Reviews

MRR #486 • November 2023

Arrived Consilium Pium cassette

D-beat hardcore from Bandung, Indonesia, with well-executed sounds from at least a decade ago merging with a slight metallic infusion, but it’s mostly highly energetic and non-stop speedy on some of the tracks. Flirts with emocore, and the female vocals are all over the place. Atemporal hardcore that reminds me of the Latin scene from the ’00s, with long ample screams backed by octaves and such—perhaps a bit outdated, but that’s only my opinion. Give it a go, it’s interesting if you are into this type of sound and melodic features.

Arsenico Reign of Fear EP

This recording takes me back a little, just enough to feel nostalgic, although I would struggle to pinpoint the cause of this slight but nonetheless real melancholia. It could be because ARSENICO’s style reminds me of the ’00s, a pivotal time for yours truly, back when things felt fresher and receding hairlines were just a distant, albeit dreadful, prospect. This lot come from Sydney and appear to be a new up-and-coming band, as Reign of Death is their first record, and I must say that it does not quite go the distance. Clearly, judging from the title of the songs like “Forced Motherhood” or “White Fears,” the band has something of value to say and deliver, but overall the recording lacks in power and focus. I understand that ARSENICO wants to go for that anarcho crust/thrash vibe (I am reminded of CLUSTERFUX or WORDS THAT BURN or even APPALACHIAN TERROR UNIT), and there are moments, especially when they vigorously beat the D, when it works, and some of the moshing thrash parts are pretty energetic. The dual vocals, however, sound a bit monotonous by the end of the EP, and with the lyrics being quite long, this is not something that you want. This said, I do believe there is some potential, and ARSENICO definitely sounds like they believe in what they do, which is what matters.

Asmonumentsfall This Means Fire 12″

The latest release from Tijuana/San Diego’s ASMONUMENTSFALL, with crust scene veterans from OUTLAW BASTARDS and COACCION. In contrast to their previous straighter crustcore approach from previous projects, this record consists of the melodic side of the genre, in the vein of HIS HERO IS GONE/TRAGEDY or early-era ENVY, with the basis of later ANTI-CIMEX/WOLFBRIGADE. Despite the slippery slope approach of this style easily becoming too focused on the prettier and beautiful side of things, This Means Fire successfully captures the complex feeling of despair and anger without forgetting the aggression-driven side of hardcore punk; we still have plenty to be angry about. Fierce energy, not just in a naive teenage angst way nor just simply accepting the fact of our cruel world, but realizing our need to continue to keep up the fight.

Atomçk Towering Failures LP

From, at this point in their evolution, a haphazard combination of Bristol, south Wales, and Leeds, ATOMÇK is described by someone (possibly themselves?) as “UK grindcore veterans.” Sounds kinda funny, but thinking about it, they’ve been hard on it since 2006 or so without a lot of pauses, and few UK bands have actually played grindcore for that long. I would call Towering Failures their fourth album proper, depending on how you go about formatting things, and it’s a most energetic crusher that, rhythmically speaking, gets in ample wriggling and twisting while it’s blasting. “Brain Rot,” the LP’s first song, sounds weirdly hardcore—like post-VOID type hardcore—if you ignore the textbook grind snare sound and inhuman screeching vocals, at least. Thereafter, eighteen more portions of buckwild tempo-pushing, sludgy dropouts, guitar parts with justifiable prog ambitions (like the clean metallic bits on “Fives,” the last track on the album) and song titles which range from grind scene-themed punning to ersatz NAPALM DEATH to Welsh slang for being pissed-off.

Autodestrucción Demo 1988 EP

It’s another demo tape pressed to 7” by the Esos Malditos Punks label, showing a good part of the Mexican hardcore scene that was wild and unique during the late ’80s and early ’90s. AUTODESTRUCCIÓN is another super-tight band. It comes across great because they are raging, with fast-paced, slamming hardcore songs that are furious as hell. Old tape noise gives us what mostly just multiple pedals and editing can accomplish now, but here it is in its rudimentary form. Slight melody creeps in here and there, but it still is an attack tape. The momentum of the tracks does not let me judge the riffs or song structure, but this is a hardcore tape from Mexico 1988, not a painting in a bullshit museum where you are hissed down immediately if you make any noise. This is the loud reality of local craziness. Most of the songs are pretty short, and the longer jams sound very menacing and have the opportunity to transform from a tense mid-tempo to a really hammering rush. When the disco beat came in for a second, they totally got me. If you are interested in early international hardcore where scenes had their own unique sound and bands were forming and not following the borders of hardcore, then this is a great release for you.

Autopsia Sistema y Poder LP

This is the long overdue reissue of Lima, Peru legends AUTOPSIA’s 1985 demo tape, official and on vinyl. Around for a barely two years before imploding and going on to form worthwhile successors like GX3 and ATAQUE FRONTAL, they left us all wanting more with these sixteen songs, varying in style from the rawest of political Spanish-language hardcore to catchy-as-hell punky sing-alongs. Just listen to the song “Autopsia” into “Mayoria Equivocada,” and one can hear  this clearly. They share the brutal guitar sound of early peers LEUSEMIA, without the RAMONES worship. They are more of an early LOBOTOMIA or GUERRILLA URBANA in spirit to me, but really, this needs to be appreciated on its own merits. Mandatory.

Autosabotaje Hastiado cassette

Temuco won’t stop delivering good punk bands. On this occasion, we have a release from Junko Records presenting this anti-system power trio that transmits a classic version of hardcore punk with traces of street punk—it seems to be their 2020 EP and 2022 demo reissued here in a new recording. Favorite track: “Falsa Creencia,” with a mid-paced Satanic punk feel, and “Consecuencia” for a critical introspective view into their own punk scene. Filled with raw energy and very well-executed, holding the essence of Chilean punk’s youngster resistance. Very much recommended.

Bad Nasty Chaos is Order LP

Really high-energy, poppy spiky punk from France via Switzerland. They’ve been kicking around in different forms since 1999, some lineups with more mohawks and spikes than others. This lineup finds them more mature but no less punk than before. They did a split with the KRAYS way back, and that gives you some idea what’s in store. The best songs like “No One and Everyone” or “Later in the Night” have a nice mid-tempo street punk vibe, maybe closer to KOMINTERN SECT than the less desirable, faster NEW FOUND GLORY-ish numbers.  Keep on keepin’ on, gents.

Barrows Discord and Society CD

Blown-out D-beat hardcore from Japan with songs about war, society, and “devastated futures.” Their Bandcamp namechecks DISCLOSE, DISCHARGE, and ANTI-CIMEX, so you know what you’re getting here: aggressive, poorly recorded, fast D-beat with shouted vocals. Really, the only surprising thing about this release is that they didn’t name the band DISBARROWS. There is a lot to like here if this genre appeals to you, though—it’s tightly-played, earnest punk with no frills, just speed and volume. The last four tracks sound like boombox demos, recommended if you want your rawness even rawer.

Be Nothing Be All the Nothing You Can Be cassette

For something wanting to “be nothing,” there is a whole slew of somethings going on here that are a little difficult to decipher. This is the bands second full-length release, and it features a total of fifteen songs which have pretty close to just as many confusing amalgamations of sub-genres within them. Some have simplistic drunk punk repetitive riffs, other songs add in a bit of garage-freakout BUTTHOLE SURFERS kinda vibes, and still others feel like artsy math-rock, but math-rock played by people who maybe flunked out of their algebra classes. There’s certainly some cool aspects peppered in here, but it all comes off a bit confusing and overwhelming. One of the songs, “Battle of the Billionaires,” feels like a combination of the introduction riffs to about a dozen classic rock songs butted up against one another but never getting to the real meat of the song. TGI Fridays Endless Apps™ in band form.

Black Dog Overthrow EP

I cannot say I really like the moniker BLACK DOG as, for some reason, it immediately evokes images of tough metalcore lads who wear beanies and spend a lot of time looking unironically hard. But this BLACK DOG is absolutely amazing, right kick-up-the-arse amazing, the sort of amazing that can resurrect the pair of crust pants you discarded years ago because you do get a bit fat with age. Distracted me had only vaguely heard the first demo and, partially because of the name (I know, I know, the book, the cover and all that), I just did not pay much attention. But this band from Halifax, Canada is the real deal, and I don’t know what they put in the water in Nova Scotia, but the locals always deliver when it comes to jaw-dropping punk music. Unsurprisingly, BLACK DOG is made up of members of ZYGOME and FRAGMENT (Overthrow is not so unlike the latter’s 2016 demo, actually), and they play distorted crasher-style raw hardcore of the highest quality. The sound is not exaggeratedly blown-out like some of their Japanese counterparts, but is rawer with an organic, almost cavernous texture that I really enjoy. Similarly, the guitar still has some crunch and is not completely lost in distortion, and overall you can sense the anger and the intensity amplified by the crusty gruff vocals. I suppose you could file BLACK DOG along contemporary bands like PHYSIQUE, ASPECTS OF WAR, or the newly formed KINETIC ORBITAL STRIKE, but I hear a stronger Swedish influence, albeit by way of FRAMTID arguably (especially in the riffing), and I caught myself thinking about NPG or GIFTGASATTACK and even some classic ’90s käng bands (like SAUNA or something) that would have been left in a Crust War Records marinade overnight. Very aptly executed, and everything you are entitled to expect from the best representatives of the genres. Another great one from the always reliable Halifax punk scene.

Butchers Dog Age of Inversion EP

Ohio’s BUTCHERS DOG is waging warfare of noisy, clunky guitars with a plummeting drum attack like boiling magma. Crazed vocals squeeze more words into phrases, reminiscent of ’90s hardcore groups like GRIMPLE or NAKED AGGRESSION, which can be hit-or-miss for many of us hardcore punk freaks, but the music is ’80s thrash metal demos or crust axe-grinding the enemy meets raw hardcore punk hell. An explosion of absolute madness and chaotic outburst of energy.

