Reviews

MRR #431 • April 2019

Abolitionist A New Militance 10″

At first, I kept thinking that I must be missing something here. I don’t want to be making assumptions about the gender identities of the band members. This can’t possibly be an entire eight-song concept record about feminism by a band of four dudes, with lyrics written in the first person from the perspective of a woman (“Hands off our bodies / We’re tired of the gaslighting”). The cover art is an illustration of an army of women: featuring oversexualized, stereotypical representations of women of different ethnicities. Their faces are covered by pink bandanas, and they wave pink flags while marching away from a cityscape emitting clouds of pink smoke. Unsurprisingly, the illustrator is also a man. It’s almost funny, like one of those “unclear on the concept” cartoon panels, how hard this misses the point. To the band: not all liberation movements belong to you. What feminism needs is for men to step back and let women define the struggle, define the goals, speak for themselves, and get to be the protagonist in their own story. You don’t still get to be the cool guy in the band, you don’t still get to tell the story. Support feminism by supporting women, not by exploiting women’s struggle to promote yourself. And besides it not being your story to tell, you are not competent to tell this story from a woman’s perspective. The pink theme is a little baffling (did I mention the vinyl is also light pink?), and the lyrics read like a BuzzFeed listicle of top feminism hashtags. It’s shallow and reductive, with no signs of actual understanding of why these issues resonate so strongly with women’s real lived experience. I commend the effort and intention that went into this, and am glad there are men that want to support feminist struggle. It’s OK to have a long way to go, as long as you’re willing to do the hard work of listening, learning, and growing. Why not write a record drawn from your own experience of how patriarchy has harmed you and people you care about?

Andy Human and the Reptoids Psychic Sidekick LP

A long time comin’ for the REPTOIDS’ round two. Psychic Sidekick serves as a not-so-subtle reminder that Andy Human & Co. remain one of the top tier outfits around these days, presenting a bent variant that’s more critical, absurdist, and exciting than most of the contemporary class. Theirs is an out-of-time sound, recalling hyper-specific influences (why oh why do I continually think about the punkest moments from the OFFS or ALIEN CITY when hearing this band?) but arranged with a personality and perspective that’s unique and just plain interesting. So many killers. “You Like Your Job” is a huge wind-up, poking a safety pin in illusions via a sick guitar schmearing, “Thrust of History” is gutter glam from Galaxy Z, “Fissures” and “Echo Pedal” both take a bird’s eye outsider view while still buzzing mightily, on and on, and no duff cuts. As much as I’ve enjoyed the singles they’ve slotted in between their albums to date, the long-form release is where the REPTOIDS truly excel—I’ll be spinning this endlessly for the foreseeable future. A vital act from the here and now, so do yourself a favor and take their trip.

Aneurysm Awareness LP

Wow, someone’s hangry. I read on the internet that ANEURYSM is a post-hardcore noise rock band from Boston. Indeed, that is what this sounds like. Very anthemic and upset, party rock for the post-hardcore set. This would probably sound better if I was on PCP.

Ape Rites Dolci LP

This Swiss band comes across as a straight-up pop punk band. The music is peppy and upbeat, and the singer has one of those high-pitched, slightly annoying sounding voices. Instead of some sappy, lovelorn lyrics, that voice sings tales of some twisted things. The song titles don’t reveal too much, so you’re caught by surprise by these offbeat words. Nice.

Arctic Flowers Straight to the Hunter LP

In an era when most DIY bands can barely exist longer than a single album and tour, it’s actually quite special to see a band like ARCTIC FLOWERS put out their third full-length album. More specifically, a self-released third full-length! After nearly a decade of existence, these Northwestern punks are still killing it! This album brings us more of the dark and catchy WIPERS-influenced punk rawk we’ve come to expect. As with the more recent recordings, some will almost find it jarring that the vocals are actually sung (as opposed to screamed, barked, or grunted) into the mic. Alex is an awesome singer and doesn’t try to hide it, which sometimes doesn’t blend well with raging punk. But with ARCTIC FLOWERS, it works perfectly. This album destroys! My one criticism is that the insert seems like a rushed afterthought. But when that’s the worst part of your record, you’re doing something right. Do yourself a favor and find this record.

Ben Katzman’s DeGreaser Quarter Life Crisis CD

Glam and butt-metal influenced “funny” punk from Florida. It’s obvious that a lot of time and effort went into this, evidenced by the intricate guitar shredding throughout the CD, but the goofy lyrics, party dude vibe, and multiple references to Instagram kinda kill it for me.

Best Boys Electric Brett Pop Affairs 10″

Tank Girl-style caricatures of the band adorn this sugary coated steamer of a gatefold 10″ EP. Songs about their hometown, girls, etc., and it’s completely paint-by-numbers. By what they have written about themselves, I think that they think they sound like the RAMONES, and justify this cavity-creating creeper by claiming that they are in search of the perfect pop song. An honest high point that I didn’t expect to enjoy in a million years were the tight, quirky synth parts that seem to come from out of nowhere and don’t belong within five kilometers of this record. Low-energy, brainless pop.

Bricheros Making Our Way to the USA LP

Three things are critical to enjoying this album: you must love (like love) I Don’t Want to Grow Up, you must at least strongly enjoy How to Make Enemies and Irritate People, and you must be open minded to accepting new melodic pop punk bands into your life. These three Peruvians living in the US create pogo pop that’s just and fun as it is standard, and the path of this record is well-worn by many RAMONES-obsessed kids before them. But you can’t deny this is a fun record. The songs are great, and if your heart still flutters at the mention of ’90s Lookout!, you’ll be dancing to this!

Brower Buzzsaws LP

Holy Glam, Batman! I never heard of this guy BROWER from Virginia, but he’s definitely heard of T. REX and SWEET. Can’t think of much shit that fits this sound outside the ’70s…bedroom studio glam proto pub rock, maybe MICKEY JUPP’s LEGEND, but just the boogie rockers. Certainly not the first to mine this sound as of late, but the tunes speak for themselves, and this is an unexpected killer start to finish, like TANK for the 21st century.

Brutal Birthday Commotion EP

Bombastic, over the top, simplistic, noisy punk from Italy that sounds like a wall being knocked over. Kinda sounds like they are taking cues from early JESUS LIZARD at times, but I bet they’re not. Less cerebral and more grunting. Upon first listen, I didn’t care for this, but upon repeated spins the riffs kept coming out of the mire.

