respective flip. I’m not exactly sure if this record was in dire need of a reissue, as copies aren’t exactly tough to come by, but Munster always does a nice job with their releases so I’m not here to question. If you don’t have an original copy, now you have no excuse not to snag a copy and fix your oversight.

Die Verlierer Notausgang LP

Absolutely stellar post-punk out of Berlin. What struck me the most on the first listen was how varied the songs are, in both style and length, while still maintaining a common overall sound and feel. In that way, this record almost reminds me of being at a label showcase—the bands might not all sound the same, but you get why they are all there. Noutausgang opens up sounding like early Finnish new wave, then follows that up with a longer, moodier groove, and then turns again on the third track with an early highlight in the group shout that is “Fickt Diese Stadt.” The theme of variety continues throughout with a sub-two-minute hardcore track (“Albtraum”) giving way to the near-six-minute smolder of “Stacheldraht.” If you dig post-punk, new wave, Neue Deutsche Welle, or krautrock, you’ll easily find something to like here. And if the current song doesn’t quite do it for you, the next one might just snap you right back to attention.

Bzdet Maybe It Is Enough? cassette

A solo synth punk project out of Poland with a handful of releases already put out, BZDET offers up its first US release through the Buffalo tape label, Tetryon—this compilation includes tracks the artist has found to be the most important work of the project so far, as well as three previously unreleased tracks. The album comes out of the gate sounding like NEW ORDER meets MOLCHAT DOMA, but with twenty songs here, the sound expands and explores plenty within that synth punk umbrella. What sets this apart from other synth punk stuff is that, even if you don’t speak Polish, you can tell there is a humor and playfulness that stays bubbling just below the surface (exemplified by the closing track “I Don’t Need Viagra Boyzz,” one of two titled in English). That’s not to say these are typical egg-punk offerings, but rather that the music doesn’t come across as too polished for its own good, just Polish and good.

V/A Thesaurus, Vol. 7 2xLP

Cameleon continues to dive deep into rare and/or unreleased French tunes and share their spoils with the world. Here we’re treated to 30 such tracks from 25 different artists, all originally recorded between 1978 and 1986. As you might expect, there is a big variety to digest here, and while not every track is an absolute highlight, all are at least pretty good or interesting. The comp starts with a few straightforward punk numbers, veers into some great post-punk moments, and even throws in a live cover of the RINGS’ “I Wanna Be Free.” It feels silly to dig into specific bands and songs when there are so many on the comp, but a big standout for me was “Pay The Bill” by MOKOS—a fantastic track with tinges of power pop all over the sub-two-minute runtime. The songs seem fairly split down the middle between being sung in English and in French, which also helps keep things fresh when presented with so many tracks. Cameleon often reinforces their strength one rescued 7” at a time, but this comp serves as a pleasant reminder that they can please at length just as easily.

The Stiffs Demos and Rarities 1978–81 LP

The STIFFS were a punky power pop band out of Lancashire, England who put out a handful of damn-near-perfect singles in the late ’70s to early ’80s. As is often the case, there were a bunch of other songs from that early era that were previously unreleased, but luckily Projectile Platters have compiled those demos and rarities together and released them here on this LP. We only get a couple demos (the brilliant “Inside Out” and the lesser “Over the Balcony”), and they are pretty fleshed-out versions of the songs they would ultimately become. The big draw of this compilation, for me at least, is the 1979 radio session; in this stretch we get tight, loud, and energetic versions of “Brookside Riot Squad” and “Kids on the Street,” plus a couple others. These types of collections can often be curiosities at best, but this offering is for more than just the completists or those that are still on the hunt for an original copy of the “Standard English” single. This is an awesome snapshot in time of an early punk band in their prime, doing it better than most did or ever will.