Caloris Impact Geoid LP

CALORIS IMPACT from Graz, Austria plays modern hardcore that sits comfortably next to BUGGIN, STRESS POSITIONS, and GEL, with a dash of of surf-y rock’n’roll added to the usual two-stepping riffs and breakdowns that works well. The swagger in these songs is refreshing, especially when paired with the vicious, politically-charged vocal delivery. Check out “Arrogance,” it’s a proper rocker.

Chain Whip Call of the Knife LP

Have not heard from Vancouver, BC’s CHAIN WHIP since the mighty 14 Lashes LP that got into my hands late 2020 or so. There have been a couple of releases from them that have slipped by me, but this one is just killer and filled to the brim with aggro, brutish squeals from a gutter. Listen  to “Toothless,” “Teenage Kinks,” or the slowed-down “State Hornets,” and tell me this isn’t CAREER SUICIDE by way of ’80s Huntington Beach. Until the band does a proper Midwest/cowtown tour, I am relegated to YouTubing the hell out of them. Living in Europe? Go see them now. Neon Taste has my money.

Chiaroscuro La Fange 12″

French post-punk has a special quality to it. I can’t really put my finger on it, but it does in fact have something that makes iit stand out from the rest. From Lille, CHIAROSCURO is no exception to this rule. A dark and gloomy exercise in post-punk that retains a very punk urgency and intensity. Some moments remind me of UTOPIE, with a similar approach to the sound. A great piece of modern dark post-punk with an emphasis on punk.

Children of Sorrow Another Indestructible Dirty Sound LP

Melbourne band CHILDREN OF SORROW existed for a short time during the mid-’80s and played moody hardcore anarcho-punk that bites similar to T.S.O.L. Thundering bass that struts and slams comes from a double layer of bass and fretless bass (that’s right, there’s no six-string guitar jangle in here), while vocalist David “Ossie” Eldridge unleashes a vocal assault that ranges from a Jack Grisham-sounding delivery to all-out hardcore mayhem. Songs shift from mid-tempo to lightspeed in the time it takes to blink. This 12″ is packaged with a lyric sheet and a four-page zine documenting the band’s history that includes photos and gig flyers. The thunderous bass and drum work is perfect for Neanderthal pacing, but when the speedy sections hit, you’ll need to be prepared for crashing into everything around you. Needless to say, this is a brilliant document of a lesser-known band that is worthy of a longstanding position in everyone’s collection!

Chrome Spiders Kitten’s Whisper cassette

Best known for his stints in the DIRTBOMBS and BANTAM ROOSTER, veteran Detroit garage guy Tom Jackson Potter put together his own group, the CHROME SPIDERS, in the ’00s. Playing smoky, blues-battered rock with a tasteful touch of ’60s swagger, the group released a 7” in 2009 and then, just before calling it quits, recorded this album which is just now finally seeing the light of day. With eight original songs and a faithful rendition of “Jumping Jack Flash,” it’s a smooth and understated garage affair with just the right amount of kick, showcasing the group’s knack for creating hypnotic pools of immersive sound. They’re at their best when they allow themselves room to breathe on expansive tracks like “Outta Time” and “Waydown.” There’s a unique synergy at work across this album, where the band’s effortless dimly-lit bar-rock is circled by surges of glowing electricity, and the resulting cool din is just begging to be accessorized with a stiff drink and a dark pair of sunglasses.

Class If You’ve Got Nothing LP

Brilliant follow-up to their fantastic debut—CLASS drops a banger of an album courtesy of Feel It Records. Channeling some truly classic-sounding tones colored in the rosiest tint of ’77-style punk, If You’ve Got Nothing careens from sounding like the BOYS to the sneering power pop of WHITE HEAT. The wizardry of songcrafting is something to behold, with layers of harmonies propelling ordinary melodies into the orbit of a higher plane. CLASS doesn’t sound that much like the EXPLODING HEARTS, but they draw from the same wellspring of influences. The ratio of punk to pop varies from song to song, while the balance is kept consistent. This creates a cohesion that eludes most bands. Subsequently, If You’ve Got Nothing is more than a mere collection of songs that work well together. It’s a proper album, striking gold where others have come up empty-handed. There’s a deftness to what CLASS has achieved here that indicates there will be quite a bit more to come. It’ll be hard to top this, but I’ll be eagerly awaiting the attempt.

Collate Generative Systems LP

Scratchy Portland post-punks COLLATE deliver their second LP after about five years and a string of excellent EPs. And despite what’s felt like an eternity passing since we last heard from them (2021’s “Medicine / Genesis Fatigue” 7″), they pick up pretty much where they left off. Generative Systems opens with a bass-forward minimal post-punk number that’s equal parts GANG OF FOUR, the CONTORTIONS, and ROSA YEMEN. It’s energetic without being overtly dancy, and the production is cold and bone-dry—an invigorating way to kick off a record, like the aural equivalent of stepping outside on a crisp winter evening without a jacket. From there, tracks tend to follow a similar formula, maybe cranking up one of the aspects of their core sound—a little more noise here, a little more rubbery groove there, maybe pop in some cowbell and take things in a bit of an ESG direction. It’s ground they’ve tread before, and they continue to do it well. But where this record really shines is when they push things punkward. It’s probably more attitudinal than sonic, but this record definitely has more of a punk vibe than past releases. They strike a tone somewhere between angry and mean, and they really wear it well. A track like “Stocks,” one of my favorites on the record, just really conveys being fed the fuck up in a way that I haven’t heard from them before. It’s an excellent record from an excellent band. Handsome physical release, too. Pick this one up as soon as you get a chance!

Conceal Demo ’23 cassette

CONCEAL is a new Trier-based band with ex-members of SLON and BRIDGE BURNER. Like a wrecking ball, CONCEAL destroys the hell out of everything with their NYHC-influenced approach, gritty and relentless, just like early MADBALL and AGNOSTIC FRONT. CONCEAL is worth listening to for their authentic and powerful vision of what hardcore should be.

Convicted No Justice cassette

On No Justice, Malaysia’s CONVICTED plays aggressive meat-and-potatoes hardcore, inspired in style and sound by the likes of UKHC legends ARMS RACE and the FLEX. The muffled vocal effect, blastbeats, and interspersed sounds of protests on the streets work well to create an intense and abrasive atmosphere, making the anti-authoritarian lyrics even more poignant and powerful. Angry music for angrier times. 

Decade World Stops Turning LP

There are records you wish you could love and yet fail miserably at doing so—I wish I could enjoy DECADE’s World Stops Turning, because people who do seem to have a lot of fun doing it. And technically I should be able to. On paper, I am the prototype of someone who should be into this LP. I love DISCHARGE, I love DISCHARGE-worship and its science, its self-awareness. The thing that loses me on this record is that, although it aims at replicating the embarrassing parts of DISCHARGE’s career, it is still dead serious. Which beats me: the ridiculous-sounding vocals should be celebrated as such (that’s what THISCLOSE did very well, a respectful parody). Once upon time, DISCHARGE’s Brave New World was rightly seen as a shit record, one that was best forgotten about and even denied it existed at all, as it tarnished the legacy of arguably the most influential band in punk’s history. From 1984 on (and I am being kind, as on a bad day I would almost throw in 1983 as well), DISCHARGE had become a farce and, assuming they were to be remembered at all, the guilty records were stuff to have a laugh with (just try to karaoke “Ignorance” and you’ll understand). It was the ’80s after all, and many bands went shite. Still, DECADE is undoubtedly a talented band, and they nail the 1984–86 DISCHARGE songwriting to a tee. All the songs are mid-paced, thrashing heavy metal with the Cal-like odd prosody, accentuation, and scansion. If you are into “Born to Die in the Gutter” and “The More I See,” as well as the even less respectable follow-up, then you will adore this LP. It reminds me of FINAL BOMBS in terms of obsessiveness and source material. World Stops Turning was originally released on CD, and this vinyl version is adorned with an ace-looking cover by Sugi. But if you have never listened to DECADE, I suggest you land the split LP with FATUM, as it is a more diverse work that tells a proper story, and the aforementioned DISCHARGE parts actually fit well. I wish I could enjoy it, but I may just be a boring bastard after all.

Dennis Cometti Suburban Condition LP

Hard rock grunge punk from Australian surf city Perth. They owe much to the CHOSEN FEW, POWER, and the COSMIC PSYCHOS, which should mean a zero-braincell hit with me, but I’m not totally sold here. While there’s some definite rippers here like “Gone in the Gong” and “Death Rattle,” there’s not quite the charm of the aforementioned PSYCHOS showing. They’re named after a beloved sports figure, which could be suspect as I hate sports. Still not a tape I’d toss out the window. Don’t litter, please.

Double Standard Mt. Focus LP

DOUBLE STANDARD from Malta’s latest release consists of unique-sounding political hardcore punk tracks full of thoughtful expressions of injustices of our world, reminiscent of the feeling of ’80s-style recordings of NWOBHM and anarcho-punk that isn’t overtly metallic or modern-sounding. Mt. Focus successfully expresses the complex, subtle feel of the issues facing our societies and ecosystem, not just through their lyrics but through sonic means as well.

Douglas Bales Saint Joe CD

A tribute to Joe Strummer. That’s sweet. Joe was one of punk rock’s (and one of rock’n’roll’s)  greatest guitarists, singers, and songwriters. The A-side is a mid-tempo, super melodic rocker, with a super catchy sing-along chorus. And I’m not sure if Mr. BALES just sounds like Joe or if he made an extra effort here, but he does sound an awful lot like Joe. The B-side is a slower, somber, soothing piano-led number. The two go well together, and make for a fine tribute to one of the greatest.

DTR Kungens Barn CD

DTR (or DEATH TO THE REGIME) was a band from Linköping, Sweden that was active from 1983 to 1985. Here we are dealing with a compilation of the full catalog of this short-lived band: tracks one through nine were recorded in 1985 at Bosse Sound, tracks ten through nineteen are from the compact cassette Rise Another World, and the final two tracks are demos recorded in 1984. They played fast and thrashy hardcore punk, but retained a Swedish musical sensibility with great melody. It’s not crossover, but it sure is close to that!

