Reviews

For review and radio play consideration:

Please send vinyl (preferred), CD, or cassette releases to MRR, PO Box 3852, Oakland, CA 94609, USA. Maximum Rocknroll wants to review everything that comes out in the world of underground punk rock, hardcore, garage, post-punk, thrash, etc.—no major labels or labels exclusively distributed by major-owned distributors, no reviews of test pressings or promo CDs without final artwork. Please include contact information and let us know where your band is from!

Aliment Sempre Res 12″

ALIMENT is a somewhat elusive entity. With releases tracing as far back as 2010, they have clearly been honing their craft for quite some time. The accomplishment of such longevity yields dividends that take the form of pulling off complex rhythms and harmonies with ease, sneaking nuance in through the side door, not to deny the effectiveness of the hooks and general catchiness at hand. That’s the beauty of Sempre Res (which translates to “always nothing”)—the pop sensibilities lure you in, but the ingenuity and angularity will keep you coming back. Stylistically, ALIMENT occupies the midpoint between PROTOMARTYR and the MARKED MEN. Not as dour as the former, nor as overtly melodic as the latter, they have a textured post-punk aesthetic that doesn’t get too gloomy or zapped of energy. Barcelona seems to consistently produce bands that twist the dial a bit to the left. ALIMENT is no exception. Provocative in exactly the right ways. 

Artificial Go Musical Chairs LP

ARTIFICIAL GO returns with another offering of post-punk out of Cincinnati. On this go-around, you can easily hear the evolution in the band’s sound, with lush production and more genre exploration. The warm production sounds great, specifically allowing the bass lines to evoke the sounds of the SLITS, DELTA 5, or fellow Feel It Records act SPREAD JOY. The genre exploration, on the other hand, seems to provide really mixed results. The breezy Flying Nun Records sound in tunes like “The World is My Runway” and “Late to the Party” provide really nice, dreamy grooves that seem to lock in and get the head bopping. When the no wave influence gets too hot though, things start to veer the other way. Tracks like closer “Sky Burial” just feel ephemeral, and low point “Red Convertible” tried my patience to the point of fighting not to just skip forward and end it. Argue that I simply don’t get it, that’s fine, but the highs and lows on this record are so discordant that it takes the head from bopping along to banging on a table and back in whiplash-like fashion.

Bad Motivator Not an Album LP

Swampy, fuzzy, KINKS-like rock’n’roll. Seems a little too produced to call it garage music. Tons of energy, for sure, but it seems sort of put-on to me. It’s also got this herky-jerky thing going on that I almost always find annoying. Other than a nice cover of the GUN CLUB’s “Sex Beat,” this is mostly forgettable for me.

Black Iron Prison Black Iron Prison LP

Here we have a fringe case of subtraction leading to something truly unique and impressive. Toronto’s BLACK IRON PRISON genuinely took me aback with their abstractive and deconstructive approach to powerviolence. But to be fair, I’m feeling bad for even trying to put this thing in a box. Is it even possible to call it powerviolence at this point? It is too constructed to call noise, but too deranged to categorize as any conventional genre. Even Iron Lung, the legendary label that constantly releases the most out-of-left-field music ever made, refrains from describing it in a literal sense. But for the sake of giving you a vague idea of what to expect, I’d say it sounds like FOOT VILLAGE and the BODY had a fucked up abomination of a baby—or rather, a featureless, hollow mold of a “baby”—and then fed it nothing but dull razor wires and dry ice. And if you want me to be slightly more descriptive, the whole LP consists only of claustrophobic, pummeling, yet weirdly ritualistic drums, and hysteric vocals of someone who is trying to rip out of their body with utmost urgency. There is occasionally some miscellaneous noise sprinkled on top as well, but that’s pretty much it. Sorry folks, no guitar, bass, or riffs today! But come on, who needs those when the whole record sounds like a bouquet of shining, sterilized, ice-cold surgical knives? It’s perfect as is, and I’m willing to fight anyone who thinks otherwise.

Cold Summer Altlasten EP

Feedback-drenched and frost-covered, COLD SUMMER from Leipzig combines post-punk and hardcore into a ferocious and icy presentation on the Altlasten EP. Moments of otherworldly, atmospheric sounds intersperse the hardcore that is of the variety that gives you goosebumps but also makes you want to dead-eye motherfuckers with cool confidence. The vocals push the limits of vocal cord strain as they scream with passionate but melancholic precision and deliver the lyrics in German. The final song on this four-song disc is entitled “Keiner ist Mehr Da,” and with its pumping bass, drifting lead guitar, and innovative tempo changes, it comes off as refreshing and invigorating. Sporadically and for only the briefest of moments, I catch a combination of sounds that recalls post-hardcore from a couple decades ago, so there is a sense of familiarity within Altlasten. All in all, I’d recommend everyone give this one a try.