Alien Nosejob Turns the Colour of Bad Shit LP

The prolific Jake Robertson returns once again with a new slate of fantastic songs via his ALIEN NOSEJOB project, and continues to surprise by pushing into new sounds. This time around, Turns the Colour of Bad Shit offers up ten tracks of classic punk greatness. And what is true in the macro is true in the micro, as the sounds on these tracks even find ways to change and evolve from one to the next. Kicking off with the slow yet propulsive burn of “Bird Strike,” the record then flips right into the pummeling garage punk highlight of “Trapped in Time.” Anyone who loved this year’s fantastic PACK RAT album will be more than happy to toss this record on right after; snotty lyrical delivery coupled with primitive song structures that don’t need any other add-ons to grab your attention. It’s no wonder that Turns the Colour of Bad Shit is being put out by the trifecta of Total Punk in the US, Drunken Sailor in the UK and Anti Fade in Australia.

Tuxedo Cats Fake Punk EP

TUXEDO CATS, a power punk outfit out of Brooklyn, return with their second four-song EP. With an increased velocity compared to their solid debut Out of the Bag, the tunes here on Fake Punk burn bright and burn fast. At first listen, one might think the influences here can be plucked out easily, but on multiple listens, the breadth of their taste really starts to unfold. Fans of Good Vibrations records, ’70s Belgian punk, the NEW YORK DOLLS, or simply spending an inordinate amount of time in record shops will all find plenty of satisfaction here. While all these sounds may read as all over the map, literally, TUXEDO CATS seem effortless in their ability to blend a litany of influences. And I’d be remiss not to mention “Jaguar K-11,” a scorching, one-and-a-half-minute ode to the folding knife, as one of the very best B-sides I’ve heard this entire year.

The Makebelieves Someone Threw a Tiger Out the Window LP

A re-release of the MAKEBELIEVES’ 2004 album, including a bonus track appended to the end, Someone Threw a Tiger Out the Window is twenty minutes of MC5 and STOOGES-style high-energy garage rock. As they were a Midwestern garage outfit in the early 2000s, comparisons to early WHITE STRIPES material make sense, although the urgency in these songs feel more natural than anything Jack White has carefully constructed. The vocals are a little one-note, and the band seems to only know one speed—there’s a mid-tempo track sandwiched in halfway through, but beyond that, this is fast-fast-fast, with the understanding that things could collapse at any second. While there isn’t too much variety to be found track to track, the caution-to-the-wind style that these seven tracks are played with does a pretty nice job of steadily building up tension from first note to last, and that made me want to stick around and see if they make it through to the end.

The Manikins Swedish Woods LP

Sweden and garage rock is one of those combinations that always seems to work, and Swedish Woods is another gleaming example that evinces this axiom. The MANIKINS have been churning out high-energy heat since the late ’90s, and upon listening, one may be quick to think of the HIVES, fellow Swedes who formed a few years earlier. And while they would make a great double-bill to be sure, it would probably make more sense for the MANIKINS to play the afterparty—no coordinated suits, and a late night energy that you just want to keep going, sleep be damned. There’s also a little more variety to be found throughout these twelve tracks than what you usually get from their contemporaries. Swedish Woods brings in elements of power pop (“Rosita”), as well as more straightforward rock sounds (“My Last Time,”). It’s the soulful crooning and howling vocal delivery on “I Need To Tell You,” however, that cements this album as a real standout.

Peace De Résistance Lullaby for the Debris LP

Moses Brown’s second offering as PEACE DE RÉSISTANCE is a beautiful contradiction—it is both familiar and foreign, unsettling and comforting. The sounds are immediately recognizable, calling to mind the sleazier side of ’70s New York City glam rock, but no contemporaries come to mind. The music feels nocturnal, while the lyrics are the kinds of thoughts that fill your day, working to get by for yet another month. This is all to illustrate that PEACE DE RÉSISTANCE is not easily pinned down, which is part of what makes this record so special. Brown conveys themes to the listener in such a specific and personal manner, and that skill transforms ideas that certainly are far from new territory into feelings both fresh and urgent; being alienated in your own city (“Ain’t What It Used to Be”), trying to get by in a system rigged against most of us (“40 Times the Rent,” “Pay Us More”). Lullaby for the Debris manages to take the strong foundation laid in Brown’s debut Bits and Pieces, and takes his project to new heights.

