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The latest EP from the Bay Area’s CAVEMAN is disgusting, noisy hardcore with two-stepping breakdowns in the vein of HOAX and GAG.. Heavier emphasis on grooves and mosh parts for the fans for that realm of hardcore. Does the world need more of these bands? I’m good, but maybe you do..?
Having formed in Nantes, France in 2017, this marks CIRCLES’ sixth release. The band notes ’80s DC hardcore as a main influence for their sound, with a melodic twist. I hear this in songs like “Sunglasses,” with pummeled drums, angular guitars, and shouted/sung lyrics. While the title track “Still” starts with a FUGAZI-esque riff, it really takes a turn with a long, almost orchestral outro, featuring synths and keys. Other songs like “Giants” and “Waves” have brighter, splashy drums with a tambourine rattle and some of that melodic vocal influence, producing a pop-forward sound. Given this range of focus, I was a little lost after the first listen, but after a few plays, I think CIRCLES achieves the cohesiveness of a solid album with Still.
Brooklyn’s DEMOTED has a rough and immediate DIY sound. Simple, but carefully composed, these tracks range in themes from the juvenile self-deprecation of the title track, to the atmospheric dread of “Twitching Eye,” to the personal, Rollins-style lament of “Not Myself Today.” Standard punk misanthropy.
FOG LAMP out of Oakland, California is awesome! Cacophonous synth punk for mutants. Heavy riffs combined with SCREAMERS-style song structures makes for delectable tunes. Somewhere between the bashing drums and beleaguered vocal delivery, an almost hardcore aesthetic emerges and puts to bed any thought that this is egg-punk. The title track “Anxious Stargazing” opens with a dirge-like tone and quickly progresses into a tense but clamorous rock, and is then followed by “People are Sponges,” which opens with one of the best bass sounds I’ve ever heard. In all, I highly recommend this one!
This hard, fast, and weird LP arrives hot on the heels of an excellent output of cassette releases, and it brings the goods. The cross-pollination of hardcore and the experimental spirit of the earliest stages of L.A. punk sounds lived in and confident, largely thanks to top-notch songwriting that’s catchy as a cold and lightning-paced. One thing I love is how present all the instruments are, each taking its own place proudly under the stage lights and being allowed to shine. It keeps the recordings, while decisively gritty, sharp as well. The bass in particular has a real punch to it. Cap it off with articulate and brazen vocals throughout and you’ve got a real winner. “Chickenhead,” which effortlessly blends tones and showcases the band’s ear for melody, is an easy standout with the group’s full powers shining brightly.
Debut EP from London’s GRAZIA. Four tracks of bleeding-mascara garage pop dressed in thrift store chic spandex and leather. Nervous little guitar jabs, mid-tempo drums, wobbly synth, and almost vocal-fry-esque vocals that are resonant and syrupy. Fun release, check out the two music videos of “Cheap” and “Stupid Paradise” to get in the spirit. Worried the record jacket won’t match your favorite neon? No problem, choose between fuchsia, lemon, or green!
Vancouver, BC’s HOLLOW POINT’s debut EP is ten tracks of raging, turbulent, early ’80s-style USHC thrashcore mayhem. Sonically reminiscent of early Dischord releases like STATE OF ALERT or TEEN IDLES, but with its own style added into it. Willow House Records is still keeping it real in the city of SF.
This is the second edition of a collaboration between two San Pedro legends, Mike Watt and Todd Congelliere. Watt contributes his prototypical bass lines and meanderings like the elder Zen advisor, accenting and moving parallel to Congelliere’s guitar work and vocals. Part of the collaboration is to bring in a different drummer for each track, and it’s quite the entourage ranging from old school legends to the local San Pedro scene: Stephan Perkins (JANE’S ADDICTION), Steve Reed (SACCHARINE TRUST), Russell Simins (JON SPENCER BLUES EXPLOSION), Raymond Terrones (A LOVELY SORT OF DEATH), Mindee Jorgenson (MOD PODS), Derek Blook (FROM FIRST TO LAST), Kim Schifino (MATT & KIM), and Ryan Davidson (COMA TWINS). There are elements of Congelliere’s other bands here—the obtuse lyrical delivery of TOYS THAT KILL, the jangly scrappiness of UNDERGROUND RAILROAD TO CANDYLAND, and the humor of F.Y.P. But it’s Watt’s bass playing that gives this band a unique voice different from all the members prior collective projects.