Contra la Contra Ни Слова О Политике LP reissue

This is a reissue of an album that has been out of print for around twenty years. Dual vocals that remind me of what was going on in the US in the 1990s. Anarcho-punk with a little melody to go along with the heartfelt lyrics and the hardcore punk music. Originally released 2002, this new reissue in 2025 brings back a lot of memories. If you like AUS-ROTTEN, MANKIND?, ANTI-PRODUCT, or the like, then this is a record for you. I love this.

Detësto Horrendous Reality of War EP

I have seen the name of this Brazilian band floating around the internet for a while but never actually bothered giving them a proper chance, so this review feels a little karmic. This EP is called Horrendous Reality of War, the band did a cover of DISCHANGE in the past, and it is DETËSTO’s second collaboration with the noise-loving label SPHC, all clear indications that the listener will be dealing with some impactful dis-punk material here, a pleasing perspective that I am always ready to embrace. To be honest, I did not expect the record to be that good. If I hadn’t known they were from Brazil, I would have thought they were from some dark corner of Sweden. This band is an incarnation of heavy and gruff direct Scandicore done well. They remind me of the mighty SVAVELDIOXID, as they share the same sort of thick, aggressive production that makes the music sound like an angry mammoth on a rampage. The songwriting looks lovingly and religiously toward Distortion Records-era hardcore, and if you are looking for old school SKITSYSTEM or late WOLFPACK or just like to be shouted at gratuitously, DETËSTO’s EP will do the trick. There may be a little too much effect on the vocals for me, a common element in contemporary hardcore, but otherwise it is top-shelf.

GLOWING BRAIN Memory Distortion LP

Oakland trio thriving in the grey zone between sludge punk and the most abrasive corners of noise rock. The distortion is so cranked you’ll wonder if the band is just pushing amps down a stairwell. Think UNSANE in a fistfight with early HELMET at a gas station. Sick grooves, constant feedback, and desperate screams—perfect for solo walks through industrial zones in the rain.

Insult to Injury Realm of Indifference LP

I thought the band name rang a bell, so I took a quick peek at the internet before I started listening. First thing I saw was the cover for the split with 10-96, and it was like someone flipped on all of the lights at once. I was curious (how has the sound aged?), I was eager (I remember this shit being tough as nails), I was anxious, even…but mostly I was fucking ready. Except I wasn’t. Not for this. INSULT TO INJURY existed completely outside of my realm when I was in the Midwest—thuggish mosh metal I associated with people who affiliated themselves with “crews” was completely not my thing then (and still isn’t). You know what they say about books and covers and preconceptions though, right? If beatdown hardcore sounded like this, then I might need to do some re-evaluating, because 2002’s Realm of Indifference is an absolute beast. Period. The trappings of a generic hardcore release are all there, but INSULT TO INJURY avoids literally all of them and this release sounds fresh and devastating more than two decades later. There are elements of the bare-bones fastcore that dominated the DIY scene at the time, but delivered with tough, full-throated metallic hardcore brutality. There are skinhead tracks (“Crazy Streak,” most notably) that sound like something from another world. The beatdown parts are one thing (and a powerful thing), but throw a blaster like “Vise Grip” in the mix and you’ve got yourself a fucking problem. I am sure this will (still) get lumped into a “scene,” but this outsider is extremely grateful for the reissue—I’m glad these sounds didn’t stay in the past, there are new minds ready to be blown.

Kaleidoscope Cities of Fear LP

Building on an impressive catalog of top-tier releases, KALEIDOSCOPE is back with their most savage offering to date. From the drop, they plunge into a wellspring of anarcho-punk influences, with “Burning Alive” sounding like a forgotten CRUCIFIX classic. Far beyond mere mimicry, KALEIDOSCOPE alchemizes a confluence of foundational influences, yielding an album that rewards repeated listens. Not dissimilar to companion bands STRAW MAN ARMY and TOWER 7, they springboard from the familiar into an uncharted territory that few bands are brave enough to consider exploring. Out of this willingness to experiment emerges a mutated creature that spews venomous punk into the face of a dying society. Cities of Fear is an obvious contender for album of the year for me, and I suspect many others. Crucial and recommended in the most forceful of terms.

