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!
The seventh album from this Montreal one-man-band guy. It sounds old-timey, with a country-ish ELVIS PRESLEY twang mixed with a TAV FALCO sound. The music is rough and raw and has a great sound. Catchy, fun, and sultry.
I feel like a BLANKZ single comes in every month. Prolific! “Getting Over You” is really slick pop punk of the Fat Wreck variety. The new wave keys seem to be the only deviation from the force-fed processed punk here. “Barfly” is more of the same, though fares a lil’ better, and actually reminds me of HEAD if they were going the tuff-guy route. Still, it’s too artificially sweet for me to choke down.
This midwest band plays punk metal. This five-song EP is sometimes screamo and sometimes sung vocals, with lots of musical chops and twists. Although I like somewhat similar bands like STRUNG OUT and PROPAGANDHI, as well as metal in general, this just sounds too generically thrashy for me.
Splattering metal punk from the Scandinavian hive of hardcore: Malmö, Sweden. BLACK UNIFORMS play motörcharged D-beat raw punk for all the moonlight rambling crashers. You get G-ZET, INEPSY, NAILBITER, and DIS-BONES style bammers, and heck, it even sounds like AMEBIX at times. This CD has both the original 1989 version of Faces of Death and the 2001 remastering. You know you want it!
Wow, what an unexpected record. The first track starts out with a Two-Tone/DEXY’S MIDNIGHT RUNNERS-style ska / soul punk vibe. Things progress into more early aughts OH SEES psych-pop, with weird sunshine pop vibes like ARIEL PINK. From there, it’s like hard- wave OINGO BOINGO—they really are going there. Not sure what the typical MRR fan would think of all this, but it’s cool to hear people testing the waters with always poppy but somewhat unconventional results. On red wax with insert.
It’s not just a clever name, this band is pissed off. Remember how in the ’90s, there were all these bands infatuated with the DWARVES and playing punk songs as fast as humanly possible? This band fits right in with all that crazy-off-the-rails madness. Half shitty CIRCLE JERKS, half shitty JUDAS PRIEST. All songs about anger, revenge, and destruction. This shit is crazy. But if you need a good soundtrack to blow off some steam and drive like a maniac, this is your ticket.
At every turn on this LP, the BECAUSE channels the same humid yet sensitive roaring that I equate with noteworthy vintage acts via (ahem) No Idea Records and the ilk. Their devotion to the form is quite studied: there’s this barreling sound, anthem-focused, tension-and-release style. Trouble is, there’s no teeth, no deviance, barely anything punk beyond their mid-tempo charge. Underwhelming.
I find it a little disheartening that my last print reviews for MRR should start out this way. I know that over the years, I’ve been pigeonholed into the garage rock sphere, but I’ve been writing for this magazine for 29 years, and I can say to most: “I was a punk before you were a punk, punk.” This is roots rock music with an emotive singer who unfortunately reminds me of EDDIE VEDDER. It’s slick and well-played and Japanese and might come across better if I wasn’t feeling so nostalgic. But the heavy grunge vibe is just too much.
Two Milwaukee pop punk bands team up to give us a super fun pogo-inducing album! SIN BAD deliver a more power pop sound that might be equitable to GATEWAY DISTRICT or WORRIERS. BAD WIG is still very much pop punk, but has heavy garage elements. A mix of OBLIVIANS, REIGNING SOUND, and DINOSAUR JR can be heard in their songs. They also toy with some emo elements, so their sound chills out every once in a while. Start with the SIN BAD side for the sugar high and end with BAD WIG for the slow headbang. Great record! Milwaukee has always and will always rule. Don’t listen to the haters!
Very scrappy pop punk from Olympia, WA. Like a messy FASTBACKS trying to play PROTEX with a bratty attitude. So yes, it is awesome! Perfect sweaty basement freakout music. Songs about relationships, self doubt, desire, and boredom. Badass!
France’s STUNTMAN bring us some pummeling metallic grind. This is a band that can do the hair-pulling sludge agony just as well as they do the machine gun maelstrom. Grindcore forever! The UK’s ART OF BURNING WATER throw down a little bit of proper powerviolence—maybe too little. My issue with their side is that the first and longer song is OK, but it’s more like a buildup / intro song. Then the second song is fucking sick as shit, but it’s only like twenty seconds long, and that’s the end of the record. It’s like, dude, you gotta save that intro song for the LP. That being said, it’s still a pretty cool listen.
