Reviews

Sir Bobos

Shaved Ape Love Letter to Hardcore LP

The LP cover is perfect; a picture of Riky Barnes in a RUDIMENTARY PENI shirt, mid-air, ripping a skate trick. Some records you know you are going to dig before you even hear them, and if I saw this in the bins when I was thirteen, I would have bought it, no questions asked. And when I dropped the needle onto this one, I didn’t just dig it, I fucking loved it. Ten songs (the B-side has their 2022 demo in its entirety) in less than ten minutes, and they all rip with the ferocity of ten Rottweilers guarding a junkyard! It’s maniacal, furious, and scary like good hardcore should be. And it was recorded on a glorious tape machine, giving it the perfect fidelity. All these key ingredients are necessary to make a stellar record and to pen an honest love letter to hardcore. Major props to the drumming on this one, too. Top-tier.

Cloven Fang Silver Bullet EP

Serious MISFITS worship via Melbourne. There’s tons of fucking reverb, rudimentary power chord riffs, and horror movie inuendoes galore. “You are my silver bullet” is repeated like 50 times, and I want more! CLOVEN FANG gives you a hook and then murders you with it. The last track jumps off the MISFITS bandwagon, but it still rips and is full of ghoulish background vocals. This one’s a no-brainer.

Torre de Marfil Torre de Marfil cassette

The album art had me thinking this was going to be some weird Italian metal album, but I was pleasantly surprised as it was not at all what l expected. This is Mexican Oi!, no bones about it. And while the first track didn’t initially do much for me, the chord change around 2:52 made me turn my head and commanded my attention. Over the course of the next seven tracks, they checked all the boxes from heavy street punk to a more danceable sound akin to modern bands like L.A.’s CRIMINAL. The heavier and faster tracks like “Para Que Es La Memoria?” showcase more of their punk and hardcore influences, but they always bring it back to a classic yet modern ’80s-inspired sound. I appreciate the vocalist keeping it nasty when the tempo kicks up a few notches, too. No complaints here.

D.F.C. Igreja Quadrangular Do Triangulo Redondo CD reissue

A reissue of a 25-year-old record that was reissued 5 years ago, this time with fewer tracks. Brazilian punx D.F.C (DISTRICT FEDERAL CHOAS) rip through over twenty tracks in less than twenty minutes! It’s as political as you can get, and there’s a really dated ’90s feel to most of the tunes. “Tambo Sou Positivo” is a perfect example—the riff is straight out of ’94, and the rap vocal delivery (entirely in Portuguese) and turntable scratches remind me of tons of bands I would hear on cassettes when I was coming up. It’s a cool listen and would be enjoyed by anyone seeking out politically heavy Latino punk that isn’t your typical thrash-and-bash hardcore.

The Grimly Pleased Do Nice Things EP

It’s fun, it’s bouncy, it’s cowpunk! It’s packing a little more fun than I usually go for, but it’s weird enough to keep my attention. The vocals kinda have a Jello Biafra/DEAD KENNEDYS vibe, albeit less menacing. Lyrically, it’s intelligent, sardonic, and downright fun, like early VANDALS without the nihilism “He found that hat / Now he thinks he’s a fucking marine.” I have a cousin like that, true story, a total dipshit! There’s an undeniable THEY MIGHT BE GIANTS influence to the music, and even a little MEAT PUPPETS, too. It’s got a weird energy with cool intertwining guitar leads. The album art is a perfect companion to the nature of these tunes, silly and sinister, which is an excellent way of describing GRIMLY PLEASED.

Lost Legion In My Skin LP

This is a killer compilation of singles, demos, and unreleased tracks from one of Chicago’s most prolific Oi!/punk bands of the last decade. Existing fans will love having all these tracks in one place while newcomers will get a taste of the auditory evolution of the band through twenty tracks, running the gamut between Oi!, post-punk, and ’77-style street punk. Standouts for me are the danceable “Stuck in One Place” (trust me, it takes a lot to get a caveman like me to move, but this song does it) and the lo-fi riff-raff of “Dressed Up Like a Warrior” which makes me want to fuck shit up. The vocals are gruff, the guitar work is killer, and the message is well-received. LOST LEGION is great at crafting genuinely catchy songs that have substance and meaning. That’s a rare feat, and this collection has me stoked to see how they evolve over the next decade. Highly recommended.