Entrapment Tempers Flare EP

A pretty standard slab of heavy hardcore from Australia’s ENTRAPMENT. Can’t say I dig it very much, but if you’re into the more “tough guy” end of the hardcore spectrum, you might dig this. However, this four-track record does very little for this reviewer. Next…

Exterminating Angel Inherited Future EP

This sounds like a mix between SXE hardcore and late ’90s European grindcore, along with various post-hardcore breakdowns. I don’t want to say it’s deathcore, but it is taking on all forms of darkness and riff crushing—I’m thinking of bands such as MÖRSER, VISION OF DISORDER, CANDIRIA, OBITUARY, or MIND ERASER. Track three, “Sanctuary,” is a multi-tempo onslaught of EXTERMINATING ANGEL’s many strengths. Five tracks of intense, grueling metallic hardcore, each around four minutes in length, on a 12” EP. That’s no slouch for the amount of ideas they have going on. Try not to get into this. But at my age, I’m going nowhere near an EXTERMINATING ANGEL pit. You can just tell how that would go; catch me outside of that. If this is a debut, it’s quite the impressive one.

Ferriday Strangers / All Roads 7″

Two solid new songs from this quartet out of Albany, New York. With the shambling earnestness of mid-career REPLACEMENTS and the restrained bravado of HÜSKER DÜ in their Candy Apple Grey period, these songs would be equally at home on a ’90s college radio station or a present-day dive bar in an Elk’s Lodge. The singer’s voice brings to mind the NATIONAL’s Matt Berninger possessed by the lyrical spirit of David Lowery circa CAMPER VAN BEETHOVEN.

Fotokiller Eerie Nostalgia LP

Femme-fronted band FOTOKILLER of Berlin comes out with their debut LP.  Eerie Nostalgia features some songs off their 2020 Lenses demo, two singles from along the way, as well as some new material. This three-piece is concise yet full-bodied, playing driving post-punk, pointing it straight down an icy road, with bass lines way up on the fretboard and rarely ceasing, clean guitar riffs breaking way to distorted chords, then rests that let beautiful vocals float over drum and bass verses. 1980s post punk fans apply within. This is my first time hearing of the label Order05, but if you like the stuff coming out from Cintas Taciturnas or Symphony of Destruction, I think you’ll enjoy this. For a quick taste, try the catchy-upon-first-listen “Stop the World.”

GG King Esoteric Lore LP reissue

Originally released in 2011, GG KING’s seminal album is back in circulation with a freshly remastered pressing, courtesy of State Laughter. Esoteric Lore embodies a pivotal moment in the modern history of Atlanta’s punk scene. Emerging from the ashes of the CARBONAS, singer Greg King’s new endeavor would essentially redefine the city’s iconic sound, in which said group had played an outsized role in establishing in the preceding decade. Rather than continuing on in that vein of desperately gritty power-pop-inspired punk, GG KING were to incorporate influences from a far more broad swath of genres. Esoteric Lore is gloriously messy and experimental, at times motorik, noisy, and angular—only to snap back into a familiar mode of melodicism now cracked and damaged. Gurgling up in the cauldron are nods to 100 FLOWERS, WIRE, NEU!, the FALL, and too many more to mention without completely losing the plot. The album is bookended by unstructured soundscapes, and many of the seventeen tracks have endings that fade out, which makes the whole thing feel hazy, fluid, and experiential. Then there are moments where everything suddenly comes into sharp relief, like the whiplash inducing cover of JOHNNY MOPED’s “Incendiary Device.” While Esoteric Lore may be unresolved, it is just as vital as it was twelve years ago. Taking into account how massively influential GG KING has been to punk in the Southeastern US (and far beyond), it’s hard to think of this album as anything short of a bona fide classic.

Gimic Defer to Hate EP

This is the kind of hardcore I can eat with a spoon, especially knowing it’s exactly the kind of thing that makes bros in THROWDOWN hoodies take to the internet to rant about how the genre and scene are “totally dead.” The weirdos continue to take over the culture, cross-pollinating genres in a way that amplifies the raging core of the songs. There is a lot of melody packed into these songs, at times evoking ’90s emo/alternative as well as garage and even just straight up rock’n’roll. The bass lines are nimble, the drums are locked-in, and singer Harriet is utterly commanding. Addictively listenable.

Goblin Brain Goblin Brain CD

Damn, this EP is brutal. This is some classic straightedge hardcore. Feels like I picked this up from the back of some distro catalog in the late ’90s. If you ever needed a proper example of fastcore, this is it right here. Drums are absolutely incredible on this recording, easily the most intense part—loud, in-your-face, and tight as hell. Very reminiscent of early WEEKEND NACHOS, and with breakdowns much like DAMNATION A.D. Blink and it’s over, but that’s the way hardcore should be!

Gyrate Negative Excess cassette

Is there such a thing as too much icy post-punk? The answer is of course “no,” and here we have Sydney, Australia’s GYRATE to add to the list of bands currently excelling in this sort of thing, alongside LATHE OF HEAVEN and SYNDROME 81 (amongst others). GYRATE’s Negative Excess nails the noodling, clinical guitars, vocals more spoken than sung, and an overall vibe that’s slightly off-kilter. It sounds fantastic and comes together brilliantly on “Maze” and “Uniformed Choice.” The band cites LOW LIFE as forebears, and while I wasn’t terribly familiar with them before this came across my pile, I’m always happy to fill in some of the blanks in my musical knowledge, especially in this genre. Anyways, if you ask me, this shit never gets old, highly recommended.

Headcheese Expired LP

There is not much (if anything) to dislike about Expired, the new LP from the Kamloops, B.C. quartet HEADCHEESE. Upon first listen, I needed to stop what I was doing and devote all of my usually non-existent attention to the situation at hand. Each track gets more antagonizing and tightly wound, sounding eerily like VOID if they had been produced by Spot. The band is new to me, but from what little I have gathered, they are bound by family ties between two members, come from a small river town riddled with wildlife, and even opened for D.O.A.?  This tops my year-end list for sure. Keep going HEADCHEESE, you rule.

Hypnotics Indoor Fiends LP reissue

How have I never heard of this before? Is Indoor Fiends supposed to be a play on the word “endorphins”? And just exactly what the hell is happening on this album cover? I’m left with these questions and more after listening to the reissue of this HYPNOTICS LP from 1982. Packing 22 songs that fill up a full 34 minutes and change, this thing is a straight-up KBD monolith showcasing a slew of sharp tunes. As much avant-garde art as it is outsider rock, the music uses subtle synths to beef up its quirky punk sound that calls to mind bands like Minneapolis first-wavers the SUICIDE COMMANDOS and San Francisco’s legendary NUBS. Subject matter here spans the realms of strange, offensive, personal, and sometimes even poetic, and they cap off this barrage of off-kilter toe-tappers with two fantastic back-to-back instrumentals (“Wild Kingdom Safari” and “The Quest”). It’s a fun ride that warrants many replays. Led by a guy that called himself “Marky De Sade,” this Long Beach band was known for their chaotic live shows, and the comments section on a YouTube upload of this album is filled with fond memories from locals who were there. If you’re into the oldies, you oughta have this one, and now you can own it on “Grimace purple” vinyl, no less.

I Recover Until I Wake LP

It’s surprising how far small changes can go in HC/punk. If I RECOVER’s guitars had a little more bottom, they would be a pretty tight melodic HC outfit. Instead, the guitars sound a little lighter and looser than they could. The expressive drums and anguished, hoarse vocals help give the whole record a pensive, emo-ish feel. The songs are catchy, but the band doesn’t sound too focused on it. As their name suggests, the lyrical content is introspective and sincere.

Insane Urge My America cassette

Daammn! I went into this release, the second from this Austin five-piece featuring folks from STUNTED YOUTH and fronted by Stucco head honcho Jake Gulliver (Down South is part of the wider Stucco-verse), expecting more of the same muddy, hardcore-influenced garage punk that we got on their debut, but these dudes have apparently decided it’s time to stop fuckin’ around. All that DEVIL DOGS-y bullshit? Gone! And in its place, you’re getting nine short tracks of pure, unadulterated gremlin-y hardcore. Imagine This is Boston, Not L.A.-era JERRY’S KIDS with the franticness dialed up a few clicks. They still sound like feral punks on the verge of careening out of control, but by going straight-up hardcore and getting a little meaner, they’ve gained some tonal focus that, when paired with a much crisper, trebly production, really helps these tracks cut right into you. I really liked that last cassette, but this is way better.

Institute Ragdoll Dance LP

INSTITUTE returns with their signature creepy/catchy sound, and some inevitable updates. They’ve kept their snaky guitar lines and sinister rhythms, but the production has a real distinct texture from their previous releases. It’s both restrained and full, quiet but boiling. I’m sure many of us can imagine louder, brasher versions of these songs, but the band really holds back. The guitars sound like they’re surrounding and nudging you instead of blasting towards you. The songs are a recognizable, stripped down punk’n’roll with some almost KISS-esque leads. This made me think of some other bands who fold in a touch of hard rock. All that aside, the band’s songwriting still hogs the spotlight and carries the album.

Johnny Notebook & the 28th Century Mates Johnny Notebook & the 28th Century Mates LP

I’m a fan of punked-out synth rock, and JOHNNY NOTEBOOK & THE 28th CENTURY MATES epitomize the beeps and boops I crave. With head nods to DEVO, 8-bit sounds, and new wave, these Hamburg androids have created an album that keeps me bopping. Futuristic themes merge with retro sounds to create an album that has descended from another dimension of space and time. “Rate Me Rate Me” is incredibly danceable while exploring contemporary society’s fascination with clout, while “Dancefloor Queen” features a tight guitar solo and catchy hook. If you like electro-punk and all-night dance parties, then you have absolutely got to give this a go!