Portland’s ARTERIES take everything we know about the last 40 years of punk, and distill it down to a concentrated liqueur of all the best elements. Freaky and experimental, they weave otherworldly anthems with haunting group vocals, effervescent synth effects, persistent post- punk basslines, and unexpected turns. It brings to mind the unlikely combination of sounds like the SCREAMERS and LOST CHERREES. Members of Portland’s RED HERRING and RAW NERVES. I am blown away by how great this is.
This tuneful band has a lot of SoCal history, with ex-members of JOYRIDE, MANIC HISPANIC, CADILLAC TRAMPS, and DI. This also includes a song by Steve Soto, who was also in JOYRIDE. This reminds me of the country side of recent SOCIAL DISTORTION, with nice harmonies and instrumentation. Not for thrashers, but this is pretty good stuff for the aging punk circuit.
How appropriate that ACTIVE MINDS have a review in the final print issue of MRR, as a band that seem to have been flying the flag for DIY punk and hardcore almost as long as the mag has been around (or at least as long as I remember!). This is just the latest in a vast discography of fiercely political hardcore punk in a variety of guises, whether DISCHARGE worship or melodic LEATHERFACE type fare, but always with a message first and foremost. Several of the songs on this record are based loosely around the titular theme of religious hypocrisy and exploitation of children. Did I mention it comes wrapped in a printed ACTIVE MINDS patch?! It really does my heart good to know that these folk are still at it, still active.
A compilation of four bands whose collective goal as described by the CD’s narrator is to “take back punk” from the people who impose the punk rules. Isn’t that supposed to be MRR? NEVER SAY DIE plays rockabilly-ish redneck rock. SUPERMEN are macho ANTISEEN types. THE RUNZ play anthemic hard rock. LONG LOST ENEMIES are poppy hardcore. Eh. Good luck.
As we witness the decay of the physical parts of punk, like the disappearance of the printed word and the records we used to hold in our hands, one of the earliest casualties was always going to be the compilation LP. These motherfuckers are hard to make good, you know? It’s like going to those goddamn ten band bill shows, where five people watch the band they came to see, and everyone goes outside to smoke during the rest of the night. So when I hear a comp LP in 2019 of bands I’ve never heard of and find it to be completely listenable and varied, I get pretty fucking stoked. Slobbery two-finger metal, tolerable Fat stuff, pop punk, dark synthy post-punk, drooling robo punk, cleaned-up crust, and even some fucking ska metal. I gotta hand it to these fine folks, as this is all over the place and still not fucking terrible. There’s a shit ton of sneer and bile in almost all the vocals, like every singer went to the same laryngitis-inducing singing school. Seventeen tracks, and financed by seven different record labels, which is kinda goofy, but hey, that’s the price you gotta pay to put out records in a time when nobody is buying. Definitely worth checking out.
Despite being a Texan and a Texas punk enthusiast, I never heard Live at Raul’s. I always assumed it was more important to be equipped with the BIG BOYS / DICKS Recorded Live at Raul’s LP (it is). Raul’s was a club in Austin that accidentally became a hub for new wave / punk in the late ’70s through the early ’80s, and these tracks were crisply captured via mobile studio. Five local bands, two tracks each, many of which were unreleased at the time. The EXPLOSIVES, TERMINAL MIND, and the SKUNKS tracks are all edgy rock, the latter two being the punkest. STANDING WAVES are more new wave, while the NEXT is the most confrontational and best, as I expected. With the exception of the NEXT tracks, it all errs on the side of pop rock. This reissue is limited to 500 copies, and has a reproduction of the flyer for the gig, and some decent live band shots. Live records are polarizing but I am happy to report that it’s easy to forget this is live until the applause at the end of the tracks. Essential? No, unless you’re a completist.
