Reviews

Sir Bobos

Game Set Match Hang Out With You EP

At this point, I’d be surprised to hear any garage punk or rock’n’roll from Australia that isn’t killer, and this is no exception. GAME SET MATCH is Will Cooke from CAMMY CAUTIOUS AND THE WRESTLERS. This 7” features four tracks of fuzzy, rough-and-tumble rock’n’roll delivered via Goodbye Boozy, who have a history of putting out killer garage punk from across the globe. This isn’t groundbreaking or genre-defining, but it’s not trying to be, either. It’s just four killer cuts of rock’n’roll. While all the songs have a similar quality to them, they each have a great chorus and fun energy that I really enjoy. Each one would feel right at home blaring through the speakers at your local pub’s $1 beer night, or on your next mixtape or playlist.

Laughing Corpse Beyond Recognition EP

Easily my favorite hardcore release so far this year. A lot of bands claim an ’80s hardcore sound, but LAUGHING CORPSE delivers that and more. The VOID and BLACK FLAG comparisons are inevitable; just listen to the breakdown riff of “Nothing” and try to argue otherwise. But that’s how they get you. You’re a couple tracks in, it rips, you dig it. You think you’re in safe and familiar territory, and then bam! They blindside you with a cacophony of noisy guitar solos and drum fills that puncture your jugular and rip it wide open. What I really love about this record is that it feels dangerous. It twists and turns, it follows you in the dark, and it laughs as you bleed out. If I were a kid, I’d be scared to death to see them live, and that is a compliment of the highest order.

Gylt In 1000 Agonies, I Exist EP

The title had me thinking this was going to be some black metal garbage, but this is a nasty lil’ record and nothing I say should convince you otherwise. If you like your hardcore metallic and crusty, this is for you. If you like your riffs nasty and your vocals disgusting, this one’s for you! There’s no filler here; every riff, drum fill, and scream is delivered with intention. They never rest on a riff too long before rocketing full-blast into the next one. “Intimidated” moves between two or three tempos in just over 60 seconds, and does it without giving you time to catch a breath. It ends with gut-wrenching vocals going head-to-head with a ripping guitar solo before you’re thrown headfirst into “Pentiment,” with the opening vocal line “I hate youuuuu” sounding like it’s delivered from the bowels of hell. The vocals really make this one for me. It’s one thing to have a ripping band, but to have a vocalist match the energy and pedigree displayed by the band is something else. The vocals hold their own among the brutality of the music; visceral and guttural but delivered with clarity and authenticity. I hear a lot of bands trying to pull this kind of thing off while failing miserably, but that’s not the case here. Good shit.

Lakra Lakra 12″

LARKA is from the current generation of young punks stoking the fires of the underground in Mallorca. It’s angry and fast and delivered by kids who see no hope in a world that’s getting harder to live in by the day. It’s raw hardcore punk that’s delivered with intent. There’s much more of a Finnish punk sound than I expected, but with more modern production without overdoing it. Kinda sick! If you’re into bands like KAOSS or APPENDIX, you’ll dig this.

The Knight Shades Why (Baby Why!) / Make You Mine 7″

Only two songs? Bummer! This is, without a doubt, the best garage rock/punk I’ve heard this year. It’s got loads of energy and swagger, and somehow manages to breathe some life into a genre that often feels tired and repetitive. It’s polished and raw at the same time, and I love the JAMES BROWN-esque yelps delivered several times a song. I bet these songs would rip live, and I imagine it would be the kind of show where you’re soaked in beer and exhausted from dancing your lil’ ass off. Gimme more.

Brux Sota La Influència 10″

Five tracks from Barcelona’s BRUX, paying homage to the songs and bands that influenced them the most. It’s heavy on the Oi! and post-punk, and honestly, it took me a bit to realize these were covers, as each song would fit nicely into their existing catalog. As I was listening, I started thinking about how music exists without borders and how fucking cool that is. Where would we be today without the influence of first-wave British Oi! and punk? I think it’s cool that a band spent time and money paying tribute to their influences, while putting their own spin on the songs, too. Most of the songs have lyrics converted to their native tongue (Catalan), which is super sick. I’d recommend picking it up, but as of the time of this writing, it’s sold out!

