Reviews

DCxPC

Call in Dead / 2Amature DCxPC Live Presents, Volume 1 split EP

Two COVID-era live streaming performances put to wax. CALL IN DEAD starts their set with a shout out: “What is up, Facebook Live?!” and dropped into a mosh intro…then some gnarly hardcore delivered in stutters and slams. Growly death metal vocals and yo-yo hardcore shouts..and one ska intro. 2AMATURE is snottier—more punk and less hardcore. Like a raw, dirty version of a catchy punk band, but with wild (and excellent) East Bay Ray guitars. 

504 Plan DCxPC Live & Dead, Vol. 6 LP

DCxPC Live has never let me down, and this time they’ve kicked it up a notch with a half-live and half-studio record. 504 PLAN, from DC, picks up where DOUBLE O, DEADLINE, ARTIFICIAL PEACE, MISSION IMPOSSIBLE, and LÜNCH MEAT left off in the ’80s. Lyrically this is focused on issues that directly impact their lives, such as the poor DC school system, accommodations for students with disabilities, and the doomed thoughts of having to decide your life’s path before you are even close to adulthood and with limited life experience. The live side is charged and energetic with charming banter punctuating heavy topics. By the time you have read this, the band may have already graduated high school, broken up, and moved onto college or whatever, but none of that deters from the impact that these high school kids are having, or had, on their community. DCxPC has once again introduced me to a new band and has given me some hope for the under-eighteen punk kids that are just finding their voices.

Ann Beretta DCxPC Live Presents, Vol. 21: The Last Songs Live LP

This recording of ANN BERETTA’s final show at Richmond Music Hall in 2023 marks the end of a nearly 30-year run for the band. Spanning thirteen tracks, it’s a tour through their catalog of mid-tempo rock’n’roll that draws inspiration from bands like RANCID, GREEN DAY, and ONE MAN ARMY. Instead of any middle-finger-waving theatrics, these guys give the impression of being very earnest players in a long-running band that never really made it big. While the performance lacks the raw energy of the group in their prime, the sound quality is pretty good and the band’s heart is on full display. One high point is when STRIKE ANYWHERE singer Thomas Barnett joins the band for “The Real America.” This album may not be the best introduction to their music, but it’s probably a great memento for long-time fans.

Ann Beretta Like a Riot! Live From the Broadberry (Acoustic) LP

More proof that the line between country and punk is much thinner than you’d think. Originally released in 2020, this 2018 live recording of Richmond’s own ANN BERETTA features live, acoustic renditions of their typically electric originals. It’s popped back up on our radar because DCxPC Live recently gave this album a limited vinyl release. Much like other country-adjacent punk bands such as DRAG THE RIVER and TWO COW GARAGE, these songs are a fine mix of debauchery and sentimentalism. The heavy use of a pedal steel and fiddle pushes the tender vibe while helping fill the gap that’s been left from going acoustic. Strong vocals, very reminiscent of Ben Nichols from LUCERO—very gruff but melodic at the same time. Personally, I enjoy these versions way more than their traditional punk songs. Really adds to a stronger dynamic and makes it much more interesting.

Antagonizör DCxPC Live & Dead, Vol. 4 LP

I previously reviewed a cassette from this all-female, politically charged metalpunk trio from Gainesville, Florida—on this tape, we find a live side and a studio recording that repeats all of the same tracks except one. The live section got my attention this time, including interaction with the audience that highlighted catharsis and spilling anger Lemmy’s way. MOTÖRHEAD traces are still there, plus a politically charged ranting with compromised lyrics exuding attitude.