I seem to recall the last record I reviewed from these goofy chaps as being a hokey, countryfied, fake-ass punk hoedown that I surprisingly totally loved the absolute shit out of. Although it seems like they have hit the acid pretty hard since we last met, I still love it, even though I realize that it makes no sense that I do. Opening your record with an instrumental surf number, throwing around lazer noises all willynilly, monosyllabic wailing, with album art that looks like a modern take on Rip Off Press (but from space). Cowboy-hat-wearing, reverb-drenched country punk is something that I would absolutely adore to make fun of, but just like their earlier output, this is surprisingly fun as fucking hell. This comparison might only affect about twenty five readers, and they would most certainly all be as old and as Southern as I am, but try and imagine a modern take on early DASH RIP ROCK, but punk enough that you wouldn’t be ashamed of it, or have to explain your adoration of it to your kids. Sorry, but this is good.
This. Is. Awesome! I did a double-take when I saw this in my pile of records to review, as the only WITCHES HAMMER I knew of was the legendary Canadian thrash metal band, and sure enough this is a reissue of their debut release. Musically, it’s an absolute milestone in crossover history: raw and frantic, with an obvious punk influence bubbling below the surface (D-beats are present, for example). It was and is a great record, but the most appealing element of this package is the amazing, hefty booklet which includes band photos, flyers (WITCHES HAMMER performed plenty of DIY gigs with the likes of SNFU, the ACCÜSED, the BONELESS ONES, DOA, and VERBAL ABUSE), and a lengthy band history by guitarist Marco that makes it very clear that the band were more comfortable interacting with and performing for Vancouver’s punk scene than metalheads. Supreme Echo have put together a superlative package here: the remastered material sounds great, the pocket sleeve is sturdy and glossy, and the booklet is as good as anything you’d get from a reissue label like Radio Raheem or GTA. This’ll obviously mostly appeal to the crossover-curious, but anyone with an interest in Canadian punk history will enjoy the archival material included. This is a top-quality reissue and one that I am surprised and pleased to see included in the pages and archives of MRR.
I’m afraid TIMMY VULGAR might be getting too stuck in his ways. I wouldn’t say this record is predictable, but I’ve come to expect his records to sound like this. VULGAR plays all the instruments on this LP, as well as singing in his distinctive, emotive style. The guitars are wailing, and the synths are soaring. The sounds are raw and futuristically primitive. “Suction Cup Hands” is my favorite song on the LP. It’s got a catchy guitar riff that combines nicely with the rhythm track and VULGAR’s rambling vocal. It’s pretty cool.
Big, full-sounding indie jams here from this Chicago trio that includes an ex-PONY. The first track builds up from a brooding, proggy intro into a fuzzed- out krautrock jam that sets the tone for the rest of the album. Bleeding shards of guitar keen around organ-driven melodies atop a relentless drum boogie. The vocals drip with slacker ennui that falls somewhere between THEE OH SEES and DINOSAUR. The opening track and “Punks Inbred” are the standout tracks for me, but overall this is a strong, cohesive album.
Austin, Texas’ VAASKA play six ripping tracks of high-pitched, ’80s Finnish inspired hardcore, echoing brutal flavor and a buzzing guitar tone that is stinging, with confident lyrics in Spanish spat forth with furious power. Crushing hardcore along the lines of MELLAKKA, RAJOITUS, and LAMA. I can’t say anything bad about the release, and yet I struggle to find a particularly stand out thing about it. It clobbers with D-beat fire, and the tones are freakishly coarse static hissing. That’s the big takeaway. My hearing loss.
Here are some old thrashers out of San Francisco showing the youngsters how to shed for real! No fucking bullshit, blaring hardcore chock full of blastbeat venom and foaming-at-the-mouth rage. Like most folks from the Bay Area, their anger is directed squarely at techies and the rest of the Silicon Valley nightmare, even invoking the Unabomber in one song. If you love ’90 Bay Area powerviolence and hate your smartphone, check this out.
The blank side of this EP holds beautifully silkscreened plants and leaves, and though they’re simple, I love them. They are pretty and delicate, which did not set me up for the music. This is sad dude music in the same vein as the LAWRENCE ARMS or the METHADONES. It’s modern punk rock for sad kids that can still drink a few beers and make it home to sleep in their own filth somewhat responsibly, but just dangerously enough to concern their parents and close friends who have watched them slowly deteriorate. This is lose your voice and forget half the night material. “Pill to Swallow” starts out with the singer shouting “Cigarettes bring out the worst in you,” and it felt like it was directed at me. Stop judging me, sir.