Mirrors High All the Time LP

This record caught my attention immediately and is bound to turn some heads. MIRRORS are Cleveland proto-punk legends who were active from ’73–’75, and whose members went on to spawn bands like the ELECTRIC EELS and ROCKET FROM THE TOMBS. This is the “final” recording from the band, as frontman Jamie Klimek passed away in late 2024. The music sounds like a Midwesternized amalgamation of the SAINTS meets the FLAMING GROOVIES—there’s lots of swagger and attitude, but it stays clear of any real aggression. It’s kind of psychedelic, kind of power pop, and there’s some great guitar playing going down. The vocals remind me of WEEN or the DWARVES; funny, serious, and undoubtedly offensive. Klimek delivers some lascivious lyrics that are sure to piss off half the people who listen to what he’s saying. I heard no less than three uses of the “R” slur before I had made it through four songs! I’m a believer that rock’n’roll should be confrontational and should piss people off, but I’m not sure I want to hear a 73-year-old man getting horned up about teenage sex or waxing philosophical about his boner. Aside from some cool guitar parts and the haunting but dreadfully long “A Kiss Before Dying,” there isn’t anything to keep me coming back to this one.

Anti-Regimen Demos 86/87 2xLP

This double LP compiles the first two self-released cassette demos from these Spanish punks who are still going strong today. These demos go back to ’86 and ’87 and are pressed on individual LPs with the original artwork and a sixteen-page zine for the real heads. While the recordings have been mastered for vinyl, they still have the lo-fi charm that you would expect to hear on a tape. On the first track “Ya No Puedes Ir Donde Tu Quieras,” you can even hear the tape warble from the original recording. It’s cool that the British influence is so prevalent here compared to their later thrashier stuff. If I have any complaints, it’s that a few songs sound like the CLASH, and I fucking hate the CLASH. Otherwise, it’s a solid release, and a no-brainer if you’re a fan of Basque or Spanish punk.

The Smog Speed of Life / New Game 7″

Two killer new cuts from Japan’s the SMOG. This is what I consider perfect punk. What does it take to qualify for perfect punk, you ask? I don’t really have specifics, but I do know when I hear it. There’s a strong BUZZCOCKS influence to the songwriting, and it’s played with the ferocity of Japanese punks SS. Play it loud, you deserve perfection!

Thee Headcoatees Man-Trap LP

“Dude, did you see THEE HEADCOATEES have a new record out?” I asked my bandmate. “I’ll check the press release, I doubt it was recorded recently,” he responded, followed by “Welp, I guess I’m immediately eating my words.” Eat ‘em and smile, my friend! This is their first new release in 26 years, and features a few BILLY CHILDISH-penned originals along with a bunch of covers. If you’re an existing fan, you take comfort in knowing that the band still sounds great after all these years, and CHILDISH’S songwriting has improved the same. If you’re new to their music, sit back and hear where the COATHANGERS learned it all. I would have loved to hear more originals, but you can’t slight the band for having fun and letting the tape roll again after all these years.This one is a no-brainer for all the garage heads out there.

Briefbombe Deutsche Pest EP

The BLACK FLAG font on the cover had me dreading the first listen. I get a homage, but I see it used so often that it feels overplayed and unoriginal. It just feels kind of cheap, ya know? Are we so starved for fresh ideas that we must reuse and rehash the past? As much as I loathe the cover art, the music fuckin’ rips. It’s as angry, fast, and as pissed-off as the stuff our forebears were releasing 40-plus years ago, but it’s a different animal entirely. BRIEFBOMBE brings the riffs, and they do it with a fury. The songs are quick and meaty, packed with tight riffs and over-the-top drum fills. The vocals are intense and sung entirely in what I presume to be German. I can’t understand a word they are screaming, but the intensity in which it is delivered leaves no question that they mean every word. Cool stuff.

V/A Florida Underground Fest, Volume Two LP

At first, I thought this was a showcase of Christian punk. Turns out, it’s a compilation of live acts from Florida Underground Fest 5, and features a hearty mix of pop punk, ska, and metal. It’s not rough enough around the edges for my personal tastes, and there is too much silly onstage banter for me. It reminds me of watching a small local fest where you catch two or three bands that really have their shit together, and the other ones are bands you’ll probably never hear again. Even the “metal” songs are silly and soft, lacking any real edge or intensity. FLAGMAN sounds like a pop punk version of SYSTEM OF A DOWN (interpret that how you will), and CHILLED MONKEY BRAINS do a cover of the “The Trooper” by IRON MAIDEN that is as dumb as their band name. The GILLIAN CARTER tune kind of rips if you’re into that heavy screamo noise thing. I am not, but it’s the cream of the crop here. I’m still not convinced this isn’t a Christian punk comp.