Bwak Dwagon Underground and Passed Around LP

Space-age sounds for punks who dig commercial rock radio but also love HAWKWIND. Ohio’s BWAK DWAGON lose me on tracks like “The Underworld” and “Demeter” (unfortunately, these two run back to back) when they stay slow and subdued, but the weirdness dominates even on ’80s alt radio/proto darkwave trax like “Evergreen.” This band would have opened for SCREAMING TREES in 1987.

C’est Dommage Red Lobster, Modesto, CA / The C’mel 7″

An homage of sorts to early ’90s post-emo rock, I think. In places, it reminds me a little of EVERGREEN. The guitars chime pleasingly over a slow-to-mid-paced rhythmic amble. The affected, whiny vocals may be a deal breaker for you on this one—for me, they fall on just the wrong side of annoying.

Catch As Catch Can Regular Vanilla LP

As soon as this started, Burger Records odors took over all of my senses. I was shocked that this wasn’t a new release from that label just due to the poppy, bubblegum garage vibrations being excreted by my speaker. Then I read that the cassette release will be coming out there, and all made sense in the world. This is four dudes from Germany who love them some garage pop saturated with oooooohs, ahhhhhhs, and jingly-jangly guitars. “Age of Coming” is a good pick if you want to anticipate a live sing-along, and “Pickle-Brine Chicken” is a real danceable jam about the culinary arts. These dudes have not reinvented any wheels, but this record is seeping with love of the genre.

Chronophage Prolog for Tomorrow LP

I’m horrifically late writing this review. I’ve been putting it off because I’m so afraid I won’t be able to do justice to this brilliant, unique, compelling debut LP by Austin’s CHRONOPHAGE, one of the best and most interesting bands in the world right now. This record sounds like everything I want when I see the tag “DIY” applied to a band: it’s chaotic but confident, it’s off-kilter but unbelievably catchy, and it sounds like it could have been made only by them. They’ll probably get a lot of comparisons to the Messthetics compilations, and that’s fair (although I think the Homework series would be more apt, since CHRONOPHAGE sounds unmistakably American to my ears), but it’s also frustrating. CHRONOPHAGE doesn’t sound like the past; they sound like the future. Or at least they sound like the future that I want to live in. Prolog for Tomorrow gets my strongest possible recommendation.

Civic Those Who No EP

Although I kinda enjoyed my first listen of this EP, now that I’ve heard this four or five times, I’ve decided that this shimmery little piece of wax needs a better, brighter light shined down on it. Sure it’s catchy as fuck, and that is most likely why I didn’t immediately pay it the attention it requires. But it’s also plenty fucking dark, which pairs quite well with poppy shit in my opinion. Like if the BOUNCING SOULS really were touched, troubled and tortured, sweet, complicated punks, instead of whatever the hell they turned out to be. A killer, unexpected BRIAN ENO cover rounds it out, and this is definitely going to be played for visitors this month. Not intentionally, though. I just don’t plan on it leaving the turntable for a while.

Dead Friends 46 Hardcore LP

This eleven-song debut LP from this hardcore band of OC veterans maybe has its DNA somewhere near Brats in Battalions, but punches for more straightforward DETONATORS-style rollicking retconned ’80s hardcore than guitar driven melody. The weight balance between everything that needs to come out in lyrical expression and spontaneous hardcore energy often gets tricky in the old school equation, but DEAD FRIENDS 46 are to be admired for their commitment to honoring fallen friends, a drug and alcohol free advocacy without judgment, and keeping things positive, though reading of the names of the dead friends of theirs at the end of the record is probably the most heavy and sobering thing I’ve heard on a hardcore record in some time. The covers of PETER AND THE TEST TUBE BABIES (“Banned from the Pubs”) and SOCIAL DISTORTION (“Mass Hysteria”), while interpretive, keep things fun as the tried-and-true sturdy gravel throated hardcore otherwise mines dark places.

Deposit Man Frustrate CD

This Finland-based quartet is comprised of older chaps (30-something dads, they proclaim): among them there’s a couple of Finns, a Catalan, and a Samoan who does the singing/songwriting. Musically, at their best, they are very reminiscent of that slower melodic ’82 sound, like UK SUBS crossed with a driving UK DECAY. Or ARTICLES OF FAITH on 33 instead of 45. I guess there’s a fair amount to be said for maturity (and fatherhood?) on the back of this one?

Derrumbando Defensas Ruidos de Resistencia LP

Vinyl version of 2017’s Confrontar CD, retitled and repackaged for the 12″ format. Monstrous metallic hardcore with a production and presentation well suited for massive stages and furious sing alongs, breathing life and urgency into a subgenre often reserved for third-tier bro bands. Ruidos de Resistencia reminds me why I still have a soft spot for the heat chugs and for those melodic guitar leads, and they make everything feel important…because everything is. The only mistake here is the lack of a lyrics sheet, or even context for the words—because the words are important, especially the perspective of women in a hardcore band from Chile addressing institutional oppression and exploitation. “Cruelty Free” is the track to end all tracks, and the “every moment / every second” chorus will likely be stuck in my head for weeks. Quality fucking release from start to finish, full endorsement.

Deviant Loading the Gun EP

Sharp, focused, distorted modern hardcore. Overbearing buzzsaw guitars, lightning fast with a sick snarl. Think about the SKEMÄTA school of attack, but way less nuanced. Ferocity in six movements.

Chronic Anxiety / Dialer Split LP

I reviewed DIALER’s debut cassette a few months ago and loved it, so I was stoked to see this. DIALER continue to use aspects of post- punk, synth, free jazz (??), and more to create a tight feeling of what the future holds for punk. They sound so fucking pissed about the state of the world, but seem cautiously optimistic about the future. Start- stop spazzing makes space for clarinet freakouts and weirdo samples, and the singer still has FILTH vibes. I’m into it. CHRONIC ANXIETY are bass and drums playing post-punk with some grunge overtones. Their singer is kind of half singing, half ranting in an almost stream-of- consciousness way about yoga and big gulps. I’m not that into it.