To be honest, with this moniker, and ridiculous album cover art which falls somewhere betwixt a long lost LOVERBOY record and maybe the “least memorable emo band from the next town over’s third LP from 1997,” I did not have high hopes. It’s pretty damn killer, though. At first, this just seemed like somewhat likeable, dirty-yet-probably-hot rocker dude styled HELLACOPTERS-by-way-of-Minneapolis heroin type of bullshit, but this shit is fucking great on repeat. Innernettes research says this band broke up in 2004, and these are outtakes from their sixteen- year-old album, but it’s remarkably fresh and urgent, energetic as hell, basement bound rock’n’roll. The kind of rock’n’roll you pay attention to. It looks like I missed the boat on this band, and I am a lesser person because of that. I’m sorry I’ve let you down, Dad.
This looks exactly as it sounds: three cool teenage punk girls making tremulous punk rock with songs dedicated to John Peel, Bruce from the JAM, and their favorite chocolate bar! This isn’t wild screaming KBD mania, they have a nervous restrained quality, which is not to say this sounds inept, just that it isn’t the manic punk insanity you might expect from a teenage Swedish band circa 1981. They called their band Sport Is Dead, and formed as a result of being fans of the BUZZCOCKS and the UNDERTONES, and you can hear the nervous pop sensibility! I’ve seen comparisons to DOLLY MIXTURE and LILIPUT, but I would say that is not the case here, they are not as polished as the former and not as wild as the latter. They have their own contained punk concept and identity that doesn’t sound like a collage of other ideas. This is a reissue of their demo tape with a live performance on the B-side. It sounds great and is definitely worth picking up for all fans of that underground girl sound, the sound of youth inspired by the DIY ideal…
Lyrical, literate jangle-pop with melodies galore and a ton of personality. STRANGE PASSAGES definitely seem to draw inspiration from ’80s indie sounds, which is no bad thing. The bright production emphasizes the guitar interplay, while the dedication to songcraft shines through. I’m no REM fan, but this makes me think of that band’s more upbeat, less over-wrought material—especially in the vocals. Great stuff.
If you’re a fan of powerviolence, SPAZZ should be one of the first five bands that come to your mind. This album originally came out in 1997, and it stands the test of time. SPAZZ has the humor, the riffs to back it up, and they play it in their patented no-slow-all-go style that is a runaway bullet train driving off of a cliff into space. Fuck you. SPAZZ forever.
So this punky indie rock bands reminds me of ARCHERS OF LOAF, KNAPSACK, and THE PIXIES. Good influences, but not nearly on that level. There needs to be more new bands like this, but I just wish the tunes here grabbed me more.
Hypnotic, shoegazing psyche-influenced bar rock with a grunge twang that I kind of love. The vocals are great, and definitely have a punk howling that has matured like fine mead. All the good parts of FUCKED UP, the Twin Peaks soundtrack, and the MERMEN. A solid, timeless, rock release. A short and sweet EP, like this review.
Frantic, thrashy record by one-man band SCIENCE MAN. It’s got an industrial-sounding drum machine and noodling metal guitar licks. The vocals are distorted, screechy, and dramatic. It’s loud, wild and fun.
Copenhagen post-punk with some definite nods to their city’s dark punk past. Mid-tempo and brooding with echoing vocals pushed way up front—it’s almost too high in the mix for my tastes. The songs have good hooks and are memorable, but a couple of them sound almost identical. Still, it’s really driving and intense. Side two is composed solely of the outro song, which feels like it goes nowhere and doesn’t contribute much to the overall feel of the record. It’s confusing, but side one is good. Members of OND TRO.
IZOBEL GARCIA is such a nice collaborator for REVEREND BEAT-MAN. His vocal style is rough and gritty, and hers is sassy, tough, and feminine. They sound perfect together. The music is stripped down. It is simply guitar and drums with an occasional bit of organ. It’s primitive garage rock with a snarling attitude. Unfortunately, Garcia doesn’t sing on every song. She should. Especially on the cover of “Love Me Two Times.” That one needed her.
Third album from this Providence garage pop band. The music is jangly and upbeat, the songs are catchy and bright, and the vocals remind me of BBQ or KING KHAN: kind of crooning, with moments of vulnerability and desperation. It’s their best record yet.
