Reviews

Jeff Cost

Ignorantes Las Promesas Que Te Hacemos Te Las Puedes Meter Por El Cul 7″

Chilean punks IGNORANTES usually deal in scorched, blown-out, hyper-abrasive recordings—the kind of raw tupa-tupa punk that is so harsh it feels like it’s stripping paint. But this two-song 7″ is a bit of a curveball, serving up super lo-fi but almost poppy Oi! with plasticky keyboards that give it an odd sweetness. While digging through their catalog for this review, the release that grabbed me most was No Hemos Inventado Nada, Ni Nos Interesa Hacerlo, even though the recording quality is so brutal it made my ears bleed. By contrast, this 7″ is lighter and bouncier. Side A’s “Adiós Camarada” even carries a hint of that CURE “Boys Don’t Cry” tune, which gives the whole thing an oddly familiar flavor. I respect the swing into new territory, even if it doesn’t fully land for me.

The Last Survivors / Vaxine split EP

The zipper on the front of this record should be a hint of what you’re in for. The release notes promise a love letter to the UK82 scene “organically mixed with the sound of raw ’80s global hardcore,” and that’s exactly what it delivers. VAXINE (NYC) tears through three politically-charged two-minute blasts that land somewhere between DISCHARGE and CHAOS UK, with a whiff of MOTÖRHEAD swagger in the intro to “War Criminals.” LAST SURVIVORS (Tokyo) follow with two tracks that sound rougher, like a third-generation tape dub, but they still bring four minutes of pure basement energy. Both bands hit that sweet spot of raw, mid-range-heavy ’80s-style punk without too much of the metallic drift some of their influences leaned into. Every song could’ve been trimmed by half a minute, but it’s still a strong dose of unfiltered, boots-on-the-floor hardcore. For fans of the punkiest of punk sounds, this one’s worth tracking down. The high point for me was VAXINE’s “Thread of Hate.”

Split System No Cops in Heaven / Pull the Trigger 7″

Aussie five-piece SPLIT SYSTEM has released their third 7″ of 2025, and the A-side “No Cops in Heaven” is killer ’70s-style punk with clenched-jaw propulsion. It’s mid-tempo, but the rhythm section plays like they’re sprinting forward at full tilt, locked into a locomotive groove that gives the song that RADIO BIRDMAN-esque push where everyone else has to keep up or get steamrolled. Guitars leave zero breathing room, and the whole thing has that piston engine momentum that made me want to play it again the second it ended. “Pull the Trigger” doesn’t hit quite as hard, but it’s still a solid shot at war profiteers. The more I hear from this band, the more I dig ’em.

Knowso Hypnotic Smack LP

Cleveland duo KNOWSO, consisting of Nathan Ward (CRUELSTER, PERVERTS AGAIN, the CARP) and Jayson Gerycz (CLOUD NOTHINGS), return with Hypnotic Smack, a wiry, offbeat LP that fits neatly into the city’s long tradition of bent punk weirdos. Earlier MRR reviewers have namedropped DEVO, CAPTAIN BEEFHEART, NOMEANSNO fronted by Steve Albini, and SERVOTRON when trying to pin this band down, and those touchpoints still make sense: jerky rhythms, odd vocal phrasing, and a nervous, sci-fi pulse that feels both mechanical and human. Must be something in the water in Cleveland, turning out band after band of weirdos who twist punk into performance art and still make it catchy. It’s got humor, it’s upbeat and angular, but it doesn’t quite stick for me. All those reference points are ultimately more interesting than what comes through here. Maybe I’m just wishing they’d lean harder into it. The track “Sacred Mystery” was a high point, a glimpse of the extra bite I wish the rest of the record had. In today’s world, this isn’t that weird or abrasive. Maybe it’s a nonthreatening entry point for a voyage toward more esoteric pleasures. Eleven songs, thirty minutes.

Celebration Summer / Wolf-Face DCxPC Live, Volume 42 split LP

Recorded live at The Fest, DCxPC Live, Volume 42 pairs CELEBRATION SUMMER from DC. with Florida’s WOLF-FACE for two distinct takes on melodic punk energy. CELEBRATION SUMMER lean into earnest, ’90s-style melodic punk showing their JAWBREAKER and TILTWHEEL influences. WOLF-FACE counters with a more playful set that mixes their Teen Wolf basketball-punk personas with solid, tuneful, orgcore-flavored “whoaaaaa” sing-alongs, including a cover of TV ON THE RADIO’s “Wolf Like Me” and a live version of “I Wanna Be a Homo(sapien)” with a hirsute wink toward SCREECHING WEASEL. The recording quality is rough, but it feels like an honest snapshot of two bands connecting with a crowd. Limited to 200 copies on this yellowish color that someone decided to call “summer moon.”

Fan Club Stimulation EP

Formerly known as LYSOL, Seattle’s FAN CLUB hits a new high on Stimulation, a five-song, six-minute blast of incendiary hardcore punk with a rock’n’roll undercurrent. The songs tear forward with relentless motion and sharp, swaggering energy—closer to SEUDO YOUTH in pace and delivery than the slower grind of a lot of their earlier material. It recalls “Blessures Graves,” the standout from LYSOL’s Soup for My Family, where they ditched mid-tempo for full-throttle attack but somehow held on to the strut. It’s a sound that feels urgent, alive, and fully realized. One of the best things I heard all summer, and I swear this band keeps getting better the faster they move.

Gentleman Jesse I Wonder if You Would Even Notice: Singles and Rarities LP

This Atlanta four-piece plays upbeat, hook-driven power pop built on clean guitars and tight melodies. Sharing some of the same DNA as EXPLODING HEARTS or the TRANZMITORS but with a lighter, less aggressive touch, GENTLEMAN JESSE trades in most of the speed and harshness for classic pop songwriting. Formed in 2006 by Jesse Smith with drummer Dave Rahn (both from CARBONAS), the band’s early singles captured a scene steeped in melody and a fascination with the late ’70s band the NERVES. This collection gathers sixteen tracks from those first five years, most around two minutes long, offering a concise picture of their evolution. Later songs like “I Want What’s Mine” and “I Can’t Hardly Take It Anymore” stand out for their extra bite and momentum, but damn if my brain doesn’t keep going back to the first track, “I Don’t Wanna Know (Where You Been Tonight),” which is just a really good pop song. The collection as a whole works as a snapshot of an era when a bunch of punks started playing pop music. The lyrics, true to style, stick pretty close to affairs of the heart.