The Higher State Internecine Free LP

Self-described “authentic ’60s garage punk” from the UK. Twelve fuzzy songs, riddled with bass leads and Farfisa organ stabs, but where’s the punk? While the band manages to capture the saccharine sounds of the late ’60s, they fail to capture any ferocity or attitude. Simply put, they excel at crafting and performing psychedelic garage rock that doesn’t actually rock.

Nightfeeder / Verdict Död Åt Tyranner split LP

An intercontinental split between the USA and Sweden with fifteen tracks of raw hardcore D-beat. First up are eight tracks from Seattle’s NIGHTFEEDER. It’s classic, pedal-to-the-metal crust with an undeniable American thrash influence, and it’s delivered with the utmost intensity. Think DISRUPT meets Darkness-era POISON IDEA—badass, huh? They aren’t reinventing the wheel, but they are certainly beating it with enough force to blow the tire out! The next seven songs are from Sweden’s VERDICT, and they are out for blood! Featuring members of TOTALITÄR and 3 WAY CUM, they deliver quick blasts of perfect käng hardcore. These songs rip and tear and don’t leave the listener much room to breathe. I love listening to a record and feeling like I got my ass kicked. If this were a steel cage match, VERDICT would undoubtedly take home the belt. Competition or not, this is a killer split that had me diving face first into the Phobia Records catalog.

Yunk Our Way EP

There is a lot going on here and I don’t enjoy any of it. YUNK juxtaposes anthemic choruses, distorted grunge riffs, and indie rock guitar lines, with over-the-top noise blasts delivered in a formulaic fashion. Each song has a slightly different feel and style, and the only real cohesion between them is the vocals. They could improve by focusing on a couple of things that they do well, instead of trying to mash all these styles haphazardly into songs. YUNK = yuck.

Revolución X Revolución Permanente: Discografía 1994–1996 LP

A complete discography of one of the most important Spanish hardcore bands from the ’90s Zapatista movement. It’s perfect raw and political hardcore crafted to be used as a weapon in the face of oppression. Given the recent rise in fascism across the globe, this release couldn’t have been timed more perfectly. It comes correct with all their recorded output, a live show from El Paso, and copies of old gig flyers. I could make comparisons to the obvious LOS CRUDOS or MASSACRE 68, and such comparisons would be accurate but would not do them the justice they deserve. They were instrumental in bridging the Mexican and American punk scenes of the early ’90s, and it’s about time this saw a proper reissue. Listen to “I’m Making My Future With the Border Patrol” followed by “Alto Al Bloqueo De Cuba” and you’ll understand what I’m raving about. If you listen to this record and it doesn’t light a fire under your ass, what will? Records like this make me want to fight. Fuck ICE forever. Highly recommended.

The Educated Fools Tantric Decapitation: 69 Minutes of Trichotomy and Liquefaction 2xLP

Sixty-nine minutes of boring, country-esque guitar playing. Sixty-nine minutes of the most boring, off-kilter, pseudo-Americana bullshit. Sixty-nine minutes that I can never get back. The EDUCATED FOOLS are the RETAIL SIMPS, minus one member. They recorded this entire double LP live, and boy, does it show! It’s full of mistakes, background banter, and out-of-tune vocals. If that’s your thing, you might be into this, but you’d also have to dig subpar songwriting. Nothing about these songs is memorable except for how bad they are. Tantric decapitation sounds more fun than having to listen to this record again. Totally not punk.

N.E. Vains Running Down Pylons LP

N.E. VAINS make music that sounds like it should be playing on the car stereo of your dad’s old Buick as you drive around with your friends, drinking beers, and being degenerate little shitheads. At the core, it reminds me of ’90s budget rock bands like NEW BOMB TURKS, but with an undeniable HEARTBREAKERS influence to the guitar riffs and a dash of snotty punk energy thrown in for good measure. The record clocks in at seventeen minutes, and even with a couple of lulls, songs like “The Grounds,” “Running Down Pylons,” and “Pinched Nerve” make it worth picking up. Put it on the stereo next time you want to drive around lighting bags of shit on fire and smashing mailboxes!

Minot Walls / People Pleaser 7″

Lo-fi, pop-tinged garage punk from Missoula, Montana. The A-side “People Pleaser” sounds like Toody Cole fronting the VELVET UNDERGROUND or BEAT HAPPENING; sparse instrumentation with chilling vocals and a cool organ line throughout it. The B-side “Walls” was not as interesting. The vocals annoyed me so badly that I couldn’t finish the song, and I tried twice.