Justifié X Paris S’ennuie EP reissue

Self-released back in 1983, this killer punk en français gets the reissue treatment with an extra cut added on. Despite the prime hardcore year of its provenance, JUSTIFIÉ X has more in common with first-wave French punkers like DOGS and GASOLINE. “Radio Libre” wasn’t on the original single, but it was recorded during the same session and fits in seamlessly. If this had come out in 1978, it would have ended up on more than a few want lists. But in the here and now, it just reveals how timeless this kind of rock’n’roll really is.

Kids on Fire The Best of the Worst of Times CD

This is fine. Pop punk played by dudes who look like they should be in MUNICIPAL WASTE. It’s that version of the genre that doesn’t lean too heavily into any specific sub-genre. The songs are well-played and there’s nothing inherently bad about this, it’s just vanilla. There’s nothing that I find particularly memorable about this, nor does it make me want to listen to it again at any point. That’s just me, though. I need something to make me feel any sort of emotion at all. This is just sterile.

Kinetic Orbital Strike Rotten Lies EP

Fuck me, I have to admit that I really have been blessed this month with the recordings I have been assigned, as they are all right up my alley. I was right to sacrifice three cans of lager and an AMEBIX patch to the Gods of Crust, as my wishes were quickly granted—I hope my prayers for protection against ska and shoegaze also worked. The moniker KINETIC ORBITAL STRIKE apparently refers to a modern military technology, “the hypothetical act of attacking a planetary surface with an inert kinetic projectile from orbit,” and not a ninja move as I initially thought. I was relieved to find the actual definition as Google only pointed me toward World of Warcraft at first, which kinda filled me with a sense of gloom (and sadly not of GLOOM). The name might be a bit of a mouthful, especially around 2:00 am, but this Philadelphia band (with members of the mighty POLLEN or IMPALERS, among many other bands) unleashes that familiar brand of brutal, distorted, noisy discore that we have all grown to love (right?). They sound like the almighty FRAMTID teamed up with COLLAPSE SOCIETY and FEROCIOUS X in order to borrow DISCLOSE’s gears and flair in order to inject more DISCHARGE worship into their Japanese käng tornado, with a spoonful of HORRENDOUS, too. The drummer is on bloody fire on this recording, I have rarely heard such manic rolls and the insane level of intensity takes one’s breath away. They manage to keep that urgent, raw vibe and still sound punishingly heavy (my very angry neighbour banging on the door would not disagree). Angry hardcore at its best, and the self-released version (Phobia Records will take care of the European one) has an ANTISECT-inspired wheat logo on the back which checks yet another one of my romantic boxes. Top-notch hardcore.

Kurvy Češi Šne​č​í Med LP

Prague noise rockers with prog (at its punkiest) tendencies and lyrics in Czech. Even allowing for Google Translate not (yet) having the ability to point out all the wordplay, idioms, metaphors, etc., these cats are clearly singing about some pretty unconventional nonsense. The singer has a snarky, dramatic tone that I associate foremost with Jello, and the music feels a bit like something he might have released on Alternative Tentacles in the early ’90s. Get moderately more up to date by throwing some WRANGLER BRUTES and XBXRX in the pot too, and wonder aloud if the sleeve art, disagreeable as it is, could have been the product of someone who, having seen the first MARS VOLTA album cover on its release, tried to recreate it from a fragment of memory twenty years later.

Landowner Escape the Compound LP

LANDOWNER puts emphasis on the limitations that they place on the creative process of the band, which in turn are clean, distortion-free guitar and bass tones, minimal drumming, and  almost spoken-word vocals. The results are intriguing, albeit somewhat repetitive and dinky.  There are moments to be had, with the diamond in the rough being when the band creates some melodies behind their usual tin march in the song “Thousands of Years in Fast Forward.” Beyond that, I feel that I am listening to early MEAT PUPPETS in 8-bit on a repetitive loop.

Las Mordidas Ex-Voto LP

A worthwhile snapshot of a killer band that snuffed out too soon, Ex-Voto was a long time coming. Composed of ex-members of DC-based firebrands, LAS MORDIDAS burned briefly, but brightly, circa 1993 into 1994. CIRCUS LUPUS had just called it quits, but singer Chris Thomson was already working his lungs in a new group alongside players from BEEFEATER, RAIN, and FIDELITY JONES. Ex-Voto takes LAS MORDIDAS’s demo tape and shuffles it with a few unreleased cuts and vinyl appearances. “Surrounded” is the hit, digging a furious, heavy groove reminiscent of I Against I-era BAD BRAINS as Thomson essays the volatile nature of everyday paranoia. (The glaring absence of ass-kicking B-side, “K.I.T.A.”, is probably due to its Dischordian provenance.) “Bad Man” shows that these dudes could cram a pop hook into a pummeling post-hardcore punch-up. “Not Again,” a heart-pumping punker distinguished by Jon K.’s Dr. Know-inspired fretwork, was LAS MORDIDAS’s side of a split 7” with queercore maniacs MUKILTEO FAIRIES (on Lance Hahn’s great Honey Bear label). “Surprise Goodbye” is another unexpectedly tuneful take on a sort of post-punk/grunge hybrid. “Solar System” starts out LUPUS-like, then gets bitey then beefy then beastly. “Life Preserver,” one of the never-released songs, is practically a commercial alternative radio rocker in the best possible sense; I guess WGNS counts? Ain’t gonna front—it’s nice seeing this one poking out of the stacks.

Let Go We Men cassette

A collection of nine hardcore punk songs recorded throughout an eight-year time frame. Lyrically, these songs are personal, emotional, and somewhat introspective. It could use a better mixing job to level everything out better, but I think with what they had to work with (a digital eight-track), it’s pretty solid. This is about as DIY hardcore as one can get. I’d love to hear a 7” by this band with a solid mixing job. If everything was a bit more muddled down into the back instead of up front and in your face, not only do I think it would add to the mysteriousness of this band, but it would also benefit the style.

Human Sacrifice / Levity split cassette

Chicago and Grand Rapids bands split three tracks each. HUMAN SACRIFICE gives  fast-paced hardcore mixed with powerviolence, delivering catchy, smoky, spitting vicious vocals. Their three tracks flow like bloody water, speaking to obscure hardcore punk that conveys the urge to pogo. LEVITY, on the other hand, is full-on powerviolence with a Satanic metallic infusion that exudes anger and desolate fits, yet with a relentless energy and dragging feeling, and even some Avernus noise “Breathe Endlessly.” Recommended.

Limbo District Rhythm Forward EP

LIMBO DISTRICT has long lingered in the back of my mind without me ever having been able to really hear them—their name is frequently dropped in recollections of Athens, Georgia’s late ’70s/early ’80s new wave and post-punk scene that typically center their much more well-known peers like PYLON and the B-52’S, but prior to this EP of archival recordings from 1981, the only audio evidence of LIMBO DISTRICT had been their soundtrack contributions to a twelve-minute 1983 short film called Carnival (later excerpted in the great documentary Athens, GA: Inside/Out). “Rhythm Forward” is aptly titled, although the rhythm in question is skittish and skeletal no wave rather than PYLON-style cool gyration, with vocals spit out in an agitated nerd-bark over hazy haunted house Farfisa and thudding cardboard box/trash can drumming, like a Southern Gothic COME ON devoid of any art-funk leanings. The brief “Knock Knock Lobo” zig-zags between ramshackle percussion, single-note bass solos, and punctuated pauses, while “Encased” extends the clattering for a full four minutes, gradually stripping out elements like Jenga blocks until all that’s left is a halting beat and Craig Woodall’s menacing yelp before building back up again. The LIMBO DISTRICT curtain may have been pulled back slightly with the release of these three songs, but their mystique hasn’t diminished at all.

Lothario Drunk Fuck / Black Hair 7″

I want to take a moment to commend Mr. Goodbye Boozy. I feel like the 7”—the best medium for punk!—is becoming an endangered format. Most labels are either abandoning them entirely, or charging, like, $12 a record to make them financially viable, which I have to imagine contributes to their waning popularity. Meanwhile, Goodbye Boozy is pumping them out like there’s still a market for stocking jukeboxes, and offering them up at fairly punk-friendly prices. And he continues to hook up with acts that are perfect for the format. Take for instance LOTARIO, a new recording project from Melbourne artist Annaliese Redlich (IMPERIAL LEATHER/Triple R’s Neon Sunset program). Here we’re getting two quick, catchy tunes, one per side, about being dumb and horny and bored. It’s part dum-dum garage punk à la BUCK BILOXI (who’s playing drums here), part An Ideal For Living-era JOY DIVISION, part something with a more industrial timbre, like late ’00s LILI Z, but also still a little melodic and gentle (particularly this B-side). It’s great! Do I need more than five minutes of it? I mean, I’d certainly take it! But let’s just appreciate this release for what it is: an easy-to-digest portion of cool punk and a lovely artifact that doubles as a great argument for the continued existence of the best format. You should buy a copy!

Agathocles / Malicious Algorithm split EP

I know that I should know better by this point, but every time I see a new AGATHOCLES split, my first reaction is always “wow, another one?”— I’m sure I’m not alone here. And usually, right before I throw it on, I always assume that this EP will be the one where they start phoning it in; that their side of the slab will be a bit of a bore or lazy or unimaginative or what have you. However, once the record starts spinning, I wonder why I ever doubted them at all. AGATHOCLES always delivers, and such is the case with their new split with California’s MALICIOUS ALGORITHM. AGATHOCLES strays a bit from their classic mincecore styling, opting for a slower, sludgier sound. MALICIOUS ALGORITHM plays brutal, lightning-fast powerviolence, but also with a classic grind influence as the guitars and blastbeats pair exceptionally well together. Both bands sound different enough to make this a quality split.