Los Retumbes Violentos Torpedos Realidad cassette

The second full-length from this Crazy 88s-masked duo out of Barakaldo, Spain comes in a tiny run of 25 red-shell cassettes on Nashville’s Knuckles on Stun. What’s inside is stripped-down, ’50s-rooted rock’n’roll delivered with lo-fi urgency and a surfy twang. The band quotes BILLY CHILDISH and LINK WRAY as inspirations, and I found the music to be playful and oddly wholesome—maybe they’re the spiritual descendents of HASIL ADKINS. Garage punk often revels in abrasion, but this feels like a different proposition: one more rooted in dancing, sweating, and smiling through the noise. Recommended for people who like to have a good time. Check out “Come On!”

Terror Management Band Austerity Gospel LP

This is the second LP from this Florida crew, featuring Mike Taylor of PALATKA fame.  Everyone here’s been in five other bands with names like MINIMUM RAGE or STAB THAT MOTHERFUCKER, so the pedigree is real. They bill themselves as “Southern Gothic noise rock,” and what that translates to is 39 minutes of feedback, lurching riffs, and rant-sung vocals that evoke the experience of someone cornering you at a party to explain why everything is collapsing. The problem for me is momentum. When I think noise rock, I default to the AmRep strain of ’90s bands that sounded relentless, punishing, always moving forward. Austerity Gospel doesn’t really deliver that drive. Too often, the music sinks into plodding tempos without the weight that might make those moments feel crushing. Instead, some of these songs drift toward post-rock soundscapes. The second song “Minorcan” especially feels more MOGWAI than UNSANE, which for me blunts the record’s impact. Not a bad album by any stretch, but it left me wanting more force, less drift. Maybe it’s about expectations? Check it out if you’re a fan of music that drifts between post-hardcore, post-rock, and noise rock without fully committing to any. “The Chisel” was probably my favorite track.

CP Westman Orkester Legalt / Boris är en Spindel 7″

CP WESTMAN ORKESTER pulls together garage vets from Sweden and France (members of BIG KIZZ, LADY BANANA, TUNDRA FUCKS, DESTINATION LONELY, JERRY SPIDER GANG, BART AND THE BRATS, TEENAGE HEARTS, and SKEPTICS) for their debut two-song 7″. Side A, “Legalt,” is a straight-up rock’n’roll pounder—big guitar/keys/drum stomp, with lyrics pushing for drug legalization, delivered with the kind of energy that makes the argument feel celebratory. Flip it and you get “Boris är en Spindel,” a Swedish spin on the WHO’s “Boris the Spider.” Here, Entwistle’s kiddy-creepy original gets stripped of the cartoon voices and blasted out like it was recorded in a hangar, with feedback and grunge bleeding everywhere. Pontus Westman did a cleaner version in 2024, but here the mess feels truer. It’s ragged and absolutely unpolished—I could see these guys playing on a DEAD MOON bill—and that’s exactly the charm. Looking forward to seeing what they do next.

Moving Targets Red Eyes LP

Boston vets MOVING TARGETS are back with Red Eyes, the third studio album since their 2018 comeback Wires. They still tag themselves “melodic punk,” but this release lands closer to the GOO GOO DOLLS than BAD RELIGION. It’s ten songs recorded by J Robbins, produced tight and clean, but definitely too clean for my taste—it sounds to me more like a band that would underscore some WB drama instead of inspiring kids to fuck the system. Maybe that’s the goal because we’re all grown-ups now, but I found 2023’s Live at Kling Klang, with all of the rough edges on full display, to be so much more compelling. If you’re a die-hard, or if your shelves already have space for SOUL ASYLUM next to your punk section, you might find something to like. For me, it’s more background noise than a burner.

The Sick Rose Dont’ Give Me Up Now / A Golden Boy 7″

Long-running Italian garage rock crew SICK ROSE released a two-song 7″ with the A-side covering the LYRES’ “Don’t Give It Up Now,” featuring guest vocals from Dom Mariani of Australia’s the STEMS. This version is faithful to the original, but Mariani’s delivery and the production give it extra punch. Flip it over and “A Golden Boy” channels a breezy mash of ’60s/’70s rock, toe-tapping and driven by a guitar/organ attack straight out of Sixteen Flights Up-era CYNICS. They play the kind of throwback retro rock that frequently makes my eyes roll, but here it seems more substance than style and it works for me. Only 300 copies pressed, so grab one fast.

1 St Class Collapse / The Prim split 12″

The split 12″ from Germany’s 1 ST CLASS COLLAPSE and the PRIM is a chaotic little gem of powerviolence that doesn’t overstay its welcome. 1 ST CLASS COLLAPSE, hailing from Koblenz, delivers a chaotic and engaging set, marked by either traded-off vocals or one particularly unhinged singer, cycling through yells, screams, and deep, demonic croaks like a hardcore Swiss army knife. The PRIM, from various cities including Berlin, shifts gears with a more metallic hardcore approach—heavier riffs, longer songs, and raw, tortured vocals that cut through the murk. While the songs run longer than average for the genre—each clocking well over a minute—they’re tightly composed and never feel drawn-out. This split is a strong showing from both bands and ends almost as soon as it begins.

The Boreouts Do Your Scam / Tightrope 7″

On their debut 7″, the BOREOUTS deliver two tracks of unpretentious and raw ’60s-inflected garage punk that sound less like a calculated throwback and more like a group of seasoned Detroit musicians having a blast. With Jason Navarro of the SUICIDE MACHINES on vocals and guitar, Ko Melina from the DIRTBOMBS on vocals and bass, and John Bunkley of GANGSTER FUN on keys, this unexpected supergroup sidesteps nostalgia-pandering in favor of genuine energy and fun. It’s raw, it’s real, and it’s pressed on limited edition red vinyl. Act like you’ve got taste and grab a copy.

Bombardement À L’ombre des Crassiers: Live LP

BOMBARDEMENT’s live LP A L’ombre des Crassiers, recorded in Bordeaux as part of the Kick Rock Live Series, captures nine scorching tracks of what they cheekily describe as “adult-oriented D-beat.” True to their name, this is an unrelenting assault—drums and bass locked into a pounding rhythm while the two guitarists peel off their own tangled, sometimes metallic freak-outs. The performance may sound chaotic, but it clearly rests on serious musical skill. Oriane’s vocals cut through the din with power and authority—urgent and commanding. While the bass came in last in the mix, the guitars more than compensate, occasionally threatening to rewire your brain. I’ve never fully clicked with D-beat as a genre, but whatever BOMBARDEMENT is doing here absolutely rules. The mix and recording quality are surprisingly strong for a live release, but with only 200 copies pressed, good luck getting your hands on one.

