Reviews - MAXIMUM ROCKNROLL

Autobahns / Elvis II split EP

More classic lo-fi bedroom egg-punk madness brought to us by our Italian friends over at Goodbye Boozy, one of the top five labels in existence at the moment. Both AUTOBAHNS and ELVIS II play a bittersweet, blown-out style of DEVO-inspired punk. AUTOBAHNS are a little more raw and actually have a bit of a chain punk edge, while ELVIS II is melodic and has catchy riffs for days. I actually picked this up the day it came out and was ecstatic to see it come across my review desk. Really solid work here. My only complaint is that it’s all over too soon!

Automatic Lovers Boston Brats / Who Cares If Tomorrow Comes 7″

Punks from Madrid, singing about punks from Boston. Named after a VIBRATORS song, sounds like a DAMNED song. By this point, you probably already get the picture, but to spell it out anyway, these two tracks offer up classic UK punk sounds that are well-studied without sounding trite; AUTOMATIC LOVERS know what they like, but they don’t have it by rote. Both tracks here are high-energy, with maximalism happy to creep in—the piano chords banging along on the chorus of “Boston Brats” want to hide in the background, but they make so much sense that you can almost feel them more than hear them—and the B-side is a fantastic cover of ’80s punk band KIRK AND THE JERKS.

Béton Armé Renaissance LP

This band can’t still be a secret, so now reviewers (and fans) are saddled with the unenviable but inevitable task of compartmentalizing their sound—a sound that feels dangerously close to fully-realized on Renaissance. Catchy as ever, and they are still as much an anthemic Oi! band as ever, but after a batch of killer EPs and constant gigs, BETÓN ARMÉ sounds truly like themselves on this first full-length. The backing vocals cannot go unmentioned—the “ohhhhh ohhhh”s are a focal point in nearly every song on the record (as are the backing vocals in general), though the lead vox are really what gives BETÓN ARMÉ a distinct character. Sharp and biting, skipping the typical gruff skinhead vocals that would be totally appropriate (and expected, and typical). The influence of European skin bands is still front and center (think CAMERA SILENS and NABAT and you have the general foundation), but there are disco beats here, and a sonic sensibility on the level of ADOLESCENTS’ blue album. Renaissance is just a perfect, timeless, essential punk record.

Brain Tourniquet / Deliriant Nerve split LP

If you’re familiar with Washington, DC demolition crews BRAIN TOURNIQUET and DELIRIANT NERVE, you could easily assume that this split is an instant classic without even listening to it—and you’d be totally right. It really is. Both bands are in top form to wreak havoc and fill their sides with the nastiest tracks you could ever imagine. While BRAIN TOURNIQUET masterfully switches from thrash-fast to sludge-slow in a heartbeat as the powerviolence formula requires, DELIRIANT NERVE sticks to death-metal-infused breed of full-throttle grindcore that rarely stops for anything. What I especially love about this split is that it demonstrates the grind spectrum perfectly—from “more hardcore, less metal” to “less hardcore, more metal,” in order of appearance. Imagine if CROSSED OUT and INSECT WARFARE had a split. It’s probably the closest thing we’ll ever get to that. Yeah, it’s that good.

Coffee Stain Good Bad Taste EP

After releasing last year’s excellent ARMOR LP, 11 PM is back with more Floridian heat, this time from Jacksonville’s COFFEE STAIN and their new EP, the aptly-titled Good Bad Taste. Featuring five cuts of bone-crunching hardcore punk with rabid vocals and a predilection for John Waters, COFFEE STAIN rips through these tracks with a caustic sense of urgency. The only time things slow down is when the band drops in sound bites from Waters’ films like Female Trouble and Pink Flamingos. A fine EP, highly recommended for lovers of hardcore and lowbrow trash.

Dart Speed Days LP

Hyper-speed, crust-drenched metallic thrashcore from Finland’s DART, bringing a relentless charge with production sharp enough to slice your ear canals. Speed Days lives up to its name—sprinting through ’80s European hardcore and thrash influences with a touch of early USHC chaos and classic heavy metal. Screamed vocals, buzzsaw riffs, and minimal breathing room create an atmosphere of urgency and mayhem. Sounds from another era. Recommended, as like anything released by SPHC, this is a total shredder.