Night Court Nervous Birds! LP

Vancouver’s NIGHT COURT is back with a remastered reissue of their first two releases, (Nervous Birds! One and Nervous Birds! Too) on one LP. NIGHT COURT plays lo-fi garage pop that leans more toward the dirt pop spectrum than garage punk. It’s straightforward, sometimes jangly, and there’s a pop element throughout. The lyrics are audible and intelligent, full of pop culture references, wasted nights, and sarcasm, and often delivered via dual vocalists. “Surfin Iona” is a standout for me, with drummer Emilor taking the lead and sounding like a bizarro version of Kate Pierson of the B-52’S. There’s a line from the song “Yr Ride” that stuck with me after a few listens: “Death is a hard ride / Heaven’s a joyride / Until you get caught with your pants down.” If there’s a heaven, I certainly want to arrive bare-assed! For someone with zero attention span, 26 songs is a lot to digest at once. I get why these were originally separate releases, but existing fans will love having these in all one place and on vinyl for the first time. It’s a cool showcase of the band’s early output, and fans of bands like MARKED MEN or even early SHINS will find something to love.

Havana Syndrome Kill Your Brain cassette

Demented synth punkers HAVANA SYNDROME are back with a quickness after dropping a demo tape in July. Look at the cover art: a brain mainlined into a computer monitor displaying a punk whose face is being eaten by his own brain! Cool. This should give you an idea of what you’re in for. It’s aggressive, it’s fast, and the synths give the songs life through a vein of electro insanity. On songs like “Wrapped Boots” and “Mind Control,” the vocalist yelps and hollers like a wounded animal around pulsing guitar and synth lines. It would be easy to compare them to bands like RESEARCH REACTOR CORPORATION, but it kicks way more ass. Think LUMPY & THE DUMPERS imprinting onto members of the LOCUST. Pick this up and kill your brain.

TV Casualties Orphanage Fire CD

Self-proclaimed “Canola Hardcore,” whatever the hell that means. This sounds like a band that you saw on the Warped Tour when you were thirteen years old whose name you can’t remember. The EP is self-produced and self-released which is commendable, but the songs are generic and unmemorable. You could put it on in the background and no one will be offended, but no one’s going to ask you who it is, either.

Billiam The Letter W & the Numeral B EP

Melbourne’s BILLIAM is back with another EP, his fourth release this year. There’s nothing new here, and any of the four tracks could have appeared on any of the project’s previous efforts. If you’ve enjoyed any of his other records, you’ll dig this. “New Wave” and “Houston We Have Rock” are full of fuzzy three-chord punk, battered with synthesizers and left scrambling to catch up to the lo-fi hi-hats working overtime in the background. The vocals sound like they were recorded through a cell phone inside of a cave, which kind of ruins it for me, although repeating the phrase “Houston, we have rock” 16 times in 54 seconds brought a smile to my face. The B-side is more mid-tempo and features the highlight of the EP for me, the closing “Essential Feedstock Oils,” where they repeat the word “record” 27 times in 90 seconds. Heavy SPARKS vibes with a bedroom charm. It ain’t for me, but fans of 1-800-MIKEY and GEE TEE will eat it up.

Wax Static Wasted Town EP

The cover is a picture of a broken skateboard with the band name in ’90s labelmaker font, and there’s a PRIMITIVE HEARTS cover included. I love it when a band lets you know exactly what to expect from their cover art. There’s a lo-f surfy element to these songs, but it’s still a little tough while still being fun. Both “Wasted Town” and “Back to You” have an early BLACK LIPS feel to them and pair well with the PRIMITIVE HEARTS cover. The vocals are much more audible and in the mix than on their demo released in early 2025, and it benefits them well. Worth checking out if you’re into lo-fi bedroom garage punk.

The Icks The Icks cassette

Five tracks of fuzzed-out, overblown four-track fidelity, with bratty vocals and drenched in Florida humidity. The ICKS ride the line between angular, fuzzed-out punk and slow and gritty mid-tempo bore-core. “IDMTMTM” is killer and will end up on a mixtape or two. If the tape ended here, I would love it, but they use the dreaded disco beat to lead off the next song, and that is an automatic point deduction from me. This would be best played loud while skating curbs in your local cul-de-sac, or taking resin hits from a dirty bong.