V/A Hipsville 2026 A.D. LP

With no thanks to PAT BOONE, this comp is a hit! Inspired by the Toronto outsider garage rock event Welcome to Hipsville and comps of the yesteryear like Pebbles and Back From the Grave, it features ten tracks of fuzzy garage punk, rockabilly, and surf, with most paying homage to relics from the past. Toronto’s KEWPIE DOLLS and THEE TERRIBLE THREES, along with the USA’s East Coast rippers DRACU-LAS and the OUT-SECT, cook up their trash-and-bash takes on classics, with the OUT-SECT’s version of the MAKERS’ “Do What I Wanna” being the cream of the crop, so good that I had to turn the needle back and listen twice. Elsewhere, you’ve got legends like the ICHI-BONS and BLOODSHOT BILL doing what they do best. One look through the liner notes and accompanying zine will prove evident that this is more than just a compilation. It’s a well-penned and planned-out love letter to Canadian garage rock. Toronto rules and has always been a favorite city of mine for punk and garage, and anyone interested in the latter would find this as a great starting point. There are more names, bands, and dates listed than I could mention, and it will take multiple views to digest it all. I love to see this level of detail and fun put into a project. Well done.

Jet Hag Sounds From the Gutter LP

Creepy-crawly, overblown garage punk with killer triple off-kilter harmony vocals, written and delivered with maximum bad attitudes! “White Noise” stands out for its righteous and nasty vocal performance juxtaposed against a wall of fuzzed-out guitar and bass. “Put Out (Or Drive Me Home)” shows a slightly more playful but still menacing side, with lyrics like “Give me dick, dick, dick / Until I’m sick, sick, sick.” They sound like EXCUSE 17 or SLEATER-KINNEY combined with the COATHANGERS, and I’m into it. Good shit.

Bad World Maker of Rules EP

Moshers rejoice, BAD WORLD returns with vengeance, dishing out another dose of classic crossover that’s groovy as hell and as hard as a brick to the face, backed by precision drumming and furious riffage. The guitar player absolutely rips—the opening track “Maker of Rules” opens with the sickest divebomb solo, and the last track “Ninevah” features a shreddy solo that quickly combusts into a crushing mosh riff. The band is super tight, and the vocals are typical, but I appreciate the fact that I can understand the lyrics. I’m a firm believer that 7”s are best served with two songs played loud, but I can’t fault them for putting out three rippers such as these. Pick this up and mosh ‘til you puke.

Ultra Lights Pleasure’s All Yours LP

PAVEMENT was the first thing that came to mind when I put this one on. The second song sounds like the STROKES. That’s basically this record in a nutshell; a ’90’s indie rock amalgamation without a modicum of originality. The band plays well, and the production is great, but I can’t get past how safe and unoriginal it comes across. I won’t be coming back to this one.

Thirsty Giants Escape the Junkyard LP

Three power chords, fast drums, palm-mutes, and snotty vocals. Honestly, it’s amateur hour here, but I would have loved this shit at twelve years old. Fuck the haters. These dudes keep ripping and keep putting out records, and that’s what it’s all about. The vocals have improved and are much more prominent in the mix than on their previous efforts. My favorite part of the record is the phlegm-producing sound at the end of the second track, “This Thing Called Junk.” It’s snotty and confrontational and the exact kind of shit you throw in your Walkman while trying to ollie that three-stair over at the local middle school.