Dumb Vision Modern Things LP

I remember DUMB VISION being poppier the last time I heard them, and those poppy elements are still there, but the band also seems darker and more focused. DUMB VISION is coming from a garage punk background, and layers that with the slightest bit of psych, and they do an awesome job of building their songs into a frenzy. My favorite example of that is the closer, “Don’t Die,” which builds on a riff and is fairly repetitive, but is able to build tension and acts as a perfect ending for the LP. The whole thing is a rager from start to finish.

Endorphins Lost Seclusions LP

This one is a straight-up grindcore ripper. While this Seattle band has some metallic tendencies, there is defiantly a heavy west coast powerviolence thing going on here. Not only that, they throw in just enough smoldering sludge riffage to keep us from burning out on the blistering blast inferno. Like TERRORIZER peppered with moments of CROSSED OUT and BRAINOIL. Sure they have a familiar sound, but this shit is well-crafted and solid as fuck! Check it out!

Fiend Fiend EP

Great little debut from Galway, Ireland’s FIEND. These folks pull of the modern hardcore/punk style as exemplified by bands like RUT or BIB with aplomb. Each track is different from each other, from the brooding “Fiend” to the stomper “Scum,” but all of them explore territory that other bands have covered before. Indeed while listening to this I felt like I have heard this riffs and ideas plenty of times before. That’s not a knock against them—they’re copying from the right people—but it needs something to help it stand out from the pack. There’s a lot to like here, and I have high hopes for their next record.

Fornis Endless Night CD

I know that when I die and go straight to hell, I’ll be forever getting my ass thoroughly beaten by all the bands I’ve slagged, all the while being reminded of my own terrible recorded output, and thousands of other embarrassments I have created. I get it, I will totally deserve it. That being said, this CD is completely undefinable—’50s doo wop sludge but also kinda cutesy. I have no idea whatsoever what these goofballs are going for. So incredibly odd, yet completely forgettable.

Giglinger Money, Power, and Corruption / Pay No More 10″

This is a release of two three-song EPs from this long-standing Finnish smart punk outfit. They got the licks, but they got the lyrics too. Just dirty grungy anthemic punk rock with an anarcho-political bent, sounds like the ’80s all over again.

Globsters Express Everything LP

This is it—the punkest thing in the magazine this month. Lo-fi, fucked up punk from Hazard, Kentucky, with every single note played full tilt and in the red. Every self-loathing, society-hating, paranoid word of this LP is screamed to the point of brain breaking insanity. At times, they almost share some similarities with crasher crusters trying to reimagine DISCHARGE for 2019, but GLOBSTERS is the sound of pure, unadulterated, unrefined hatred. A cassette version of this came out in 2014 (I’ve never heard it), but apparently this is a different mix and arrangement than the original. What are you waiting for? GLOBSTERS is the wildest flower.

Heavy Metal Too Oz 4 I.T. EP

After three LPs of rambunctious and oddball punk jingles, this Berliner/Australian combo gets the lightweight, red-stamped Total Punk sleeve treatment, and it suits them well. “Underground Agent,” “Overtime,” and “Schweinebastard” sound like a nine-year-old having a temper tantrum in the middle of older brother’s band practice. “Gasmask Factory II” uses electronic drums for a truly groove-worthy experience. While I’ve enjoyed their previous shitty-good music, I think this smaller dose works better. Those already acquainted with HEAVY METAL will not likely change their opinion either way.

Hello Hooray American Burnout / Cherries Light the Way 7″

Boy, if you’re put off by the trash pizza cover art, I don’t blame ya. It’s fuckin’ rough. Luckily, the music on it is much better than the visual aesthetic would suggest. The ’70s STONES-style riffing makes this one very easy to enjoy, but the dude’s vocal style put it over the top for me. It’s so laid back and matter of fact that it becomes almost comical. It’s a strange choice that I’m really enjoying. The overall effect, especially on the superior A-side, kinda reminds me of a way (way) less jammy SPACIN’ or something of that ilk. Look, I know this one’s a hard sell, but I really think it’s worth your while to try to put the cover art aside and give it a fair shot. It’s definitely a keeper to my ears.

Iron Bars Iron Bars LP

These St. Louis vets have crafted quite a ripping debut, with a gnarly ’80s USHC vibe and more than a touch of early punk’s crash-and-burn recklessness. CHRONIC SICK, RKL and NIHILISTICS are clear touchstones, but there’s a swagger and wildness in the mix here that’s very DEAD BOYS as well. The clear, venomous vocals are immediately distinctive, as are the wild, nearly over the top guitar leads and solos. The tempo is generally moderate, though the songwriting is so hectic that many songs feel faster than they actually are, and there are some slow burners thrown in as well. This doesn’t have the intentionally retro feel of the early ’00s USHC revival bands—it’s well-written hardcore that shares a timeless quality with bands from an earlier era.

Iron Guts Kelly Burnt EP

Lawrence, Kansas’ IRON GUTS KELLY take their name from a more ridiculous episode of M*A*S*H, set during the ’50s Korean War, where a general dies in the embrace of one of the camp’s nurses, and his death is then reconstructed to appear as being in the heat of battle. The band’s outlook seems rooted in the same sort of dark irony: the EP’s cover features a drawing of a punked-out ubiquitous Kansas sunflower flipping the bird, but the humor ends there, with four tracks of meat and potatoes angry hardcore that falls somewhere between the rock edge of STRYCHNINE and the blunt force of SLAPSHOT. This decade-and-a-half-old band’s earliest recordings had the feel of early, simplistic DR. KNOW, with sustained vowels and simple thrashings, but the singer growls a bit harder here, as the playing is more confident and ambitious within its economy. No lyric sheet, but the vocals are clear enough, and “Goodfellas” is a standout track with its chorus-driven affirmation of punk community and camaraderie, rung in with a “Salad Days”-style bell intro. Slightly better production would’ve shined that one up even further.

Revenend Beat-Man / Izobel Garcia Baile Bruja Muerto CD

IZOBEL GARCIA is such a nice collaborator for REVEREND BEAT-MAN. His vocal style is rough and gritty, and hers is sassy, tough, and feminine. They sound perfect together. The music is stripped down. It is simply guitar and drums with an occasional bit of organ. It’s primitive garage rock with a snarling attitude. Unfortunately, Garcia doesn’t sing on every song. She should. Especially on the cover of “Love Me Two Times.” That one needed her.

