Wow. This is off to a great start. Female-fronted pop music with some (a lot) of organ/keyboards and a ton of energy. Five cuts, they all rock, and not a single one of them is over two minutes long. Now you’re speaking my language. Super catchy and just fun to listen to. The vocals are both pretty and interesting. While this is poppy and pretty, make no mistake, this is not sticky sweet; it’s got some guts.
When you have a visibly decaying (very) grim reaper on the cover of an album by a Swedish punk band, you can bet your one good kidney that they are going to unleash dark and heavy galloping hardcore for the masses. Well, your kidney is safe, because BÖDEL plays straightforward, beefy käng with enough shades of D-beat speed to keep things interesting for twenty minutes. It sounds how it is meant to: relentless, punishing, and energetic. Let’s not D-beat around the bush here, because BÖDEL does not endeavour to innovate and modify a formula that has been working since a bunch of scruffy kids came up with the systematization of a very specific beat in Stoke-on-Trent in 1980. Know who I mean? In the grand spectrum of the D-takt, I would place these Göteborg punks somewhere around early VICTIMS, WARVICTIMS, or GEFYR for a modern reference, with a great, heavier production highlighting the unstoppable vibe of the music. A couple of moments of the LP suggest a fondness for the more epic, moodier side of WOLFBRIGADE, which I do not disapprove of. Very classic and predictable but in a good way, and the fantastic female vocals, angry and manic on the verge of explosion, do take the band to the Premier League of käng hardcore in my opinion. A very enjoyable album that undeniably stands as one of this year’s strongest instances of this peculiar subgenre.
This Hamiliton, Ontario four-piece dropped this LP earlier this year, and it’s full of power pop-ish rock’n’roll. It’s ten tracks, and most of them blend together. I could chop it up to the production and use the song “Stone Cold” for example. It’s got a riff, it’s got a chorus, and both blend into each other without any real dynamics. It never really hits, and had me ready to hit the ol’ skip button. I think with some better production or dynamics, this would come across a little more rocking. They mention a heavy Flying Nun influence, but aside from a couple of moments that I had to really look for, I don’t hear it. It’s a shame, because if that influence would have been front and center, I may have enjoyed this a lot more.
Although “ekibyo” is the Japanese word for “pestilence,” this band lives far from Osaka—Tampa, Florida, a place with significantly more shorts than crust pants. The Final Goodbye is the band’s third (and hopelessly not final) recording, and they haven’t changed in terms of influences, nodding lovingly to the distorted, crusty hardcore sound from Japan. This is a rather lo-fi affair, and I can appreciate that they don’t try to go for the total blown-out crasher crust and are probably closer to a spontaneous and energetic blend of LEBENDEN TOTEN and UNARM, and I can’t help thinking of ANTIPRODUCT, too (possibly because of the shouted vocals). At times, I don’t totally understand what they are going for and it can get a little messy, but I certainly like the raw DIY spirit of the band (shoutout for the sloppy cut’n’paste cover that I absolutely love), and would grab the EP if I came across it.
Seven minutes of pure floor-stomping hardcore. McAllen, Texas’s FALSE FRONT play stripped-down skinhead hardcore with one boot planted on WARZONE, NEGATIVE APPROACH, and the TEMPLARS, and another boot on newer bands like LIBERTY & JUSTICE (with whom they collaborate on track three), with additional blastbeats à la early AGNOSTIC FRONT and DEAD KENNEDYS surf riffs here and there. Each breakdown catches you off guard, as FALSE FRONT manages to make things groovier and more aggressive with each twist and turn. Lyrically, it’s all about protecting hardcore from tourists, poseurs, and fake scene politics, and these boot boys ain’t playing around, so they just might revoke your hardcore card.