Billy Batts & the Made Men DCxPC Presents Live, Vol. 41 LP

Here we have Atlanta’s BILLY BATS & THE MADE MEN ripping through 21 tracks of scrappy dual-vocal punk reminiscent of GUTTERMOUTH or even the QUEERS, but not as good. The double vocals keep things interesting; without them, I’m not sure I would have gotten as far as I did. You get what you expect with songs like “Long John Silver’s Feud in Augusta,” “My Job Sucks,” and covers of BLACK FLAG, SUICIDAL TENDENCIES, and…BILLY IDOL. Their drummer Nub Nub rips behind the kit and helps keep it all together, but it does nothing to minimize the juvenile nature of some of the songs. At the end of the day, it’s refreshing to see a young band touring their asses off and giving it their all. While the music isn’t my favorite flavor, you can hear that these dudes rip live and are absolutely doing their part to keep punk young. The more of these DCxPC records that I hear, the more I love them.

Magic of the Marketplace The Spectators are Leaving CD

This has to be the worst album cover I have seen all year. My god, what were they thinking? It truly baffled me when I started the record, and I was greeted with some throaty gravel vocals and melodic pop punk. “When the Story Ends” sounds like a more safe and polished LARS FREDERIKSEN AND THE BASTARDS B-side. You could also make comparisons to LEATHERFACE or even OFF WITH THEIR HEADS, although they don’t quite have the songwriting chops of the latter. If you’re a fan of any of those bands, you will feel right at home with this. I kind of hate it, but can’t deny there’s a fanbase out there aching for this kind of shit.

Calamity Calamity LP

This Hamiliton, Ontario four-piece dropped this LP earlier this year, and it’s full of power pop-ish rock’n’roll. It’s ten tracks, and most of them blend together. I could chop it up to the production and use the song “Stone Cold” for example. It’s got a riff, it’s got a chorus, and both blend into each other without any real dynamics. It never really hits, and had me ready to hit the ol’ skip button. I think with some better production or dynamics, this would come across a little more rocking. They mention a heavy Flying Nun influence, but aside from a couple of moments that I had to really look for, I don’t hear it. It’s a shame, because if that influence would have been front and center, I may have enjoyed this a lot more.

The Stress Balls Wildcat Sessions EP

There’s something nostalgic going on here, and I don’t think that’s the intention. The STRESS BALLS play straight-up old school punk. It’s lo-fi, no-frills, and it scratches the itch. They aren’t trying to reinvent the wheel, but give you what they’ve got and have a lot of fun doing so! They remind me a lot of Chicago punkers PURE INTENTION, both in delivery and attitude. “2026” is my favorite track here, just dumb punk fun. It reminds me of a vanilla ice cream cone that you’re going to have 60 times this summer. Simple, fun, and classic. Could it be improved? Sure. Does it need to be? Fuck no.

The Vors Boss LP

I’m not sure I can accurately describe how much I hate the opening track, “Human Being (Jelly Bean).” I’d be cool if I never heard it again. Dumb idea, great execution. The VORS play the type of punchy indie rock that can easily be called punk by publications and fans, but it isn’t punk! But it isn’t all bad, either. The second track, “You Treat Me Like an Asshole,” is three-and-a-half minutes of perfect summer fun. It’s somehow surfy and beachy without relying on any associated tropes. In another life, this chorus would slam and exert a little aggression, but that’s not what they do well! The VORS don’t need the aggression to keep you in. It’s sunny and fun while still retaining a rock edge. This is music for a beach party or a summer drive with friends smoking cigs and drinking warm beers.

Give Over Done In EP

The sudden tempo changes, metalcore riffs, and desperate screams call to mind bands like EVERYTIME I DIE or KNOCKED LOOSE. I’m not here to judge, so I will let you decide if that’s a good or bad thing. The production is slick and the band rips; the drummer is a goddamn maniac, but there is nothing really memorable about the songs and it left me asking “where’s the punk?” It’s aggressive and as fast they come, and the way they shift from tempo to tempo at the drop of a hat is impressive. But in the end, there is no escaping the metalcore breakdowns or death metal growls. It’s not for me, but If you’re a fan of that stuff, I think it would be worth checking out.