Jackson Reid Briggs & The Heaters It All Comes Down LP

This is heavy. The intro track made me think of SONIC’S RENDEZVOUS BAND. Not surprisingly, they are from Australia. This is pure rock’n’roll. Apparently, they get glommed into the swamp rock / SCIENTISTS scene, but there are enough nods to BIRDMAN and the SAINTS (hello horn section) here, that seems like selling ’em short. Great record, hope they come to the USA! Guess I need to track down their first album now…

Laurice Bad Boy LP

Yes, everybody’s favorite bad boy is back in the saddle again, finally taking the giant leap from ’70s glam into ’80s new romantic. It’s hard to tell whether he had a BILLY IDOL fetish, or someone (ahem) steered him in this direction, but whatever the case, these tunes are sure to light up pretty much any futuristic TV studio dancefloor you can find. How can you deny hot licks and a drum machine? Very good stuff.

Lenny Lashley’s Gang of One All Are Welcome LP

This isn’t all that unique sounding as far as singer songwriter stuff goes outside of punk. This has moments of alt-country, folk, and guitar heavy indie rock. The rock stuff reminds me of BOB MOULD’s solo stuff as well as his ’90s band SUGAR, with a bit of twang, and the folk stuff reminds me of the WATERBOYS. Being a member of the NEW DARKBUSTER and STREET DOGS, I was expecting predictable punk folk, but this turned out more interesting. Solid release.

Lost Sounds Memphis Is Dead LP

Remastered reissue of LOST SOUNDS’ game-changer debut album from 2001. It’s pretty hard to overstate the impact they had on my taste— they just blew my brain apart. Having already thoroughly flipped for the REATARDS, LOST SOUNDS took that completely raw, blood-dripping punk sound and augmented it with synths to craft something far darker and often more dangerous than the teenage tantrum punk that was expected. This was entirely more musical, moodier, strange, and a lot more deviant. At this early stage, they had yet to submerge themselves in their march toward Black Wave, and you can still detect (gasp!) garage roots in their attack. See especially “Inside My Head” and their great reworking of the LOLLIPOP SHOPPE’s “You Must Be a Witch” for the proof. And it simply must be stated: the presence and power of ALICJA TROUT here can’t be ignored. Her songs here are totally revelatory—take a listen to “Memphis 99″ or “Satan Bought Me,” and bow down—truly one of the most dynamic and underrated ladies in all of punk. LOST SOUNDS didn’t make many false moves in their lifespan, but the beginning is a mighty fine place to start. If you haven’t heard this already, what the fuck could you possibly be waiting for?

Mañana Couch Brooklyn Dirt LP

This Brooklyn band plays a rollicking blend of party punk and rock’n’roll. Metallic riffs and playing bolster the sound, which is a combination of early VAN HALEN, NEW YORK DOLLS, and would you believe POISON IDEA? I honestly enjoyed this a lot more than I thought I would, based on the terrible cover art and inscrutable name. From the looks of the photos, these are not young guys, and they’ve been around the block. But they know what they’re doing, and have managed to churn out a great ’80s punk / metal LP in 2019.

Mod Hippie Wannabe Nobody CD

On first listen, it sounds like some 50-year-olds sat around listening to the BAY CITY ROLLERS, REDD KROSS, and NICK LOWE. There’s not much punk here at all, if any. It is, however, well-crafted, old dude mellowed bubblegum—too light on the rock, and a little too heavy on personal songwriting prowess and skill to be appreciated by the MRR elite, though there are more songs on which I’ve hit the repeat button than stinkers that I have skipped. I know you don’t really wanna listen to it, but what if I told you DJ BONEBREAK played drums? Don’t you wanna maybe try it out just for shits and giggles, now? Yes. Yes, you do. Plus, maybe your parents will hear you listening to this and get off your case for one fucking minute.

Molar Straniero 12″

Upbeat post-punk with strong pop undertones, but still aggressive enough to sound unmistakably punk. The songs are melodic and pretty, but also unsettling. These two different tendencies pull in competing directions, creating a natural tension. Just when you think the song has settled into a poppy riff, it gets weird again, throwing in layers of dissonant chords, unexpected accents, and yelling. Their 2016 release includes a cover of a SLANT 6 song, and the influence is still a relevant point of reference on this release. This record has five tracks, definitely looking forward to more.

More Stupid Initials 9 Out of 10 Doctors Recommend More Stupid Initials LP

Who do we have to blame for the mass proliferation of three-initial hardcore bands in the ’80s? SSD? DOA? CCR? MRR? In any event, MSI most likely predates ATI (ANY THREE INITIALS) as the first to satirize the trend. Existing from 1986 until 1990, this band of Toronto-area youths churned out some decent meat ’n’ potatoes hardcore, and 9 Out of 10 Doctors compiles the complete 1986 and 1988 studio sessions from which their two proper EPs were selected. It should be obvious even before listening that MSI laced their musical output with a healthy dose of tongue-in-cheek humor. Sure enough, the LP opens with a track called “Generic Straightedge Song,” and features covers of “Sugar Sugar” and a song from a Rankin/Bass animated TV series. However, unlike full-on joke bands like CRUCIAL YOUTH or GRUDGE, MSI were more likely just goofy teenagers. I’d imagine this lovingly assembled archival release, complete with a big booklet, would please fans of reissues by the likes of NEGATIVE ELEMENT or YOUNG REPUBLICANS. If you want something that dials the intensity up a bit higher, check out Schizophrenic’s expanded reissue of the SONS OF ISHMAEL Hayseed Hardcore EP (that band shared a member with MSI and really ripped).

Natterers Head in Threatening Attitude CD

This is hard-hitting, tight punk with a horror-style surf guitar, not unlike DEAD KENNEDYS and even a pinch of AGENT ORANGE, with the vocals a stone’s throw from a better-honed Kirsten of NAKED AGGRESSION. It seems a little too well-produced for something that’s trying to sound raw, but some people go for that shit. This is undeniably tight, well-oiled, and spastic, even if it’s a few decades too late.

Nixon Now The Now Sound CD

You like testosterone rock? Well, eat this shit up. Complete MC5 worship that totally falls flat. At least it’s not more pop punk in my pile, but it’s completely rehashed rock garbage, and the drummer doesn’t even have the decency to change his last name from “Rath” to “Wrath.”