I had no idea what to expect from a band calling themselves GIRTH CONTROL, with sleeve art of an over-served radical octopus, and songs like “Girthquake” and “Alright Mom.” To be honest, I had given up on ska punk for the last thirty or so years, until two friends added weight to what I thought was a dead sound. The first was a woman named Sally who lives in Kalamazoo MI. After she explained very plainly and unapologetically the nuances and positive psychological effects that ska punk can have on a person living in the gray, cloudy, Midwest, I was open to giving it another shot. The second was when Aaron P, one of my favorite drummers I’ve had the pleasure of playing with, told me that he’d been doubling his duties in TWO MAN ADVANTAGE and a new ska band he’d been playing with. I mean, if Aaron and Sally are giving it a shot, then who am I to pick something up and put it down in front of progress? I mean ska-gress. However, with no expectations, What Got You Stoked in the First Place has somehow landed exactly where it has to be, where there is no other place it could be. GIRTH CONTROL is exactly the right part of the fun, partying, honest good time, sip-swiggin’ ska punk band they need to be. I love the group vocals, mirroring all the best Rad Girlfriend bands, and the choruses have tunneled into mine brains to now live forever. I think it is important that the one thing that Sally, Aaron, and GIRTH CONTROL proved to me is that although ska punk songs can sound happy, silly, bouncy and so on, they can be much more than that with a reflective sadness, community, and authenticity blended in. Pick this 10” up and put it down on your turntable.
I’ll hold your hand while I’m telling you this, but this JAZZ record? Well, it ain’t no jazz record. Bummer? No. Not really. It’s still an amazing record. The energy is unmatchable, and there is so much fun to be had in all of the thirteen post-post-punk bangers it offers. Expressive vocals, earworm bass lines, sharp guitars, clever drums, and creative synth parts just add up to something so unique, refreshing, and weird in a very endearing way. I absolutely adore everything about this record.
LIFE’S TORMENT is out of Las Vegas, and their dual-vocal delivery reminds me of CIRCLE TAKES THE SQUARE, but way more punk (is that possible?). MERKED out of San Jose is a three-piece that plays hardcore that drifts from what sounds like COMBAT WOUNDED VETERAN to beatdown to youth crew in a single volley. If this split had arrived in the early ’00s, there’s no doubt in my mind this would have been a top listen. Yeah, it’s a chaotic trip, and yes it’s noisy, it’s these qualities that make it fun.
Big, chugging riffs abound on PRIVATE HELL’s latest EP To Dust You Shall Return, a tasty four-track metallic hardcore/crossover EP. Bands like SEPULTURA and NAPALM DEATH are cited as influences, and while the depth of my knowledge in regard to this style is limited and a little basic, I think it’s fair to say they sound like POWER TRIP. Some blastbeats here, some great, groovy bass lines there, and loads of buzzsaw guitar work add up to a heavy eleven minutes. Recommended; check out the final track, “Charred Remains of a Dying Star.”
Originally a CD-R released in 2002. This is political punk/Oi!/hardcore from Bratislava, Slovakia, budding with exactly what you’d want from a band that’s been causing an aural commotion for over twenty years. I gotta admit that I have no idea what they are saying, so when I’m on a walk and singing along, I hope my echolalia is accurate enough that ROZPOR wouldn’t be embarrassed that I’m a fan, and not so inaccurate that a passerby that who speaks Slovak doesn’t think I’m singing something wildly off-base. I need to mention that within the weight of music and vocal tone, ROZPOR doesn’t miss an opportunity to randomly sneak in surprises that subtly underscore their sense of humor and humility. I was completely consumed by this LP, and I think you might be, too.