Blind Adam and the Federal League DCxPC Live Presents, Vol. 39 LP

If you’ve read my past reviews, then you’ll know I often go to bat for these DCxPC live albums—pure rock’n’roll archiving that will be long remembered for documenting the history of the genre in the 2020s. They are always worth at least a couple spins. BLIND ADAM brings more of the same energy you’ve seen in the past on these slabs, with high octane punk spliced with a hint of country/western and BRUCE SPRINGSTEEN. For the sake of simplicity, I’m going to refer to BLIND ADAM as skate punk (which I think is fair, as they sound like a cross between SWINGIN’ UTTERS and early RISE AGAINST), as the term “pop punk” doesn’t really do them justice. In an era where political punk is more commonly found in folk punk and powerviolence, it’s refreshing to have a skate punk act return the genre to its roots. These are the types of anthems you can build a revolution around. Their songs are so polished that if you told me this was a studio recording, I’d believe you. The lead guitarist is easily one of the best I’ve heard in a very long time; nothing but face-melting licks that tear their guitar to absolute shreds. A truly brilliant player and master of their craft. You already know what I’m gonna say: go give this record a twirl.

Degenerates of Punk DCxPC Live, Vol. 13: Live at Ralph’s Rock Diner LP

While I’m not necessarily getting the self-billed “RAMONES-core” reference, I do find myself enjoying this live recording. Live recordings have mostly never been my thing, but I do find that the technology has come a long way (I still find the mixing of the vocals is often an issue, and I’d say that’s true here). This is mid-to-uptempo melodic punk rock that isn’t unlike the RAMONES in the sense that it’s straightforward, super catchy, and the songs are over before you’ve ever gotten tired of them. If you said it was power pop with a heavy dose of garage, I wouldn’t fight you. Last thing: I don’t get it throughout the set, but there are times when they remind me of OPERATION IVY. This is pretty fucking catchy and pretty fucking good.

Fortitude DCxPC Live, Vol. 12: Live at Lou’s LP

FORTITUDE live recording at Lou’s in Orlando on 12” vinyl—DCxPC focuses on live recording releases on vinyl. Stylically, it’s NYHC in the vein of JUDGE, GORILLA BISCUITS, etc., with songs about anti-racism and going back to the core values of HC. The recording documents a specific vibe that won’t be replicated in the studio, but not sure if most people would like to hear live recordings in this format. Might mean something more for people that were involved in their scene to have this in their collection. Limited edition of 200.

Goat Rope / Killed By Florida DCxPC Live Presents, Vol. 27 split LP

Another nicely-produced live LP from DCxPC, this time a split between two bands who have a similar style of beer-drenched political punk. On the A-side, KILLED BY FLORIDA plays street punk with some blastbeats and occasional Jello Biafra-style banter. I particularly enjoyed the parts where they drag Tucker Carlson and Ron DeSantis. On the flipside is GOAT ROPE, who lean a little more into a ’90s skate punk vibe with a fairly odd mix of vocal styles ranging from deep growls to melodic singing. They also end with a cover of BEASTIE BOYS’ “Sabotage.” Overall, I can’t knock it too much. While none of this is really my style, it definitely sounds like everyone involved had a fun time at these shows, and at the end of the day, that’s all that really matters.

Luxury Teeth DCxPC Live & Dead, Vol. 3 LP

These DCxPC slabs are always a lot of fun. LUXURY TEETH brings us your standard rock’n’roll-flavored hardcore. The first half of the album is a live recording—high-energy and sloppy at times, but the good kind of sloppy. Super raw and minimally produced, if produced at all. Lots of charming banter in between songs, and you can tell the band are among friends in the audience. Just a really pleasant time all around. Warms the cold cockles of my heart. Also there’s an OUTFIELD cover slipped in halfway through, and that adds an additional ten points from me. The latter half, the “dead” half, is studio recordings which are a bit more polished and produced, but they do a good job of staying authentic to the band’s live charisma. Really enjoyable stuff here, and well worth a spin.