No Blues Exploding Hearts / Miranda Rights 7″

Damaged and distorted power pop for no generation at all, and for every member of every generation ever. It’s simple, it’s raw, and the guitars are dominant and come at you from every direction. Two tracks. 100% punk gold.

Noncompliants Fed Up CD

This New York trio plays angry bar punk. Sort of like that glut of SOCIAL DISTORTION and early ANGRY SAMOANS-influenced bands of the early ’90s. These guys are pretty negative and without much humor in the mix. Music for “fuck everybody” punks who wake up pissed off and ready to fight.

Oldfashioned Ideas Still Worth Fighting For CD

Swedish streetpunk here. Although the vocals here are gruff, this has a tuneful feel that borders on NEWTOWN NEUROTICS and the UK SUBS at times. Luckily the songs are not about raising a beer with the boys. Although this got a bit redundant by the end, I do give it a thumbs up.

Only the Lonely Dimming Lights EP

The band name pegs the band perfectly. Snappy punk tracks with one leg hopelessly caught in an American rock’n’roll bear trap. DESTROY ALL MONSTERS, ROY ORBISON, AVENGERS—you know, the classics—reinvented and re-envisioned and damn near reincarnated with screaming Swedish space leads and a vocal warble straight out of ’77 LA. If this was KBD, I’d be humping legs to get a piece of them bonzers. Bonus points for gluing each song title individually on the back cover.

Overbite Awake EP

Fuck, this is gnarly. Blown-out and feeding back all over the place, Ireland’s OVERBITE offer up five tracks of fucked up disorientating hardcore with bestial vocals and some nasty riffs buried under the fuzz. The shitty looking pixelated packaging was initially off-putting, but after hearing the record, it makes perfect sense—one more element of this band’s presentation that is designed to confuse and obscure. The muffled, claustrophobic recording (which would be awful for almost any other band) is actually a plus, highlighting the ear-damaging shrieks and squalls of feedback while the drums and bass struggle in the background. This is a very challenging, very interesting record that I hope will find its way to those who would enjoy it most. Fans of PIG HEART TRANSPLANT and the like to the front, please!

Physique The Evolution of Combat LP

Holy shit! Olympia’s PHYSIQUE does it again, this time in a style more strongly influenced by DISCLOSE than before. Unlike their demo or their first LP, Punk Life Is Shit, every track feels more streamlined, including their eponymous track, which was previously featured on their demo. There’s no escape from the raw cacophony, almost no lulls at all during the entire album. The songs themselves are deceptively simple, but upon further listening reveal tons of small changes and variations throughout. It’s this attention to songwriting (and not just their status as an all-AMAB trans band) that separates them from the herd of fuckers that worship Kawakami. The lyrics are great, and live up to the title by describing the various ways that warfare, discrimination, and police brutality (among others) are changing in order to remain an ever-present threat to daily life. A dark, yet essential record.

Pisscharge Edën LP

FUCK YEAH!!! Get past the band name and doom metal-looking LP cover. There are so many reasons this Hanover band’s (made up of Brazilian, Chilean, and German band members) debut LP is awesome! First, this sounds so fucking urgent, not in a “we liked and wanted to sound like urgent hardcore from the ’80s” but actually like urgent hardcore from the ’80s, where the emotion, politics and passion of what the band is trying to express fuel the intensity. Second, it doesn’t sound like hardcore from the ’80s, nor is there any particular direct reference point except maybe the experimentation and intensity of later ’90s and ’00s Brazilian hardcore (this is way more aggressive but let’s say… MERDA?), where anything: melody, metal riffage, or simple boot-stomping punk can throw itself in to twist around the fourteen tracks of hardcore steamrolling. Third, it has absolutely wickedly scathing female vocals. Fourth, it is dedicated to the memory of Brazilian feminist and anti-police violence activist Marielle Franco, who was assassinated in 2018 in Rio de Janeiro. “Never forget / Organize without fear!” Fifth, the balance of chaotic looseness and musical competency is perfect, where sandpapery blasts of simple metal riffing charge simple and loose, but there’s still deft thrash. Sixth, songs are sung in English, Portuguese, and Spanish, with a fold out lyric sheet containing translations. Seventh, the punchy recording is mastered well, but also balanced with sounding really raw. Eighth: Q: And D-beat? A: And D-beat. Ninth, the band is self described as “Antifa punk, no grayzone.” I’m sold!

Plan Nine I Ain’t No Robot EP

Kinda all-over-the-place reissue of this ’81 release out of Calgary. It’s akin to a lot of stuff from smaller scenes of that era in the sense that while the songs pretty much fall under the banner of punk, they touch on a lot of different styles. The goofier side of the GIZMOS might be a fair comparison, albeit with a bunch of hard rock guitar solos thrown in. I found it all pretty enjoyable, but then read the included booklet and found out the title song here is about how the brothers in this band felt that socialism and communism are bad for people, which, uh, dampened my enthusiasm.

Porcupine What You’ve Heard Isn’t Real 12″

PORCUPINE have been kicking around the upper Midwest since 2006, and now feature one Greg Norton. Yes, he of the handlebar mustache. This six-song EP is straightforward, mid-tempo alternative rock, with a bit of that ’90s Brit-pop feel. The opening track has a nice, catchy chorus, and overall it’s pleasant enough, while not being particularly memorable. They do throw in one HÜSKER DÜ cover (“Standing by the Sea”), perhaps as a tribute to the late, great Grant Hart.

Private School Lost in Action 2×7″

Deluxe-as-fuck reissue of a crucial Canadian punk slice. This four- song EP was originally released in ’79 in a hard-to-file large envelope sleeve, and is now available in standard but expansive packaging, including an extra track, a booklet and two-song bonus flexi. The best tracks are still “Money Guns & Power” and the Bloodstains-comped, proto-hardcore “Fuck You,” but the rest of the songs are great too, sax and all! Supreme Echo rules!

