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High-energy US hardcore punk with a nice greater Bay Area vibe—I’m thinking somewhere between ECONOCHRIST and BL’AST. They never unleash, but the guitars sound like they are constantly fighting to get out of a cage, and the vocalist earns the mid-era FLAG comparisons likely heaped upon him from listeners and watchers. The more I listen, the more I like it.
Ultra limited-run tour tape released last year. The power of The Internet can still connect you to these space indie sounds from Montreal. Dreamy and just a little bit noisy (sometimes) prog-punk with a decided groove, like a basement punk WOODEN SHJIPS or something. It’s good, man, I swear…and I would have enjoyed seeing this band on their summer 2018 tour.
Serious contender for my favorite hardcore record of the year over here. Milwaukee duo LIFES have been plugging away with EPs and splits for several years now, and they apparently had been waiting for this one until it was perfect. It is. Sonic destruction of the highest order, with discordant slows and blasts that are nothing short of punishment. Layers of bass tracks are at constant war with dual vocals and drums that struggle to maintain one beat long enough to get you hooked…so instead you just stay anxious. The doses of early ’00s influence come from the chaotic melodies in tracks like “A Four Year Old Contemplates Death,” while the shameless speed and power (and the crushing slows as in “Bitter Cold”) of LIFES that will likely get them lumped in with bands they sound nothing like…well, that’s when they truly sound like no one else. Brutally honest and unforgiving and often uncomfortable lyrically, the voice is delivered with arguably more fury here than the music, which is presented with a fucking massive recording, and any space left in the sound is perfectly filled with sound or samples Á la MOTHERCOUNTRY MOTHERFUCKERS. A completely excellent and very intentional release that I cannot recommend enough. The title track, “Treading Water,” is on repeat all damn day.
Ferocious lowest-common-denominator crossover thrash. You’ve heard the riffs before, and you’ll love them this time too. You’ll also love flares like the half-time tempos in “Nightcrawler,” particularly the one leading into the ripping solo. The recording is cavernous and treble-heavy (think the first DESTRUCTOR 12”) and the vocal yowls land somewhere between ACID and BITCH, which is a very, very tough place to land. Choice cut: “Willing Victim.”
I thought I was in for more indie rock when the guitar intro started, instead I got distorted melodies and in-the-red youth frustration. POSITIVE CITIZEN sounds like a dozen bands I played with in the late ’90s: punk and raw and pissed and determined, but determined to write catchy as fuck punk songs instead of determined to level the place with volume or riffs or whatever. Just doing the damn thing and doing it with heart. These bands can tip the scale either way, but this one is a winner.
Soulful freak punk with a casual absence of pretense. Early no wave/damaged post-punk with some awkward funk thrown in, fronted by performance art freak vocals that move effortlessly between Lunch and Kekaula. I can see this in the context of 1990s indie just as easily as 1980s New York, and it sounds like it completely belongs in 2019.
Yup, this is hardcore. Nasty ’80s California meets destructive ’00s Ohio from this outfit made up of kids from, well, California and Ohio. Oxnard, meet Parma (in this case it’s Baltimore, Ohio, but let’s not split hairs here). It’s manly, it’s bombastic, it’s fast, it’s slow, it makes young men want to murder each other. There’s probably blood, and the vocals are real throaty and fukkd. It’s good.
Not every great band is from Denton, TX, yet every band from Denton that I’ve heard is great. There must be something in the rock’n’roll water out there. KIRA JARI just popped onto my radar with this collection of four searingly quick punk songs. As a four-piece, they’re able to let some of the guitar melodies breathe while either layering some sweet solos or strong rhythm parts over the top. The song “Seasick” sounds so much like something I’ve heard before but just can’t place, and a lot of that musical amnesia comes from the fact that they switch things up so much in the span of just over two minutes. Like there’s some weirdness of the MINNEAPOLIS URANIUM CLUB, mixed with sharp leads Á la MARKED MEN (sorry, couldn’t help but think of the kings of Denton, but also Jeff Burke recorded this), and a lot of the scrappiness you’d find in BENT OUTTA SHAPE. And I’m probably gonna get a few raised eyebrows on this one, but I hear some SHEER MAG, if nothing besides the effects on their vocal harmonies. Just like you can always trust bands from Denton, Dirt Cult delivers another awesome release from a band I might not have otherwise heard about.