The artwork for this record plays up the UK/US divide of the two featured groups, with Death himself cradling crucial governmental architecture in each of his bony hands, but Crew Cuts could have just as easily made it a newjack/oldhead thing. I suspect I’m right in saying most of LIFE ABUSE have been playing hardcore since before most of SKREWBALL were born: there is some hefty pedigree in the former band, which makes it extra cool that they’re on board here. Their two songs don’t much resemble any of DAS OATH, SELF DEFENSE FAMILY, LIMP WRIST, or LIBYANS (to list four of many more), but “Divide and Conquer” is a pretty rad bombastic rocker with a guitar sound somewhere between goth, metal, and anarcho. The shorter “Ambushed” sets the tone for SKREWBALL from Plymouth, who bring the early NYHC style mosh parts—with a buoyant, as opposed to meatheaded, vibe—and lyrics about animal liberation and crooked cops.
This rips. MUELL is a Berlin duo that blasts through six brief tracks of buzzing, super high-energy noise punk on this tape. It’s hard to tell at times which parts are guitar and which are synth because each song is a blown-out exercise in musical economy and maximum volume, but it flows perfectly and deserves a replay right after it ends. “Kunde” starts off the tape with pounding drums paired with bass pulses and hollered vocals that sound equal parts exhilarated and exhausted. “Markt” gallops with D-beats and tangling trebly guitar lines, while the next track, “Weiss, Reich,” just fuckin smokes with speed and a verbal attack on racism and nationalism. Great tape, with one complaint: these jokers made their Bandcamp page all red text on a red background, so you have to highlight each section to see anything. Nice one, you rascals.
NYC’s NECROTIC SOCIETY delivers some slamming hardcore infused with blastbeats for a hell of a headache. Hyper and aggressive, the songs incorporate political themes and an overall vibe of unrest and agitation. This album has a live session on the A-side and studio recordings on the B-side with no repeated tracks between them, and it’s all raucous, heavy shit to get you fired up.
Fantastic synth punk from Ecuador. Almost like a South American ATOM AND HIS PACKAGE/I HATE YOU WHEN YOU’RE PREGNANT, which scores huge points with me. Vocals are powerful and energetic. I wish I was smart enough to understand what he was saying, but I barely eked by in my Spanish classes in college. According to the liner notes, this was made with an authentic analog synthesizer. None of those bland, overused GarageBand samples here! Pure electronic madness, and well worth picking up if you’re looking to diversify your cassette collection.
And they are back! PURA MANIA’s ability to transcend geographical boundaries and unite members from two different countries is a testament to their dedication and passion for their music. The fact that they are able to seamlessly continue their energetic punk sound despite the distance between them is a true testament to their talent and commitment to their craft. Featuring members of FRACASO and SPECTRES, they are somewhere between Oi! and Spanish punk. Fans of their previous release Cerebros Punk can expect more of the same high-energy, anthemic tracks from this exciting band. SCREAMERS cover included!