Palatka We Were Right 2xLP

Released in 2024 on Belladonna (the label run by bassist Jason Teisinger), We Were Right is a sprawling 62-track discography from Gainesville, Florida’s fiercely DIY hardcore/emoviolence band PALATKA, capturing the entirety of their pre-2000 output plus three practice space recordings from 2015. The disc includes their full-length, split contributions, compilation appearances (including tracks from the classic Possessed to Skate comp), and eight demo cuts, making it the definitive PALATKA release. Fans of screechy, high-pitched vocal intensity in the vein of ORCHID, REVERSAL OF MAN, and SAETIA will feel right at home, and while the vocals on the 2015 tracks don’t reach the same piercing register, the songs themselves are among my favorites. Covers of songs by GORILLA BISCUITS, GO!, and STRAIGHT YOUTH round out a collection that’s raw, relentless, and required listening for fans of chaotic ’90s screamo.

Blank When Zero Stagna EP

BLANK WHEN ZERO’s Stagna EP is a blistering four-song burst from this long-running hardcore trio out of Bingen, Germany. These tracks may be short—most clock in around two minutes—but they pack a sound that’s weirdly massive. The singer’s voice hits with a theatrical clarity that brings to mind the question “what if Michael Kiske’s kid started a punk band?” and it mostly works. Picture the spirit of DRAGONFORCE filtered through a punk lens (with a tiny fraction of the production budget and none of the guitar showboating), rooted firmly in their progressive politics. My favorite track, “Momentaufnahme,” is pure cardio for the drummer. This EP really grew on me after repeated listens. Maybe for fans of HELLOWEEN and PROPAGANDHI.

Diamine Ancient Riffs LP

DIAMINE is a Washington, DC three-piece made up of musicians from CAPITOL CITY DUSTERS, SEVERIN, and Florida’s DISCOUNT (a band fronted by Alison Mosshart, later of some band called the KILLS). Their debut LP Ancient Riffs mostly reads as mid-tempo alternative rock with personal lyrics delivered by a singer who sounds like a worn-down B.A. from SLOPPY SECONDS. Track seven, “Either/Or,” was the only one that I thought showed any bite. While some bands use “post-punk” to describe a distinct sonic signature—anxious tones, driving bass lines, sharp edges—others use it to mark what ex-punks did next. Ancient Riffs lands in the latter camp, and not necessarily in the best way. Coming of age in DC in the ’90s meant navigating wave after wave of projects built around ex-members of great bands—most of whom had lost whatever made those earlier bands compelling. DIAMINE sounds like one of those projects: the kind of group you might accidentally catch while waiting for the headliner. Recommended for friends of people who work at Dischord.

Drivel Pledge Allegiance to the Bomb EP

DRIVEL’s new EP is a feral blast of hardcore that channels the whiplash tempo shifts and noisy sample chaos of early 2000s Bay Area powerviolence while injecting a strain of murky and chaotic lo-fi grunge. Featuring members of PILAU and CHILL PARENTS with a guest appearance by Richard Johnson (ENEMY SOIL, AGORAPHOBIC NOSEBLEED, DRUGS OF FAITH), the record balances relentless aggression with moments that are almost darkly funny. The production is raw but intentional, everything lands exactly where it should. It’s the kind of recording that reminds you how creative this genre can be when bands let themselves sound unhinged.

Iron Lung Adapting // Crawling EP

Seattle’s long-running powerviolence duo IRON LUNG have recently returned with their first full-length album since 2013’s White Glove Test. This Adapting // Crawling promo 45 offers one of the album’s standouts and the partially hidden title track. Side A delivers a grim three-part sequence—“Purgatory Dust,” “Virus,” and “Purgatory Dust (Finale)”—channeling the chaos of public health disasters and anti-science backlash, pulled from both the COVID era and the polio vaccine fights of the 1950s. Side B is the full version of “Adapting // Crawling,” a broken sound collage that slowly mutates into a crawling dirge. IRON LUNG remains as bleak and gripping as ever, holding a mirror to the damage we do to ourselves. As they write in the liner notes: “Human nature is insane. I’m surprised we’ve lived this long.” Same.

Zero Bars Life and Hell cassette

Toronto three-piece ZERO BARS cranked out six songs of tight punk rock’n’roll on their Life and Hell cassette, with most clocking in under the two-minute mark but landing with plenty of bite. The first few tracks show up like a slightly less feral DEAN DIRG or MARKED MEN, all forward motion and sweaty basement show vibes. Then they flip the script with “Prove It”—taking a jab at the high cost of seeing these legacy punk acts—and “House Arrest,” both of which flirt with harmonics and channel a post-punk-adjacent feel. Things wrap up with a legit cover of the CRUCIFUCKS’ “Mountain Song” that sticks the landing. The audio sounds great and the playing is rock solid. The tape left me wanting more. Check out “Nervous Wire.”

Spares Spares 12″

Portland’s SPARES, formed in 2022 and featuring Mike Vera and Ryan Shanahan of Deep Elm Records band LOCK AND KEY, say their influences lie in early DC emo, ’90s Amphetamine Reptile, and San Diego’s post-hardcore scene, and it seems like the ingredients are all there. It’s well-recorded (bassist Matt Vera did the tracking and mixing) and there are moments of genuine tension and grime—”Grease Stains” being a standout to my ears—but too often, things drift into safe mid-tempo zones or suddenly get all melodic like someone slipped a WEEZER record into the wrong sleeve (“Din,” I’m looking at you). Vocalist Gabriel Matthews does a great job switching between singing and half-singing, but he sounds best when he’s screaming out those vocal chords. Look, if you’re name-dropping AmRep, I want to hear some HAMMERHEAD, not careful mood-building. There’s real potential here, but next time, less vibe, more violence. Or, you know, just play the music you love and ignore the randos who offer unsolicited advice.

Usurp Synapse Polite Grotesqueries 10″

Legendary Indiana-based screamo outfit USURP SYNAPSE resurfaces with Polite Grotesqueries, a vinyl reissue of their AssIIAss cassette originally released on Zegema Beach. Criminally overlooked compared to their early-’00s peers, the band delivers technical, aggressive, and unpretentious art-noise that calls to mind early DAUGHTERS, RACEBANNON, or a less perfect the LOCUST. Cramming a handful of minute-long panic attacks between a couple of two-minute epics, this EP may come off slightly more restrained than some of the scorched-earth chaos from their heyday (collected on the excellent 2003 compilation Disinformation Fix), but I don’t think they’ve ever sounded this good on record. Whatever they’ve been doing during their extended vanishing act, I’m not about to question it when the results slap this hard. Welcome back, you beautiful chaos demons.