Moat Cobra DCxPC Live & Dead, Vol. 1 LP

This is a cool idea from label DCxPC: record and release live shows on vinyl, and in MOAT COBRA’S case, back it with a “dead” or studio recorded version on the B-side. MOAT COBRA is an Orlando hardcore band that specializes in sludgy, BOTCH-y riffs and gruff vocals. The live recordings are great—you can clearly hear the guitar textures, nasty bass tones, and feel the overall tightness of the band. “Singularity” has interlocking stoner riffs that would make any RED FANG-loving van-dweller or algebra-core nerd swoon. Ripping track “Soffo Cone” chugs with a fast punk beat that gives way to dueling fretboard equations. The studio recordings reveal guitar subtleties and offer some atmospheric qualities, but since the live recordings are so good, you are essentially hearing five of the songs twice. That’s my only real critique here—Side A and Side B work best as separate listening experiences due to the overlapping tracks. Overall though, it’s a good band and cool idea executed well.

Necrotic Society DCxPC Live & Dead, Vol. 2 LP

NYC’s NECROTIC SOCIETY delivers some slamming hardcore infused with blastbeats for a hell of a headache. Hyper and aggressive, the songs incorporate political themes and an overall vibe of unrest and agitation. This album has a live session on the A-side and studio recordings on the B-side with no repeated tracks between them, and it’s all raucous, heavy shit to get you fired up.

The Kutoffs / Rath & the Wise Guys DCxPC Live Presents, Vol. 10 EP

RATH & THE WISE GUYS deliver three songs of high-energy, dirty rock’n’roll-tinged pop punk that brings to mind kindred spirits like NOBODYS, DWARVES, and even a little bit of ZEKE. KUTOFFS have a more straightforward poppy skate punk style, complete with the good ol’ “ooh”s and “ahh”s and start/stop breaks that are popular in that style of stuff. Both bands are pleasant enough, albeit not without faults, but it’s a live recording so I can’t hold it against them. This has piqued my interest enough to seek out studio recordings from both bands, so I suppose in that respect this split has done its job.

Rebelmatic DCxPC Live & Shiny Dome Records Present, Vol. 18: Live at Fuzz Fest WV LP

An actually good live album of a set from Brooklyn’s REBELMATIC from Fuzz Fest in Morgantown, West Virginia. First thing I’ll mention is that the production on this recording is pristine. Rarely do live shows translate well for me because of poor production, but this sounds good. REBELMATIC plays a familiar mix of high-energy hardcore and hip hop with a classic NYHC feel to it. Each track sounds bouncy and tight, and the crowd banter adds a charming element. It genuinely sounds like this was a fun show to be at. Check out “Pony” and “Blood and Gold.”

S.C.U.M. DCxPC Live Presents, Vol. 36 LP

S.C.U.M., or SOCIETY FOR CUTTING UP MISOGYNISTS, attacks with brute force and sheer passion. I couldn’t quite understand the vocals (long, drawn-out screaming) and I absolutely loved it; that’s why I really appreciate that they made this album live and kept the raw energy that they bring to all their songs. I loved how they messed around with tempo changes throughout, slowing down right after picking up the speed—you really don’t know what to expect next. They aren’t afraid to be a little goofy at times, while simultaneously having strong, pointed lyrics. Loved this album.

Chuck Jones / Sentido Común DCxPC Live and Punk Rock Mag Presents, Vol. 17: Live in Valle Guarco, Cartago, Costa Rica, 11/19/2022 split LP

This seems to be a split record between two bands from Costa Rica. Not just that, but bands who are connected by a bilingual punk zine out of Costa Rica called Punk Rock Mag. From there, the bands both did a session with DCxPC Live and put it out as an homage to live records—the recording quality is great for a DIY live recording. SENTIDO COMUN has eight songs, whereas CHUCK JONES only has five. My favorite song from the A-side is SENTIDO COMUN’s “El Dia Que Muera” (“The Day I Die”). It’s strong and sung with a lot of passion, almost as much as in their song “Sk8 or Die.” People take skateboarding so seriously! Por que andar en patineta es genial! While I did say the live recording is decent quality, it would sound a whole lot better if there was a live crowd. A lot of the background “whoa-oh”s are sung off-key, and the main vocals tend to get buried in the mix. However, the CHUCK JONES side is solid AF. The recording is a lot punchier and clearer than SENTIDO COMUN’s. For both bands, all songs are sung in Spanish, though the insert is in Spanish and English. While the recording on the B-side sounds a lot better, I think it’s really that CHUCK JONES is more experienced? I don’t know anything about either band, but the B-side is a lot stronger than the A-side. Cool project, great idea, awesome band exposure. I do think it sounds weird being so clean without a live audience.