The Budget Boozers Love You, Hate You CD

Not to judge a record by its cover, but my hopes were not high after judging this record by its cover. The name, the art, self-describing themselves as “real hippie shit for the real punks,” all of it pointed to something I would skip if I came across this album at my local shop. But Love You, Hate You by the BUDGET BOOZERS is the reason that saying about judging and covers exists, I suppose. These ten tracks of glammy, bubblegum garage rock caught me by surprise, more so than perhaps any other album this year. This album rips. There is a fantastic variety of sounds to be found here, with each new tune providing something that can only be described as charming to my ears. There are great string sounds sprinkled on some tracks, tracks that rip in and out in a minute and change, reverb-soaked surf guitar, and that’s all within the A-side alone. While the album ends not with a bang but a whimper as the last two tracks fail to meet the rest of the album’s energy, I will still gladly say I was too quick to judge Love You, Hate You, and will come back to this one again and again.

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.

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.

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.

Street Panther Muscle Rock LP

Naming your band STREET PANTHER and putting out a record called Muscle Rock lays out a pretty damn tight rope you gotta walk to pull off; fall one way and it’s all too jokey, fall another way and it’s all too coke-y. Well, not to worry, because STREET PANTHER nailed that walk with ease. These are self-aware, tongue-in-cheek rock anthems about being an aggro, fist-fighting, street boy, troublemaker heathen (and yes, those all happen to be song titles as well). This record is about the primitive urges rock’n’roll was created to convey to the masses. So drop any pretense, drape yourself in denim, turn it to eleven, and don’t forget to always “Flex hard / Keep on flexin’.”

Brezel und Anton Spielen Pisse 7″

Here, BREZEL UND ANTON offer two tracks and an answer to a question nobody asked: what would the music in a cheesy, ’60s Hollywood haunted house sound like if it were on an alien planet (where the aliens also speak German)? Oh, you have asked yourself that question? Well, you’re probably going to be excited about this. I, on the other hand, was asking when I would reach the exit of this martian house of wonders. Perhaps these two tracks would feel more effective if they were way shorter—get in, weird everyone out a bit with quick bursts of off-kilter spaghetti western synth, and get out—but at almost seven-and-a-half minutes, the experiment simply overstays its welcome.

Neutrals New Town Dream LP

NEUTRALS follow up their awesome 2022 EP Bus Stop Nights with their second full-length, New Town Dream. Picking up right where that EP left off, we’re treated to thirteen tracks filled to the brim with wonderful pop tunes in the lineage of TELEVISION PERSONALITIES, classic-era Sarah Records, and early Creation Records. All that is to say, an absolute no-brainer for the mighty Slumberland Records to have put out in the US. Throughout the record, there is plenty of variety to keep your ears tuned in and the volume set high. Tracks like “Travel Agent’s Windows” and “Substitute Teacher” detail the humdrum lives of these new town inhabitants so clearly that the mundane transcends to humor—“He was a triumph in the Scottish play / He’s only here for a day.” These details throughout the album make for a truly satisfying listen that will have you returning to check in on the new town’s population again and again.

Giuda Louder Than Action / It’s Not About the Money 7″

After roughly five years, the Italian royals of bootrock return with yet another pair of soaring anthems. The driving verses of “Louder Than Action” pull you in right away and reward you with a big chorus replete with handclaps and the group shout of “gun it!” On the flipside, “It’s Not About the Money” manages to raise the bar even further with a classic mid-tempo stomper, letting you put those boots to good use. If you haven’t been introduced to GIUDA in the last fifteen years, you can’t go wrong picking up any of their singles, but this is a perfect entry point.

River City Rebels Pop Culture Baby EP

Long-running pop punk New Englanders RIVER CITY REBELS return with a new four-track EP that’s brimming with cultural and societal critique, just as they’ve been doing since the turn of the millennium. Tracks like “Rock a Cross” and “Unless You’re White” are outward-looking indictments that could be about one specific person or a broad gesture to half the damn country. The big payoff on this record is the closing track “Abuse Myself.” Here, the critique turns inward and we are treated to a sub-90-second scorcher. Ending with the mirror flipped on themselves, RIVER CITY REBELS remind you what can happen to yourself, perhaps as a byproduct of the dumpster fires happening all around you.