En Love / Rabbit split EP

EN LOVE continues their hardcore-forward approach, tearing through two tracks of mosh-worthy mayhem. Capturing the energy of their powerful live presence, these songs are a step forward from their demo, which was quite good. Brutal but not evil. RABBIT is brutal and evil. To the untrained ear, their two songs sound like run-of-the-mill metalcore…and I do have an untrained ear in this case. They’re tight, heavy, and scary-sounding, but it rings somewhat hollow to me, talent notwithstanding. Perhaps it’s stylistic preference, but EN LOVE burns brighter in this pairing.

Food Fight Bercow Bell / It’s Cold Outside 7″

Post-punk with the right amount of power pop at heart, in the vein of the TELEVISION PERSONALITIES and L.A. DRUGZ. There’s a touch of the FALL-like angularity to set it apart from imitators. The originality and off-beat insights of PLASTIC BERTRAND come out as well, making this a solid 7” for the next after-hours party.

Hekátē Μαύρη Τρύπα LP

HEKÁTĒ out of Athens, Greece recently released their second full-length album, entitled Μαύρη Τρύπα. Dark-tinged instrumentals support vocals that occasionally remind me of KLEENEX/LILIPUT. Synth work drives this album, with the tones ranging from traditional organs to unhinged vintage futurism. However, HEKÁTĒ came to rock, and with tracks like “Tears of Blood” and “Riccochet,” HEKÁTĒ uses a heavy dose of bass in their rhythm section to get the toes tapping. Lyrically, HEKÁTĒ pulls no punches and delivers social criticism through an anarcho-punk lens, with about fifty percent of the lyrics being in English and the rest in Greek. In all, Μαύρη Τρύπα is stacked with punk bangers and contains enough “off-the-beaten-path” experimentation to make it something really special.

Illvilja Döden LP

Cold, haunting D-beat from Sweden’s ILLVILJA. Döden (“Death”) is an oppressive LP that captures the bleakness of modern crust without abandoning melody. Reminiscent of TRAGEDY’s brooding atmosphere but filtered through Swedish hardcore lineage—heavy on the riffs, the emotion, and the political edge. The drums pound with precision, the bass growls, and the guitar work is full of gloomy textures. Another strong release from Phobia Records, perfect for dark days.

Kylmä Krypta Kylmä Krypta cassette

Finnish/German band KYLMÄ KRYPTA calls Hamburg home, but is inspired heavily by the icy northern country of boreal forests and saunas. Finnish lyrics are delivered over song structures that are similar to an overdriven MUSTA PARAATI, and the whole production comes out sounding punk as fuck. Not the heavy-handed, metallic-toned crust that is currently rounding the circle pit, but a breed of punk that is more apocalyptic while maintaining a sound built out of more traditional rock’n’roll. It’s kind of like EASTERN SYNDROME out of Berlin, who put out a bomb-blast of a cassette EP two years ago. If you don’t understand what I’m yapping about, then imagine VICE SQUAD teamed up with 45 GRAVE, ditch the surf rock, and you’ll be almost to the concept of KYLMÄ KRYPTA.

Los Sex Sex Sex Control EP

After a killer debut 7” back in 2014, Mexican rockers LOS SEX SEX SEX return to vinyl, leveled-up and with four new tunes to prove it. With punky garage grooves that live spiritually somewhere between the slick pop of the STITCHES, the old school roll of GINO AND THE GOONS, and the Latino flair of the PLUGZ, this EP showcases the maturity that comes with the band’s decade-plus of experience. While the polished production is a departure from their original rough appeal, the sharp songsmithing that made their first record such a natural ripper remains intact. The tracks here become increasingly danceable before wrapping up with the psychobilly sci-fi party of “Mutant Fields,” and it’s one of those records that feels like a full meal even though it’s just a quickie.

M.U.X. Demo ’24 cassette

A demo from newly-formed band M.U.X., hailing from the tropics of Punkalpinang in the Bangka Islands of Indonesia. This demo is packed with so much complete destruction of the human vocal chords it’s impossible not to want to hear more. The cassette’s total of four songs make way with a ton of vocal reverb (is this a prerequisite in this era?), and an almost swampy surf-toned guitar brings a framework to the assault of “Crush Your Head” and another favorite, “Dystopian Bliss.” Bring us more music.