Malicious Algorithm Gorgon Stare CD

Dizzying mix of powerviolence, hardcore, and grind from this California band. They have a split with AGATHOCLES (but, I mean, so does everyone), and they blend mean-ass PV like DESPISE YOU with precisely played grindcore à la INSECT WARFARE. It rips and sounds great. The drums, particularly the blasting, are so crisp that I thought they were digital at first, but no, just first-rate battery smashing. Many of the songs center on anti-capitalist subjects, like “Corporate Gaslighting,” with the lines, “I’ve dealt with robbers, I’ve dealt with crooks / I won’t forgive you for the hours you took / I’ve been a liar, I’ve been a cheat / But you’re the biggest one I’ll ever fucking meet,” but there are also tracks about drug abuse, doomsday cults, and MK Ultra mind control. All the good stuff. Full-tilt shredder from start to finish.

Mary Bell Cerbero LP

Third LP (and the fifth release) from Paris’s MARY BELL, blaring out thirteen tracks of riot grrrl, grunge-laden aggression. Staccato guitar leads like you’d find from SLEATER-KINNEY with a super fuzzy rhythm guitar and a robust, gut-churning bass. Vocals vary from the sweeter side on “Watch Me Disappear” with a ’60s girl group influence, to more strained and typical of the genre on “Inferno.” American foresisters of the ’80s and ’90s would be proud, as Cerbero’s venom is just as potent. To give an example of the group’s serious, feminist intent, they take their name from a violently abused English girl, who went on to be England’s youngest killer in 1968. The point to be taken clearly is not the latter statistic, but rather to abhor the neglect, sexual abuse, and violence that catalyzed such behavior to begin with. If this dark, historic reference doesn’t sober you to the truth, try out “Viaggio,” it builds to quite the ripper.

Meat Joy Meat Joy LP reissue

Learning about Austin’s MEAT JOY was a formative experience for me as a disaffected Texan teen in the early ’00s—a keyhole glimpse into a history of Lone Star punk informed by radical art, subversion, and queerness that didn’t seem possible in the landscape of bland stripmalls and conservative toxicity surrounding me. Part of what made MEAT JOY so punk was their steadfast refusal to be bound by the constraints of the genre (which, when this LP was released in 1984, had already turned into something far too rigid and straight-laced), even openly mocking that concept on “Proud to Be Stupid,” a FLIPPER-esque dirge with sneering lyrics (“I’m better than you because I am tough!”) that gives way to perfectly piss-take “hardcore” breakdowns. That’s about as “conventional” as they get, as tracks like “Slenderella,” “Final Curtain,” and “Godpleaser” put a twanged-out, Southern-fried spin on the asymmetrical post-punk of bands like the RAINCOATS and the AU PAIRS, “Another Pair” veers from ramshackle rhythmic clatter to unadorned doo wop/girl group-inspired harmonizing, the fractured noise freakout “Ich Bin Nur Ein Schauspieler” rides a similar wave as the BUTTHOLE SURFERS (to whom original MEAT JOY drummer Teresa Taylor actually defected before this LP was finished), and the acoustic lesbian love song “My Heart Crawls Off” balances being both emotionally raw and tongue-in-cheek clever. MEAT JOY was keeping Austin weird long before that phrase became a bumper sticker sales pitch, and this record is the proof—it’s just as jarring now as it was when I first heard it years ago.

Astio / Nag split 7″

This is a fantastic lineup of chilly, deathly punk. Following this year’s excellent full-length on Convulse, NAG brings in two more spiky little treats of heavy, rhythmic post-punk that do their own thing, while also dipping a wing in the airstream of erudite acts like the CHAMELEONS as well RUDIMENTARY PENI. It’s a blend of educated graveyard music that shakes your bones. On the flipside, ASTIO tackles a more anthemic sound in a similar sphere, with a slightly more straight-ahead bluntness. Italy has been bringing us a lot of beauts like this lately, replete with reverb-drenched, doomy leads and a tinge of black lipstick. All in all, great cuts from two acts across the ocean from one another who should be on your radar.

Natural Fun Natural Fun cassette

NATURAL FUN of Copenhagen reminds me of Retro-Bution-era EXTREME NOISE TERROR with some more metal and hardcore influences such as AUDIO KOLLAPS and SHARPVILLE. This has a heavy crust drive like VISIONS OF WAR, but also brings it down with bitter hardcore fury like SEVERED HEAD OF STATE, and accomplished solos in the style of NIGHTMARE or BASTARD. Vocals have a sort of NYHC attitude, too. NATURAL FUN is not overly flashy, but what they do, they do tightly, especially back to those constant ripping solos. The track “Wind” opens like a mix between THIN LIZZY and HOLY MOUNTAIN or INFEST. The vocals are utterly killer, the more I get into this—sung, but from the back of the throat like a furnace. Their longest song is three-and-a-half minutes. NATURAL FUN puts down what it needs to, wants to, and is out. I think this is their debut (apologies if not), but it’s an impressive one at that.

Nohzdyve Nohzdyve cassette

I’m not a fan of the show Black Mirror. I find its bleak outlook and glib social commentary respectively unpleasant and annoying. So, it’s fitting that this Los Angeles act, named for a fake video game in that series’ Bandersnatch installment, similarly rubs me the wrong way. Musically, it’s not the worst. The six short tracks on the cassette are a jazzy spin on the same post-URANIUM CLUB herky-jerky, smart-guy rock you just can’t escape these days. It’s stuff I’m a little tired of, but it’s played competently enough. I could see this having an interesting no wave vibe if it were a little looser or noisier, but a chintzy drum machine keeps it an unpleasantly stiff affair. The main offense here, though, are these vocals. Throughout the release, some absolutely unforgivable lyrics (for example, “Onomatopoeia / Chia Pet supreme / Mary had a little lamb/ life if but a dream”) are delivered in the same cadence and rhyme scheme as a protest chant, as though cleverer words have never been uttered. Just top-tier annoying shit. Maybe give the instrumental “Mii Time” a listen.

Pig City Pig City LP

Super violent hardcore punk from Phoenix, Arizona exuding some kind of GULCH vibes, but with a much crustier soul, bashing non-stop drums that go from powerviolence blastbeating to nonsense straight to sick breakdowns, and demonic echoed vocals. This one is pure fire, blast the speakers and let the demons do the rest ‘til the trance hits. Seven tracks and  eleven minutes of pure mayhem and corrosive trans hardcore punk that will get you. Favorite track: “Bash Back,” with a great breakdown and excellent guitar coupling.

Piss Shivers Piss Shivers LP

Yet another fantastic import out of Australia. At times, this album sounds like a modern BUZZCOCKS paired with barking vocals akin to Rick Froberg of HOT SNAKES fame. Guitar has a very natural distortion and doesn’t sound like it’s being processed through a bunch of different pedals. I was gobsmacked to learn this band is a two-piece. They really know how to get the most out of their limitations because these recordings sound absolutely massive. I’m aware that there’s studio trickery to fill the gaps, but the overdubbing sounds to be at an absolute minimum. This is rock’n’roll.

Pissy Mide Tus Penas cassette

Two-piece bass-and-drums combo PISSY creates a dense sonic geography through the use of kaleidoscopic effects and layers of noise. At times the concept of tonality seems firmly at odds with the jet-engine swirl of phasers, though the chorus-soaked bass lines do still bleed through. The staccato vocal patterns riff off the drums in a mechanical, nearly robotic delivery. Cold and clinical, PISSY creates an atmosphere of din and discomfort, colored in the grayest shades of post-punk coolness. As stark as a winter garden in Berlin.

Pleaser Pleaser LP

Pleaser is the first full-length from these Danish punks, and it rocks. Included on the album is their previously released demo and single material, plus a lot of fresh tunes. Loud, quick songs that feature ripping guitar solos, thunderous drums, and passionate vocals may just hex you with their slight pop bite. “Light and Fire” is a B-side rocker that is sure to get you revved-up in short order. Only two tracks clock in over three minutes long (most are well below the two-minute mark), so you know PLEASER isn’t messing around when it comes to concise delivery. The closer “This is How I Die” reminds me of ARCTIC FLOWERS, and I’m here for it!

Plot The Revenge LP

Philadelphia three-piece PLOT have just released The Revenge, their first full-length recording on MPLS Ltd. This six-track album kicks off with “I Have Your Slattern,” which is a tempo-shifting appetizer to the rest of the album, followed by “Peccadilloes,” an acoustic palate-cleanser of sorts that makes way for the meal of the album. “Bobbit Worm” features howling vocals over clipped and distorted instruments, and just when you think you’ve figured out PLOT, they throw down the darkened noise rock of “Eye Decay.” The gothic bend continues through the plodding, synth-heavy “Walk the Plank,” which decays into the dirty, bass-heavy “Slush Fund.” This album is an engrossing journey through unexpected directions which will leave you wanting more.

Pyrex Struck Down / Staying Alive 7″

Two-song hot shit alert from this Brooklyn band. A-side “Struck Down” layers cracked amp post-punk over disco beats that are heavy on the hi-hat. Ultra-ragged vocals rip around sneaky, catchy guitar lines, creating a song that unbelievably ends up melodic and danceable. Then the chorus comes, and the song collapses into screaming noise rock, only to stumble back to its feet and embrace the upbeat rhythm again. Give it a spin—it rules. B-side “Staying Alive” is—you guessed it—a cover of the BEE GEES classic. But this is no Punk Goes Pop novelty, PYREX burns it down and does snow angels in the ashes, organizes a dance battle with two broken legs, and still does the original more justice than necessary for noise punk derelicts. Check it out.

Rash Decision Year of the Silence LP

Year of Silence is raging, crossover-style hardcore with thrash metal chugging guitars with pummeling, powerful drums and vocals to sing along with. The album was written during the pandemic, with an ode to health workers who risked their lives, with humorous yet important stuff to say about subjects ranging from anti-fascism to the solidarity of the working class. Easily could’ve been dismissed as some band that sings about eating pizza and partying, but in actuality, they’re singing about a sociopolitical reality more than most DIY hardcore punk bands out there. Unique approach for this style of hardcore.