First-gen punk from up Canada way, reissued in scholarly style. Though I’ve held the particular volume of Smash the State that included the REACTION for eons now, the presence of SIGGY MAGIC simply lifted the thunder out from under this lot for my ear-holes. Not the case today though—this sounds pretty primo, collecting their most coveted track “The Kid’s Arrived,” along with a few cassette-only movers/ shakers. Not a lot of fat to trim either: proficient punking that’s oddly comparable to the NORMALS, if forced to cite a domestic KBD heavy. Includes hyper-detailed booklet for all us nerds to wipe our brows with after pogo-ing. Good stuff!
RAT PATROL is from the Netherlands and have been around since 1988, but this is my first time listening to them. Retaining this amount of anger and drive after 30 years while still sounding fresh and relevant is not an easy task. They have a bit of an ’80s USHC energy with biting, crunchy guitars and a vocalist who only has one setting: full-on rage. The politics are on point, and the songs have enough catchiness to stay in your head.
RADON is one of those beloved bands that was never very prolific, never quite went away, yet pops up every now and then to play a show and release some music. They were, at least in part, the foundation of the Gainesville scene, which eventually led to bands like HOT WATER MUSIC and AGAINST ME! This is their second LP since reuniting in 2005, and they haven’t lost a step. So many such bands settle into adult contemporary alternative rock. Not Radon, no siree. It may be a little more polished than the classic 28 LP (released over 20 years ago), but it’s still got lots of energy and will have you tapping your toes. Ripping pop punk from beginning to end.
I’m not ashamed to admit that I, in fact, did more or less have a fun time on my first encounter with this environmentalist / human-rights-themed band. Through the art and message, they emit a “punx as hippies living in the woods” vibe, which is sort of corroborated by their bio on the internet. Song titles like “What Is the Correct Way to Live? What Is the Best Way of Life?,” “Chemtrails—Aluminum Barium Dust A Synthetic DNA In a Toxic Aerial Spray,” and “What Is the Current Administration Covering Up?” all read like potentially quasi-wingnut headlines from various lefty or conspiracy theorist publications. Their sound is demented and fuzzy and cacophonous and so screamy (in a good way). Go back in time and put ’em on a bill with FLEAS AND LICE, CIVIL DISOBEDIENCE, and CHOKING VICTIM, and RADICAL FUN TIME would surely be the spectacle of the night.
Deluxe-as-fuck reissue of a crucial Canadian punk slice. This four- song EP was originally released in ’79 in a hard-to-file large envelope sleeve, and is now available in standard but expansive packaging, including an extra track, a booklet and two-song bonus flexi. The best tracks are still “Money Guns & Power” and the Bloodstains-comped, proto-hardcore “Fuck You,” but the rest of the songs are great too, sax and all! Supreme Echo rules!
PORCUPINE have been kicking around the upper Midwest since 2006, and now feature one Greg Norton. Yes, he of the handlebar mustache. This six-song EP is straightforward, mid-tempo alternative rock, with a bit of that ’90s Brit-pop feel. The opening track has a nice, catchy chorus, and overall it’s pleasant enough, while not being particularly memorable. They do throw in one HÜSKER DÜ cover (“Standing by the Sea”), perhaps as a tribute to the late, great Grant Hart.
Kinda all-over-the-place reissue of this ’81 release out of Calgary. It’s akin to a lot of stuff from smaller scenes of that era in the sense that while the songs pretty much fall under the banner of punk, they touch on a lot of different styles. The goofier side of the GIZMOS might be a fair comparison, albeit with a bunch of hard rock guitar solos thrown in. I found it all pretty enjoyable, but then read the included booklet and found out the title song here is about how the brothers in this band felt that socialism and communism are bad for people, which, uh, dampened my enthusiasm.