With every song, it’s increasingly difficult to believe this is a three-piece. Maybe it’s because all three share vocal duties, but a lot of it has to do with how they fill space with their instruments. The drums are constantly covering open moments with crashing cymbals, though ricocheting in the lo-fi background like a white noise. The guitar is both fuzzed-out and clean, depending on the needs of the song, and oftentimes alternates back and forth within the same track. The bass, for me, is seemingly buried in many songs, but when I start to listen for it, the warm and stark tones were there the whole time. They’re abrasive, yet catchy as hell. Vocals mix from guttural to rough to melodic, and everything in between. In the first track, “Achin’,” there’s these wonderful little “ba-ba-bahs” slightly hidden in the background of the second verse, and I just love them. It’s a record that continues to deliver things you might not have noticed on the first pass through. Also, the opening of that first track reminds me a lot of “Tracks” by Portland’s DIVERS. ADULT MAGIC has a lot of big hooks that carry through, no matter the tempo of the song. Unsurprisingly, and almost unfairly to mention, I hear many moments akin to IRON CHIC songs (both bands share two members), but they’re delivered quite differently. Not even just that there’s different singers, but there’s more texture and grit to the ADULT MAGIC tracks, where IRON CHIC’s strengths are building a homogeneous wall of sound. I also love the guest vocals of Mimi Gallagher, especially on the song “Demotivation,” which took me a few listens to fully appreciate. This release took nearly two years to come to fruition, and the work they put into it is noticeable. Solid release.
Ominous retro industrial dance/metal in the Wax Trax via Jourgensen tradition, with careful attention paid to the monstrous guitars and the deliberate Pretty Hate Machine pace. Teenage me would have fucking shit himself over these four songs.
BROKEN THINGS plays straight pop punk that feels like the ’90s. Their first song is reminiscent of SICKO. Super poppy, pretty catchy, but maybe not catchy enough. Also, that organ is too much. The second song is a little more JAWBREAKER-ish, but without any of the guts. Also, you brought that organ back at the very end? Why? There is a third song that you get digitally. It’s in the same vein, but maybe better than the other two. CHANGER does two songs as well. I’m pretty sure that this is what SUM 41 sounded like (or still does?), add in some heavy part that I think is what passes for “emo” in modern culture, and there you have a giant turd. I do appreciate that they ask people to be kind to animals.
You know, I was never a big fan of this guy’s output. Whether it’s the skate punk of LAGWAGON, the grungy BAD ASTRONAUT, or cheesy covers in ME FIRST AND THE GIMME GIMMIES, none of it piqued my interest. This latest effort is his first solo record in four years. A fair portion of it is quiet and intimate in a way that had me a little checked out. The titular track does this really pretty thing when it transitions from this subdued lullaby on an acoustic guitar with a phone ringing in the distance. Right when he starts singing “As we wait wait for sea change / Wait for the next wave” there’s this crescendo that he builds to vocally and it’s really nice. But then the drums, electric guitar, and piano jump in, and it sounds like something I’d hear at youth group. Then the very next track chugs along with this lean towards country that I hear in the play between the drums and a slightly twangy guitar. It’s not like there’s a western lilt to his voice, it’s more just a vibe I get. The very next song, “Daylight,” croons in with this ghostly choir of “oooooh”s, some strings, and soft, sleepy vocals. On this record, there’s some weird synth that sounds almost like a theremin, there’s a lap steel, and there’s a female vocal accompaniment. All over the map. I’ll say this: the guy really knows how to build to a break, make strong song arrangements, pen intentional and thoughtful lyrics, and he has a deft control of his voice paired with strong delivery. Each song sounds different from the other, with the only cohesive element being Joey’s singing. This record is anything but solo and, to me, feels like alternative adult contemporary made by a punk. I don’t quite know where to land on this. He’s mentioned in interviews that this is meant to be a distraction from deluge of politics, and if that’s what it aims to do, then it’s perfectly fine background noise.