Why Bother? Case Studies LP

Prolific punks WHY BOTHER? are back with another LP on the heels of an EP released earlier this year. While the former relied heavily on a synthesized version of ’80s-inspired Midwestern punk, Case Studies sees the band, yet again, charting fresh ground, but I’m not so sure that’s such a good thing. Make no mistake, every few songs, there is a song that rips. They shine on tracks like “I Take Back,” “There She Was,” or the album closer “Galaxy Eyes,” where they effortlessly combine heavy ’70s psych melodies with SPITS-style lo-fi goodness, and vocals that call to mind early GUIDED BY VOICES. Unfortunately, the rest of the record felt boring and longwinded. Songs often drift in and out of ambient and instrumental explorations that would best be saved for a Friday jam session rather than on a recording. Repeated listens could change my mind, but I’m not sure I have the attention span to reach for this one again.

Baby Tyler Sucker With a Dream LP

BABY TYLER is back and better than ever. I’ll admit it, on the first listen I wasn’t impressed. It was exactly what I expected, hardcore-tinged garage punk rippers. Nothing more, nothing less. The first two tracks didn’t do much for me at first, but the third track caught my attention with the lyric “And if you give it nothing / What do you expect in return?” This stuck out to me, and days later it was still in my head. Tracks six through eight expand on the sound of the first few songs and have some of my favorite moments on the LP. The horn breakdown on “Rinse Repeat” is a great example, as is the menacing vocal on “Good Motivator.” The bass and drums really stand out and work together seamlessly to move the songs forward, while the guitar takes a back seat and adds subtle flavor where needed. Elsewhere, the bass can be overpowering at times, and I wish the guitars hit a little harder. Lyrically, vocalist Tyler Fassnacht angrily questions his dedication to the craft, the idea of “success,” and what it means to a mid-thirties DIY punk who has spent most of his life on tour and making records. “If you give it nothing, what can you expect in return?” The answer is nothing. Fucking nothing. But if you give it everything, time and time again, you may end with an LP full of piss and vinegar, yet still poppy enough to leave hooks in your head for days.

Jodie Faster Saint Lundi LP

Nineteen songs of feverish hardcore punk from France. No distortion, no breakdowns, no songs over 1:45, and no time to slow down! Super-political, super-fast, and the origin of Saint Lundi has me wanting to quit my job and go slam a pint! JODIE FASTER has been dishing out “short songs played fast” for a decade, and it truly shows on Saint Lundi. My favorite moment on the record is when vocalist screams “fuck that!” during a split-second pause in “S.O.R.G.A.” This shit rules.

The Bacarrudas Bleed Out, Get Pushed Off a Cliff, Sink to the Bottom of a Lake, and Play a Halloween Monster House Party! LP

The title says it all, folks. A double LP full of campy, over-the-top, ’60s-inspired monster madness straight out of Philadelphia. It’s worthy of a seasonal spin during your next Pagan house party or seasonal sockhop. Songs like “Dracula’s Castle” and “She’s in Love with Frankenstein’s Monster” are loaded with all the reverb and tremolo of your fave ’60s and ’70s novelty records, and much to my enjoyment, they lean into the humor and campiness. It reminds me of the kind of stuff I would find in a used dollar bin and would scoop up without hesitation. It’s pressed at 45 RPM on 12” which adds to the novelty vibe. Overall, it’s a fun record without a ton of memorable moments, but deserving of a listen if you’re into the schtick.

Heavy Lag / Sekunderna / Teenage Bigfoot / TV Cop split LP

I love splits. This one is a cool showcase of the current dirt pop scene, with each band contributing two original songs and one cover. If that’s not enough for you, it even comes with a fifteen-page zine. The whole affair gives off heavy MARKED MEN or RADIOACTIVITY vibes, so it should come as no surprise that three of the bands either recorded or mastered their tracks with Jeff Burke. The original songs are a good example of what each band brings to the table, but the covers are the real gems here. TV COP covering MOLLY HATCHET just might be my favorite track on the split; pop punks covering Southern rock and doing it justice??? I’m into it. The TEENAGE BIGFOOT originals remind me of walking into a Hot Topic circa 2003. Not into it. On the other hand, their cover of “Dreams” by the CRANBERRIES was stuck in my head for days, and I really dislike that band! For the uninitiated, I don’t feel like anything on here will make any of these bands your new favorite. But for existing fans, Jeff Burke worshippers, or anyone looking for a few killer dirt pop covers, this LP will feel right at home in your collection.