Now, this is a long-overdue reissue of a band that is cult if you are Polish, and probably completely unknown if you are not. A tribute to REJESTRACJA was even released a couple of years ago, and that says something about a band’s status. Have you ever been to a gig in a foreign country and all of a sudden, the local band covers a song you have absolutely never heard but everyone goes apeshit and sings along to the lyrics, spills their glasses on your favourite shirt, and you’re just left with a sense of cultural irrelevance and curiosity? They would be that kind of cover. Every place has its local heroes, and Toruń’s REJESTRACJA was such an act in the early ’80s, back in the glorious days of Polish communism when being a punk was not a tea party and singing protest songs was legally forbidden. In these early days of Polish punk, the band was mostly known through live tapes and performances, notably at the legendary Jarocin festivals, because it was hard to release a proper record at a time when record labels were owned by the state. They only recorded one studio demo (entitled Kontrola) as a consequence, with a sound that can be said to be about as rough and direct as their live recordings. REJESTRACJA was undeniably snotty, angry, and energetic, and can be said to have been the fastest band of the country in 1982. It’s not all hardcore punk though, as the band had several songwriting tricks up its sleeves. You’ve got dark and mid-paced punk rock numbers with almost goth-style sung vocals typical of early Eastern European punk (“Tunel” and the incredible “Idzie Wariat Ulicą”), but also snotty and catchy dynamic punk rock songs with sing-along choruses (“Nowa Generacja” or “Perweriusz”), and of course those fast and frantic raw hardcore punk numbers (like my favourite “Armia”) that saw the band at its most energetic and ferocious—the drummer’s style is pretty amazing and he certainly like his rolls fast and manic for extra dynamism. On the Kontrola LP (which comes with a booklet with lyrics and pictures), five songs recorded live between 1981 and 1982 have been added as bonuses. They certainly have that distinct Polish style, but early Italian hardcore and bands like DISORDER or even CRASS do come to mind, and if you are a fan of early hardcore punk, you must give REJESTRACJA listen, and maybe even learn how to pronounce their name.
Distorted hardcore punk from Texas influenced by late ’80s Japanese bands, but merged with newer sounds, too—a ball of mayhem sounds that’s greatly executed. Crazy high screaming vocals that resemble bands from the Complete Death Live festival in 1988, with sharpened knife guitars and fast-paced cadences, creating an altogether maniac-driven atmosphere like legendary project BASTARD. Favourite tracks: “Golden Cage” and “Worst Comes First.”
HoZac brings us the first reissue of this Columbus, OH act’s 1980 LP. Folks are probably familiar with these oddballs from their debut 7”, particularly the dum-dum power pop punker “Homework,” which appeared on Killed By Death #6 and the inaugural entry of the beloved Hyped to Death compilation series that’s named for the track. It’s for sure one of punk’s greatest shits! And the business-savvy folks over at HoZac clearly agree, as the two tracks from that 7” kick off this expanded, remastered edition of the LP. So, that alone probably warrants a look-in. But you should definitely stick around for the rest of the LP. The remaining nine tracks on the record should definitely appeal to anybody who digs the more celebrated stuff that was coming out of the Midwest around that time, like the GIZMOS or the BIZARROS, when punk wasn’t really a template you could follow but something that was actively being defined by a bunch of weirdos who wanted to rile folks up by writing and playing original songs. Highlights include the DEVO send-up/ode “Mono,” or the ultra-dumb protest number “War”. Real cool stuff!
SLUG from Ohio plays straightforward, Boston-inspired hardcore, and following their excellent 2022 EP Continuing Growth, they’ve returned with their first LP Ohio. Featuring ten songs continuing their trajectory of meat-and-potatoes hardcore, there’s plenty to dig into here for fans of the style: killer dual vocals, metallic riffs, and plenty of breakdowns for the two-steppers. Check out “Get Ahead,” “Brain Rot,” and my favorite, “An Ulcer,” a catchy one with a great guitar lead. I should mention that Dwid Hellion of INTEGRITY has a guest vocal on the song “Introspection,” a cool full-circle moment for Cleveland hardcore. Highly recommended.
I started listening and was taken aback at how ’90s-worship has reached new heights—now bands are emulating the worst of the decade. The tinny recordings, the slipshod performances, the cringe-inducing and shamelessly earnest vocals….really? We’re doing all of that now, when we know better? I get the DIY basement meets photo-post riffing, but this is almost too much…except…except that it’s real. STRAIGHT FROM THE HEART was from Rapid City, South Dakota and existed then. So now I’m listening with entirely different ears, because the context…? It fukkn matters, punk. All of the descriptors that sound like critiques? They still apply, but if you put yourself in their place while you listen—oh fukk, does it sound right. And, important. This is the demo and an unreleased EP and some live tracks—this is everything. The shit lands real. It’s not for everyone, but it’s for everyone who had to struggle.