This has got your classic hardcore punk sound, reminiscent of YOUTH OF TODAY or MINOR THREAT, with those attitude-y 7 SECONDS-style vocals. Lots of energy, lots of speed. The lyrics span from serious to funny. I lol’d at the song “Record Collectors” which is about being “addicted” to collecting records. “Got enough but I keep buying more / The records pile up, blocking my door.” It’s a sentiment that I think a lot of us can relate to.
Fans of TERRY won’t be surprised in any way by this EP. Four songs of simple but wildly catchy pop music that is just a little off-kilter. At times it can feel a bit monotone, but that also tends to add to the charm. Their sound wouldn’t be out of place in the late ’80s Flying Nun catalog. If you’re listening for the first time, check out the B-side of this record. “Eggs” is an upbeat head nodder, followed by the mellow “Drawn for Days”—a Kilgour brothers-style tune—is the perfect side of a 7”.
24 tracks, not one of which is longer than a minute? Yeah, it’s a powerviolence record. It’s got that classic west coast style Á la DESPISE YOU and CROSSED OUT. There’s nothing wildly different about this record compared to the last 200 or so that To Live A Lie has put out, but it does hit pretty hard. The songs, though short, are pretty dynamic, stacking tons of riffs and different styles. Some of the songs sound more punk and driving, like “Turmoil,” while others like “Suffocate” and “None the Wiser” get groovy. What I appreciate about this band is that they really trim the fat: there’s no obnoxiously long heavy parts leading into a four second blastbeat. The breakdowns on this record run an appropriate amount of time, and don’t take away from the fury. Other powerviolence bands: take note!
This LP goes so hard! Unrelenting, aggressive, riff-y hardcore that falls somewhere in between VIOLENT REACTION, BOSTON STRANGLER and LOCK. Nearly every song has a moshy breakdown at the end, and a few even have some divebombs and sneaky guitar solos. The vocals are low and gruff, reminiscent of NEGATIVE APPROACH.
These seven songs, recorded during a live session at the historic KFJC studio in the South Bay Area, absolutely rip. The songs are fast and in-your-face, falling somewhere in between JERRY’S KIDS and United Blood-era AGNOSTIC FRONT. This band has been around for a while, but hasn’t dulled a bit. Hardcore punk at its finest.
These Portland popsters are back with another fun solid release. Pop punk meets power pop along the ways of the YUM YUMS, the TRAVOLTAS, and of course the RAMONES. 11 songs in 21 minutes, so there’s no doodling around here. I’ve seen this trio several times, and they are good live as well. Together since 2006, this is their fifth full-length. Top notch band for the pop folk.
One could simply rubberneck and tag CELEBRITY HANDSHAKE as some kinda broken blues exercise, but the glorious noise and madness that they place on all sides is the real frosting here. Both tunes begin with recognizable budget blooze groove, but lumber toward this caterwaul collapse that just levels me. Tears of joy, I tell you. Fucked in every direction, though when the keys spring up, my spirit soars. Hell, each tune is damn near five minutes apiece, and that’s too short—make this goddamned contortive boogaloo endless! Start here for instant conversion, as this is surely one of the finest 45s of the year.