Radical Fun Time There Is Only One Race The Human Race EP

I’m not ashamed to admit that I, in fact, did more or less have a fun time on my first encounter with this environmentalist / human-rights-themed band. Through the art and message, they emit a “punx as hippies living in the woods” vibe, which is sort of corroborated by their bio on the internet. Song titles like “What Is the Correct Way to Live? What Is the Best Way of Life?,” “Chemtrails—Aluminum Barium Dust A Synthetic DNA In a Toxic Aerial Spray,” and “What Is the Current Administration Covering Up?” all read like potentially quasi-wingnut headlines from various lefty or conspiracy theorist publications. Their sound is demented and fuzzy and cacophonous and so screamy (in a good way). Go back in time and put ’em on a bill with FLEAS AND LICE, CIVIL DISOBEDIENCE, and CHOKING VICTIM, and RADICAL FUN TIME would surely be the spectacle of the night.

Radon More of Their Lies LP

RADON is one of those beloved bands that was never very prolific, never quite went away, yet pops up every now and then to play a show and release some music. They were, at least in part, the foundation of the Gainesville scene, which eventually led to bands like HOT WATER MUSIC and AGAINST ME! This is their second LP since reuniting in 2005, and they haven’t lost a step. So many such bands settle into adult contemporary alternative rock. Not Radon, no siree. It may be a little more polished than the classic 28 LP (released over 20 years ago), but it’s still got lots of energy and will have you tapping your toes. Ripping pop punk from beginning to end.

Rat Patrol Doing Just Fine CD

RAT PATROL is from the Netherlands and have been around since 1988, but this is my first time listening to them. Retaining this amount of anger and drive after 30 years while still sounding fresh and relevant is not an easy task. They have a bit of an ’80s USHC energy with biting, crunchy guitars and a vocalist who only has one setting: full-on rage. The politics are on point, and the songs have enough catchiness to stay in your head.

Ravi Shavi Blackout Deluxe LP

Third album from this Providence garage pop band. The music is jangly and upbeat, the songs are catchy and bright, and the vocals remind me of BBQ or KING KHAN: kind of crooning, with moments of vulnerability and desperation. It’s their best record yet.

Richard Vain Night Jammer LP

Big, full-sounding indie jams here from this Chicago trio that includes an ex-PONY. The first track builds up from a brooding, proggy intro into a fuzzed- out krautrock jam that sets the tone for the rest of the album. Bleeding shards of guitar keen around organ-driven melodies atop a relentless drum boogie. The vocals drip with slacker ennui that falls somewhere between THEE OH SEES and DINOSAUR. The opening track and “Punks Inbred” are the standout tracks for me, but overall this is a strong, cohesive album.

Richie Dagger Forming / Media Blitz 8″

Weird little lathe cut record from someone who purports that this is CHRISTIAN DEATH covering the GERMS. It’s not—nobody would hear the stomp and the noise on both tracks and associate them with the atmospheric gloom of early CHRISTIAN DEATH. The cover of “Forming” on here is solid, but unfortunately it cuts off early to include a nearly incomprehensible live take on “Media Blitz” that doesn’t seem related to the original song at all. A puzzling and inessential record. The zine that comes with this document is printed on glossy paper and has some pretty nice collages and drawings showing the creator’s love of both CHRISTIAN DEATH and the GERMS. Worth it for the zine, but even that is a brief read.

Sære Gamle Villa Bedste Ven EP

Copenhagen post-punk with some definite nods to their city’s dark punk past. Mid-tempo and brooding with echoing vocals pushed way up front—it’s almost too high in the mix for my tastes. The songs have good hooks and are memorable, but a couple of them sound almost identical. Still, it’s really driving and intense. Side two is composed solely of the outro song, which feels like it goes nowhere and doesn’t contribute much to the overall feel of the record. It’s confusing, but side one is good. Members of OND TRO.

Ein Zwei Die! / Shaking Heads Split EP

Split record by two Swedish punk bands. This is EIN ZWEI DIE’s (as far as I can tell) only release to date, but it was recorded in 2011, so they’re not exactly a “new” band. Probably a cool story as to why these two songs are finally gracing our ears some eight years later. No insert, no internet, only mystery. They’re cool: like if GORILLA ANGREB was trying to do FILTH covers. SHAKING HEADS are actually a new band, and five dollars says at least one of the members has a DEAD MOON tattoo. They’re dark, simplistic, anthemic, and gritty. True punk. I feel like I’ve listened to this record a hundred different times in a hundred different punk basements, but it still puts a smile on my face.

Sheenjek Volume 1 EP

Hypnotic, shoegazing psyche-influenced bar rock with a grunge twang that I kind of love. The vocals are great, and definitely have a punk howling that has matured like fine mead. All the good parts of FUCKED UP, the Twin Peaks soundtrack, and the MERMEN. A solid, timeless, rock release. A short and sweet EP, like this review.

Some Gifts Facts?!? CD

So this punky indie rock bands reminds me of ARCHERS OF LOAF, KNAPSACK, and THE PIXIES. Good influences, but not nearly on that level. There needs to be more new bands like this, but I just wish the tunes here grabbed me more.

Spazz La Revancha CD reissue

If you’re a fan of powerviolence, SPAZZ should be one of the first five bands that come to your mind. This album originally came out in 1997, and it stands the test of time. SPAZZ has the humor, the riffs to back it up, and they play it in their patented no-slow-all-go style that is a runaway bullet train driving off of a cliff into space. Fuck you. SPAZZ forever.

Sporten Är Död Sporten Är Död LP

This looks exactly as it sounds: three cool teenage punk girls making tremulous punk rock with songs dedicated to John Peel, Bruce from the JAM, and their favorite chocolate bar! This isn’t wild screaming KBD mania, they have a nervous restrained quality, which is not to say this sounds inept, just that it isn’t the manic punk insanity you might expect from a teenage Swedish band circa 1981. They called their band Sport Is Dead, and formed as a result of being fans of the BUZZCOCKS and the UNDERTONES, and you can hear the nervous pop sensibility! I’ve seen comparisons to DOLLY MIXTURE and LILIPUT, but I would say that is not the case here, they are not as polished as the former and not as wild as the latter. They have their own contained punk concept and identity that doesn’t sound like a collage of other ideas. This is a reissue of their demo tape with a live performance on the B-side. It sounds great and is definitely worth picking up for all fans of that underground girl sound, the sound of youth inspired by the DIY ideal…

Strange Passage Shouldn’t Be Too Long LP

Lyrical, literate jangle-pop with melodies galore and a ton of personality. STRANGE PASSAGES definitely seem to draw inspiration from ’80s indie sounds, which is no bad thing. The bright production emphasizes the guitar interplay, while the dedication to songcraft shines through. I’m no REM fan, but this makes me think of that band’s more upbeat, less over-wrought material—especially in the vocals. Great stuff.