Portland, Oregon duo SEA MOSS starts this split off with pure sorcery of gnarly synths and electronics layered on top of masterful drumming that conjures rhythmic seizures. Even though it’s stripped down in its instrumentation, it’s by no means a type of music you could call minimalistic. It’s very “extra” in every way that actually counts, and scratches a part of my brain that not much else can reach—that explains why I fell in love with this split in the first ten seconds. And when we switch over to the MISCOMINGS side, we are greeted with more of a conventional band setup of guitars, drums, bass and vocals…but of course, the music is anything but conventional. It’s extremely chaotic, unbelievably fun, and reminiscent of some of my all-time favorite bands PRE and LOCUST. From eerie and deranged melodic parts to noisy, grinding sections, MISCOMINGS deliver all that you could ever need from a noise rock band. I know I wouldn’t be able to do it justice if I were to dissect their sound further, so I’ll just say that it’s some of the best music I’ve heard in a while. On top of both bands giving this split their absolute best individually, the two amazing and aptly-titled collaborative tracks, “Seacomings” and “MissMoss,” perfectly summarize the whole split. Even though SEA MOSS and MISCOMINGS don’t sound that much alike, they’re spiritually the best pair possible and the chemistry between them is priceless. All in all, Big Tube Scene is undoubtedly a ten out of ten in my book, and I’m ready to die on this hill.
Four songs of dingy, lo-fi, blown-out garage punk. With incredibly limited information available, the best I can discern is that SNAREWAVES is a solo recording project based out of Lansing, Michigan. This tape is exceptionally short, containing only about three-and-a-half minutes of music—I think that makes these cassettes C-2 length, which to me means as soon as I sit down after hitting play, I’m already getting up to flip the tape. I have probably listened to this thing 30 times while trying to write this review. The songs are solid, even if they don’t leave much of a lasting impression individually. With a previous cassette out on garage rock powerhouse Painters Tapes and now this one on Knuckles On Stun, any garage or egg-punk enthusiast should have a pretty good idea of what they’re getting themselves into with SNAREWAVES. If you end up being one of the 25 people who get a physical copy of this cassette, whatever you do, do not get the O-card even the slightest bit damp. Merely picking it up to scan the cover for information on the band (of which there is none) made the ink begin to smear all over the damn place.
Brazil’s SUBVERMES don’t waste time dressing up their message. Rumo ao Pior is fifteen tracks of D-beat-fueled crust that occupies land somewhere between DISCHARGE, LÄRM, and RATOS DE PORÃO. With enough grind flashes to keep things frantic, the production is filthy without turning into mush. Lyrically, it’s all anti-fascism, anti-authoritarianism, environmental destruction, Indigenous struggles, and class warfare. Protest music in the best sense, backed by real conviction. Tossing in covers of DISCHARGE and DOOM makes perfect sense, because SUBVERMES clearly understand the tradition. Loud, fast, and pissed.
When I saw that the digital download for this was $9 on Bandcamp, I scoffed at first, but following the conclusion of the first track “Luminous Events,” I thought, “Okay, fair.” The vocals here are absolutely incredible. The range, dynamics, and control are god-tier. They sound like a total pro, so much so that I had to listen to these tracks a handful of times because I kept getting sucked into the singer’s spell! The music itself is very desert/space rock-ish. Reminds me a bit of early MONSTER MAGNET and QUEENS OF THE STONE AGE. Come to think of it, this sounds like it came from a time capsule buried in the ’90s. Solid work here; it goes by fast, so give it a couple spins like I did.
A full-sized serving of fun, earnest, catchy power pop. It’s apparent right from the jump that TEENAGE FACES have an ear for this style, even beyond just wearing their influences on their sleeves. I assumed their namesake was an EXPLODING HEARTS reference before I clocked the tracklist containing three cover songs—one from Portland’s finest, one NERVES track, and the third tackling Elvis Costello’s “Welcome to the Working Week.” These covers are done well and are clearly little love letters to the genre. The originals that make up the meat of the record probably won’t surprise the listener at this point, but again, they make for a great little listen. Those originals skew a little more early ’80s power pop, with a bit more emphasis on the pop than the power, and the vocals sound like they could be your coworker, or your cousin, or the bank teller, but I think that adds to the charm here. I’ve spent most of my life obsessing over this music and I see it like pizza. There’s no such thing as bad pizza.