Eruptive ’tweener stylings from this Australian gang, affiliates of the WET BLANKETS and AUSMUTEANTS charm academies. If this is truly the beginning and end, CEREAL KILLER should feel accomplished and proud, as their take on hardcore—tuneful, mildly freaky—is endearing and fun. Seems “lite” in mood, but 100% serious in delivery, as all the performances are damn impressive. “Being Cool” has a perfect NWOBHM-inspired riff, something that carries over to “Should Punks Be Allies.” Along with the smarmy electronic swipes they sprinkle in, these injected deviations make this something you wanna listen to as well as thrash around to. Fast fun for fuckfaces.
Does the phrase “total Killed By Death destruction” mean anything to you? “Gacy’s Place,” the defining ’79 anthem from Illinois’ MENTALLY ILL, ranks among the most disgusting and drool-inducing jams of the genre—a life-ruining classic for sure. This 12” includes that fabled debut 45 and the other cuts from the same session, all wretched, painfully scuzzy punk. Alternative Tentacles unearthed this crapola at the turn of the century, but Almost Ready has thankfully trimmed all the fat from the rancid USDA KBD beef here, resulting in a frightening slab of fuck sure to poison the mind of any listener. Hard to beat.
Cool yet wild spasm sound that is somewhere between NOTS and certain eras of RAKTA?! Though maybe DOTS are more sorta art punks unable to hide their BLACK FLAG roots… Vicious sounds! Wild looping collapsing rhythm sectional idea explosions! Theramin! GINN-ish guitars! Spaced-out vocal incantations c/o the punkest Camylle (also of MIDNITE SNAXXX and prob a million other groups?!). Doomed Bay Area sounds that will make you wanna dance and fuck shit up.
I really loved their first 7″, but the last LP sorta lost me a bit, had a circus punk veneer in my mind I couldn’t get past. This record is more what I wanted outta that! Incandescent noise fuck sounds from HARRY PUSSY and LITTLE CLAW past-lifers, this is a total and true sound, savage and unreal, destruction and love, lost in a dream. It’s intoxicating and also catchy, has an otherworldly quality, like watching something burn in a dream. Kilynn has an incredible voice…if you have vague TEENAGE JESUS-as-the-world-ends inclinations and seek out sound ideas that are A Totality, then this might scratch an itch.
The thrilling, epic, and chilling debut LP from Götenborg’s PROTESTERA is now available on CD. Bitter, metallic, and melancholic late ’90s/early ’00s crust, with harsh riffs, and drums that are fierce and tight: weaving D-beat with circle pit-ready mosh breakdowns. Spoken passages, dual vocals with static-filled hardcore breaks and vicious oration, and menacing, rhythmic gang vocals all put forth intense conviction. If you’re into CONTRAVENE, SCUMBRIGADE, POST-REGIMENT, OI POLLOI, FLEAS AND LICE, or ANTIPRODUCT, this is for you. The 30-page booklet oozes with photos, a history lesson, and squat scene nostalgia. We need more bands like this again. Such a level of solidarity and passion in a time of exhausting hopelessness. Digitally remastered to the highest standard since its original release on Skuld release in 2000. This will not disappoint.
I guess “psychobilly gone bad” becomes garage rock moderne with its jangly guitars and laid back attitude. The pumping of the bass and snarling vocals are still present which makes it an interesting amalgam. This is the ANTIPATIX’s first record. Perhaps they will work out the kinks in their style and make something truly unpredictable. I look forward to it.
Mellow and jamming are two words I never want associated with any music I listen to. Yet, they are the two that immediately pop into my head while listening to BIKES latest self-titled album. Still, I like it. It’s laid back and nonchalant, but rocking. It makes no sense. BIKES are garage rock moderne with no pretension and some catchy riffs. It’s a great album.
Secret Mission continues to make vinyl wrongs right by issuing the 2016 debut by Tokyo’s FLASHLIGHTS on LP. Originally released on CD only by Fifi (TEENGENERATE and FIRESTARTER) on his Stay Free imprint, this album has been a dark horse favorite of mine for a couple years now. Though boasting members of ROCK-A-CHERRY and the impossibly fantastic KNOCKS, FLASHLIGHTS’ approach is quite obviously centered on ’80s guitar pop, most akin to bands RAZORCUTS, the FLATMATES or even the FEELIES. I’ve opened up a lot more to this stuff in recent years, so I’m very much on board here. As is customary with so many Japanese acts, there’s a tastefulness to their entire operation that captuers part of the spark and spirit of their influences in a genuine way. Great.