Norm Dogs Norm Dogs cassette

Little four-track cassette from NORM DOGS—a band I can’t find much about. They’ve played at Angry Cat Shows out of Copenhagen, so I assume that’s their locale? This lo-fi tape sounded like absolute shit on my truck speakers (which sound like absolute shit anyway), but after a listen on my home stereo, I began to enjoy the DIY recording and playfulness that I missed on my first listen. NORM DOGS play a garage-y sound and have as many similarities to the jangle of the BATS as they do with the esoteric spoofs of the DEAD MILKMEN. A rattling guitar, a bass that ceaselessly marches upfront in the mix, simple percussion, and fun, yet earnest vocals. While I kind of wrote off the cassette, with its cartoon logo, a picture of the band, and no more text than the song titles, before I gave it a chance, I enjoy proving myself wrong. Let all the shining production of sound and style rest, and just listen to the band! The fact that they have no online presence, recorded and produced this album themselves, and that it made it through numerous hands to my little desk, just proves this whole thing—MRR’s reach, the punk hive-mind writ large—is working. So, if you can find them, go out and listen to NORM DOGS! Big ups to these dudes.

Pooched Pooched / Tercel LP

The A-side is the Pooched LP and the B-side is the Tercel LP, so two LPs on one LP which is an LP/LP, I guess. First, I’m a sucker for a dog on a record cover, and this dog looks like he’s into being pet upon, and also aloof a little bit, and fine to do its own thing. I bet this pooch twitches and squeaks a lot when it is dreaming about an open field or jumping at butterflies or whatever. Musically, this falls in line with all of the New York and New Jersey pop punk greats like UNLOVABLES, SHORT ATTENTION, the MEASURE, the ERGS!, and so on. These songs that span four years of the band’s existence are all crafted wonderfully and are masterfully unforgettable in a memorable and hummable way. You’ll have these tunes in your brain for days, similar to all of the best FASTBACKS songs.

Ritual Cross Ritual Cross cassette

This tape absolutely smokes. I’ve been jamming this sucker non-stop since it appeared in my review stack. Off-kilter weirdo punk that will keep you guessing, but doesn’t stab too far out and lose the thread. Something about this band feels unsettling and dangerous like VOID, but a little more angular and studious. The fourth cut, “Simulations,” takes a brief melodic turn that reminds me of Give Thanks-era ARTICLES OF FAITH, but don’t let these references to the classics trick you into thinking RITUAL CROSS is on some kind of a nostalgia trip. To me, this picks up where the CICADA EP from last year left off. An explosive debut from a band to keep an eye out for.

Side Channel Side Channel demo cassette

This is apparently a new band from Los Angeles, a town that has never been in short supply when it comes to hardcore bands. I haven’t been able to find much intel about them, but I would say that SIDE CHANNEL is not the first music endeavour of its members. There are elements I really like on this demo tape, like the vocals that sound angry but are discernible, and the moments when the band goes for a more traditional dis-oriented, raw punk beat rather than the trendier tupa-tupa. The spoken word part in the introduction points in the direction of the classic Californian peacepunk (of RESIST AND EXIST, ANOTHER DESTRUCTIVE SYSTEM, HOLOKAUST, and so on), although the production has both feet in the modern world of hardcore. Could SIDE CHANNEL become the American SUBDUED? The synthesis of modern angry political hardcore and old school peacepunk? Now, that’s a challenge. A short and sweet recording, and a band I will keep an eye on.

The States Gimme Joy 12″

Oh, I like this right from the start. Catchy and melodic, it’s got a real “full” sound, and fronted with female vocals that are catchy on their own. Pop punk? Not really. Power pop? Possibly? Rock’n’roll? Punk? Pop? Honestly, it’s all of those things. Drums really keep things moving along nicely. Kind of reminds me of the BABYSHAKES with vocals that aren’t quite so sugary. I’m bouncing and swaying my head and my shoulders. I love this.