Shark Noises Beautiful LP

DCxPC Live has been doing a great job with their live recording series, and this is definitely a worthy addition to that library. High-energy punk that brings to mind IDLES mixed with APOCALYPSE HOBOKEN. Production is great, and the band is tight and charismatic as all hell. Honestly, I wouldn’t even know this was a live album unless you told me. Sounds good enough to be of studio quality. The older I get, the more I default to live recordings over studio, and this is one of those records I’ll continue to spin over and over again. Really sharp slab here; for fans of the mid-’90s punk sound.

Scum Shots / Skappository DCxPC Live, Volume 16: Live at Mr. Beery’s split LP

Another live recording from DCxPC, this time featuring a skacore and melodic HC split. It’s not hard to see how these two ended up together. Their combined knuckleheaded angst sounds like something lifted directly from a mid-’90s pop punk sampler. Like their skacore peers, SKAPPOSITORY’s upstrokes, blue beats, and keyboards are a kind of musical insert to an otherwise punk affair. They’re driven by distortion and aggression, ska’s just along for the ride. SCUM SHOTS are equally loud and melodic (some of these riffs will burrow into many an ear), but have some of the bouncy rhythms of a skate punk band. The two guitars are putting their hours in, providing a big, chunky sound.

Some Kind of Nightmare DCxPC Live & Dead, Vol. 5 LP

Here’s a live and energetic offering from SOME KIND OF NIGHTMARE, who have been a band since the mid-’00s. Very tight and adept at their craft, the power trio graces the crowd with a throwback to the ’90s style of punk rock, like what you would find on one of those East Coast Pogo Attack videos. Socially-conscious lyrics channeled through polished, melodic street punk. As far as live recordings go, the quality here is top-notch. Fans of the band will want to track this down. 

Some Kind of Nightmare DCxPC Live Presents, Vol. 9 EP

When a live recording is old, it can prove to be an interesting piece of punk archaeology, a picture from and of the past, in which case I listen to them sternly with my glasses placed right at the tip of my nose, looking like a proper professor. When it is just a live tape from your mate’s first band, the interest does dwindle, though. I am not sure about this one. This EP is a decent (good, even) example of a live recording that can be played and enjoyed, assuming you are into bouncy, three-chord, ’90s-style spiky punk rock. SOME KIND OF NIGHTMARE is from San Diego, has been playing for a decade, and has quite a few records under their belt. I do like the raucous male/female dual vocals, but on the whole, I did not really relate to the music. Not unpleasant at all, I am sure they are sincere, and they do have some catchy tunes and relevant things to say, but just not my cuppa. This EP is part of a series released by DCxPC, a label from Central Florida aimed at documenting the local scene, which is always a good initiative.

Curtains / Swift Knuckle Solution DCxPC Live Presents, Volume 7 split EP

I’m not a big proponent of live albums from the listener’s standpoint—most of the time, they don’t measure up to a band’s other releases. Even when they’re good, they’re often issued in order to fulfill a label deal or to make some cash for defunct bands (no judgment, punks gotta eat). I can’t say this record is better than either of the featured band’s studio recordings, but it’s not bad either. CURTAINS are right at the stylistic crossroad of pop punk and hardcore (think LEATHERFACE or LIFETIME). SWIFT KNUCKLE SOLUTION is a more cut-and-dry hardcore affair. This is a good showcase for each and a good excuse to give DIY bands some more cash.