A four-song CD EP from Maryland. This band of punk vets includes former members of BEEFEATER and VISIGOTHS. Stripped-down US punk circa 1982, which would fit right in on Not So Quiet on the Westwen Front. Basic, fed up, and to the point.
London’s finest purveyors of thematic post-punk where all the songs are ripped from the Guardian comments section, or perhaps the “In the Back” section of Private Eye. Brought out of retirement by the specter of Brexit and the likely scenario of Boris über alles, HYGIENE is the group England needs now—specially since they are fronted by a scion of the Commonwealth. Alongside at least three songs dealing with public transport in some way (“Replacement Bus” really captures all the frustrations of, er, having to catch a replacement bus), gammons, free marketers, and pedophile conspirators all come in for ire. For all the spartan rhythms and stark vocal commentary, though, the album connects most directly with the rousing singalong of the future potential folk classic “He Doesn’t Want to Pay His Taxes.” On this one they could be a CHUMBAWAMBA or MEKONS for today. Welcome back chaps.
It’s been a while seen I’ve heard a current release for this Northern California band. Granted, they had disbanded and reunited in 2012. A catchy full-length that’s musically in the vein of labelmates NOFX and LAGWAGON, and strong vocals with a sociopolitical bent lyrically.
A collection of tracks recorded between 2015-2017, mostly previously released. This Boston band cranks out college-rock-meets-tuneful-punk-meets-indie-rock. Think early SOUL ASYLUM, DINOSAUR JR, and SUPERCHUNK with a range of tempos. It’s nice to have these tracks on one convenient CD. A very tuneful and underrated band.
Sputtering muscular no wave sax/drums/bass trio—No New York fans take note! This has that downtown New York sleaze funk jazz fuck urge down. But maybe with the politics of the CAMBERWELL NOW?! If GANG OF FOUR was free jazz? Mostly because of that bass sound. An Oakland abstract anti-gentrification-art-against-work sound. Alejandra’s vocals rule; she should definitely be the singer of all bands! No joke! Max’s wild wail interspersed with her vocals is some sort of wild planet where D BOON sings back ups for CASTRATION SQUAD, but it’s free jazz. This sorta sound could be punishing, but instead it’s a pleasure. Why not?!
Truly delightful synth punk snot from New Orleans, featuring cretins from killer groups including BLACK ABBA, TRAMPOLINE TEAM, BUCK BILOXI, GIORGIO MURDERER and so forth! I love it when it’s the same people in all the bands! Clear evidence of a creative scene volcano hive situation. PSCIENCE is a lo-fi dream with throwaway dollar store guitar sound and synths from a bargain basement new wave-scape. This is not savage synth punk like say, SCREAMERS or LOST SOUNDS, it’s more like that footage of the B-52S playing a house party in 1979 or whatever?! Falling apart good times is all you can ask for as the world shudders to an end. This is great! Gimme more.
I put this on expecting wild destruction Á la LOST SOUNDS, but after listening to the A-side I would say it’s low on the “end of the world” synth punk destruction sound?! “Buried” sounds like a goth MODERN ENGLISH to me. Maybe it’s the vocals?! The B-side is more savage and maybe more true to what I have heard about this Bobby Hussy band, but the A-side is almost like a pop song! Like I can imagine KROQ playing it circa 1986?? I would even recommend it to you if you were a fan of more chorus pedal darkwave/goth stuff alongside that Memphis wave sound…
Eight songs of melodic, choppy Midwestern popcore with a lot of emphasis on lead guitar. The solid songwriting chops and earnest vocals are making me think of STRAWMAN (maybe it’s an Ohio thing) and in their finest moments (to these ears, particularly the song “Evaporate”) they sound like outtakes of Grant Hart-sung HÜSKER DÜ material. There are places where the guitar leads are a bit overdone—but with some trimming of the fat and a bit more focus on the buzzsaw melodies, INVISIBLE ENGINE could be quite a unit.