Sub/Shop Democatessen cassette

Off the bat, the quality and quantity of music on this release makes me think this can’t possibly qualify as a demo, even though it has an excellent name for one. Hailing from Richmond, VA, the band is composed of veterans of a slew of bands in and around Richmond, and the level of experience certainly shows. What we have here is post-hardcore, but not in the ethereal, spacy, heavy realm that the label has been pulled towards in the last decade or so. The band harkens back to where the genre was in the ’90s, specifically where bands like STATE OF THE NATION and SENSE FIELD were crafting rock-centered, punk-feeling intelligent music. There is a clear foundation here with DINOSAUR JR.-type angularity, but just like post-hardcore itself, it’s more complex to nail down a direct comparison among the many places their inspiration and influences probably came from. A record like this will certainly yield different things with each listen, and personally, I’m most of the way to being 100% on board with this band’s brand of extremely well-thought-out rock music. The songwriting is mature and avoids falling into musical tropes, getting surprisingly clever to put hooks into your brain with the more melodic moments (album closer “Negative Discourse” could easily be a lost TEXAS IS THE REASON track), but also letting you down in just the right way when going into some really off-the-beaten-path passages. Post-hardcore/punk for when you want to engage and not just listen to something.

Terminal Am I Doing It Right / Hold On 7″

Do yourself a favor. Cue up the A-side here, turn up the volume, throw your phone into another room, and allow yourself to take a ride for the next four-and-a-half minutes. This absolutely crucial single from an early ’80s group from North Wales is required listening. It is anthemic, grandiose stuff by kids—and for kids—who were/are too big for whatever town that was chosen for them. There is a SPRINGSTEEN-like desperation at play here. This is what JOHNNY COUGAR’s “I Need a Lover” might have sounded like if he stayed on Gulcher Records, but he was destined for something bigger, just like TERMINAL could have been/should have been/must have been. This reissue represents the A-sides of both of their only two singles, from 1980 and 1982. While “Am I Doing It Right” conveys a beautiful, sophomoric desperation, interestingly enough, the flipside “Hold On” offers up a more mature, darker edge, and more than holds its own at that. The folks over at Fish & Cheap have done the masses a favor digging up these songs once again.

Worn Down The Endless Hour EP

Currently sitting in front of a modest pile of releases to review, and I’ve been treated to nothing but quality so far. However, I have not been treated to a zero-bullshit, full-throttle, tough-as-nails USHC release…until now. And I didn’t know I was missing that energy until I dropped the needle on The Endless Hour and started my mental mosh around the apartment. Pure power here—five doses of uncompromising and thoughtful hardcore energy. Breakdowns? Yeah. Circle pits? Please. But take a minute with “If You Could See Both Sides” and know that there is more here. The knuckles are never touching the ground even though the riffs think otherwise: I don’t regret shit, I’ve learned to live with it. I’ve learned to live with myself, I could give a fuck what everyone thinks. But I wish they knew the truth for my own mental health. The shit is supposed to be deep, y’all—and WORN DOWN are all that and more.

Adacta Tma LP reissue

Damn, this really is a blast from the past. I had not thought of ADACTA for ages, but reading the name instantly brought back memories of two decades past, back when trying to be TRAGEDY was still an acceptable thing and my hair was luxurious. Needless to say, I haven’t played this Bratislavan band since that illustrious epoch, and had no idea they were still around and kicking. What’s the deal, then? This LP is actually a reissue, as Tma was originally released in 2015. The initiative makes sense because, if you are into progressive, dark, metallic crusty hardcore (also known as “neocrust”), this album will undoubtedly delight you, as it is perfectly executed and ticks all the expected boxes. It has everything you’d expect from this genre and more—the thick, down-tuned heaviness, the dark, moody guitar leads, the epic changes of pace, the anguished, hoarse vocals, and a crow on the cover. ADACTA sounds like an unstoppable machine of sorrow and anger. The songwriting can be ambitious at times, but the band always manages to pull it out. I love that they decided to stick to their native language, as it confers some extra meanness. I am no longer in touch with the genre and rarely listen to it, but when it is that well done, I always enjoy it and it makes me want to dig out my records from ACURSED, SILENCE, or mid-’00s WOLFBRIGADE, and maybe get some hair implants. A strong record in its own rights.