Sweet J.A.P. By My Venus LP

To be honest, with this moniker, and ridiculous album cover art which falls somewhere betwixt a long lost LOVERBOY record and maybe the “least memorable emo band from the next town over’s third LP from 1997,” I did not have high hopes. It’s pretty damn killer, though. At first, this just seemed like somewhat likeable, dirty-yet-probably-hot rocker dude styled HELLACOPTERS-by-way-of-Minneapolis heroin type of bullshit, but this shit is fucking great on repeat. Innernettes research says this band broke up in 2004, and these are outtakes from their sixteen- year-old album, but it’s remarkably fresh and urgent, energetic as hell, basement bound rock’n’roll. The kind of rock’n’roll you pay attention to. It looks like I missed the boat on this band, and I am a lesser person because of that. I’m sorry I’ve let you down, Dad.

Nothington / Swingin’ Utters Split EP

A worthy song each from two SF Bay Area veterans. NOTHINGTON’s track is reminiscent of late ’80s big guitar alternative punk, where the roots might go down to STIFF LITTLE FINGERS but the aspect and melody hits more in the direction of Chad Price-era ALL. It’s a bittersweet, but sweet, catchy anthem track for the band to go out on. The SWINGIN’ UTTERS track was a surprise: drilling mid-tempo melody somewhere between the expected jangle of ’70s UK punk-pub originators, but cut with a more avant edge similar to a great EFFIGIES track, with lyrics dropping with clever missives. Lime green vinyl makes it a keeper.

Talk Wrong Feral Bearings EP

The blank side of this EP holds beautifully silkscreened plants and leaves, and though they’re simple, I love them. They are pretty and delicate, which did not set me up for the music. This is sad dude music in the same vein as the LAWRENCE ARMS or the METHADONES. It’s modern punk rock for sad kids that can still drink a few beers and make it home to sleep in their own filth somewhat responsibly, but just dangerously enough to concern their parents and close friends who have watched them slowly deteriorate. This is lose your voice and forget half the night material. “Pill to Swallow” starts out with the singer shouting “Cigarettes bring out the worst in you,” and it felt like it was directed at me. Stop judging me, sir.

The Carvels NYC Life Is Not a Waiting Room EP

This is some saxophone-heavy power pop, with forceful vocals projected by rhythm guitarist Lynne Von Pang. “Life is Not a Waiting Room” and “I Fell in Love with a Dead Boy” both offer some party- pop moments that would feel right at home in a live set opening for the RUBINOOS or SOUTHERN CULTURE ON THE SKIDS. As a counterpoint, “Scarcity” felt a little like listening to this band at a prom try to force a slow dance on kids who just want to dance like dum- dums. I would expect they have a fully entertaining stage presence, and know how to show the audience the good times. Based on this three- song sample though, I would expect to skip a few slower tracks on a longer release.

The Flytraps Kitten With a Whip / Nice Boys 7″

A hard rock/punk hybrid from Southern CA, complete with punky porno sleeve. “Kitten With A Whip” sorta recalls LOUDMOUTHS in terms of theme and yowl, though there’s a studio schmaltz that doesn’t sit quite right with me. Ditto for their flipside take on the ROSE TATTOO classic. A total time warp sort of affair…It’s as if Junk Records has risen from the dead or something.

The Reaction East End Rockers EP

First-gen punk from up Canada way, reissued in scholarly style. Though I’ve held the particular volume of Smash the State that included the REACTION for eons now, the presence of SIGGY MAGIC simply lifted the thunder out from under this lot for my ear-holes. Not the case today though—this sounds pretty primo, collecting their most coveted track “The Kid’s Arrived,” along with a few cassette-only movers/ shakers. Not a lot of fat to trim either: proficient punking that’s oddly comparable to the NORMALS, if forced to cite a domestic KBD heavy. Includes hyper-detailed booklet for all us nerds to wipe our brows with after pogo-ing. Good stuff!

Thee Irma & Louise Dry Bones LP

This record has such an ’80s feel. Back then, we’d simply call it college rock. It’s got a quirky musical style that is herky-jerky, filled with odd chords and time signatures, and there are elements of surf rock and post-punk. The singer has a serious but goofy vocal style, and the lyrics are thinkers such as “What Did The Deep Sea Say?” THEE IRMA & LOUISE probably would have been big in the ’80s. The insert states “This record is the companion piece to an experimental movie that you are free to shoot.” Hey, why not give it a shot? It’s on pretty, swirly lime sherbet vinyl, too.

These Bastards Old… and Pissed EP

Here are some old thrashers out of San Francisco showing the youngsters how to shed for real! No fucking bullshit, blaring hardcore chock full of blastbeat venom and foaming-at-the-mouth rage. Like most folks from the Bay Area, their anger is directed squarely at techies and the rest of the Silicon Valley nightmare, even invoking the Unabomber in one song. If you love ’90 Bay Area powerviolence and hate your smartphone, check this out.

Timmy Vulgar’s Genetic Armageddon Music from the Other Side of the Swamp LP

I’m afraid TIMMY VULGAR might be getting too stuck in his ways. I wouldn’t say this record is predictable, but I’ve come to expect his records to sound like this. VULGAR plays all the instruments on this LP, as well as singing in his distinctive, emotive style. The guitars are wailing, and the synths are soaring. The sounds are raw and futuristically primitive. “Suction Cup Hands” is my favorite song on the LP. It’s got a catchy guitar riff that combines nicely with the rhythm track and VULGAR’s rambling vocal. It’s pretty cool.

Iron Chic / Toys That Kill Split LP

I’d be lying if I said that TOYS THAT KILL didn’t have, and rely on, a dependable, bafflingly sturdy, formulaic style. Todd’s trademarked caterwaul, on top of his manic, monkey-mantra music, all with the same tempo and perfectly planned breaks, sandwiched between Sean’s more adult and smart songwriter-ish punk, gets a slight little twist with every release, and their shit somehow seems to never get stale. I don’t get it. It defies physics, and this little five-banger has left me wanting more, just like everything else they’ve done for the last dozen or so years. It’s still absolutely fucking killer. IRON CHIC, on the other hand, got lost on me. It’s pretty melodic, bearded and tight black t-shirt-clad (I assume), delicately growled type stuff. My appreciation for dude rock is light handed at best, and while you do get a few good whiffs of the ARRIVALS and that GRABASS CHARLESTONS/DALE AND THE CAREENERS LP—which are absolutely stellar examples of the genre, mostly—it just sounded like the rest of the stuff that makes up the majority of this sweet-yet-gruff bro’s handle on the style.