Third LP from these Minneapolis thrashing metal-punk veterans’ project—BONEFIRE features members of MISERY, SOCIAL SCHISM (UK) and TROUBLEMAKER (CA). Snarling anthemic hardcore with a no-fucks-given attitude. Lots of catchy breakdowns, a tight double kick pedal that won’t let up, and bass grooves that add a lot of ingenuity to pretty standard albeit furiously charged compositions. The guitars are fuzzy, the vocals are gargled, the riffs are dirty. Everything sounds filthy and punk as fuck, but the morose bridges are taken with pause, and the recording was handled with a lot of care. Oh geez, and this is an Enormous Door mastering job, who up the ante again. So good. Fade and Decay is easy to get into, and features signature sounds from said members’ bands, while putting forth a unique, shadowy, and saturated new offering. I’m reminded of KILLING JOKE, INSIDE OUT, HIGH ON FIRE, VARUKERS and CHAOS UK, all at the same time. I mean…
You know, this doesn’t groove at all or fit into any cute category I can regurgitate back to you. It sounds like it was recorded accidentally onto your ancient Walkman while still in your backpack. It’s most certainly quite strange, and wild as hell. It’s like if a caveman on acid were attacking some random instruments with the amp settings all on 11, locked in a shitty bar overnight with someone who I think knows how to play the drums. This is a definite room clearer, a show ender, an immediate bummer, a reminder that life is too short, and I really fucking love it. The very last song has actual words that you can understand, but fuck that, you little shits aren’t going to make it that far.
As expected, HIDDEN SPOTS fucking delivers. Sure, it’s pretty melodic, which isn’t usually my thing, but the passion and positive energy that oozes out of this record are pretty damned undeniable. Eric’s lyrics alone can read like a call to arms against monotony, bigotry, greed, self hatred, or whatever else in this fucked up world has got you all flustered. A punk should never feel alone in this shitty world, knowing there’s a person as caring as him down in Tennessee. You know, it’s actually pretty hard for me to review this slab, because even though I’m a fan, I know that with this being so melodic, and produced so well, many a proper punk full of angst and with a lust for bile won’t give this the listen that it deserves. Do yourselves a favor and pick this up, pin the lyric sheet up over your bed, and drink plenty of water.
This is super sugary ’90s bedroom pop. Way outta my jurisdiction, as this comes off more like a low-budget, even more jangly JULIANA HATFIELD than I’d like. This release flirts with noisy rock at times, but the sugar shines through. This is well done, if you are into the sweeter candy styled stuff.
I’m sure this is already sold out, as it features King Khan and Bloodshot Bill (not Barbecue Bill, as I have written down here in my notes), so act fast, if that’s your thing. I think you kinda know exactly what to expect with this. Super bare-boned, early BILLY CHILDISH-inspired, distorted even though it’s acoustic, wonderful harmonies, yet still ridiculously simple. I feel this shit gets more credit than it deserves, but at the same time, it’s really fucking good. Yeah, I wanna be a snob and hate on this real bad, but I just can’t do that.
A second album of newly recorded covers from these UK punk old timers. Still a great band after all these years, we are treated to versions of “Immigrant Song,” “Search and Destroy,” “This Is Rock ’n’ Roll,” and the uptempo version of “We Will Rock You” as well as eight other tasteful oldies. It’s a lot of fun, and it sure beats the usual “live cover” on the flip side.
This Philadelphia melodic punk band plays uptempo stuff that reminds me of early FACE TO FACE and ’90s-era NOFX. Think Fat and Dr. Strange. This was OK, but nothing stood out to make it rise above the pop punk heap. Still, a good band for the Philly pop punk locals.