The Real Losers Time to Lose LP reissue

The REAL LOSERS, a garage punk three-piece from Leeds, UK, don’t lose their raw and raucous energy in this remixed reissue of their 2003 album Time to Lose, out now on the Portland-based Total Punk label. If you’ve ever blasted TEENGENERATE or the MUMMIES and wished it sounded even more fried, this no-fi wrecking ball might be for you—vocals splatter like static from a busted radio, giving this the feel of a bootleg of the greatest rock show you never saw. This remixed version boosts the low end and gives the instruments more punch; it’s a significant improvement overall, but I think I might actually prefer the original’s shitty charm. The reissue includes the fifteen original tracks plus two bonus cuts, “Tell Me Something” and “Johnny’s Got The Action.” It’s primitive, overdriven garage punk that never lets up—a snotty, swaggering mess in all the right ways.

Kaptain Kaizen Für 3 Minuten 11 LP

On their third album Für 3 Minuten 11, Mannheim, Germany’s KAPTAIN KAIZEN rip through ten tracks of melodic punk rock with emo and indie influences, all played with a fired-up intensity that keeps the whole thing moving forward. The title tips its hat to the pop song attention span, and most of these tunes land right in that neighborhood. The musicianship and vocals are solid, though they mostly ride in the same lane the whole time. The songs feel fun, urgent, and sincere—sometimes like a less aggressive, later-period LA QUIETE. I don’t speak German, but the album’s Bandcamp page says they’re singing about political fakery, media spin, and colonial messes, which gives the whole thing some real weight under all that catchy energy.

Golden Shitters Brutal Planet LP

Hamilton, Ontario’s GOLDEN SHITTERS deliver twelve tracks of snotty, ’77-style punk that’s fast, infectious, and just dirty enough to keep it fun. If you’re into the MARKED MEN, you’ll dig this—riff-driven, high-energy, and catchy as hell. The vocals get a little snotty at times, throwing off some SCREECHING WEASEL or QUEERS vibes, but it’s the guitars that really drive the thing home. Most songs barely hit the two-minute mark, and even though tracks like “Everything Sucks” and “I Don’t Wanna Live” lyrically aren’t exactly sunshine and rainbows, the band’s energy will put some boogie in your butt. If you like your tunes with a little attitude and a lot of energy, this band is worth your time.

Varonas V​í​timas del Ritmo LP

VARONAS’ Vítimas del Ritmo (translated: “Victims of Rhythm”) is the debut LP from this Madrid four-piece featuring vets from MALLORY KNOX, THEE GIRLFRIENDS, THEE SUCKIN’ DICKS, and RADIO ZOO. The music meanders between garage rock, power pop, and straight-up ’70s-style rock’n’roll, with dual vocals from guitarist Vanessa Herrero and bassist Gema Bañares that are intended to channel a B-52’S vibe. While the album has its moments, including a cover of “Love Shack,” the vocals sometimes lack the strength that could have taken it to the next level. It’s fun and really not bad at all, but it could’ve been a lot punchier. Check out “Es a Mí” if you want a taste.

The Courettes The Soul of​.​.​. The Fabulous Courettes LP

The COURETTES serve up a polished, retro vibe on The Soul of… The Fabulous Courettes, blending ’60s-inspired garage rock with a nod to that big, Phil Spector-style wall of sound. The album has a definite CRYSTALS feel, with La La Brooks herself popping up on “California” and “Run Run Runaway.” While the band keeps it minimal as a two-piece live, the album is fleshed out with a full band and a carefully produced sound that doesn’t overly rely on too many layers of reverb, giving them a bit more of a punch than some of the other retro acts out there, like the RAVEONETTES or DUM DUM GIRLS. It’s fun and it has just enough modern sensibility to keep it from feeling completely stale, but when does homage stop honoring the past and start getting stuck in it?

Death Certificate Death Certificate cassette

The self-titled cassette from Long Island powerviolence quartet DEATH CERTIFICATE rips through eleven tracks—most under a minute—with reckless speed. The recording quality is solid. The band is fucking locked in, and Matt Viel’s vocals bring to mind a slightly less unhinged Andy Beattie from LACK OF INTEREST. These guys would’ve fit right in on the Slap-a-Ham roster in the ’90s, which gets them a huge thumbs-up from me. Members have also played in C.R., DEADGUY, GOSPEL, HELEN OF TROY, KILL YOUR IDOLS, SHEER TERROR, and a hundred other bands. Viel runs the photo zine Windows Down, and all Bandcamp proceeds go to a charity that supports abortion access—putting their money where their rage is. It’s fast, furious, and full of purpose.

Wax Static Beach EP

WAX STATIC’s Beach EP contains three surf-inspired garage tracks from this duo in Middletown, Ohio—which is about ten hours from the ocean, but don’t tell them that. The title track “Beach” opens the record with a mid-tempo, guitar-forward tune that sounds like it was recorded in the basement, setting the tone with lo-fi charm. “Hard Waves” follows as a 55-second instrumental bop—short, sweet, and the standout of the bunch. Closing track “I Wanna Go” continues the fuzzy momentum. The vocals are a bit buried, the music is simple, but it’s kind of fun.

Afterpill / Double Me split EP

This AFTERPILL/DOUBLE ME split 7″ is a quick and dirty snack of powerviolence done two ways. AFTERPILL, a bass-and-drums duo from Saguenay, Quebec, cranks out seven tracks of no-frills, meat-and-potatoes fastcore tunes that sometimes tended to blur together a little bit. It’s solid, but don’t expect a lot of variety. Then DOUBLE ME, a four-piece from Padua, Italy, crashes in with five tracks in just under two minutes, balancing screaming and Cookie Monster vocals over rapid-fire drumming. Despite an average song length of 22 seconds, each track somehow manages to sound distinct, and the recording quality delivers a serious punch. It’s over before you can catch your breath, but if relentless, no-bullshit powerviolence is your thing, this split’s got you covered. Check out the whole thing.

Rainswept Demo ’25 cassette

RAINSWEPT’s name might sound poetic, but don’t let that fool you—this four-piece out of Rome, boasting members of STRENGTH APPROACH, FIRST BLOOD, and BLVD OF DEATH, is clearly chugging from the same bottle as 1990s NYHC bands like MADBALL and BIOHAZARD. Groove is the name of the game here, and there’s plenty to mosh to if metallic hardcore is your thing. But the first song, “137 Anthem,” is a seemingly pointless instrumental that eats up about a quarter of the whole release. Bold move, guys. This isn’t really up my alley, but if any of the bands mentioned above do it for you, check ’em out.