Les Lullies / Split System split 7″

With a rather hilarious acknowledgment of its international camaraderie on the cover, this hot little split carries strong tracks on both sides. First up is Melbourne favorites SPLIT SYSTEM with “Chemicals,” a steamrollin’, raggedy-edged rocker that sounds like it could be a cover of an outtake from CIRCLE JERKS’ VI LP. On the flip, Montpellier’s LES LULLIES deliver some florid pop garagery in the form of “A L’Etroit,” whose tough groove and bright refrain brings the SAFETY PINS’ “Just in Fun” to mind. Nice.

Merked Oakland / Cleveland split EP

Oakland’s sludge-infused wrecking crew MERKED joins forces with Cleveland’s crust-drenched hardcore unit PILLARS for a pure sonic devastation split. Oakland/Cleveland is a collision of scenes. MERKED tags their style sludge violence, and it’s a spot-on descriptor for their grim sound. The opener starts with eerie sound clips before erupting into pummeling powerviolence infused with super heavy sludge. The trio mixes punishing riffs with unpredictable tempo shifts, creating a brutal ride within just four minutes. PILLARS jump in with “Occupation,” a four-minute dose of metallic crust reminiscent of TRAGEDY and INTEGRITY. Then comes “Piss Off,” a concise and savage 44-second-long killing spree. This split is a dynamic showcase of the potential of the current underground scene.

Nisemono 偽者 Nisemono 偽者 LP

Flesh-peeling and salting duo NISEMONO returns with their first foray into the LP format; this is good news.This band previously brought attention with their 2022 demo, and from the cross-pollination from members of NYC’s DOLLHOUSE and the almighty WARTHOG. Since then, I haven’t heard anything from the band…until now!! This record is prime listening, the band’s pedigree is sky-high, and they are swimming in deep, stormy käng/D-beat waters in each song. There is CONFUSE with AVSKUM, there is DISFEAR with ANTI-CIMEX, there is also a fucking amazing video to watch for “酷い思い出 / Hidoi Omoide” (“Terrible Memories”) which features exploding heads. Be the first of your friends to buy this fucking thing!

Personality Cult Dilated LP

That lean, angular, almost too perfect punk we’ve come to expect from Dirt Cult Records is delivered here in spades. Fast songs, dark lyrics, and non-stop hooks that stick around for days. This is their second album on said label, with the first one having been recorded by Mark Burke of MARKED MEN and RADIOACTIVITY, and you can feel the inspiration and influence. Ben Carr’s vocals have the right amount of snot and nasal range to keep it unique, and they play as another instrument in the mix.

Problem Addict Tick cassette

Debut five-song cassette from Pennsylvania. I am going to assume Philadelphia, as that’s where the label is from, but I cannot be sure about that. PROBLEM ADDICT mostly plays spooky, mid-tempo grunge-tinged garage punk. There are elements of other different punk subgenres sprinkled in on this recording, like the weird, short synthy interlude and repetitive instrumental industrial outro track, but grunge and garage are what feels prevalent to me. The thing most confusing to me about PROBLEM ADDICT is the seeming lack of self-awareness. For example, I would have assumed this was a self-titled cassette until I did some online searching. While there is a drawing of a tick making obscene hand gestures on the cover, only on the internet is it referred to as the Tick EP. Stylistically, it can be hard to describe yourself or your own projects, but attaching a self-proclaimed “egg-punk” tag to this feels confusing as hell to me. That is a genre almost exclusively synonymous with recordings being lo-fi, and I would describe this recording as anything but that. This tape feels very produced and slick. “It’s a Joke” is a pretty killer garage punk track that stands out, however.

Qualms Drowning in Obedience cassette

Pretty heavy hardcore from Portland, Maine’s QUALMS. Featuring members of the punkier MISERY WHIP, the band is self-described as “Maine Spiritual Violence,” which I presume is a reference to the powerviolence influence throughout. I like the chugging riffs and the breakdowns, but the vocals aren’t my thing, and by the lumbering final track “Seed,” Drowning in Obedience was a little lost on me.

Ratonera Humana 3 Temas cassette

Some straightforward punk out of L.A. here with a simple and sinister sound. With a name that translates to “Human Mousetrap” (and a bizarre depiction of this concept on the cover), this cool unit delivers a buzzing guitar chug and venom-laced vocals sung in Spanish on this three-song cassette. Sounds like they’re just getting started, but on the right track.

Sexverbot Sexverbot cassette

SEXVERBOT reminds me of the SEX PISTOLS, but with less obsessive anger and more wit. They know how to nail a classically punk sound, but perhaps too much so at times where some of the songs start to blend together, as one in the same sonically. My favorite track was “Der Antagonist,” with a slightly different guitar style and more spoken vocals that add up to a nice and loud eruption of a chorus. I wasn’t necessarily wowed, but I didn’t dislike them either.