The Goons DCxPC Live Presents, Vol. 5: Live at the Black Cat LP

This label has been putting out quite a few live releases in the style and look of the old V.M.Live Presents records, and the GOONS might be the best one yet. I wasn’t super familiar with this band, but a good friend and native New Yorker informed me that they were an East Coast institution and a band that punks from all ages and scenes saw live and all liked (at least a little). Me, being an ignorant ex-Californian, was left clueless but curious. The songs are fast and beer-heavy, and you can hear them level this 2001 crowd with some Oi!/UK82 working-class-inspired hardcore, sorta like the WRETCHED ONES, 86 MENTALITY, or SUBMACHINE with a little mid-tempo POISON IDEA. The songs are catchy as hell, especially “I’m Alright,” “Hey You,” and “Every Day.” Snappy between-song banter completes the at-home live listening experience without the sticky boots and coughing up cigarette smoke. Real nice.

Grave Return / The Hamiltons DCxPC Presents, Volume 6 EP

Two songs each recorded live at The Danger Room in Orlando, FL. The concept of this series is very similar to the V.M.L. live series that was seemingly endless in the mid-to-late ’90s. In theory this is a cool concept, but as someone who doesn’t particularly enjoy live recordings, I’m not sure I’d pick this up unless I was a massive fan of the bands featured. As a collector’s piece though, this is limited to 150 copies and a nice document of a certain scene at a certain time and place, so that wins extra points with me for sure. The bands? GRAVE RETURN has a darker pop punk’n’roll sound; the HAMILTONS are “RAMONES-core.”

The Lousekateers DCxPC Live, Volume 37 LP

Live recording of a set played by this NY pop punk band in Troy, NY early this year. I’d put their sound somewhere between TILT and the MUFFS, with a penchant for more intricate rock’n’roll guitar/bass arrangements more indicative of the latter but a propulsive ’90s pop punk edge easily ascribed to the former. The recording is clear and crisp, the band is playing pretty tight, and the singer seems pretty engaged with the crowd and her lyrics. An easy listen that underlines a quirk I’ve noticed several times where pop punk bands have a pronounced edge live they tend to hide on record. Good stuff.

Middle-Aged Queers / The Raging Nathans DCxPC Live Presents, Vol. 20 split LP

It’s such a bummer to me when bands choose to talk shit about sobriety. At the end of the RAGING NATHANS’ set, they talk about how one of the band members quit drinking six to seven years ago and hasn’t had any fun since. The RAGING NATHANS, even in jest, are perpetuating a stereotype that people who don’t drink are incapable of having fun. I just hate that even our punk subculture succumbs to promoting mainstream culture of pressuring people to drink. Support your friends in recovery and generally don’t be a dick. Anyways, the rest of it is decent, though the recording is a bit muddy. The flipside is pretty different. I love how in-your-face, authentic, and self-aware MIDDLE-AGED QUEERS are. During their live set, they use their platform to engage the audience in a chant for their theme song: “We are the queers / The MIDDLE-AGED QUEERS / We are the queers / Go fuck yourself.” Overall, I’m glad it exists, but I like one side much more than the other. These bands are similar musically, but pretty different when it comes to their lyrics.

The Ratchet Boys Live From 1997–2001 LP

Pretty unreal collection of recordings from a DC ska troupe I had never heard of. Because I don’t pay attention to ska. Like…at all. But if the RATCHET BOYS are any indication, then that’s my fucking loss, because if you can’t get down to “Farragut North,” then I don’t even know what can help you—plus, “I’m gonna be picking up asses after the show” might be the best mosh call in history. Full horn section and a constant swing, this shit transcends your dislike (or fear…?) of ska and turns your life into a working class party. Released on CD twenty years ago, this LP is a tribute to their vocalist who passed away in 2007. Normally reviewers will say things like “if you’re into that sort of thing…,” but this reviewer is gonna suggest that this recording will win you over even if you aren’t.

The Overprivileged / The Revelevens DCxPC Live Presents, Vol. 31 split LP

Pleased every time I see a new volume pop up, because the DCxPC Live series is the epitome of a labor of love. Nothing fancy, and the packaging is typically minimal—just live recordings of DIY punk bands who are often underknown and/or underappreciated. Two turn-of-the-century Baltimore/DC area bands here who reunited a couple of years back at Ottobar and played a ripper; the REVELEVENS are fast ’n wild with a cowpony tinge and ultra-upfront femme vocals. The OVERPRIVILEGED are harsher (maybe also drunker) but hopelessly catchy street punk, and their set is a wee bit looser (in a good way). Both bands deliver maximum intensity sets and were (according to the liner notes) integral to their respective scenes in their respective eras. And you see, this is why I’m pleased every time I see a new DCxPC Live volume pop up.