Bart and the Brats / Jacket Burner Good Cop / Bad Cop split EP

If you weren’t peeping the sleeve for guidance, it would be difficult to tell where one band ends and the other begins on this well-matched 45. Uniting two esteemed acts from France and New Mexico respectively, you get two down-home-style garage jammers from each band. Real rockin’, Xerox aesthetic, ski masks, donuts—what else could you possibly ask for?

Cathexis Cathexis demo cassette

In the ever-mutating world of heavy music, few bands are as bold and inventive as CATHEXIS, a sci-fi-inspired metalpunk solo effort by Neuromancer that fuses dystopian storytelling with a knuckledragging sonic assault on the senses. Like a thematic spiritual successor to the boundary-pushing work of VOIVOD, CATHEXIS sounds like a raw mixture of G.I.S.M., BATHORY and ONSLAUGHT, just to name a few. Themes delve into the realm of works such as Simulacra and Simulation and provide a sense of hopelessness as we step towards a technocratic world. Future metalpunk has landed!

CPC Gangbangs Roadhouse EP

Canadian purveyors of down-and-dirty garage CPC GANGBANGS are back, this time with a couple of smashing covers sandwiching the title track of this smokin’ little EP. First up, their version of CRIME’s “Rock and Roll Enemy No. 1” foregoes the original’s scuzzy wobble in favor of a revved-up rock’n’roll that hits a satisfying pitch. Next, the only original song here, “Roadhouse” is a quick, harmonica-strewn groove that surely has put a grin on BO DIDDLEY’S ghost. Finally, the jumping R&B of BOBBY JAMES’s “Going Back To Philly” gets the GANGBANG treatment, ending the record on an upbeat note. This will be a hot little treat for ears of a certain ilk.

Dolent Dolent cassette

DOLENT is a newly formed Valencian punk band that is producing blistering, grimy, and toothsome throwback hardcore. No information could be found on my end as to previous bands or projects from the current members, which adds to the ambushed effect that this body of tracks hurls. Ten songs total, and it’s a no-skip situation through the whole bleedin’ thing, with “Avail Els Murs” (“Avail the Walls”), “Punks De Tendencia” (“Trendy Punks”), and the operatic-laced “Noves Glories” (“New Glories”) being my darlings of the pack. It is also worth noting that this cassette is from the brilliant minds at Flexidiscos, whose roster is a perpetually enriching discovery for me…thank you!

Electric Chair / Physique split LP

For the uninitiated, it is helpful to begin this review with a bit of lore. ELECTRIC CHAIR and PHYSIQUE share a similar origin story, having begun at roughly the same time and both in the city of Olympia. They’ve shared members, lived together, played together, partied together, and in general terms, are besties. To cement their long-term friendship, they conceived this split LP, which honestly is perhaps the best punk split to ever exist. Each band plays five songs on their respective side, with ELECTRIC CHAIR bringing their JERRY’S KIDS/POISON IDEA-styled hardcore punk and PHYSIQUE offering up their FRAMTID/GLOOM-infused noisecore. The whole thing is packaged and presented by Iron Lung Records and mastered by Shige Noise Room, so the LP is deliciously noisy and absolutely glorious when consumed at maximum volume. You may end up having a favorite side, but for me, this split delivers a complete package from end to end, with both bands presenting their best material and in turn creating a landmark recording of contemporary punk. It’s honestly that fucking good.

Funeral Damage Muerte LP

Berlin’s FUNERAL DAMAGE returns with an absolutely punishing slab of noisy, nihilistic hardcore. Muerte is soaked in dread, feedback, and reverb-heavy vocals that echo from the underground. Think DEFORMITY meets DESTINO FINAL with an added layer of Eastern European menace. The lyrics hit hard even when screamed in Spanish, the riffs are dense and gritty, and the whole LP feels like getting buried alive under bricks of drumming. Raw and essential.