Smarm Lick the Fist EP

Cool little three-song EP out of Cincinnati. The first song, “Lick the Fist,” reminds me a lot of the heavily metal-influenced punk I’m seeing a lot of locally and regionally in the Midwest. It’s a minute-and-a-half of TURBONEGRO-influenced rock’n’roll that’s as dumb as it is fun. “Make Something Happen” is a catchy take on action rock with a chorus made for ’90s college radio, like a catchier and less explosive NEW BOMB TURKS.

Banana Clip Banana Clip cassette

This tape opens with a sound clip from Hanoi Hannah, the North Vietnamese radio broadcaster who famously used psychological warfare against American G.I.s during the Vietnam War. From there, you are subjected to BANANA CLIP’s own version of psychological warfare via an onslaught of blastbeats, crusty grindcore riffage, and savage political imagery. There is a rawness to the recording that I really dug, and I think that it supports the nature of the songs. The highlight for me is “Politically Unhoused,” which is also a great song title. In under two minutes, they manage to combine death metal vocals, nasty chugging breakdowns, and blistering hardcore drums. It’s kind of all over the place musically, but I think that’s the charm. For a trio, they do some damage. I’d recommend this to anyone looking for noisy, dissonant, and politically-charged grind.

Intimidation Cheap & American 12″

Right off the bat, these guys let you know where they are coming from with the cover art featuring a bunch of empty Budweiser bottles and cans. It’s rough-and-tumble American Oi!, fueled by cheap beer and ready to throw down in the gutter. The vocals are gruff, there’s a classic feel to a lot of the riffs and leads, and there’s not a song over three minutes. No complaints here. Turn it up!

The Pox All Together Now! cassette

Seven minutes of perfect garage punk coming out of Montreal, “recorded in glorious mono” and self-released. This rules. The production is as dirty as the music is. The vocals are snotty, pissed, and scummy. At times, you can barely hear the guitar through the cymbal hiss, but you don’t need to. You still feel the anger, you still feel the intensity, and sometimes, if you listen closely, you can hear a synth buried in the madness. The last track (“BBITA/I Don’t Wanna Die”) is oddball, but it ended up being my favorite out of the bunch. It sounds like punks playing a spaghetti western song. Midway through, you hear “Every time I log on / I see another baby take its last breath / Free Palestine,” followed by a synth lead akin to a funeral procession before they kick back into familiar territory for the last 30 seconds. It’s rare that a recording leaves me wanting more. I’d recommend this to anyone who is a fan of scummy, lo-fi garage punk.

Filth Hounds 1st cassette

The cover reminds me of an old ZZ TOP logo, so they get points for that right off the bat. FILTH HOUNDS are based out of Oklahoma City, and their tunes are riff-heavy with a heavy classic rock vibe. The opening track “They Live” had me drumming on the steering wheel with its driving rhythm and ’70s-esque riffage. In fact, these dudes can lay down a groove and they know a good riff, but the vocals really killed this for me. The fourth track, “Bubba Hotep,” was the final nail in the coffin. The vocals seem effortless and silly. Ironically, my favorite part of the entire cassette is when the singer operatically yells “peanut butter banana sandwich!” at the end of the song. Whether it was intentional or not, it made me chuckle. At least it’s got that going for it.

Screaming Fist Santa Plaga EP

The first offering in several years from Oakland’s SCREAMING FIST. They play the kind of ripping hardcore punk that you’d expect from a band composed of members of several veteran bands. Santa Plaga translates to “Holy Plague,” and most of the lyrics here are political in nature. It’s got killer riffs, Spanish vocals that command your attention, and a drummer who is hellbent on stealing all of that attention! I just love it when a drummer just dominates a record, and that’s precisely what we have here. Take the second track “Gotas,” for example: it’s one-and-a-half minutes of fury led off with a repeating snare drum roll that morphs over time into precision drum fills and cymbal crashes. It all happens so fast that it’s almost over before you can wrap your head around it. Production-wise, it’s more polished than their 2019 debut, and the fidelity serves as a vehicle to deliver a sonic ass-beating. I’d like to hear these songs a little less polished, but that’s more of a curiosity than a criticism. It’s not easy to come off this aggressive while being so melodic, but they do it very well. I bet they rip live.