Drink Deep DD EP

DRINK DEEP’s 7” DD is a no-frills time warp straight into the heart of classic DC hardcore, ripping through eight tracks in just over seven-and-a-half minutes. Recorded live in-studio by a Berlin four-piece in 2023, this EP features members who’ve played in such far-flung bands as REMISSION, the FOG, and PRAISE. Formed just a few years ago, DRINK DEEP nails that classic ’80s-style hardcore vibe with all the grit and sweat you’d expect. Phillippe’s vocals have an urgent, unpolished energy that brings to mind a young Ian MacKaye, and the lyrics feel sincere without slipping into preachiness. It’s not out to change the game, but it’s a solid hit of nostalgia for punks who still swear by the ’80s sound. I liked it. Check out the track “Empathy.”

Denude A Murmuration of Capitalist Bees LP

DENUDE’s debut LP, A Murmuration of Capitalist Bees, delivers eight tracks of mathy post-rock recorded live in the studio with “very few overdubs.” The three-piece, with members from PIGLET, MURDER IN THE RED BARN, FUIGUIRNET, and CREDENTIALS, clearly knows their instruments—the rhythm section drives with bombast and James David’s semi-sung vocals serve the material well. However, the first half of the album feels a bit directionless, leaving me wondering, “Where is this going?” By the second half, the tracks pick up slightly and “Phalanx” is a high point, but overall, the band’s restrained style left me craving more intensity. Fans of bands like SLINT and FARAQUET might appreciate the album’s subtle approach, but it may not fully satisfy those seeking more aggression. The vinyl is limited to 74 copies on clear root beer plastic with black and gold swirls, and 200 copies on black vinyl.

NightFreak Midnight in Memphis cassette

NIGHTFREAK’s Midnight in Memphis cassette captures twenty minutes of frenzied, beer-soaked punk’n’roll from this Chicago three-piece, recorded live at the Lamplighter Lounge in Memphis last year. The seven tracks blaze by with vocal-chord-shredding intensity, and while NIGHTFREAK’s energy made me think of bands like the BRONX or ZEKE, their execution is not nearly as tight. As a live recording, it sounds surprisingly decent, and the band’s unhinged spirit comes through loud and clear—way more visceral than on their self-titled album. Recommended for anyone who likes their rock turned up to ten and running on pure adrenaline. If they can channel all this piss and vinegar into their next studio release, I’m all in.

Aterpe Konfiantza 7″

ATERPE’s Konfiantza 7” picture disc is a bit of a curiosity. The band’s third release takes 7 SECONDS’ 1984 hardcore anthem “Trust” and stretches it into something almost unrecognizable—an overproduced ’90s rock sound that feels worlds away from the original’s ferocity. If you didn’t know it was a cover, you probably wouldn’t guess. The song is sung in Euskara, the Basque language, which might be the most interesting thing about it. Earlier ATERPE recordings from Txori Ene leaned faster and more chaotic, so this shift in style might be a surprise for longtime fans. It’s a niche release for collectors of lathe-cut records and fans of obscure reinterpretations, but you might want to sample before committing.

Seudo Youth Nobody Gets Down Like… LP

SEUDO YOUTH from Los Angeles takes no prisoners with Nobody Gets Down Like…, a twelve-track, fifteen-minute explosion of chaotic, noisy hardcore. With members of G.U.N.N., the FREAKEES, ADVOIDS, and PEOPLE’S TEMPLE in the mix, you know this isn’t gonna be a polite listen. The tunes are raw, frenetic bursts of energy, drenched in a wall-of-noise production that buries the reverbed vocals just enough to keep things unhinged. Are they reinventing the genre? Probably not. But does it matter when the energy is this contagious? The kids should go feral for this, and I can already see the bodies flying at their live shows. Check out: “M*A*S*H.”

Sullest Sullest LP

Providence’s SULLEST, featuring members of WEAK TEETH and GOOD LORD, among others, cranks out a tight, genre-blurring ride on this LP. Released via Armageddon—the same label that brought us the brutality of DROPDEAD, SEEIN’ RED, BASTARD NOISE, and ESCUELA GRIND—this one takes a left turn into radically different territory. The band is pitched as “stoner punk,” but it feels more like punk with a balance of stoner and post-rock elements, featuring heavy riffs, aggressive rhythms, and yelled vocals that bring to mind a more chilled-out, later-era VERSE. Thankfully, with eleven songs in under thirty minutes, there isn’t much time for the aimless noodling that makes so much post-rock a slog. I liked this album, but I liked it most when they were cranking. Strong production and energetic performances make this worth a spin—especially if you don’t mind some chonky grooves and a little atmosphere. Check out: “Contact High.”

The Dogs Total Dogshit LP

The Total Dogshit 12″ from the DOGS is a ten-song platter of raw Welsh street punk. The singer sounds like he’s about to smash a bottle over your head, snarling and bellowing through tracks that will definitely scare your parents. A drum machine keeps the barely-constructed songs together while the recording quality teeters just above “unlistenable,” but maybe that’s part of the charm. Tracks like “Shut Up” and “Hate Chu” had me tapping my toe while wondering what I’d done to piss this guy off. They even throw in a scrappy cover of the VELVET UNDERGROUND’s “Rock & Roll” for good measure. Check out the song “We Are the Dogs” or don’t—they don’t give a fuck.

Chilton Chilton LP

The self-titled sophomore album from Brooklyn-based CHILTON, a five-piece (super?) group, strikes a balance between honoring its members’ pedigrees and carving its own space. Founded by Josh Carothers (I FARM, EARWORMS), this album sees a couple lineup changes since their debut, including Abe Brennan (DEAD PIONEERS, MY NAME) stepping in for Bill Stevenson (DESCENDENTS/ALL/BLACK FLAG) on guitar. The recording sounds great and the songs lean toward an ALL-inspired vibe, featuring some sharp musicianship with minimal wank. The tracks “Mouth to Ear” and “One More to Go” bring to mind NOMEANSNO, and that might be the highest praise I can imagine. Propulsive, fun, and recommended.

Frank Dux Product of Our Youth CD

Cambridge, Ontario’s FRANK DUX comes swinging with their debut full-length, Product of Our Youth. Named after the guy from Bloodsport, this four-piece has been at it since 2015, cranking out slick, fast-paced melodic pop punk with a singer who can actually sing. Despite their deceptively youthful sound, most of the themes in their lyrics are all grown-up, tackling grief, loss, and the uselessness of “thoughts and prayers.” If you’re nostalgic for that ’90s-era STRUNG OUT or LAGWAGON and love those emo-boy singers from bands like TAKING BACK SUNDAY or SAVES THE DAY, you’ll want to give this a spin.