Reviewer Gonza Perez
Label DIY Koło / Diy Kontraatak / Svab / Up the Punx / Wild Wild East
Issue MRR #506 • July 2025

Great British Heroes Eric Miller / Don’t Give a Damn 7″ reissue

The other GBH who came before G.B.H. made a quick appearance on one of the Bored Teenagers comps and then faded into the background…except for the true freaks who sought after the Lightning Records 45 that was pressed and pulled and never released. Early UK punk businessmen and managers all scrambling for the money-grab were truly motherfuckers, and the band slogged about for years without a proper release even though they started gigging in 1977. There was a boot a few years ago, and now a new generation of rockers can drop the needle on some first wave punk by way of proto-pub rock gold. “Don’t Give a Damn” is a burner featuring guitars that land like an amateurish On Through the Night outtake, and the A-side is…well, there’s a reason it was booted, and there’s a reason the Bored Teenagers curator pulled it out of mountains of underappreciated English punk singles. I’m sure this one will disappear fast, but I’m just as sure that someone else is going to give it a(nother) rebirth in a decade or so. As they should, of course.

Hasty Hasty cassette

I’ve been a huge fan of Michelle Shirelle since her days in the STEINWAYS, and on her latest output, fronting a three-piece band out of NYC, she delivers the goods yet again. Michelle did excellent work on the debut LP from SCRAPPED PLANS last year, a sort of pop punk supergroup with members of the MURDERBURGERS and the ERGS!, but where that leaned into guitar-driven modern punk, here she takes it down a notch and injects a very indie pop vibe into the proceedings (think CUB or GO SAILOR). Four tracks of bouncy pop punk with very catchy melodies tossed between sardonic and sweet-sounding vocals, the whole tape flies by and leaves you wanting more. There’s a note from Michelle in the insert accompanying the tape talking about how when this was recorded, she was dealing with her cat having a pretty stressful health emergency, but you wouldn’t be able to tell from listening to this—it just puts you in a good mood and makes you tap your foot. This kind of stuff can come across as disposable or forgettable, but the band does a great job of making this stand out and be worth your time. Get it if you’re out there fiending for melody.

Ryan Kidd Remote View / Cracked 7″

The A-side of Tennessee’s RYAN KIDD’s latest single, “Remote View,” is an extremely catchy, power-pop-infused modern punk anthem. Gnarly riffs, fat bass, and supporting synths lay the foundation for charismatic and powerful vocals that remind me of the great Pete Shelley. Sprinkled guitar noises and Velcro licks supply a good amount of ear candy and liven up the sound considerably. For the B-side, he does a great job covering the TIGHTS’ classic “Cracked” and collects all the bonus points.

Leatherman Turn You On LP

Fantastic pure rock’n’roll here, folks. I don’t think LEATHERMAN would be opposed to me comparing them to THIN LIZZY because it almost sounds like they’re aping them on purpose, but if you’re gonna ape, you gotta ape from the best. That’s not to say the whole slab sounds this way. A hefty portion of this album reminds me of if LITA FORD partnered with SUGAR STEMS, which pairs as well as Vegemite and cheese. These are Australians we’re talking about here, after all. Bittersweet vocal melodies paired with the most scorching of guitar melodies. This checks all my boxes.

Lung The Swankeeper CD

“Everlasting Nothingness” starts off the album with a bang. It’s melodic and slightly off-putting, with some heavy guitar to back it up; I was immediately hooked. And let me tell you, these guys know how to do a proper breakdown. Listen to “Sunshine’s Over” or “Self Help Journey” if you don’t believe me, but the utter chaos and noise of the distorted guitars with the operatic choir-esque vocals creates the perfect explosion. Can’t stop listening to this album.

Monk Dark Side of the Mind LP

L.A.’s MONK take the concept of “Positive Mental Attitude” and go wild with it on their debut LP, Dark Side of the Mind. Citing influences like 86 MENTALITY and BIB, MONK plays a non-stop stomp that features a slew of breakdowns and gang vocals that sound hard as hell. Lyrically, MONK lives up to their name, mostly touching on introspection and spiritual teachings. They even conclude the album with a twelve-minute, spa-like meditation, an unnecessary but interesting inclusion. Overall, on paper this could all be very corny, but thanks to the strength of the music and the conviction of the performances, MONK pulls it off. I think if you played this record backwards for a yoga class, you could really freak out some yogis.