FUCK YEAH!!! Get past the band name and doom metal-looking LP cover. There are so many reasons this Hanover band’s (made up of Brazilian, Chilean, and German band members) debut LP is awesome! First, this sounds so fucking urgent, not in a “we liked and wanted to sound like urgent hardcore from the ’80s” but actually like urgent hardcore from the ’80s, where the emotion, politics and passion of what the band is trying to express fuel the intensity. Second, it doesn’t sound like hardcore from the ’80s, nor is there any particular direct reference point except maybe the experimentation and intensity of later ’90s and ’00s Brazilian hardcore (this is way more aggressive but let’s say… MERDA?), where anything: melody, metal riffage, or simple boot-stomping punk can throw itself in to twist around the fourteen tracks of hardcore steamrolling. Third, it has absolutely wickedly scathing female vocals. Fourth, it is dedicated to the memory of Brazilian feminist and anti-police violence activist Marielle Franco, who was assassinated in 2018 in Rio de Janeiro. “Never forget / Organize without fear!” Fifth, the balance of chaotic looseness and musical competency is perfect, where sandpapery blasts of simple metal riffing charge simple and loose, but there’s still deft thrash. Sixth, songs are sung in English, Portuguese, and Spanish, with a fold out lyric sheet containing translations. Seventh, the punchy recording is mastered well, but also balanced with sounding really raw. Eighth: Q: And D-beat? A: And D-beat. Ninth, the band is self described as “Antifa punk, no grayzone.” I’m sold!
Holy shit! Olympia’s PHYSIQUE does it again, this time in a style more strongly influenced by DISCLOSE than before. Unlike their demo or their first LP, Punk Life Is Shit, every track feels more streamlined, including their eponymous track, which was previously featured on their demo. There’s no escape from the raw cacophony, almost no lulls at all during the entire album. The songs themselves are deceptively simple, but upon further listening reveal tons of small changes and variations throughout. It’s this attention to songwriting (and not just their status as an all-AMAB trans band) that separates them from the herd of fuckers that worship Kawakami. The lyrics are great, and live up to the title by describing the various ways that warfare, discrimination, and police brutality (among others) are changing in order to remain an ever-present threat to daily life. A dark, yet essential record.
Fuck, this is gnarly. Blown-out and feeding back all over the place, Ireland’s OVERBITE offer up five tracks of fucked up disorientating hardcore with bestial vocals and some nasty riffs buried under the fuzz. The shitty looking pixelated packaging was initially off-putting, but after hearing the record, it makes perfect sense—one more element of this band’s presentation that is designed to confuse and obscure. The muffled, claustrophobic recording (which would be awful for almost any other band) is actually a plus, highlighting the ear-damaging shrieks and squalls of feedback while the drums and bass struggle in the background. This is a very challenging, very interesting record that I hope will find its way to those who would enjoy it most. Fans of PIG HEART TRANSPLANT and the like to the front, please!
The band name pegs the band perfectly. Snappy punk tracks with one leg hopelessly caught in an American rock’n’roll bear trap. DESTROY ALL MONSTERS, ROY ORBISON, AVENGERS—you know, the classics—reinvented and re-envisioned and damn near reincarnated with screaming Swedish space leads and a vocal warble straight out of ’77 LA. If this was KBD, I’d be humping legs to get a piece of them bonzers. Bonus points for gluing each song title individually on the back cover.
Swedish streetpunk here. Although the vocals here are gruff, this has a tuneful feel that borders on NEWTOWN NEUROTICS and the UK SUBS at times. Luckily the songs are not about raising a beer with the boys. Although this got a bit redundant by the end, I do give it a thumbs up.
High energy Japanese pop punk-ish alternative rock. It’s slick and well-played, but too by-the-books.
A worthy song each from two SF Bay Area veterans. NOTHINGTON’s track is reminiscent of late ’80s big guitar alternative punk, where the roots might go down to STIFF LITTLE FINGERS but the aspect and melody hits more in the direction of Chad Price-era ALL. It’s a bittersweet, but sweet, catchy anthem track for the band to go out on. The SWINGIN’ UTTERS track was a surprise: drilling mid-tempo melody somewhere between the expected jangle of ’70s UK punk-pub originators, but cut with a more avant edge similar to a great EFFIGIES track, with lyrics dropping with clever missives. Lime green vinyl makes it a keeper.
This is an excellent BAD RELIGION-esque disc of short, sweet, melodic hardcore. Twin guitars, layered vocals (though definitely more Suffer than Recipe For Hate). I really dig this.
This New York trio plays angry bar punk. Sort of like that glut of SOCIAL DISTORTION and early ANGRY SAMOANS-influenced bands of the early ’90s. These guys are pretty negative and without much humor in the mix. Music for “fuck everybody” punks who wake up pissed off and ready to fight.