Ortega Fashionista LP

Self-described “DC hardcore art punk lo-fi sweethearts,” ORTEGA throws a lot of chaotic energy into Fashionista, and there are definitely some fun, aggressive moments throughout. However, whatever the band gets right is overshadowed by their singer’s relentless caterwauling. At times he sounds a bit like that guy from MÅNESKIN, but more often it sounds like he’s just yelling to be heard over the noise in the most grating way possible. I’m all for abrasive vocalists—raspy, screechy, ranty, whatever—but this feels less like an artistic choice and more like the rest of the band had to let him join in because his mom owns the practice space. This would be way better as an instrumental. Check out, “Flicker,” if you’re intrigued.

Dizzy Daze Glitchy Masterpiece CD

Glitchy Masterpiece, the debut full-length from Tokyo’s DIZZY DAZE, mixes five new tracks with five remixed or re-recorded favorites, delivering a noisy, ’90s garage rock vibe that sneaks up on you with repeated listens. Drawing clear inspiration from DRIVE LIKE JEHU (though without the late Rick Froberg’s vocal assets), the album really hits its stride for me with songs that muscle-in a bit of ’70s proto-punk, like “Evidence.” Despite the band’s cutesy name, the energy here is gritty and fun, even if it eventually had me itching to revisit the classics that sparked it. Available on CD or cassette for your nostalgic pleasure. Check out “Proto-Being.”

Merked / V.V.M. split cassette

This split release from MERKED and V.V.M. is a wild ride from start to finish. On the MERKED side, the Oakland-based three-piece brings their self-described “hardcore-influenced sludge-violence,” which is definitely music with a thick neck. The tunes and sound clips are a chaotic mix with screaming and croaking vocals delivered with production that makes it feel like you’re hearing this madness being played live in a large cement room. As for V.V.M., this San Francisco thrashcore four-piece brings the noise with a cowbell, and it’s some of the best shit I’ve heard this month. Tracks like “Fuck You, I Quit” and “I Used to Mosh” really hit a sweet spot in my middle-aged soul. Strong recommend for people who aren’t assholes.

Chien Flic Wouf? cassette

Wouf? by CHIEN FLIC is a blast of fastcore energy from Western France, brought to you by a five-piece with not one but two vocalists—both named Claire, because why not? This tape delivers ten whirlwind tracks, each averaging about a minute, with a charming blend of aggression and humor. Its English and French lyrics tackle topics like physical fitness, good hygiene, consent, and telling you to get off your damn phone. There’s also a song that is most of a recipe for apple pie, which is definitely a first in my experience. Limited to just 150 copies, the physical release has already sold out, but it remains a standout for its cute, fun, and intense energy. Check out the song “Macron Pouflasse.”

The In-Fuzzed Fuzz Out!! LP

Fuzz Out!! is the second LP from the IN-FUZZED, coming at us from Perpignan, France and a band that’s clearly deep into this ’60s fuzz-worshipping garage rock nostalgia trip, much like FORD’S FUZZ INFERNO. This album isn’t exactly my vibe—it sounds like ’60s music through and through, and I’m probably missing the finer details that fans of this genre would appreciate. It’s mostly inoffensive, but I can’t see myself sitting down to listen to it for fun. Maybe it’s better as party or club music, or as the soundtrack to a scene in a movie. The track “Sex Sex Sex,” despite the promising title, is basically five minutes of improvisational nonsense that sounds like something they recorded during a band practice. If you’re into music that’s all vibe and no bite, this might be your jam.

The Circulators Insufficient Fun LP

Insufficient Fun, the debut LP from San Francisco’s the CIRCULATORS, delivers some seriously impressive punk’n’roll barn-burners. Channeling the energy of bands like the DEVIL DOGS in my favorite tracks, they also incorporate a mix of ’60s pop and RAMONES-inspired rawness. The album has the gritty, rock’n’roll sound that could easily fit into the Crypt Records catalog from the ’90s, but somehow it doesn’t come across as a tired nostalgia act. These guys have serious potential, and I’m interested to hear what they throw at us next. Check out the TEENGENERATE-inspired “On the Loose.”

Edgar Places We Live, Places We Die LP

Formed in 1994 and breaking up just a couple of years later, Long Island screamo band EDGAR, with members who went on to play in the STATE SECEDES and LAST DAYS OF AUGUST, reunited in 2019 before settling down to write a new album during the pandemic. The result, Places We Live, Places We Die, feels like a time capsule from 30 years ago, firmly mid-tempo and blending discordant and harmonic guitar lines reflecting the influence of ‘90s post-hardcore from D.C. Bob English alternates between intense scream-singing and…something I don’t know how else to describe other than “musical talking.” While his vocal highs aren’t as sweet as they were on the TETSUO split, he still delivers a strong performance, supported by interesting songwriting and solid musicianship from the band. The result is a satisfying, nostalgic listen for fans of ’90s-era screamo with a D.C. twist. Check out “Failing as Humans.”

Ford’s Fuzz Inferno Electrofuzzification LP

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.”

Frvits The Great Internet EP

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.

Squishers Evenin’ All Over the World LP

This twelve-song LP from SQUISHERS feels a little like a back-porch jam session with a bunch of over-the-hill punks, and I mean that in the best possible way. Featuring Ryan Modee and Teddy Helmick of THIS BIKE IS A PIPE BOMB, Marie Davenport of the BANANAS, and Daniel Westcott of ADD/C, this folk-punk-meets-country mashup isn’t what I’d normally reach for, but it  grew on me with repeated listens. Rymodee’s vocals flirt with just enough twang to keep you on your toes, while Marie Davenport’s bass lines hold it all together with style. Perfect for fans of THIS BIKE IS A PIPE BOMB and punks who can handle turning it down without losing their edge. Check out the song “Wavicle.”

Prevail Prevail cassette

This limited cassette re-release of the second 7″ from this late ’90s South Carolina screamo hardcore band is a gritty blast from the past. The scooped-mids production, crunchy guitars, and boomy bass nail the era’s vibe, while the vocalist’s high-pitched and raspy scream-sing style makes them a perfect match for a bill with REVERSAL OF MAN or FORCE FED GLASS. It’s an aggressively raw recording that definitely sparks my nostalgia for the ’90s hardcore scene that is worlds apart from that shit they’re calling screamo nowadays. All of these songs are on their discography Curtain Call, but if you don’t have that already and you need something to play on your Walkman, you should jump fast to snatch this up.