This UK band rocks pretty hard. Great riffs and choruses with a bad attitude. Along the ways of TURBONEGRO, MOTÖRHEAD, and early DAMNED. Although lots of bands give us relentless guitar rock’n’roll, this really hits the mark tune-wise. Great full-length!
I certainly love guitar leads and frenzied hardcore, so DC’s RASHŌMON speaks my language. Those of us asking for more since their slick demo tape a couple years back have gotten as good of an answer as we could’ve hoped for. Dual riffs are blissful and radiant, sometimes swerving toward discordant and reminding me of ARTICLES OF FAITH. But this could just as easily been plucked from the Bloodsucker roster, as there is a definitive Japanese hardcore influence, made most obviously apparent by the Japanese vocalist. The warm, dry production highlights the glorious guitar and vocals, but the serious drum mastery deserves to not go unnoticed. Innovative drum fills and transitions are easter eggs scattered all throughout these six tracks. I’m sorry, but I just don’t care about the novel etching on the flipside of the disc, but I can simply ignore that in this case because the record is so damn great!
Did you know that despite the increase in both the price of everything and in digital listening, that the 7″ EP is the perfect hardcore punk format? Sometimes I wonder if it’s still true, and then a record like this comes along and reaffirms everything I think I know and live for in a punk record. Six simple and frantic blows in perfect succession, leaning on a tight and confrontational delivery, lacking absolutely nothing. The first track is a nice lesson in drum fills. Limited to 200 copies, so hurry!
The vocalist seems to be channeling INDIGESTI on this latest offering, and I’m therefore charmed. IDIOTA CIVILIZZATO is a Berlin-based band featuring punx from Spain, Australia, and Italy—the Italian vocalist does well to catch the ear of any discenring ’80s Italian hardcore fan. After a demo, EP, and LP, they impressively keep the quality high and awesomely idiotic! Four more excellent tunes for thrashing, accompanied by consistently amateurish cover drawing.
A heavier mix of ’90s dude hardcore with an odd amount of FUGAZI-type time changes and chords. These guys have definitely progressed musically in the decade or so that they have been churning out aggressive rock-y hardcore. A turn-off for me, though, is the vocals, which are spoken-screamed with no regard for the tempo or key of the music. I kinda prefer their much earlier output. The music was still ruff’n’tuff, but the singer sang along pretty well. I’m a prude, though. For those who enjoy testosterone-laden hardcore of yesteryear without being asshole bros (as their lyrics are still pretty sweet), this seems like a keeper.
To be honest, seeing a CD-only release by an American band in 2019 land on my “desk” is the shit that keeps me up at night in a cold sweat, and this little bastard did not disappoint. I assume this was meant to sound like some Rikk Agnew-era goth punk, with their reverb-drenched rock and just plain odd synths, but it falls pretty damn flat. Oddly enough, there is a completely endearing, super adorable, absolutely unrecognizable cover of “Sweet Child o’ Mine” at the end, which kinda made me like these guys a whole lot.
Self-described psychobilly from Germany, 2019. Tough sell for me, gotta tell ya. DEGENERATED sound bloated and needlessly theatrical even by the standards of the genre they grease up to… It’s like they’re reducing rock’n’roll to the carnal core, but getting it terribly wrong with each strip-down attempt. A big miss.
A puzzling and primo UKDIY excavation tracked during the golden era, but now seeing proper release all these decades later. Whisper-celebrated and/or faintly chided for their own scattered offerings, GOOD MISSIONARIES are mostly thought of as a footnote to the more well-known ALTERNATIVE TV, the band from which they sprang. This outdoes any of previously available GOOD MISSIONARIES product, I says. Liners nail it: “the impatience and aggression of punk, but the wandering curiosity of experimental music.” Dubby meander, brat barking, horny skronking, punk that leaves dents. Nerd shit, but quite right to these ears.