2Amature / The Snorts DCxPC Live Presents, Vol. 32 split LP

The DCxPC concept is simple: two friends who want to capture what is happening in their tiny spots on the planet, this case Central Florida and Upstate New York, and give back to the fans and bands that trickle through their area. They do limited pressings of live bands, which ensures that everyone who was at the show has the option to take home more than just a memory; they get to have a physical piece of something that they’d helped create. From the DCxPC records I have heard, the quality has always been clear while still maintaining the feeling of being inches from the band. With this volume, the SNORTS kick off Side A and musically fall in line with SIDEKICKS, CARPENTER, or JIMMY EAT WORLD—I think all five songs on here are about being broken up with and being bummed out. They probably have songs about other things too, but these are all about that. At least one of these people needs a hug, and it is a bummer that the band isn’t there to do that for him. On the flip, 2AMATURE blasts out six songs of snotty hardcore not unlike the VINDICTIVES, musically chaotic and landing somewhere unpredictably between LOVE SONGS and BLACK FLAG. This is another delightfully, unsurprising DCxPC Records release. Everyone who was at these shows should grab a copy of this ASAP.

The Whiskey Bats DCxPC Live & Dead, Volume 7 EP

Another edition of DCxPC’s Live & Dead series which sees the featured band contributing a handful of both live and studio-recorded songs (“live” and “dead,” get it?). This time around we’ve got Pennsylvania’s WHISKEY BATS bringing us two tracks from the studio, and two live tracks from Camp Punksylvania in the summer of 2024. This is your typical pop punk/orgcore affair, sounding a bit like DILLINGER FOUR meets LAWRENCE ARMS meets DEAR LANDLORD. You know the deal. I’ll always go to bat for these DCxPC releases. This is the type of pure punk archiving that you just don’t see anymore. The live recordings are raw, unedited, and uncut. You can hear every fuck-up as well as every victory. It might sound a bit ironic, but that’s pure perfection to me. I really appreciate what DCxPC has been doing and you should too. Grab this slab and a couple of their other releases. You will not regret it.

Except You / Trashworld DCxPC Presents Live, Vol. 26: Live at Lou’s split LP

I often struggle with live albums and, (with a few exceptions, try to mostly avoid them. Inspired by the VMLive series from the ’90s, these DCxPC albums have an interesting origin story, so I was determined to set my judgemental ass down and give this a fair listen. To start with, I listened to the entire EXCEPT YOU side on the wrong speed. At 33 ⅓ rpm, they sound like a metal-tinged grunge band. At the proper speed, they sound like a metal-tinged punk band. The vocals oscillate between singing and screaming, with an operatic quality in both modes. I don’t know if this is just a holdover from my too-slow first listen, but I couldn’t help but think of BABES IN TOYLAND, if they were, er, sped up. They wind down their side with a cover of “Nazi Punks Fuck Off,” which is always a solid move. On the flipside, TRASHWORLD tends more to the moshy side of things, with some chugging guitars and breakdowns that verge on metalcore. The insert mentions this being their second show ever, which I would not have guessed considering how tight the songs sound. The standout cut for me is “Fuck the Proud Boys,” for the title alone. The overall quality here is much better than those old VMLive records, and this is number 26 in the DCxPC series, so clearly there’s an audience for live DIY punk. Who cares about my cruddy opinion anyway!?