To have the name URGENT CARE as a band name isn’t the craziest thing in the world. To have that also be the theme of the band is a little odd. With songs like “Sloppy Surgery,” “Allergens,” and “Racing for the Cure,” it’s a thing. Even the record label has fallen in line. Musically, it’s bare-bones punk played in that sort of herky-jerky style. It’s fine, I suppose, but if that’s the best I can muster, that’s saying something.
West Coast fastcore, mostly pretty standard fare. It’s fast and silly with goofy songs with subject matter like giving up your vegetarian ideals because there’s an In-N-Out Burger nearby. The unexpected thing about V.V.M. is the occasional melodic parts peppered into a few of their otherwise blisteringly fast songs. If we were to go based on the self-description on their Bandcamp page, it would seem the band thinks of these as being prog rock parts in their songs. To me, they just kinda sound like short skramz instrumental breaks before it’s back into the fastcore ripping. Who’s to say which of us is right? You be the judge. Five-song demo available online, an extra sixth song available only on the physical cassette.
Military Grade is a split series that aims to pair the best of the best in modern extreme music on 12’’ of wax. It’s curated by Roachleg, who vehemently stirred up the contemporary punk/hardcore scene by putting out dozens of interesting new bands from all over the world, as happened in case of READY ARMED SYSTEM and ACAUSTIX, whose demo tapes were released by this label. READY ARMED SYSTEM (R.A.S.) plays less distorted but totally frantic hardcore that’s clever rather than chaotic while getting super angry. They play ultra-fast, although their dynamism is varied with stops and changes creating powerviolence-ish vibes while their rather wild punk music is all over the place and never slows down. ACAUSTIX plays in a more established sound, loud and noisy D-beat, low growling vocals, doomsday preacher-style lyrics. Such music depends on the energy and sound, where ACAUSTIX manages to create the full speed without any breaks, blasting spirits with enough dirt. It works well, even if the frames are well known. So what? They sound to be fans of this type of music they have mastered playing. R.A.S. in this matter is more inventive, which comes with a strangeness that needs more attention. Both bands are great and this is a solid record, a great start for a hopefully long-term series. The cover looks great, recalling naive art of early hardcore records, bad but still good. Good stuff.
Here’s another banger from the prolific-as-fuck Convulse Records with the BREATH from Tokyo’s 道理なき憎悪 Reasonless Hate EP. Taking inspiration from bands like WARZONE, YOUTH OF TODAY, and the rest of the Revelation Records roster, the BREATH is fully cranked up, with catchy, muscular riffs and distorted, screeching vocals that are totally out of control. Each track here is worth a listen, but “Reasonless Hate” and “Harmful Classification” are standouts that demand to be heard live. With so many bands playing this style of metallic HC right now, something needs to stand out, and boy, does the BREATH stand out. Highly recommended.
Seven original cuts of straight-ahead street rock and a by-the-numbers NEGATIVE APPROACH cover. BRIX! keeps things moving along at a brisk pace, which I appreciate. None of the songs crack the two-minute mark, and they play faster than many bands that they might be compared to. While not as refined as CONSERVATIVE MILITARY IMAGE, these lads are cooking with a few of the same ingredients, blending hardcore and Oi! As expected, the vocals are gravely with plenty of gang chants throughout. A touch of pub rock influence creeps in, culminating in a lifted “Back In Black” lick at the end of their eponymously titled song “Brix!”—I could’ve done without that, but it is instructive. They don’t sound like AC/DC, but they do sound like the kind of band that would randomly break into a tired AC/DC riff.
These Chicago punks who share a name with a gross New York deli soda have teamed up with French label Six Tonnes De Chair for their second release. CEL RAY is clearly a band who’ve clomped around in the yolk that oozed out of NWI a decade or so back, but they’ve managed not to track too much goo onto the four tracks that make up this EP. By forgoing the brash cartoonishness of a lot of their contemporaries and balancing their DEVO stiffness with some loose, jazzier sounds closer to the MINUTEMEN, they avoid sounding like the straight CONEHEADS-core that is all too ubiquitous these days. It’s upbeat, energetic punk that reminds me bit of what I love about the pre-hardcore punk that came out of Southern California, anchored by a strong vocal performance—Maddie Daviss delivers her lyrics about the mundanities of Midwestern living in a cool, deadpan talk-shout that every so often breaks into a full-throated song—with just the right amount of C.C.T.V.-esque jitteriness to give it more of a contemporary post-punk-y edge. Absolutely worth checking out!