United Stare Voice of Change EP

I’d never heard this band, and the first track blew me away. It’s a killer slab of UK-style punk brewed in Pittsburgh, PA. It’s gritty, the chorus is a crusher, and the vocals have a real Oi! quality to them. You could have probably convinced me this was a 7” lost to time, discovered in the attic 30 years after the band broke up. That is, until I got to track two and the band switched gears into DINOSAUR JR. riffage complete with slacker/loser vocals. Not nearly as cool and memorable as the first track, but will scratch the itch of anyone into the mid -’80s SST releases. I was starting to wonder if maybe the band has two principle songwriters who each brought a track to the table, but any interest I had in exploring that further was over as soon as I started the B-side. It’s one seven-minute instrumental track that isn’t worth the time it takes to flip the record. Shoulda kept it lean and mean. The title track is a goddamn banger, though.

Ismatic Guru Crocbrain, or, Two Big Steps for Mankind cassette

Another wild release from the gutters of Buffalo, NY. ISAMATIC GURU sounds like Mark Mothersbaugh fronting early WEEN. At times, the music sounds like it could be theme music for an episode of Pee-wee’s Playhouse, and at other times, it sounds like a mad scientist drum machine experiment gone awry. There’s a feeling that it could all fall apart at any moment, but it never does; it’s tightly orchestrated with skronky guitars, drum machines that move like a cityscape, and bass lines that hold the fort and keep a cohesive thread throughout. Clocking in at just over five minutes, the songs themselves feel like short bursts of punk-fried krautrock, rather than fully fleshed-out tunes. It’s a fun listen and it sounds like they had fun making it. The vocals add to the chaos; they feel like they are part of an inside joke that you weren’t part of but now you’re in on it, too. I found myself repeating the line “Go a little easy on the salt next time” randomly for like a week straight. No frame of reference or context provided, but it wormed its way into my brain and that’s gotta mean something. Overall, it’s fun and dare I say funky, but funky in more of a “my bandmate hasn’t showered this whole tour” way than a “did you hear that dentist shred that eight-string bass solo” way. It won’t please everyone but I found it to be a breath of fresh funk in a season dominated by hardcore releases.

Brat Farrar Group LP

This one was a little different than I expected. It sounds like DINOSAUR JR. or the REPLACEMENTS, but if they started five years earlier and were new wave bands. BRAT FARRAR is Sam Agostino, previously the frontperson for DIGGER AND THE PUSSY CATS, backed by a band featuring members of the BLOWERS and BROWN SPIRITS. Collectively, there is a lot of ground covered by all the musicians and there’s some cool songwriting going on, but I found the record to be mediocre at best. They are a good band, tight as hell, but none of the songs really stuck out to me aside from the first couple of tracks. The opener “Tower of Lies” has a killer driving rhythm and hook, and “More Money Meathead” is a true bonehead song, just dumb fun. I would have liked this more if it were an EP.

Soji / Urban Waste DCxPC Live Presents, Vol. 38 split LP

Killer split LP featuring Queens legends URBAN WASTE and Philadelphia’s SOJI. The URBAN WASTE songs are exactly what you’d expect; technical, fast, and brutal NYHC. There’s something to be said for a band 40 years into their career and still laying it down like this, respect! The SOJI side keeps the energy and takes things in an entirely different direction. It’s hardcore that pairs chugging metal riffs against these groovy and melodic passages. It’s not my thing, but the execution is excellent and it’s fucking cool to see bands taking things into their own hands and doing it their way. Lyrically, it’s confrontational and subversive. They are speaking about the shit that needs to be talked about and I love to hear it. Oh yeah, this is only available on LP through the label and limited to 200 hand-numbered copies, you can’t stream it! Community over corporations, motherfuckers!

Coachez Sonic Thumpers cassette

The opening track “Hot Shooter” is the best thing here. It sounds like NICK CAVE fronting AC/DC, and that’s the best thing I can say about it. Overall, this sounds like a group of people who have played their instruments for years and decided to finally start their first band. The riffs are decent, and while the musicianship is on point, the songs are too long and couldn’t hold my attention. “Longsnapper” tops the seven-minute mark, and the whole EP is only twenty minutes! The biggest standout to me is the vocals, and that’s because they are a complete mismatch for this band. There’s a croony, deranged quality to them that I could see working well with the right music, but here they fall flat against the sonic dumpers the band is cranking out.