The Spackles Clamaro CD

Interesting album here. Very psych-heavy, as if LED ZEPPELIN and the ALLMAN BROTHERS decided they wanted to start sounding like MINUTEMEN with Hutch Harris of the THERMALS on vocals. This is essentially the reincarnated spirit of FRANK ZAPPA AND THE MOTHERS OF INVENTION, which is always a huge plus for me. If I’m being honest, it took me a minute to start vibing with this album. But the more I understood their direction, the more I started to love it. Not your typical MRR affair, but if you dig garage rock that thinks outside of the box, you’ll want to give this a couple spins.

The Spiky Tops Let’s Go! Pogo! EP

I mean, look at the cover. You already know. The songs are snotty and beer-fueled BLANKS 77, the CASUALTIES, the PIST, and the QUEERS-flavored punk rock. Sometimes in their photos, they have spiked-up hair, so I wonder if the name SPIKY TOPS comes from that. The songs are brimming with energy. The lyrics, although a little formulaic, are honest and heartfelt. For example, in the song “Going Down to the Bar,” I really believe that the guy wants to meet up with me and go down to the bar. Furthermore, in the song “Let’s Go Pogo,” I feel like the SPIKY TOPS want me to go pogo somewhere. This is a catchy, hands-in-the-air, chuggin’ 40oz of beers or seltzers music, and when they sing “Party till your guts spill out” in the song “Party Till Your Guts Spill Out,” I know that these folks would be laughing as they hold my hair back while my guts spilled out of my mouth.

Sympos To the Dogs LP

I have to agree with fellow MRR reviewer Ben Marshall on SYMPOS: they were a joy to discover, have very strong first wave UK ’77 influence, and at times sound distinctly un-Oi! for an Oi! band. There’s no self-serious tough guy posturing to be found on To the Dogs, a refreshing change of pace indeed. The tracks are high-energy, catchy as hell, and at times remind me of ANTI-PASTI, UK SUBS, and ANTI-NOWHERE LEAGUE. I love this album, and highly recommend it regardless of whether you have a mohawk or no hair at all. Check out the title track, “To the Dogs.”

Thought Partner When Your Money Fails LP

Third release and first to vinyl from the Boston-based THOUGHT PARTNER. I hear the truncated, post-hardcore rhythms and shouted vocals of JESUS LIZARD, but with a synth that creeps in and bubbles around the turbulence. There’s long sections of drone and pulse, sparse at first, then rising with manic vocal flourishes for a brain-rattling crescendo, on full display in “Backfilling.” Right up my alley. While the aforementioned track clocks at over five minutes, they also have sub-two-minute tracks, speeding right by, making you long for those stretched-out moments. In general, the band plays effectively on the tension between odd rhythms, heavy four-on-the-floor beats, slower sections and chugging calamity. Dissonant, weaselly little guitar riffs mixed with a fat, heavy bass and splashy, find-every-possible-fill drums—all under the command of those vocals that sound like the singer is swinging on a pendulum past the mic, adjusting his volume as he draws nearer and further. After a few listens of this self-released record, I’m hooked.

Totälickers Directo Lu​í​s Aragofest 2023 cassette

Active since 2006, TOTÄLICKERS have paid their dues to D-beat! Worshipers of DISCHARGE and MG 15, these seasoned punks from Barcelona don’t fuck around. Surely, the best way to experience the intensity of punk is live. That’s where bands make it or break it. Captured live in Madrid, TOTÄLICKERS’ live album is a testament to their D-beat prowess. Blazing through eight tracks (that are actually eleven because some songs are stitched together), the band delivers breakneck riffs, angry rants, and pure punk chaos. It’s fast and it’s furious; a must for hardcore purists.

The Violent Isles Gang of Del Ray LP

Odd one, this. Listening to it after reading their influences (SHAM 69, the BUSINESS, the TEMPLARS, etc.), I had to ponder what exactly was it they took from these? Was it to make plodding, mid-tempo post-punk with vocals that sound like they were recorded next door? I suppose, if I am going to be charitable, I can sense some guitar tones that are not un-TEMPLARS-esque, but that would truly be taking a bit of a leap. Not sure who this is for, really.