Rebelión Anarcopunk Sus Limites Cruzar EP

Long-running Bogotá punks REBELIÓN ANARCOPUNK tear through four cuts of full-bore crust with wild abandon. The songs are blazing fast with shouted vocals, shredding guitars, and top-shelf drumming. Although there are some metallic elements—double bass, finger-tapped guitar solos, occasionally guttural vox—this is pure punk in the raw form, and doesn’t actually sound metal in the least. The title track “Sus Limites Cruzar” is my personal favorite with its over-the-top leads, manic caterwauls, and blastbeats. If the energy captured here is any indication, I imagine their live sets to be a true spectacle.

Red Dons East / West Collection LP

Early ’00s Portland, Oregon was a fertile and dynamic time and place for punk. The hazy, jaded eyes of nostalgia might call it a high-water mark. House shows and venues were plenty, and the scene was filled with a talented, incestuous group of misfits. Following the breakup of the OBSERVERS, Doug Burns connected with Hajji Husayn to form the RED DONS. The rotating group of collaborators who joined later included members of CLOROX GIRLS, CHEMICALS, TRIGGERS, SUSPECT PARTS, and the STOPS. Their melodic, minor chord post-punk political anthems became an important soundtrack in both the Pacific Northwest and across the globe. With Doug Burns’s painting and artistic visions crafting the look and style of the band, they became one of most popular and important groups in the circuit, with a sound that bridged both the garage rock and hardcore scenes at the time. RED DONS toured extensively in South America and Europe, continuing to do so with a recent tour back to Germany this year. This collection of songs spans the RED DONS catalog for well over the last decade. There’s “Independent” and “This City” from their debut LP Death to Idealism. The epic song “Ausländer” from the Dirtnap Records 7” clocks in at nearly five minutes, but never loses its earnest energy. “West Bank” and “Room 322” are included from the early Escaping Amman EP, and songs from the Fake Meets Failure LP and other releases round out the fourteen tracks. Unlike some retrospective collections that fluctuate in style, sound, and substance, this plays cohesively and strongly throughout in a testament to the band’s consistent vision and delivery. It’s a great starting point for those new to the RED DONS, and a welcome reprise for those there from the start.

Régimen de Terror Disputas EP

Just when you thought it was safe to go back in the D-beat, here comes RÉGIMEN DE TERROR’s second EP. The overcrowded genre can be said to be the victim of two major identifiable flaws—it can be overproduced and thus completely miss the point of a style based on raw primitive aggression (although it might certainly appeal to a larger audience), but it can also be drowned in far too many effects on the guitar, vocals, and just about everything, turning the subtle art of the D into a pedal board exhibition (without mentioning that it sometimes sounds like a fight between your dad’s drill and a drunk goat). Basically a Spanish side project, RÉGIMEN DE TERROR is for purists in the sense that their music is pure, absolute, bare, primal, unrefined, and unpolished, close to the D-beat Valhalla and yet without sounding like they tried too hard. The songs epitomise the delightful predictability, the miraculous imitativeness, and the delicious unoriginality inherent in the style in its pure embryonic form. This is D-beat for the true DISCHARGE lovers, and for the lovers of DISCHARGE lovers. Spain has a long and healthy tradition of well-executed genuine raw D-beat bands (like DESTRUCCION or ATENTADO), but I would rate RÉGIMEN DE TERROR higher. Why-era DISCHARGE, DISASTER, and proto D-beat bands like MG15, SUBVERSION, or VIOLENT UPRISING come to mind. Simple, tastefully obvious riffs, crude, aggressive, spontaneous vocals, a classically executed beat, a buzzing bass sound. On an existential level, this EP, released on Roachleg Records in the $tates and La Vida Es Un Mus in Europe (the latter proving they can still deliver the goods in terms of primal hardcore), is exactly as it should be. A serious contender for the much coveted award for Most Orthodox D-Beat Group.

Satanic Togas Digital World EP

I imagine SATANIC TOGAS would be a ton of fun to see live. What’s not to love about fast, garage-y punk and vocals that sound like they are coming out of a drive-thru loudspeaker? This Aussie band delivers four tracks of unhinged melodies and meandering bass lines, leaving you to think everything is going to spin out of control. They are kind of like MR. CLIT AND THE PINK CIGARETTES with an accent and wackier vocal effects. Good party jams.

Saufknast Tränengas EP

Fresh punk project from Hamburg/Kiel. High-pitched female vocals, and strident guitars that contort between power chord sections and soloing from time to time. Garage-y vibes and mixed couplings, but with a hardcore punk drive. The eight tracks reiterate the same formula over and over, which may be a bit exhausting, but altogether it’s a great debut. Determination in the singing and tempos are on-point, with the garage-driven guitars and vocals being the main focus.

Serotonin Zero Broken Worlds LP

Blackened hardcore from Poland, quite technical and gloomy, and on the metal side of the moon. Endless double kick on the drums and relentless doom vocals. Great chord sections delivering good riffs and intricate arpeggios. The songs take speed from time to time, but only to jump to melodic stances. It sounds well-executed, but stiff. Suggested track: “Point of No Return.”

Silence Burial Preparations cassette

This release from L.A.’s SILENCE is four tracks of raging raw punk in the vein of Victims of Bombraid-era ANTI-CIMEX, with vocals reminiscent of KRIEGSHOG. Well-recorded, all-around great release from these punks. A fierce exploding energy of rage, and a well-articulated approach to the right influences.

Skill Issue Total Doom cassette

Blistering hardcore centered around themes of advocating for human rights and defense against societal abuse. This tape is five minutes of righteous fury, delivered in a throat-ripping roar that steals the show, although the band is tight and plays with a filthy tone that fits perfectly. Opening track “Total Doom” starts the tape out strong with a gay rights archival sound clip that leads into a slow feedback crawl and lyrics like “Always knew it from the start / Hatred heals my burning heart / Slice a bigot in his neck / Total Doom / Fucking mess.” “Pitbull in a Basement” features savage call-and-response vocals and rips hard. You’re telling me they have two raw-as-fuck vocalists in the same band? That’s the best kind of rare. The whole tape is solid, furious hardcore about fighting against intolerance. What’s not to like?

Skiplife Prison EP

Total ’90s West Coast powerviolence-worshiping hardcore from Prague, with scene veterans in MINDLOCK and LYCANTHROPY. Sounds like INFEST and LACK OF INTEREST. Non-stop, short-as-fuck, fast, loud, shortcut-style golem crusher fast hardcore. You can look elsewhere for some modern-sounding, deathcore-adjacent bullshit. Back-to-basics, yet actually great-sounding anti-authoritarian outsider hardcore to its core.

Skotos EP 2023 cassette

This sounds like a garage band in the best sense of the term. I can definitely picture SKOTOS playing a wild gig in a tiny, damp, illegal venue with 50 people in a room that can barely fit 30—the kind of gigs where you are not just getting drenched in beer, but also in other people’s sweat because the venue is so tiny that there is nowhere to hide from your neighbour’s nasty armpits. Listening to this new tape EP, I can also imagine SKOTOS actually living in a New York garage. There are a lot of things going on here and, were it not for the genuinely raw and minimal aggressive hardcore production, I think they would lose me rather quickly. I enjoy the faster hardcore punk bits, especially the opening song “Penny for Pound” with its early FINAL CONFLICT/BODY COUNT vibe, but I don’t care for the heavy NYHC moments (but then to be honest, I never care for any). There are hints of powerviolence as well, especially because of the versatility, the threatening mean vibe of the songs, and the brutal changes, which works well on the whole. The ten-minute running time clearly fits with SKOTOS’s style. Typically the kind of band I would go see live expecting gladly to be punished with intense hardcore music, but I would not get their record (unless they are a friend’s band, in which case I feel guilty not to). All in all, a solid and very enjoyable hardcore band that can stylistically appeal to a lot of people, but might alienate a few for its deranged, raw production, which I would argue is precisely why the music works here (a clean production would have me run for my DISCLOSE records).

Slack Times Carried Away LP

Indie pop band SLACK TIMES comes out with a compilation of their three EPs—Carried Away (2022), At the Blue Melon Rendezvous (2021), and Up Here (2021)—which makes up the order of the album. The opener “Carried Away” sounds like a TOM PETTY impersonation set to some Americana guitars and had me largely confused as to why MRR sent me this one. Nothing screamed punk or punk-adjacent at all. I kept listening, though, and maybe the remaining vocals (“Carried Away” aside) have the whiny, distorted nature of someone like Tom DeLonge singing more gently over the FEELIES—one of the bands they mentioned as an influence. R.E.M. and YO LA TENGO were also referenced, and I can hear the FLAMING LIPS, to boot. I really like jangle-y, poppy punk, but this feels more like pure indie, with the zest of any “punk” flavoring missing. I feel foolish groveling over genres, but that’s the impression I’m left with. All said, a good album that these members clearly poured their hearts into.

Slan Skiter i Allt EP

How nasty of SLAN from Gothenburg to title this ghastly five-song käng  assault Skitr I Allt (“Shit in Everything.”) With a cover that’s painted in the color of stains, depicting some stinking dirtbag in his rotten little apartment, this diabolic EP is filled wall-to-wall with caustic hits, including the charming title track, “Svälj Skiten” (“Swallow the Shit”), and more. This is a ripping, raw, and rabid D-beating that occasionally drops into some head-bobbing punk rocking, and it kills. As it turns out, they were spot on with the name, as this is absolutely the shit.

Mace Head / Slavery split 7″

Fun split out of the Czech Republic. SLAVERY really teeters on the edge of classic power metal, but is brought back from the brink once the vocals kick in, sounding more like DOOM with throatier vocals. MACE HEAD’s side of the split is much more crusty and lo-fi. Very reminiscent of AUS-ROTTEN with a phaser pedal and a soft spot for industrial music. Vocals are intense as hell, and I’m curious as to how they recorded them. A tad sloppy at times, but I think that’s what makes this a great split. No ego. Raw power. Well worth a spin.