The Sinema / TV Generation DCxPC Live Presents, Volume 2 split EP

Second edition of this live series modeled after the ’90s VML singles. TV GENERATION offers three hefty doses of snotty adult punk; mid-paced, snarky stomps that include a song about Uncle Lou’s—the Florida venue set to receive the proceeds from the sale of this single—and a DAMNED cover. Appropriately sloppy (it’s a live series, kids!), and even the cover somehow has the same “dragging the grown-ups through the mud” pace. On the flip, the SINEMA starts their whirling metalcore track with a mosh call: “I’m alright! / Up all night! / Do you wanna fight? / Fuck the alt-right!” and I’m at least paying attention. One wild, noodle-riff-centric track that delves a bit too far into commercial alt-metal (for my taste) with the quiet sing-y bits…but redeems (slightly) with the sign-off: “Cowboys can suck my cock! / Fuck the alt-right! / I fucked up!”

Two Man Advantage DCxPC Live Presents: Two Man Advantage LP

NY’s TWO MAN ADVANTAGE are one the metro area’s longest continually-running punk bands. They have a formula and stick to it: standard-issue hardcore punk with a hockey theme. This LP features songs from NYC and Las Vegas shows. Personally, I don’t like live albums. They seem unnecessary for punk songs, which typically don’t vary much between the recorded and live versions. The mix here is nothing special and the second set is especially poor. TWO MAN’s strengths, honed since the 1990s, are better captured on their studio albums.

V/A Comp Punksylvania Live, Vol. 4 LP

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. This has everything from goofy songs about by a person’s husband being fucked by a werewolf (in the song “My Husband Got Fucked By a Werewolf” by the KARENS), to blazing thousand-mile-per-hour hardcore from SHIP OF FOOLS, to completely unhinged, blazing-speed ska hardcore oddballs the CHEMICAL IMBALANCE. All the bands turn in a top performance, so anything I call out is just the little bits that push this over the edge—SOJI, SUBURBAN DOWNGRADE, WORKING CLASS STIFFS. MARY SHELLEY brings in a B-52’S and EPOXIES element that completely blindsided me with greatness. This is a great live comp with consistent sound quality and amazing song choices. So, here is the ultimate question of how I feel a compilation should be judged. Did this make me want to seek out new music by any band or bands I haven’t heard or heard of until now? Yes it did, 100 percent. And sonuvabitch, now I have to go find the first three volumes, too.

V/A Locked in the Basement, Collection 1 LP

Locked in the Basement: Collection 1 is a gritty vinyl compilation that rips through 20 tracks from 20 underground bands in Bethlehem, PA and the surrounding area’s scenes. Born out of the pandemic and fueled by DIY ethos, this project is raw to the bone. The recordings are rough and unapologetic, capturing everything from crust to street punk, post-punk, and grindcore—so don’t expect polish, but get ready for a jolt of unfiltered energy. Standout cuts from ONE SIDED, ALEMENT, CHISELED LILLIES, RA!D, BRAZEN HELL, and PALE FANG tear through the noise, proving this collection isn’t about perfection, it’s about power. Pressed on blood-red vinyl with black splatters, the album also includes a booklet packed with fun stories from the bands’ sessions. Recommended for people who give no shits about recording quality and are interested in checking out what seems to be kind of a cool document of the bands playing in and around this scene since 2020.

V/A Florida Underground Fest, Volume Two LP

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

V/A Florida Underground Fest, Volume One LP

DCxPC Live’s Florida Underground Fest, Volume One collects twelve live cuts from twelve bands recorded at the Florida Underground Fest 5 in 2024, and it does exactly what it should: it captures a scene at a specific moment in time and makes you wish you’d been there. The bands lean heavily into ska, ska-punk, pop punk, NOFX-style punk, and emo-inflected melodic punk, with contributions from 69 FINGERS, NEVERLESS, NEVERENDER, SUCK BRICK KID, CONTROL THIS!, the LONGEST HALL, DIAL DRIVE, JOHNNY 2 CHORDS, IN-TRANSIT, FLAG ON FIRE, the KUTOFFS, and YOU VANDAL. The recording quality is surprisingly decent for a live comp, and the performances are pretty solid throughout. Fair warning: there’s a lot of annoying-younger-brother energy packed into these grooves, and if you’ve aged out of this particular corner of punk, it may not be your daily driver. But as a snapshot of what’s happening in Florida’s underground scene right now, it’s a worthwhile spin. DCxPC released a second volume from the same fest focused on heavier and more experimental music, if that’s more your speed.