V/A Calgary Calling LP

I’m half-Canadian, like left ear to right ankle or something, so I’m really connecting with this comp right now. Local scene comps are my favorite because I feel they really take the time to give an accurate slice of a community. On the other hand, one of the biggest issues with local comps like this is that bands will sometimes give their throwaway tracks. I don’t feel like this is at all the case here. Some of the standout bands for me start at the beginning, with the BREAK INS’ opening shouts of “One, two, fuck you” energetically blending parts of the OBSERVERS and the BAGS. GALATICAS, JULIET’S GOT A GUN, and LETTERS TO NORMA continue on with punk, thrash, hardcore, and indie vibes, and I thought MEDUSAS’ song “Block Him” was a hockey song, but upon further listen, it is a scathing review of dude that I think is harassing one of the people in the band. For the most part, the only job of a compilation is to give some new bands a try, and moreover, to provide something new to track down, and this does just that. Calgary Calling has everything from art-punk, punk, math-rock, SoCalL riffs, indie, ’90s DC-core, riot grrrl, and hardcore, which means there is something on here you’ll certainly be turned onto. REBEL GIRRLZ have a great BIKINI KILL-ish tune that completely knocked my socks off. Just when I thought I’d found my favorite song, TIPLESS comes in with “Emetophobia,” which has a sound like SONIC YOUTH blended with chaotic hardcore. Look, if I was a non-dirty mayor, completely unlike the mayor that JULIET’S GOT A GUN talks about in their “Dirty Mayor” song, I would post this on Calgary’s city website to attract tourist punks that might not stop into Calgary traveling through doing black bear and moose research. There are fifteen bands, and both the CD and LP come with a twelve-page booklet. There is something on Calgary Calling for almost everyone. I think you should consider grabbing this from wherever you grab things from.

Abolition Abolition demo cassette

Gotta love it when a band clocks in with a demo that is a completely realized batch of tunes. That’s exactly what ABOLITION offers up for us here. Four-chord Parisian street punk that attacks like a psychotic mutant with liberty spikes. Striking the balance between hardcore punk and UK82 with catchy, gritty tunes they burst out of the gate as a well conditioned unit. Fans of SAVAGEHEADS should take note, along with anyone who sank their teeth into the INFRA full-length from earlier this year or the 2024 THATCHER’S SNATCH EP. So many groups that attempt this sound fall embarrassingly short, which makes it that much more exciting when a band like ABOLITION pops up. I’m excited to see where they’ll go from here. Yet another great release from the fine folks at Mendeku Diskak.

Alf The Demo LP

Remember Alf? He’s back! In punk form. Back in 2023, these Perth punkers, whom you may know from acts like BIKINI COPS, GHOULIES, and PARANOIAS, dropped their demo cassette, a split release with Goodbye Boozy and what I would guess is their own label, Optimal Tapes and Records. What we have here is the limited vinyl pressing of that demo. For anyone familiar with PARANOIAS (and if you’re not, get on it—their EP from a couple years back was fantastic!), the guitar work across these eight tracks should sound familiar. It maybe lacks that act’s concrete slicing timbre, and the tempos here are closer to typical garage punk territory, but it still sounds like some Dangerhouse act picked up a DEAD KENNEDYS-esque penchant for twangy licks. The vocals are both buried in the mix and very loosely multi-tracked, so I have no idea what they’re on about. But it sort of sounds like Sean from the SPITS singing through BUCK BILOXI’s head. It’s all mushed together with the perfect slapdash production, but it also sounds super thin at times. But, hey, that’s a demo for you! Worth picking up if you come across a copy.

Bibione Paprikatraumbrötchen 10″

The first two records from Czech trio BIBIONE pulled from spiky late ’70s/early ’80s Euro femme-punk and the stripped-down spark of ’90s riot grrrl with plenty of rough-around-the-edges charm, and while this new six-song offering still largely reflects those influences, it also twists the kaleidoscope to bring more sharp lines and angles into focus. ”No Friends Just Customers” is BIBIONE at their most locked-in, with clean, pointillist guitar and taut rhythms vaguely reminiscent of SHOPPING or TRASH KIT, with “Tired” throwing in some judicious cowbell clattering for extra art-punk asymmetricality. “Steve Jobless” hits closer to the noisy/shouty UK wave of riot grrrl (more HUGGY BEAR than BIKINI KILL), the relatively sprawling (meaning barely over three minutes long) “Bambini di Traga” puts a modern post-punk spin on AUTOCLAVE’s knotted, off-kilter pop abstraction, and “Jazz” and “Rats in the Attic” take things in a darker direction, with bone-dry beats, snaking bass, and skronking sax like some band that would have played with XMAL DEUTSCHLAND or MALARIA! in a decaying Berlin warehouse circa 1982, although the (English) lyrics for the latter track are decidedly less serious—something about Swiss cheese and holes?

Burning Kross III EP

BURNING KROSS has elements of Swedish hardcore similar to bands like WOFLPACK/WOLFBRIGADE. They also have a bit of UK  hardcore punk thrown in, like the VARUKERS, DISASTER, etc., and lyrics that are similar to the anarcho scene. Beyond that, this is a really well-recorded EP that allows the power of the music to shine while the vocals are clear and defined. A very good record.