Spetters Who is Gay Chaos? cassette

Reading, PA DIY group SPETTERS puts out their last album, with a mixture of new tracks and a few from previous releases. A red herring two-minute piano opener gives way to guitar and bass that get a good workout, riffing up and down the neck with fervor, cloaked in reverb; drums make surprise changes, rests, and generally kept me on my toes throughout; vocals start relaxed, gravelly, and build to a strained scream at the top of choruses—the sum of all of it leading to catchy, genuinely engaging songs in the form of a deathrock frontman meets surf-laden shoegaze (maybe?). From their YouTube videos, it looks like they put on some high-energy party shows, blending their technical rhythms that boil over into a push-and-shove crescendo. If this is the last go of SPETTERS, then get your tape before they’re gone!

Spine Raíces LP

This is the third full-length release from Kansas City’s SPINE, and is perhaps their most ferocious to date. The LP’s opening blast of oppressive feedback should tell you just about all you need to know right off the bat. From start to finish, this is a fast, discordant, angry, and aggressive record. The only letting up from this whirlwind torment comes with its penultimate track “Pure,” which chooses to slowly bludgeon as opposed to attacking rapidly—it is no less effective. This record brings the listener directly inside the damaged minds of its creators, and it is certainly not pretty. This record is yet another win for SPINE, recommended to those with a very strong stomach.

Still Missing Still Missing LP

Desert-baked boogie crunch from California, reminiscent of KYUSS or KVERLERTAK. The songs feature quality heavy rock riffs, sludgy start/stop sections, and sung, hooky vocals with back-ups. Good-time heavy tunes for the roadtrips or campfires in your life. The production is beautiful, with big drums and immaculate guitar tones. The lyrics are not especially sophisticated; take “Think About It” for example: “She said to go for it, go for it / I want to go for it / She said to wait for it, wait for it / I don’t want to wait for it, wait for it.” Similarly, “AOC” contains the lines, “She makes me feel right / She makes me feel white.” There is not much more context to give than that, so make of it what you will. Like the kids say, it gives me the ick for a few different reasons.

Strangelight Power, Rent, Control / A Three Day Weekend 7″

Two songs with rhythm, tempo and guitars sounding very pop punk in the gruff, slightly rough way some late ’90/early ’00s US and UK bands could be. But otherwise, this is very genre-neutral punk. You can tap your foot and sing along without much trouble, and the songs know how to quit when they’re ahead. All that and a sense of humor—I don’t ask for much else.

Suspect Urge to Extinguish EP

Wow, this band really sounds like CONCEALED BLADE. You can almost hear the Scud/Flynn dual guitar attack. Not a bad thing at all, and I like the idea of a Germany/PGH connection. “Damage Done” is the best, but it all rips from beginning to crashing conclusion. I’m spent.

The Bad Shapes The Bad Shapes LP

This can be incredibly catchy, in a sing-along sort of way at times. And with female vocals and background “ooh ooh ooooooh”s, it’s super melodic and right up my alley. Their lyrics are in no way shallow, taking on real issues like a woman’s right to control the destiny of her own body. In terms of musical style, it reminds me of 1977, mostly because it can be super catchy, but it’s also got a grinding guitar that is more like early hardcore. It’s sometimes got a quirkiness that doesn’t always land with me, but overall it’s a great effort. From one of my favorite cities in the world, Berlin, Germany. And they even give us a surprise track in German towards the end of the record!

The Barbed Wires The Barbed Wires cassette

Debut ten-song cassette that has all the pieces in place for the BARBED WIRES to become a legitimately popular band. Long-time rockers, who I was unsurprised to find out had been in such bands as PINK RAZORS, STRIKE ANYWHERE, and CLOAK/DAGGER, playing tunes that sound like a slightly more alternative rock version of the MARKED MEN. It’s instantly catchy, it’s memorable, and if the previous bands are any indication, this is surely going to be powerful as hell live, as all those aforementioned groups were great the times I saw them.

The Bollweevils Essential CD

Chicago’s BOLLWEEVILS return with a new full-length after a fourteen-year absence, and they haven’t missed a step. A solid outing here. Admittedly, I’ve never been a huge fan of this band—aside from their split with 88 FINGERS LOUIE and their Weevilive album, I’ve been mostly ignorant to their catalog. After giving this one a few spins, it’s got me interested in giving their back catalog another listen. I believe that those already familiar with the band will be more than satisfied with this offering, and those who are new to the band, or like me, kind of ignored them in the past, will be pleasantly surprised by what they hear.

The Gents Responsible Dog Walker EP

Fun stuff here out of Germany—melodic garage punk with an Oi! twist. Reminds me a little bit of early SNUFF mixed with BLITZ. Very catchy hooks. Each song sounds slightly different than the last, and it leads to a very compelling EP. The dual vocals really help keep everything fresh and they create a great dynamic. These guys apparently have day jobs as elementary school teachers and practice each night in the school’s music room. Nothing more rock’n’roll than that. Well worth a spin. Very tight and energetic.

The Geros Weird Dance + Demo 2014 Remastered CD

Maybe not the snappiest title, but a very descriptive one in the fact that this is the GEROS’ 2021 EP followed by their debut (and much better) 2014 demo. In case you’re not in the know like the many Japanese TEENGENERATE-worshiping collector nerds, this Osaka band has cranked out some quite competent early MAKERS meets the SWANKYS garage punk  with a KBD nod here and there. The newer and slower EP is good in a darker CRAMPS-ish vein, with a heavy metal-loving opener. The much noisier 2014 demo captures what I imagine their live show to be. Raw and loud. It’s all been brought to us by a wonderful CD-only Malaysian label specializing in re-releases of amazing international punk classics, so it could be a little hard to track down. Good luck, punk.

The Havoc Our Rebellion Continues LP

Imagine my disbelief at seeing this come across my review pile; I saw HAVOC play at the Cornerstone music festival almost twenty years ago, and honestly I didn’t realize they were still active. On their new LP Our Rebellion Continues, they sound just as I remember them: CASUALTIES-style street punk with a side of MOTÖRHEAD-style rock’n’roll. Personally, I prefer them when they lean into the Lemmy influence, like on “Who’s to Blame” and the end of title track “Our Rebellion Continues,” where they almost approach a RIFFS vibe. It’s pretty cool shit, and I’m happy to see these dudes still doing their thing twenty years later.  

The Jacklights Final Girl CD

For nostalgia-seekers of ’90/’00s female-led emo bands, listen up. Grainy and chunky guitars, with that fast-shuffling hi-hat beat, build a landscape for PARAMORE-esque vocals, saccharine to sour, asking questions like “Why’s this so hard? / I can’t believe the things you said to me” (from “Past Tense”). This is the JACKLIGHTS’ third EP, and they have kept laser-focused on their sugar-coated emo persona, dialing in some great songwriting chops. This four-song release is the perfect length for me—I enjoy it, but it’s the kind of thing I take in small doses.

The Love Come On and Feel the Love LP

They come out of the gates sounding like the STOOGES and the STROKES, but then I’m thinking, “Wait, this is pop music.” Honestly, on my first go-around, I thought that there was very little garage here. I was thinking it was awesome, but I was also thinking that calling it garage was a stretch. Second time around, I’m hearing it differently. It’s intense in a way that you rarely get with pop music. I said in a review a few months back that there is regular old pop music, and then there’s pop music created by people who didn’t grow up on shit music. Fucking great record.

The Satyrs Don’t Be Surprised LP

Sundazed continues in their mission to reissue every small-time ’60s garage band under the sun, like it or not. Here we get a treat of British Invasion-inspired jams not from the Pacific Northwest, but from the town built on quartz, Asheville, North Carolina. Nicely packaged with tons of info, and the sound is decent if you figure how old and crusty these tapes probably were. Shiny boots, blazers, and high-strung guitars are the vibe, and some of it is really hokey, but there’s moments like their rare original single “Don’t Be Surprised / Blue Blue World” or their cover of “I Walk the Line” which can give you a glimpse of the birth of Southern punk that lead to C.O.C. and ANTISEEN, if you close your eyes and imagine real hard. Good stuff.

The Threat Lullaby in C EP reissue

Before recording this one-and-done heater in 1980, Dublin post-punks the THREAT were playing shows with the likes of a pre-fame U2, and if we lived in a just world, the martial deathrock march of the THREAT’s B-side “High Cost of Living” would have later been forcibly planted in everyone’s iTunes libraries instead of…well, you know. A rumbling, cyclical bass line and stark, mostly cymbal-less drums beat along in lockstep against an atmospheric swirl of lost-in-space synth for almost three minutes straight before Deirdre Creed’s vocals finally cut through the tension—the song’s lyrics literally consist of nothing more than the phrase “high cost of living” shouted with mounting desperation, but they still convey a CRASS insert’s worth of fiery polemic in just four words. Killer! Guitarist Maurice Taylor handles vocals on the A-side “Lullaby in C,” cloaked in a greyscale moodiness somewhere between early Factory Records and the more dub-minded factions of early ’80s anarcho-punk; a total inversion of the scorched earth stomp that follows on the flip. This first-time reissue also adds a previously unreleased 1979 solo soundscape from the THREAT’s synth player Stano (“Demo Above the Foggy Dew”) sandwiched in between the single’s two original tracks—when the THREAT ended in 1981, he turned to making avant-garde electronic/industrial music in the vein of CABARET VOLTAIRE circa “Silent Command,” and it definitely shows. Cost of living? High. “High Cost of Living”? Priceless.

The Toads In the Wilderness LP

While Billy Gardner isn’t busy bringing us notable acts like PARSNIP, CIVIC, and ALIEN NOSEJOB on his Melbourne based Anti-Fade label, he’s hard at work playing in bands such as the LIVING EYES, VERTIGO, and the TOADS. In the Wilderness is the debut from this latest project, and brings us be-jangled garage rock, punchy in-your-face-bass, pure rock’n’roll lead guitar riffs, with some JOHN CALE-esque poetry lines sprinkled in, like on “The Wandering Soul.” This is tambourine-shaking fun, puts a smile on my face, yet doesn’t abandon social issues, like on the opener “Nationalsville” or “Sacred Books and the Damage Done.” Keep your eyes on this lot.