Wristwatch III LP

The best offering yet from this fiery Madison, WI post-garage-punk trio. This is five songs from their first record and five songs from their second record, re-recorded. This time around, they ditched the drum machine in favor of their live drummer, and it really pays off. What I dig most about this is that it’s infinitely more aggressive in nature than their previous releases, and honestly, more than most of the stuff I hear in the genre. It’s pissed-off and weird, but also really melodic and hooky, and there’s an explosiveness to the songs that was lacking on their previous releases. The music is tight, angular, intricate, and sonically combustible. You can feel the energy of them all playing together, and it makes a world of difference. There’s some killer guitar work going on, and when the bass needs to shine, it really shines. Bassist Ty Spatz lays down a sick bass line during the track “Rules,” and it’s one of my favorite moments on the album. It reminds me of an angrier DEVO meets early PAVEMENT or the BUZZCOCKS. Vocally, the JAY REATARD influence is still there, but it’s not the star of the show. Vocalist/guitarist Bobby Hussy has come into his own vocally, screaming maniacally and theatrically, adding an additional layer of tension to a record already busting at the seams with tension and anxiety. The closing track “Fix” is a highlight of the record for me and a perfect demonstration of everything I liked about the LP packed into one song. It’s tense and moody, working through several musical passages that push it past the five-minute mark before resolving and releasing all that goddamn tension. Play it loud!

Fauna / Sequera split cassette

A ten-song split from two bands from North Catalonia who are both new to me. The SEQUERA songs have a Western pop punk influence that really threw me off. It sounds like it could have been on Epitaph in the ’90s. I’ve heard this before, and I never want to hear it again. The FAUNA songs are much more interesting. The recordings are less polished, and they’ve got a decent energy. They’ve got an edgy post-punk thing going on that reminds me of BLITZ or SYNDROME 81. This would have been better if it were ten songs from FAUNA.

The Dogs The Only Band Called the Dogs EP

I wasn’t prepared for this. The record opens with “I Didn’t Ask,” which sounds like a bastard version of “Cold Sweat”-era THIN LIZZY minus the twin guitar harmonies, and I’ll be goddamned if the vocals don’t sound like a snottier Phil Lynott. They are tuff and have the kind of swagger to them that should accompany riffs like these. It’s fast as hell and sounds like the soundtrack to a bad Saturday night! Jonah Falco (CAREER SUICIDE, FUCKED UP) oversaw all of the production, and the fidelity of the recording really serves the songs well. It’s an improvement over their 2024 LP; thick, meaty, and a lil’ dirty, with the bass driving each of the songs against a wall of programmed drums. The closing “Take It From Me” displays the band’s street punk influence, and it’s as catchy as it is menacing. The DOGS play rough-and-tumble rock’n’roll, plain and simple. If you’re a fan of shit that rocks, don’t sleep on this. I’d be surprised if this doesn’t end up on a bunch of year-end lists.

Vipers Way Out EP

There must be something in the water in Buffalo, and whatever it is, it’s responsible for some of the best hardcore in recent years—this is no exception. VIPERS feature members of COKE BUST, SCIENCE MAN, and BROWN SUGAR, and I am stoked to say they sound nothing like any of those bands! It’s menacing hardcore punk delivered at breakneck speed with intense vocals and a dash of straight-up rock’n’roll guitar-playing. “Preferia” sounds like SOA colliding with early SEPULTURA, topped off with a guitar solo that would make Wayne Kramer proud. “Coxinha Motherfuckers” is a standout for me, blending CIRCLE JERKS-style riffage under a savage scream of “I have no patience / Coxinha Motherfuckers / You’re driving me insannnne.” I thought he was talking about chicken! Absolutely bonkers. Play it loud!

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.