NOLLKOMPETENZ 1 LP

Strange old one, this. A band who seemingly have zero interest in any kind of online presence to the point of obscurantism issue a self-released album that’s only streaming on YouTube, and yet…it’s not total shit? It’s quite good, actually? A mix of Oi! aggro, with the kind of rollicking speed we associate with hardcore, and a sprinkling of guitar showing off for a laugh. Despite all signs and efforts pointing to this being annoying and for wankers, it’s actually definitely worth your time. Check it out.

Psicodencia Cahui EP reissue

Originally released in 1990, Cahui is the sole document of Mexico’s PSICODENCIA aside from a scattering of comp tracks. Going in, I was expecting blistering hardcore in the vein of ATOXXXICO, but that isn’t quite the case. While there is some overlap in tone, PSICODENCIA is far more eclectic, incorporating elements of new wave and even reggae to novel effect. That description may sound nightmarish on paper, but in practice it equates to an approximate blend of ARTICLES OF FAITH, NOMEANSNO, and the EFFIGIES. There is a level of raw talent exhibited on these five songs that stands up to the intervening thirty-five years without sounding dated like so many other releases from the era. The label’s description refers to this as a classic of Mexican punk, and I don’t think that’s mere hyperbole. Cahui is quirky, to be sure, but the execution is flawless and the sound quality is superb, avoiding the production pitfalls that one might expect. From the needle drop to the dead wax, this is killer without filler.

Scrapyard Demo 2024 cassette

From the basements of New Jersey comes SCRAPYARD, a straightforward hardcore outfit swinging with all the urgency of classic punk. Pure punk energy with no filler! While the original tracks showcase the band’s blend of USHC with Oi!, the standout cover of “No Return” is a tribute to the classic UK punk band ONE WAY SYSTEM, showing respect for tradition with their own twist. SCRAPYARD’s Demo 2024 is a brief but potent debut. A perfect teaser of what’s to come from this energetic crew.

Shrapnel Sedan Crater LP

Garage-tinged psych-pop from Sydney’s SHRAPNEL, with a dense, maximalist vision (there’s seventeen songs on this thing!) that’s articulated with an aura of in-the-red, blown-out fuzz still signifying “lo-fi” in spite of how full and sharp the production actually is. Opener “Catch You Out” immediately brings to mind the swirling, lysergic kaleidoscope world of the OLIVIA TREMOR CONTROL, if only they’d been more obsessed with the SOFT BOYS than the BEACH BOYS, as the soaring, roughed-up British Invasion hooks in “Fountains of Ute” and “Taking Hold” likewise cast straight back to ’90s-era home-recorded wall-of-sound eccentrics from GUIDED BY VOICES to the MOLES to the APPLES IN STEREO. There’s so much other ground covered here, though—“Ice Cream,” “Pickup Sticks,” and “Miller’s Daughter” have a more contemporary OZ DIY sensibility, recalling the arch, jangly, and sarcastically named 2010s dolewave micro-scene centered around bands like DICK DIVER, CHOOK RACE, TWERPS, etc., while the synth-laced, shimmering power pop of “Turning the Knife” suggests Ork Records-era CHRIS STAMEY fronting GAME THEORY, and might just be the best song on the whole LP. If any of the (admittedly not standard MRR) references in this review push even one of your buttons, give this a go.

Sick of Talk Live at CBGB + First 7″ Demos cassette

Look, the whole damn tape is worth it to hear Alex growl “let’s fucking go!” during “In Your Place,” but if you’d like to listen to the rest of that damn thing, I wouldn’t blame you. It’s the first track, and I’d hate to have you waste your money, you know? I remember when the self-titled EP came out in the mid-’00s, and I admit that I dismissed it based on the cover art (sorry). I was wrong, the shit rips hard…but these versions of those songs are another animal entirely. Holy fukk, this shit sounds mean. So yeah—demo versions of the tracks from that EP, plus a face-melting 2005 set at CBGB. If you like North American hardcore, you need this. For fans of NEGATIVE APPROACH, SPAZZ, ABUSED, SIEGE…you get the drill, right? In a just world, these two recordings would be slapped on a 12” and it would be on everyone’s best of 2025 lists. Mandatory hardcore listening.