 

The Wind-Ups Jonathan Says EP

Jake Sprecher, known for a long time running as a side player to JONATHAN RICHMAN, debuted this solo venture back in the quarantine days. Though the lead single pays tribute to the towering figure that is RICHMAN, this isn’t mere hero worship. Sprecher has his own voice and a strong—I mean, strong!—ear for melody and tonality. These fuzzed-out power pop cuts carry some real bite, especially in the snarling and brief “Coffee Cup” and an obscure but slamming cover of “Medusa’s Spell” penned by fellow Chico, CA resident Marty Parker (of ELECTRIC PIE BAND). I’m excited to hear more from Sprecher given this labor of love and fondness, and you should be, too.

Theee Retail Simps Rubble / Jumpin’ Jack Off 7″

Snotty, psychopathic garage punk from Montreal’s THEE RETAIL SIMPS. Good shit, a lot more unruly than I have heard on previous releases from the band. Two tracks that somehow keep all moving parts together, starting with the killer opener “Rumble.” The production is filth of the highest order, and does not veer from the expected sleazy joy that I would expect from the good people at Goodbye Boozy, with “Jumpin’ Jack Off” in honor of Mick’s birthday to finish off the 45.

Them’uns This is Rave Punk cassette

When I saw “rave punk” on the cover of this British duo’s tape, I wasn’t sure what to expect— maybe a mix of beats and hardcore like L.O.T.I.O.N. Instead, THEM’UNS sound a lot like ATARI TEENAGE RIOT, though less intense and noisy. Opener “Soylent Blueblood (Ethical Cannibalism)” takes eating the rich literally, with lines like, “Who could have guessed that when the bills began to soar / It would result in this delicious class war? / Even vegans and vegetarians are down / Feasting upon the flesh of those in high renown.” This is shouted in call-and-response over 808 kicks and synth leads. There is a fine line between fun and cringe, and these folks trample down the middle of it. Similarly, “Fuck Cars (Gary Numan on Yer Bike Mate)” is a reworked cover of the new wave classic changed to favor bicycles over cars. Imagine an anarchist WEIRD AL track, but not as clever. If you like electronic club music, this punk play on it might be a worthy spin, just know that it’s over-the-top and textbook anti-authoritarian.

Tiikeri Punk Rock Pamaus​!​!​! LP

“Let’s punk!” says TIIKERI right at the beginning of their full-length record. They play rudimental but very melodic punk rock—not even distorted guitars, at a moderate tempo and with rather entertaining vocals. It’s not the punk mostly I listen to, but this is very punk punk punk. They are from Finland and sing in Finnish, and the language pairs incredibly well with this sort of stripped-down music; it gives a strange aura to the songs. Their music is much more international visceral rock’n’roll that has a lot of power even when it’s not blasting on level eleven. This could be great mixtape music. The simplicity and gimmickless image makes them otherworldly, timeless, and unjudgeable. Therefore, even if you are not that familiar with this subgenre, you can be entertained by this record. Most likely it’s the type of music that has to click with you to really, really like it, but its quality is clear even on the first listen. If you like dumbed-down but super melodic music that is driven by rock’n’roll essence yet it’s punk in a universal and textbook way, then TIIKERI is your band.

Total Nada II EP

Following their self-titled 7” from 2021, II features seven new tunes from Montréal’s TOTAL NADA. With lyrics in Spanish, the bands’ taut hardcore approach is cast in looming post-punky shadows that lend an heir of dread to the spirited music. It’s fiery, battle-cry-laden punk slathered in dark moods that range from jaded dissatisfaction to full-on impending doom. Powerful and pouty, this would make a perfect soundtrack to being trounced by a gothic MMA fighter.

Trenchraid War Mentality cassette

TRENCHRAID is a Motör-charged D-beat band from the left coast of Canada who have just released their first full-length cassette. Twelve songs that pummel the skull with hardline lyrics about ecological disasters, the horrors of war, and endless suffering pull no punches as they come in a quick barrage. Having previously reviewed their four-song demo cassette last year, I can say with absolute certainty that this crew has grown into their aggro sound and fully refined their thematic devices. If you’re like a lot of the punk community and waking up day after day with ever growing rage, then you’ll find a comfortable home in this album. “Is This the End?” and “(Position of) Fuck You” are standout tracks for me, as they contain the highest level of F.O.A.D. mentality. Get this in you, and your indignation will feel fully justified.

V/A Colorado Springs Underground 1983–1994: Volume 1 LP

A vastly interesting snapshot of a scene that I was heretofore entirely ignorant of. The seventeen bands featured on this compilation span a wide gamut of genres, offering up a little something for everyone. The KBD-style opener “Meister Brau” by DEAD HEIR is just what I had hoped for (and expected) from a record whose cover has a picture of some punk taking a dump. Beyond that are some proper hardcore bangers, barely decipherable noise punk, melodic skatecore, a goth-y industrial jam, as well as more standard punk numbers. Accompanying the album is a fat, 40-page zine that puts everything into context and has a write-up for each and every band. It’s a fantastic glimpse into a scene that clearly had a lasting impact on the lives of many of the folks involved, and tells a story that will ring familiar to anyone that grew up in a smaller scene where most of the bands share members. Since the recordings were mostly culled from old cassettes, the quality fluctuates, but what else could you possibly expect given the scope of the project? A lot of care went into making this collection. It’s limited to 300 copies with hand-numbered, screenprinted covers, and the aforementioned booklet. I’d consider this a no-brainer for anyone with an interest in obscure bands from lesser known scenes, and especially punks that hail from Colorado.

Virus You Can’t Ignore It Forever LP

Much like the time passed before this 1984 cassette was released on record, I’m glad I didn’t wait to sit down with this any longer. VIRUS brings a bygone production value and mood I haven’t heard as earnestly since the likes of KULTURKAMPF, The E.P.s of R.P., KARMA SUTRA, or LEGION OF PARASITES, with the somewhat gothic post-punk swaying of SKELETAL FAMILY and TOXIC WASTE, though much more sensitively delivered like contemporaries the MOB, LIBERTY, and OMEGA TRIBE. The writing here is authentic and classic 1984 UK anarcho-punk. Simply poetic and rhythmic, with themes of anti-war, animal liberation, class struggle, and nuclear power and its threats. Floor toms, militant snares, jangling, echoing bass, spoken word moments…from “Oven Overture”: “Handin’ out presents, it’s Christmas day / Well it’s ‘bout fuckin’ time that a turkey had its say!” The earliest forms of anarcho-punk always had that blunt lyrical content, and VIRUS is no exception. This is an excellently remastering of their cassette debut from 40 years ago, and a must-have if anything from SUBDUED or AOA to FLUX OF PINK INDIANS and MOET THE POET is your voice of reason in this cyclically unreasonable world. I’ve rattled off several bands of the era and region but not randomly, as this early VIRUS material sincerely fits right in.

Vulpess Me Gusta Ser Una Zorra / Inkisición 7″ reissue

VULPES or VULPESS (the second “S” added as a “fuck you” to the attorney general of Spain) were a very short-lived, all-femme punk band from the Basque region in the early ’80ss. Deliberately offensive, tongue-in-cheek chaos antics accelerated the band into the Spanish spotlight, only to find themselves quickly shot down with criticisms from various non-progressive factions. These two tracks are recordings of the band made after a television performance found the band embroiled in controversy. Originally 12,000 copies were sold, but until recently it has remained a rare recording. “Me Gusta Ser Una Zorra” is a snarky cover of  the STOOGES’ “I Wanna Be Your Dog,” with a sort of feminist twist on the lyrics and better musical arrangement (fuck those stupid sleigh bells!). “Inkisición” would later be re-recorded by the band in the early ’00s following the death of drummer Guadalupe Vázquez in 1993. Both tracks find buzzsaw guitars backing an energetic lyrical delivery and aggressive rhythm work. The vocal squeal on “Inkisición” sounds like tires burning out on a hotrod, and the frenetic musicianship throughout makes this 7″ addicting. The repress by Munster Records is beautifully packaged with a host of extras, making this recording well worth the small amount of coin it costs to buy. If you’re into punk oscura, then you’ll definitely want to escuchar.

Warsaw Discography 92–93 S.C. Dynamite Go! Go! CD

After being recently introduced to Black Konflik’s output, I’ve become a quick fan. They have a handful of legendary releases from the likes of PARANOID and DEFIANCE and even more obscurities like this collection of demos and compilation tracks by WARSAW, a hardcore punk band from Sapporo, Japan who were active from 1992 to 1993. They went on to switch lead singers and become SHOT GUN, leaving this output in their wake. It’s a raw and lo-fi affair bringing to mind other Japanese hardcore bands like SYSTEMIC DEATH and DEATHSIDE. If fast and nasty hardcore is your thing, check it out, especially their contribution to the Criminal Truth Hate Justice comp, which is included here. Gnarly stuff!

Wrong War On Further Reflection EP

A strong effort from Chicago’s WRONG WAR. This three-track EP leans more on the melodic and (pun entirely intended) reflective side of hardcore music. All three tunes on here are super solid (I am particularly fond of “The Call”)—the title track is the star of the show, sprawling off into a repetitive mantra towards its conclusion. Overall, a very solid release that I would recommend to anyone who likes a hint of melody in their hardcore.

Zero Bars Demo 2023 cassette

Debut release of no-frills punk from this Canadian power-trio. Well, there might be one singular frill. The second song on the four-song demo adds a little post-punky WIRE vibe into their standard faster realm of mid-tempo punk sound, and it is the coolest song on the tape. All the songs are instantly catchy and driving. The demo is short enough that if you’re anything like me, you’ll end up flipping it over and over when the tape clicks just to get your fix.