Chumhuffer Slaughterhouse Five EP

I’m often reluctant to hear anything that comes out of NYC these days, because all too often the band is reaching for the lowest rung or overextending themselves for their art. However, CHUMHUFFER is bustin’ out of the gates with a perfectly crafted and accessible five-tune EP. I did a little research on CHUMHUFFER, and found to my delight that the band stole a copy of Kurt Vonnegut’s Slaughterhouse Five novel from a huge chain store and remarkably used the themes of the book as the architecture for this EP. In other words, CHUMHUFFER, like Vonnegut, is plain spoken and incendiary with their self-reflection and observations on current affairs. This EP has East Coast AVAIL/SILENT MAJORITY elements while adding a little bit of the NYC oddball phrasing. Overall, I think this is a great EP that combines enough melody and hardcore to be much more than a one-time spinner.

Cult Mind Infected LP

Rowdy and rabid punk from San Jose’s CULT MIND. Rumbling bass and thrashy guitars accompany vocals that certainly call to mind Jerry A. I can’t think of better comparisons than the one’s on CULT MIND’s Bandcamp, which include WASTED YOUTH, STRUNG UP, and SUICIDAL TENDENCIES, the latter of which definitely comes through in spirit. There’s nothing remarkably innovative going on here, but that wouldn’t stop this from being an enjoyable listen while ripping a bowl.

Dirty Wombs / Sludge split EP

Both bands rock pretty hard. DIRTY WOMBS have a blazing guitar solo to start this off. The production is thick like a POISON IDEA record. That’s not a terrible comparison, either. SLUDGE is from Japan, they also have good production and their songs benefit from it. I put this on and I immediately knew this band was from Japan. The phrasing is very distinct-sounding to me. If you are into hard rock with a little hardcore thrown in, this might be of interest to you.

Ex Parents Failure EP

Rooted in ’90s basement shits, with a modern ferocity that will straighten you up in mere seconds. Check “Reaper” and hear past decades meeting modern one-two-one-two stomps, and then there are the guitar melodies just kinda floating over the whole thing…repeat listens reveal additional layers. On the one hand, EX PARENTS are no frills, no bullshit, and the listener seems welcome to leave it there should they choose to do so. There’s a lot more though, and deep listening is recommended. This four-song EP sounds absolutely fukkn timeless to these ancient ears, and Council Records continues to be a standard bearer in modern DIY hardcore with foundation in the…well, in the foundation of US DIY hardcore.

The Gamits Endorsed by You LP reissue

I have a group of pals, and once a year we meet somewhere for five days and we make an album of songs. In May 2010, we went to a Denver, CO recording studio and two things happened: I have never written a better song than I did on that trip (the song is called “God Killed My Grandma”), and secondly, the guy that was recording us said he was in a band called GAMBITS that I might enjoy. I went home to look for the GAMBITS and I never found anything about the band or even a band with that name, so after spending something like eleven hours a week on the internet for nearly fifteen years searching for the GAMBITS, I gave up and I stopped looking. Until today! As I was doing research on the band the GAMITS, I realized that fifteen years ago, I heard a “B” in the name of the guy’s band (and there is no “B”)! I’ve been chasing a shadow, and now I get to check out his band as though it was May 2010, only ten years after it originally came out rather than twenty-five years after it was initially released. From the first track “15 Minutes,” this record sets a high-energy pace with tight, heavy guitars while still leaving room for the bass and drums to come through very nicely. This could easily fit in with the ERGS, DOC HOPPER, HOUSE BOAT, DIRT BIKE ANNIE, the HUNTINGTONS, and folks of that ilk. The lyrics are smart, clever, and biting from time to time. If any of the above bands I mentioned tickle you, then you shouldn’t sleep on this twenty-five year anniversary edition. I am over the moon that I can finally bring this GAMITS ship to port. The fifteen-year search is over. Full circle, brother. Full circle.

Hacked Apart Hacked Apart LP

Grindcore is a bit like Marmite, innit? You either love it, own 100 AGATHOCLES split EPs, know the medical terms of a lot of disgusting diseases, and are able to decipher the messiest and hairiest band fonts, or you absolutely hate it and leave the venue as soon as you hear the first blastbeats. I am somewhere in the middle (for Marmite as well). I can really enjoy some old school primitive grindcore (the punkiest side of the spectrum) if the time is right, but I cannot stand technical grindcore (which I associate with metalheads). You guessed it, HACKED APART is a grindcore band, from Canada, and this is their first LP. The artwork says it all, I suppose—this is filthy extreme music, and thanks fuck for that. We are deep in primitive and raw grindcore territory here and it is bloody brilliant. Thrashing riffs, all sorts of fast beats, hoarse bear-like vocals, and a production overall highlighting the Neanderthal brutality of the music. This is the old school of WARSORE or ROT. They remind me of MASSGRAVE because they have that manic crust vibe at times. A full album of grindcore can sound a bit long, but this is quality.