Alright! Here’s a killer split that pairs up two bands that know what the fuck they’re doing and don’t muck about getting to the point. Split releases almost always beg comparison, but that’s no issue with these two burgeoning titans of Oi! Both sides will surely leave deep boot prints on your ass. DRYACID may just be Japan’s answer to the TEMPLARS, blasting out two tunes that feel like instant classics. Crack a cold one and flip the wax for two more cuts of rock’n’roll-tinged street anthems from the SLADS. Tuneful, with the perfect balance of grit and gravel, these earworms will burrow deep. Pure punk; a total package front to back and side to side.
The THINGZ from Long Beach take the A-side with “Heavy Metal Back Pocket,” a lo-fi stomp run almost entirely on organ and bass, and the lyrics really capture a moment in four lines: “AC/DC concert shirt / Sit cross-legged in the dirt / You are mine eternally / Outside of society.” That’s the sound of being a kid next to your crush, and I was really touched by it. “Gastropod of Doom” follows as the theme song to a slug invasion, with vocals that reminded me of the B-52’S. KING FLAMINGO, a California duo who describe their music as “astro surf” or “goo wop,” take a more laid-back approach on the flipide: “Astro-Blast-Off/Re-Entry” lays spoken vocals and organ over twangy reverb, and “Moonbeam Beach” drops the tension for something prettier, a half-sung memory of a night on the sand. They’re going for atmosphere, where the THINGZ are going for a house party. It’s a good pairing, though I kept flipping back to the THINGZ side.
Super catchy punk music that’s got a little bit of jangle to it; this is amazing. When you find out that it’s from New Zealand from the late ’70s/early ’80s, you can definitely hear it, but it also makes it all the more impressive. You can hear the influence of the CLEAN in there, for sure. Also, just a fantastic title for a record.
With every compilation I have ever listened to, I always look for a few distinct things. First, did these bands give their best, or did they submit throwaway tracks? Second, do I get the feeling that I’d want to stop into their hometown for lunch and record shopping? Third, and most importantly, do I want to seek out music from bands I’ve never heard before? Before I get started, there are two things to keep in mind when you read this review. The first is that this is a live record, but the sound is clear and the bands all deliver a high-energy performance that makes you feel like you are right there. The second thing is that I love this very, very much. When I see a DCxPC record in my in box, I get stoked, and this one seems to have set a new bar for me. I’d like to call out a few fave songs but I would be listing every band and their accompanying song. On this record, you’ve got it all: punk, hardcore, ska, charged politics (personal and global), circus music, a boundless energy, and commitment to the art. So, where are we as far as my personal questions about comps? Did these bands give their best? Yes. Do I get the feeling that I’d want to stop into their hometown for lunch and record shopping? No, I’d want to hang out with them instead of shopping and maybe we’d become friends. And most importantly, do I want to seek out music from bands I’ve never heard before? Oh my golly, I might not make a car payment this month, but that’s OK because I’ll just stay home and listen to all of the records I just bought. Also, the vinyl is a beautiful neon pink, so it has that going for it.
This is the best lo-fi Maine horror speed-punk I have ever heard. It’s also the only entry into that particular gnarly niche that I’ve encountered, but let’s not split hairs. The songs are fast and thrashy, reminding me a bit of the earliest EVIL ARMY material, which feels like an even more appropriate comparison after discovering that they were recorded around the same time in the early 2000s. This three-piece was apparently short-lived and highly revered, and now you can treasure ‘em forever on this blood-red 7”.
Ahh fuck yeah! ZAC-A-RAMA! out of Boca Raton does noisy, bad things with synthesizers, and I want more. This cassette is the ZAC-A-RAMA! Hyena! demo with an additional banger included. Punk, metal, hip hop, and co-opted media swirl in the basura slurry ZAC-A-RAMA! creates. Self-deprecating lyrics screech through blown transistors over equally distorted, mile-a-minute synth beats, chopped up with sound clips that beleaguer the joke, and breakdowns that make me want to throw on baggy joggers and put cardboard on the floor. Industrial punk, synth-punk, I don’t care, ZAC-A-RAMA! fucking brings it all and is sure to blow the roof off any party.