The Palmettes / Sick Dogs / Tight Genes / Vicious Dreams DCxPC Live and Swamp Cabbage Records Present, Vol. 29 split LP

A four-band compilation focused not just on Florida, but on Orlando—this live record really delivers. I have to admit that my expectations were low. Really low. There were just so many red flags. A live record featuring four bands from one city? Volume 29? VICIOUS DREAMS get things rolling right out of the gate with a super catchy and melodic version of power punk with pretty but sort of snotty female vocals, and they finish things with an excellent X-RAY SPEX cover. Next up, the PALMETTES slow things down with some doo-wop-inspired pop music, again featuring female vocals. While the musical style is quite different from the opening band, it too is super-catchy, and the band is remarkably tight. The B-side starts off strong with SICK DOGS delivering some high-energy, pounding punk rock with a street edge and throaty vocals. The guitar is part AC/DC and part ABRASIVE WHEELS. Great energy. We wrap things up with five cuts from TIGHT GENES. Wow. This is some impressive punk that has me thinking of the ADOLESCENTS, but maybe a little more frenzied. Like maybe add some FLIPPER. Honestly, a great record from start to finish. If you own a turntable, buy this. If you don’t own a turntable, go buy one and then buy this.

Celebration Summer / Wolf-Face DCxPC Live, Volume 42 split LP

Recorded live at The Fest, DCxPC Live, Volume 42 pairs CELEBRATION SUMMER from DC. with Florida’s WOLF-FACE for two distinct takes on melodic punk energy. CELEBRATION SUMMER lean into earnest, ’90s-style melodic punk showing their JAWBREAKER and TILTWHEEL influences. WOLF-FACE counters with a more playful set that mixes their Teen Wolf basketball-punk personas with solid, tuneful, orgcore-flavored “whoaaaaa” sing-alongs, including a cover of TV ON THE RADIO’s “Wolf Like Me” and a live version of “I Wanna Be a Homo(sapien)” with a hirsute wink toward SCREECHING WEASEL. The recording quality is rough, but it feels like an honest snapshot of two bands connecting with a crowd. Limited to 200 copies on this yellowish color that someone decided to call “summer moon.”

Altercados / Xpunkha DCxPC & Punk Rock Mag Presents, Vol. 28 split LP

Two Costa Rican bands displaying their prowess in this latest installment of the prolific DCxPC live series. ALTERCADOS take a melodic approach to their uptempo, bass-driven punk rock. Plunky, with half-sung/half-screamed vocals, they bounce through their set with hints of hard rock and metal. The sound quality is great, but the tones are a bit clashing at times. XPUNKHA is more straightforward and aggressive, turning in an energetic performance that feels more cohesive. That said, these soundboard recordings leave something to be desired—namely, the sensation of being in the crowd. That’s a tall order for any live capture, but I can’t help but get hung up on this snag. It sucks the life out of the songs and leaves me with an impression of what the bands sound like, but no confidence in guessing what a studio recording could yield.

Year of the Fist DCxPC Live Presents, Volume 4 EP

YEAR OF THE FIST has been tearing up SF Bay Area clubs, dives, and public parks for nearly a decade now. They’re really good at what they do, playing a more metallic, GITS-meets-the LOUDMOUTHS high-energy gang tackle rock’n’roll kinda thing. This EP captures them where they rock best, in a live setting. I guess this was recorded by some blessed folks who kept smoky, filthy bar music alive in your home during the Plague by providing live streams of your favorite noisemakers. YEAR OF THE FIST are definitely no strangers to Albany (the city of cops), California’s the Ivy Room, and it shows by the comfort and ease with which they shred here, like it’s a crowd of hundreds instead of maybe five. “50 Ft Queenie” is my fave here. Keep on fucking.