Iron Gaze Exordium 12″

A thick, cursed debut EP from Malaysia chewing through doom, crust, and black metal like tearing off a festering bandage. IRON GAZE sounds terminal—dragging riffs, cavernous production, and vocals rising from a pit. Exordium is bleak and atmospheric metallic hardcore, with enough nihilistic weight to turn your speakers into ash.

Los Revolucionaros / Same River Twice split LP

A pairing of two neocrust acts from separate continents. Czechia’s SAME RIVER TWICE kick things off with a scathing batch of tunes that oscillate between anguished D-beat with harmonizing guitars and a style formerly known as emotional hardcore. Trade-off screamed vocals, clean guitar interludes, and tempo changes reign across four longer-form tracks that remind me of ENVY in the more epic moments. Mexico’s LOS REVOLUCIONAROS are a good pairing, pushing further into post-hardcore, nay, screamo terrain. The raw production gives an added bite that makes their cuts more intense. The guitar work here is reminiscent of EKKAIA, brutal with a shimmering beauty. A potent unification of fury and melancholia on both accounts.

The Matthew Teardrop Orchestra The Matthew Teardrop Orchestra cassette

Six songs, and five of the six are over four minutes long. Jesus, this is going to be tortuous. Cut number one, “I Always Think About Dying,” is a slow, depressing tale, as one might expect. It’s almost a parody of itself. Ballad-like. Three minutes in and I get the message. Why do we need the last two minutes? Kidding aside, I do think that MATTHEW has a way of sharing his pain in a very personal way. Just hearing him sing is sort of depressing, but it’s backed by rather catchy and occasionally upbeat guitar, bass, and drums (and harmonica). Interesting combo. In the end, I actually really do like it, in a BAUHAUS kind of way. I’d also say that my favorite cut is the only one that was under three minutes.

Nine-Eleven Fuck You Bomb Me cassette

Unlike fentanyl, drum and bass duos—not to be confused with drum’n’bass—never go out of style. With their unapologetically angry and straightforward breed of powerviolence, NINE ELEVEN sneaks up on you in a dark alley and beats the shit out of you to prove a point: it is possible to convey ungodly aggression with such a compact lineup. All six songs on this six-minute EP are structured around a freight train of a bass that crushes everything in its path, and ruthless drums that repeatedly slam you on the head with the pingiest snare ever. But it’s the pissed-off dual vocals and the occasional mindless goregrind gutturals that seals the deal for me. Fuck You Bomb Me is a great debut that I was listening to daily way before it ended up in my review bin, and it looks like it will stay that way in the foreseeable future.

On the Block Ride or Die cassette

Sophomore cassette release out of Asheville, NC. Three songs of bare-bones, stripped-down punk rock. In a day and age where every rock’n’roll-infused punk band is flying the Oi! banner, ON THE BLOCK is actually a lot closer to sounding like an authentic band of that style. Simplistic riffs, catchy guitar licks played over top, repetitive choruses. I stand by my assessment of “closer,” as ON THE BLOCK is still sonically a very modern band. I have yet to see a contemporary self-proclaimed Oi! band really lean into shitty-sounding recordings and bordering on novelty music, let alone fully stomping one big boot over that line into parody territory, but I will keep waiting for the day!

Poor Impulse Control Tourist Trap EP

Solid hardcore effort from this quartet of skinheads. These folks fancy themselves as an Oi! act, but it comes off a bit more youth crew to me—sounds a lot more like GORILLA BISCUITS and YOUTH OF TODAY than it does ANGELIC UPSTARTS and the like. Very heavy, powerful gang vocals laden throughout. The singer, while unique, has a RAY CAPPO edge to him as well, especially during the spoken word parts where their Northeastern US accent is in full effect. This one flies by; I was shocked when it was finished, but was all too happy to start it up again.

Psychic Pigs Psychic Pigs LP

From the jump, this slab was produced by Jonah Falco, so you already know it sounds fantastic. From there, you take in the music and find yourself treated to ten tracks of high-energy, garage-y rock in the lineage of BAD SPORTS or MEAN JEANS. These tracks come at you fast, and while it may take a couple listens for them to start to leave an impression, it’s definitely advised to flip the wax back to Side A and let these tracks start to take root in your head. With most tracks lasting around two minutes, it can be easy to miss a lot of good stuff happening here—the slick guitar lead on the title track that keeps ripping even when the chorus comes back in, the layers of pummeling drum fills throughout “Stranded in Bullshit City,” and the appropriately organ-like guitar lead-in on “Love Bite” are all great little moments deserving of their time. Ground doesn’t necessarily have to be broken for an album to bend your knees a little bit. Sometimes you just want something you can crank way up, and drown everything else out.