Strangelight Material Conditions LP

The Oakland-based four-piece STRANGELIGHT features a lineup of veterans from bands like ALL YOU CAN EAT, KOWLOON WALLED CITY, TRANSISTOR TRANSISTOR, TRAP THEM, SWINGIN’ UTTERS, the NEW TRUST, and WESTERN ADDICTION, among others. Their latest effort Material Conditions is a tightly composed collection of nine songs and an intro track clocking in at twenty-three minutes, blending post-punk, post-hardcore, and indie rock influences. The mid-tempo songs channel ’90s DC vibes and sprinkle in some atmospheric interludes reminiscent of bands like MOGWAI or EXPLOSIONS IN THE SKY. The recording quality is good and highlights the strong musicianship, but honestly? It just wasn’t my thing. Check out “Two Masters” if your interest is piqued.

The Dumpies Gay Boredom LP

The DUMPIES’ Gay Boredom is a raw, energetic garage punk album that moves back and forth between mid-tempo melodic pop and fast, chaotic bursts of sound. Formed in Austin, Texas in 2017 and now based in Astoria, Oregon, this five-piece blasts out nineteen tracks in just over nineteen minutes, keeping things short and punchy. Produced by music legend Tim Kerr, the album sounds cohesive while covering a range of styles, with the title track’s vocals serving a Richard Butler (the PSYCHEDELIC FURS) vibe while “Ol’ Pal” has a chaotic, FAT DAY-like energy. The double-time cover of YOUNGER LOVERS’ “Ballad of Two Stubborn Men” is a tasty standout. I enjoyed the shit out of this album.

Still Animals Still Animals LP

STILL ANIMALS’ self-titled album offers ten tracks of mid-tempo garage rock over twenty-six minutes, delivering an inoffensive, straightforward sound that might be more engaging in a live setting. Hailing from St. Louis, Missouri, the four-piece plays with energy, but I kept hoping they would eventually turn it up to eleven and they never even got close. By the fourth track, the lack of variation makes the LP feel a bit monotonous. It’s fine, there just aren’t any memorable moments to be found here other than the song title “Here’s a Song,” which I thought was hilarious.

Completed Exposition / Maxxpower split LP

Osaka’s COMPLETED EXPOSITION teams up with Montreal’s MAXXPOWER to deliver a blistering platter of fastcore that hits like a series of rabbit punches to the face. COMPLETED EXPOSITION’s side showcases dual vocals and includes a few longer tracks with mosh parts to drive your circle pits. MAXXPOWER lives up to their name, blasting through fourteen tracks, half of which clock in at thirty seconds or less, clearly drawing inspiration from the Slap-a-Ham roster. Their songs feature plenty of starts and stops with the occasional mosh part, all powered by drumming that seems almost impossibly fast. This split is highly recommended for fans of classic powerviolence played at utterly insane speeds. Check out the whole split. It’ll only take you a few minutes.

Poison Idea Blank Blackout Vacant 2xLP reissue

The legendary POISON IDEA from Portland, Oregon sees their fourth studio album, 1992’s Blank Blackout Vacant, reissued by TKO Records and their own label, American Leather Records (again) in this newly remastered and remixed version of the 2020 deluxe reissue. This double-LP gatefold includes an extra LP’s worth of B-sides, rarities, covers, and four songs recorded live on KBOO. The covers include tracks originally by DEAD BOYS, the WHO, and BOOKER T. & THE MG’S. While this doesn’t quite pack the same punch as their earlier releases, it stands above most soundalike bands playing this type of punk/hard rock with metal influences. Recommended for fans of the band and collectors who need every damn version. Check out: “Smack Attack.”

V/A Locked in the Basement, Collection 1 LP

Locked in the Basement: Collection 1 is a gritty vinyl compilation that rips through 20 tracks from 20 underground bands in Bethlehem, PA and the surrounding area’s scenes. Born out of the pandemic and fueled by DIY ethos, this project is raw to the bone. The recordings are rough and unapologetic, capturing everything from crust to street punk, post-punk, and grindcore—so don’t expect polish, but get ready for a jolt of unfiltered energy. Standout cuts from ONE SIDED, ALEMENT, CHISELED LILLIES, RA!D, BRAZEN HELL, and PALE FANG tear through the noise, proving this collection isn’t about perfection, it’s about power. Pressed on blood-red vinyl with black splatters, the album also includes a booklet packed with fun stories from the bands’ sessions. Recommended for people who give no shits about recording quality and are interested in checking out what seems to be kind of a cool document of the bands playing in and around this scene since 2020.

Compulsion / Wrong War split LP

This split LP from Chicago’s COMPULSION and WRONG WAR, released by Council Records, features five tracks from each band. WRONG WAR, featuring former members from CURRENT, OTTAWA, and the PHENOMS, delivers energetic and driving songs that incorporate spacious arrangements and interesting guitar work. Their songwriting, paired with Matthias Weeks’ powerful vocals, harkens back to some of those late-’80s/early-’90s Dischord bands while retaining that classic Chicago hardcore drive. This is some great shit. COMPULSION’s side maintains a lot of the energy found in WRONG WAR’s tracks but sacrifices the refinement. Their gritty, mid-tempo hardcore is punctuated by Ebro Virumbrales’ bellowing vocals and an abundance of self-indulgent guitar licks. This side is recommended for fans of BLACK FLAG. Check out: “Profit Net” by WRONG WAR.

Upright Forms Blurred Wires CD

UPRIGHT FORMS’ album Blurred Wires showcases a more accessible side of Nick Sakes, the singer/guitarist formerly of DAZZLING KILLMEN, COLOSSAMITE, and XADDAX. The Minneapolis-based trio offers a blend of bass-heavy, dynamic noise rock tracks that are tempered with softer, more indie rock moments, as heard on songs like “Drive at Night,” “Long Shadow,” and “Animositine.” The album walks a line between angular rock aggression and a mellower approach, reminiscent of some of those old Amphetamine Reptile bands in one moment and indie rock bands like the PIXIES in the next. It’s perfect for fans of discordant, energetic rock who have mellowed slightly with time and don’t always need the intensity cranked up. It’s good stuff.