Telesatan Telesatan cassette

Cassette version of the four-song 7” out on Phantom Records. This is the third release by Germany’s TELESATAN, returning after a three-year gap from their previous cassette also on Phantom Records. Mid-tempo spooky punk with sassy vocals barked on top. TELESATAN never really makes their way out of the mid-tempo range, with the bass and drums locking in on the repetitive grooves while the guitar meanders around. Vocally, I hear similarities to long-running Buffalo, NY noise rock act ALPHA HOPPER. Both vocalists have a similar chirp, as well as regularly utilizing a vocal upscoop. Professional-sounding recording given the Will Killingsworth mastering treatment, so you know a bit of what you’re in for with the sound quality.

Tentáculo Va A Pasar Algo LP

From Seville, Spain, TENTÁCULO releases their second LP and their first release in five years. Fairly straightforward melodic punk sound, with a little post-punk guitar riffing, ever-present throughout the songs. A really great mix—I can hear everyone clearly and evenly. While not the most exciting praise, I find it worth noting, as it’s often not the case. Listening brings to mind the kind of passion and aggression similar to Portland, OR’s ABOLITIONIST, though these lyrics aren’t presented, so I can’t say what they’re actually conveying. Anyway, they play on a heavy sound mixed with the melodic, hardcore-style “aaaah” backing vocals, mimicking guitar riffs, in the choruses that often bring a melancholic energy. I really appreciate the craft on display here; everything is tight, precise, and very honed-in. They formed in 2012, so it’s no wonder they’re completely bonded by their sound.

Reviewer Willis Schenk
Label Andalucia Über Alles / Colilla / Malditos Vinilos / Mutant / Nunca Nada
Issue MRR #506 • July 2025

Vampire What Seems Forever Can Be Broken LP

Since reviewing Pomegranate Seeds: An International Benefit for Mutual Aid in Gaza, the compilation put out by the DISSIDENTS, I’ve been hunting for more VAMPIRE material, so when I saw I was assigned this LP I became very excited. VAMPIRE is an Australian band that plays apocalyptic anarcho-punk. A sense of extreme urgency pervades VAMPIRE’s sound, and What Seems Forever Can Be Broken is ten songs that combine the demanding hardcore of CONFLICT, with a foundation of CRASS, and the rough-hewn delivery of raw punk. The resulting album is dark, hauntingly mesmeric, but also aggressive with a sense of communal voice. In other words, this is anarcho-punk that is of the moment, and articulates exactly what contemporary punk is about without being preachy or elitist. This is that eye-to-eye, in-the-trenches vocalization of criticism that comes off as eye-opening and perspective-altering. What Seems Forever Can Be Broken is by far my favorite release thus far in 2025, but also might be the best album I’ve heard in a really long time. Like, this is benchmark-level material, so definitely give this a listen.

Reviewer Seth McBurney
Label Discos Enfermos / Phobia / Televised Suicide
Issue MRR #506 • July 2025

The Witchcraft Merit Badge April Fools 2024 7″

This is a fun two-song 7” that covers the PROMISE RING and DISCOUNT. The WITCHCRAFT MERIT BADGE pulls off what is usually impossible to do, which is to take a known song and make it their own. With both the PROMISE RING and DISCOUNT, WITCHCRAFT MERIT BADGE delivers a unique indie punk twist on these late ’90s classics. I’m not sure if I understand the band and what they are trying to do, if anything at all, but I don’t think I need to, either. This is enjoyable, and perhaps that is enough.

V/A No Coast: Punk Compilation CD

I’m not from the US, so a lot of your references are lost on me, one of which is “the Midwest.” It’s as vast and unknowable as the bottom of the ocean, or Narnia or Middle Earth or something to me, and so I can only assume that it causes the kind of psychic and cosmic damage that would result in some of the output on this record. Sixteen tracks of some of the most generic, garage band, milquetoast “street punk” going. It sounds like copyright-free library music. If this is the best the Midwest has to offer, then I’m joining the liberal coastal elite. Pass.

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.

Astio Tempio Inganno LP

The way I would describe this is a combination of post-punk, anarcho-punk, goth, and darkwave, but it sounds like they have carved out their own space within all of that. This sounds very well-recorded and the minimalist production is a change from how I imagine that they sound live. I appreciated the change of pace from the rest of what I was listening to. This is a very good record.

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.