Qiik Qiik II cassette

Second demo by Honolulu punks QIIK. And quick they are! Short bursts of intensity, with each song dripping with anger and frustration, propelled by snotty, in-your-face vocals. There’s a sense of urgency in every second, making it clear that QIIK isn’t here to make friends. Fast-paced, no-frills punk in the tradition of the USHC originators that doesn’t pull any punches, this new demo hits the mark perfectly.

Science Man Monarch Joy LP

Another home run for John Toohill and co. on SCIENCE MAN’s latest LP, Monarch Joy, a collection of nine well-crafted and slightly offbeat hardcore tracks. Never so far-out musically as to lose a casual listener but just quirked-up enough lyrically to stand out from the multitude of hardcore bands currently on the circuit, the album is incredibly dense and moves at a breakneck pace. While best ingested in one sitting (preferably alongside its video companion piece put together by Toohill and visual collaborator Lindsay Tripp), if I had to recommend specific tracks, I’d go with the one-two punch of “Puzzle Hoax” and “Lesser Species” on the backside of the record. Don’t sleep on this one.

Sex Scenes Everything Makes Me Sick LP

What made the songs for me was the lyricism. The true punk anger and wit of lyrics like “It only gets harder / The harder I try,” in combination with the fast-tempo distorted guitar, really makes a classically punk sound (you can’t go wrong). They touch on a bit of a more HC nature in some breakdowns with some slower tempos, but overall, they just make you want to get up and jump around like an animal.

Sick Dogs Sick Dogs LP

As if the lovechild of AC/DC and the NEW YORK DOLLS released an album on BYO Records in the mid-’90s. I’m absolutely blown away by the fact that this is a duo. I know with this being a studio recording that things can be layered, tracked, and such and such, but the energy is palpable and very high-level for this being just two dudes. And speaking of, the production on this is incredible. Fantastic mastering work here, with everything sounding huge. The LP is topped off with an OPERATION IVY cover done in their own styling, and it wraps things up nicely. Would love to see how these guys sound live. In the meantime, I’ll keep this album spinning.

Sistema Obsoleto Esmagado Pela Engrenagem Capitalista EP

SISTEMA OBSOLETO is a D-beat band from Macedonia, whose lyrics are in Portuguese, and their sound is inspired by ANTI-CIMEX. On the five-track Esmagado Pela Engrenagem Capitalista EP, SISTEMA OBSOLETO blasts through with impossibly swift rhythm shifts while buzzsaw guitars and rage-filled vocals conspire to create a whirlwind of hardcore punk. “Alucinação Consensual” picks up at the midpoint of this 7″ and is an absolute specimen of D-beat with screaming guitars, pummeling drums, and chugging bass. The closer “Ideias Venenosas” is a bit more mid-paced with its slight Motör-swagger, but the vocals and harsh instrumentation drive it into an anguish-ridden, blackened opus that clocks in at over three minutes and is the longest song on the EP. The whole disc is only around eight minutes in length, so you’ll definitely be replaying it, and is available through Neon Taste Records.

Tassottis Dolor y Niebla EP

A solid serving of workmanlike Euro Oi! Gang vocal “whoa”s? We’ve got ‘em. Slightly too polished guitar tone? Bucketloads. Slightly bizarre saxophone solo? Just a bit, mate. This is very much one of those If You Like This Sort of Thing releases—absolutely nothing bad here, don’t get me wrong, but there are tens of releases that do exactly this, and perhaps I am after something a bit less meat-and-potatoes.

The Vacant Lot Creaures of the Night EP

A change of pace for the mighty Iron Lung Label, this 7” resurrects material from Australian first-wavers the VACANT LOT. Citing the BUZZCOCKS, MAGAZINE, and WIRE as influences, their four-song Living Underground EP was the band’s sole release from their initial late ’70s run. Vocalist George Howson has rebuilt the band here with a strong new lineup including ALIEN NOSEJOB-er Jake Robertson in order to properly document some previously unrecorded songs from their original tenure. With poetic lyrics and an emboldened sound, the revamped LOT pairs an energetic earnestness with fluid angularity, like a cocktail of the SWELL MAPS mixed with the SHAPES—an interesting and worthwhile post/punk spin.