H,K, Now is the Time to Change the Earth (1989–2024 Best of H,K,) CD

H,K, from Shizuoka, Japan formed in 1989, and this is a collection of tracks drawn from various tapes, compilations, and splits recorded between 1991 and 2005. Unlike some of their contemporaries, H,K,’s brand of hardcore doesn’t rely so heavily on speed or thrash elements; instead, they weave a melodic thread through many of their songs that softens their sound. Kili’s wavering vocals frequently evoke the spirit of Jello Biafra, and I enjoyed their use of gang/backing vocals. Many of the tracks tend to run longer than typical hardcore offerings, with ten out of twenty-four songs exceeding three minutes. While the sound quality starts off a bit rough in the earliest recordings, it notably improves in the later tracks. The entire collection grew on me over time, but I think my favorite songs come from the Shuzuoka Hardcore comp. Check out: “Discrimination Violence.”

Zulu A New Tomorrow LP

L.A.-based hardcore band ZULU delivered an explosive and genre-expanding experience with their 2023 release, A New Tomorrow. Clocking in at under thirty minutes, the fifteen-track album intersperses metallic hardcore and powerviolence with unexpected yet cohesive elements like soul-jazz instrumentals, spoken word poetry, violin and piano, and clips of classic reggae and soul songs that act as musical interludes and add layers of political and cultural commentary. This isn’t just a hardcore album. It is a love letter to the exultation of Black culture, identity, resilience, and joy, balancing both anger and hope in its sound and message. The record is filled with plenty of heavy riffs and spinkick-inducing breakdowns, but it’s also deeply thoughtful and it might challenge some listeners to open their minds to some new sounds and ideas. Recommended for fans of the heavy and fast who are open to a blend of genres and a strongly underrepresented point-of-view in extreme music. A New Tomorrow stands out as a vital record in today’s expanding scene. Check out: “Fakin’ Tha Funk (You Get Did).”

Ann Beretta DCxPC Live Presents, Vol. 21: The Last Songs Live LP

This recording of ANN BERETTA’s final show at Richmond Music Hall in 2023 marks the end of a nearly 30-year run for the band. Spanning thirteen tracks, it’s a tour through their catalog of mid-tempo rock’n’roll that draws inspiration from bands like RANCID, GREEN DAY, and ONE MAN ARMY. Instead of any middle-finger-waving theatrics, these guys give the impression of being very earnest players in a long-running band that never really made it big. While the performance lacks the raw energy of the group in their prime, the sound quality is pretty good and the band’s heart is on full display. One high point is when STRIKE ANYWHERE singer Thomas Barnett joins the band for “The Real America.” This album may not be the best introduction to their music, but it’s probably a great memento for long-time fans.

Red Cross 1981–1982 No Message LP

Richmond, Virginia’s RED CROSS serves up a potent dose of early ’80s hardcore punk with their album 1981–1982 No Message. Originally intended as their debut LP in 1982, the album was shelved when the band broke up before its release. It later appeared in a very limited cassette run, but this marks its first appearance on vinyl after over 40 years. The fourteen tracks, clocking in at about twenty-five minutes, are a straight-up blast of early hardcore energy, with some songs sounding like they could have been missing tracks from This is Boston, Not L.A. The singer’s voice sometimes carries a bit of a Tesco Vee snarl. The album kicks off strong and fast, but the momentum stutters a bit on Side B. It wraps up with a live track and a humorous radio spot, providing a touch of nostalgia. Members went on to form the mighty WHITE CROSS, making this release an interesting document of Richmond’s hardcore lineage.

Pure Intention Faults and Fallacies cassette

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

 

Psyop Dare to Live EP

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

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

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

Chelsea Radio Active Tapes LP

The UK.’s CHELSEA may be best known as the starting point for a young William Broad (a.k.a. BILLY IDOL, who quit with most of the band to form GENERATION X), and for being contemporaries with bands like the SEX PISTOLS, the DAMNED, and the BUZZCOCKS. But this collection of outtakes and demos from their 1977–1980 period captures the raw energy of a young scene channeled through music that sits somewhere between rock’n’roll and new wave. The playing is solid and frontman Gene October can really sing. By today’s standards, this music is more pop than abrasive, and it wouldn’t be difficult to find this band’s DNA mixed in with a lot of Lookout!-style pop punk from the ’90s. Versions of these songs are already in circulation, but this collection has been remastered and it sounds great. They might not be your next favorite band, but there are plenty of worthy tracks here for your next mixtape. Check out the song, “I’m on Fire.”

The Dark Sinking Into Madness LP

This L.A. four-piece, featuring members of bands like TOZCOS, STRANGERS, SADICOS, and PERSONAL DAMAGE, excels when they’re playing at full throttle. Their sound is like a collision of deathrock and thrashy ’80s metal, with the chugga-chugga guitar and even a handful of solos. Comparisons abound to bands like G.B.H. and Japanese punk/metal acts like G-ZET. The production quality is good, and a delay effect on the vocals adds an extra layer of menace to singer Irvin Kim’s wails and snarls. Everything on this album seems deliberate. It’s effective, but for me it gets a little monotonous after a few songs. For a taste of what they do best, check out the track “Nightmare.”

Fazed Humanization Now cassette

Collecting four previously released songs from these Belgian punks, the music on this cassette reminded me of metal-inflected hardcore from the ’80s with its crunchy guitar sound. The songs are fast-paced and engaging, with dynamic intros and tempo shifts that keep things interesting—none of the tracks exceed two minutes. Vocalist Kevin Hellbuyck alternates between singing and sing-talking, reminding me a bit of Shawn Knight from CHILD BITE. The band says, “FAZED as a band favors kindness over cruelty, tolerance over intolerance, altruism over egotism, cooperation over authority, communication over frustration,” and those all seem like worthwhile causes to champion. This is good shit. Check out “Go for Broke.”

Dead and Gone The Beautician LP reissue

This remastered reissue of the Bay Area quartet’s third and final album, originally released in 2002, balances mid-tempo hardcore with noise rock, covering 28 minutes across 13 tracks. The pacing shifts from quiet moments to explosive outbursts, all delivered with a quivering intensity powered by their tight rhythm section and Shane Baker’s gravelly vocals. As a precursor to contemporary bands like ILS and drawing well-earned comparisons to JESUS LIZARD and NEUROSIS, this album fucking rips. I’m bummed that I never got a chance to see them live. Highlights: “Smile” and “Rats the Size of Rats.”

Celebrity Handshake Earth Last LP

This newest recording from Portland, Maine’s prolific skronk-blues outfit CELEBRITY HANDSHAKE is definitely an acquired taste. Imagine BIRTHDAY PARTY stripped of any sense of songwriting or musical prowess, leaving only raw, chaotic energy. Layered on top are vocals that meander between stream-of-consciousness jazz poetry and the unfiltered oddity of WESLEY WILLIS. Most people are just going to hate this, but if you appreciate the truly weird, give them a shot. Highlights for me: these songs all blur together, so feel free to dive in anywhere.