V/A Live at Raul’s LP reissue

Despite being a Texan and a Texas punk enthusiast, I never heard Live at Raul’s. I always assumed it was more important to be equipped with the BIG BOYS / DICKS Recorded Live at Raul’s LP (it is). Raul’s was a club in Austin that accidentally became a hub for new wave / punk in the late ’70s through the early ’80s, and these tracks were crisply captured via mobile studio. Five local bands, two tracks each, many of which were unreleased at the time. The EXPLOSIVES, TERMINAL MIND, and the SKUNKS tracks are all edgy rock, the latter two being the punkest. STANDING WAVES are more new wave, while the NEXT is the most confrontational and best, as I expected. With the exception of the NEXT tracks, it all errs on the side of pop rock. This reissue is limited to 500 copies, and has a reproduction of the flyer for the gig, and some decent live band shots. Live records are polarizing but I am happy to report that it’s easy to forget this is live until the applause at the end of the tracks. Essential? No, unless you’re a completist.

V/A Pulsebeat LP

As we witness the decay of the physical parts of punk, like the disappearance of the printed word and the records we used to hold in our hands, one of the earliest casualties was always going to be the compilation LP. These motherfuckers are hard to make good, you know? It’s like going to those goddamn ten band bill shows, where five people watch the band they came to see, and everyone goes outside to smoke during the rest of the night. So when I hear a comp LP in 2019 of bands I’ve never heard of and find it to be completely listenable and varied, I get pretty fucking stoked. Slobbery two-finger metal, tolerable Fat stuff, pop punk, dark synthy post-punk, drooling robo punk, cleaned-up crust, and even some fucking ska metal. I gotta hand it to these fine folks, as this is all over the place and still not fucking terrible. There’s a shit ton of sneer and bile in almost all the vocals, like every singer went to the same laryngitis-inducing singing school. Seventeen tracks, and financed by seven different record labels, which is kinda goofy, but hey, that’s the price you gotta pay to put out records in a time when nobody is buying. Definitely worth checking out.

V/A Live Your Gimmick Deuce!!! LP

A compilation of four bands whose collective goal as described by the CD’s narrator is to “take back punk” from the people who impose the punk rules. Isn’t that supposed to be MRR? NEVER SAY DIE plays rockabilly-ish redneck rock. SUPERMEN are macho ANTISEEN types. THE RUNZ play anthemic hard rock. LONG LOST ENEMIES are poppy hardcore. Eh. Good luck.

Vaaska Inocentes Condenados EP

Austin, Texas’ VAASKA play six ripping tracks of high-pitched, ’80s Finnish inspired hardcore, echoing brutal flavor and a buzzing guitar tone that is stinging, with confident lyrics in Spanish spat forth with furious power. Crushing hardcore along the lines of MELLAKKA, RAJOITUS, and LAMA. I can’t say anything bad about the release, and yet I struggle to find a particularly stand out thing about it. It clobbers with D-beat fire, and the tones are freakishly coarse static hissing. That’s the big takeaway. My hearing loss.

Football / White Savage Split LP

A double dose of ol’ Jimmy Hollywood, noted heavy from classic bands like the TYRADES and BASEBALL FURIES, most recently of GALLERY NIGHT. WHITE SAVAGE and FOOTBALL both land somewhere in the middle of all this, though the quality of each is uniformly quite high. While the bands have their own distinctions— FOOTBALL prefers direct thud, WHITE SAVAGE is more spastic and exploratory—there’s this simplistic and hard-charging drive that runs through all of Hollywood’s material: a primal and powerful use of punk energy that’s always been highly impressive to these ears. It can be heard throughout this split (which functions far better than it has any real right to!): artful and manic in equal measure, always careening, always inspiring. Great stuff.

Witches Hammer Mortalas EP

This. Is. Awesome! I did a double-take when I saw this in my pile of records to review, as the only WITCHES HAMMER I knew of was the legendary Canadian thrash metal band, and sure enough this is a reissue of their debut release. Musically, it’s an absolute milestone in crossover history: raw and frantic, with an obvious punk influence bubbling below the surface (D-beats are present, for example). It was and is a great record, but the most appealing element of this package is the amazing, hefty booklet which includes band photos, flyers (WITCHES HAMMER performed plenty of DIY gigs with the likes of SNFU, the ACCÜSED, the BONELESS ONES, DOA, and VERBAL ABUSE), and a lengthy band history by guitarist Marco that makes it very clear that the band were more comfortable interacting with and performing for Vancouver’s punk scene than metalheads. Supreme Echo have put together a superlative package here: the remastered material sounds great, the pocket sleeve is sturdy and glossy, and the booklet is as good as anything you’d get from a reissue label like Radio Raheem or GTA. This’ll obviously mostly appeal to the crossover-curious, but anyone with an interest in Canadian punk history will enjoy the archival material included. This is a top-quality reissue and one that I am surprised and pleased to see included in the pages and archives of MRR.

Wood Chickens Well Done LP

I seem to recall the last record I reviewed from these goofy chaps as being a hokey, countryfied, fake-ass punk hoedown that I surprisingly totally loved the absolute shit out of. Although it seems like they have hit the acid pretty hard since we last met, I still love it, even though I realize that it makes no sense that I do. Opening your record with an instrumental surf number, throwing around lazer noises all willynilly, monosyllabic wailing, with album art that looks like a modern take on Rip Off Press (but from space). Cowboy-hat-wearing, reverb-drenched country punk is something that I would absolutely adore to make fun of, but just like their earlier output, this is surprisingly fun as fucking hell. This comparison might only affect about twenty five readers, and they would most certainly all be as old and as Southern as I am, but try and imagine a modern take on early DASH RIP ROCK, but punk enough that you wouldn’t be ashamed of it, or have to explain your adoration of it to your kids. Sorry, but this is good.