Cleveland, OH’s crazy lo-fi punkers present this collection of singles from their adventures, compiled here for the delight of the commensals. Made from non-album tracks from their twelve years of activity so far, it’s rough-edged with a kind of garage-y punk attitude, with its own dosage of fury, rage, and nostalgic feelings of being in a youngster punk formation in your early years playing live for the second time. Things of a sincere and chaotic nature.
Solo project from Australia that sounds like MONSTER MAGNET and DEVO caught in a drug bust. Heavy groove riffs and psych experimentation nestle up to chirping 8-bit synths and crunchy beats, accompanied by spoken/barked vocals. The production is perfect: DIY, open-room sound with big drums and bigger guitars and vocals slightly low in the mix. It sounds live, but it also sounds meticulously crafted at the same time. “Got a Fire in my Socket” opens the album with new wave keys and buzzing bass, while the next few tracks, “Matter Vs Matter” and “10,000 Monkeys + An Argument with Time,” bring out the super riffs. It’s an unusual combination of dorky guitar hero power, but it flows so well and comes across so naturally that you’ll question why this isn’t a regular genre blueprint. “Entangled Entropy” features swelling synths and a post-punk bouncing bass line with a vocal melody that recalls the mellower moments of TOTAL CONTROL. Highly unique and highly recommended.
It’s difficult to use the tools of the past to make something that sounds new, coming from its own strange point of view. E.T. EXPLORE ME is firmly indebted to garage rock from all its resurrections, including that of the early ’00s, to refreshingly potent effect. With a crunchy organ highlighted in practically every hook, these Dutch rockers have a sonic palette that hammers home a disaffected-cool boogie. Track after track oozes with alien attitude, helped along by a lush use of synths that squabble and stab underneath hushed vocals and original applications of percussion. It’s all very danceable and never stale, sitting comfortably alongside tried-and-true acts like QUINTRON AND MISS PUSSYCAT and even dabbling in darker psych realms à la MOON DUO. Title track “Drug Me” in particular has a locked-in zaniness impossible not to bop around to especially with an utterly cranked organ sound that is deliciously dank ‘n’ dirty. All in all, a cool time that feels like a throwback to the future.
Debut LP from the Swiss/Spanish trio FIRE CULT. Fun indie pop sound mixed with sass, whines, and screams that are at times dissonant and at others melodic (often both) within these longer-format songs, as in “The Runaway,” which starts slow, droning and repetitive, then halfway through shifts to fast and upbeat, declaring “I’m running away.” “No One Tells You” is my pick of the album, with blaring attitude and a quick tempo. That said, I think “Static World” is probably the catchy indie pop hit of the lot—it’s tender, sweet, and has enough grit to balance it out. I got to review their first release We Die Alive EP when it came out in 2021, and they have only expanded on their cult sensation that seems to be focused on playing great tunes and having a damn good time while they’re at it. While The Very Edge of the Sea certainly contains the elastic-snap of indie, they have dropped the synths that were on their first release, giving this album a heavier, and at times more serious feel. This good-time pirate ship of a band may catch your attention, too. Beware!
The importance of melody in punk music is often overlooked. However, it played a crucial role in shaping the sound and impact of punk songs. GRISAILLE, featuring members of SYNDROME 81, presents a debut EP that seamlessly blends addictive melodic punk influences with emotive storytelling. Drawing comparisons to GORILLA ANGREB, the VICIOUS, and early MASSHYSTERI, the band showcases a fresh take on the genre. With each track, they deliver a raw energy that resonates with lovers of the more melodic side of punk, while their poignant lyrics add depth to their music. GRISAILLE’s EP promises to be a standout release in the punk scene, capturing the essence of classic punk while infusing it with their own unique style.
On this latest EP, HACKER from Melbourne sticks to their marriage of tech themes and pounding hardcore while showing an updated approach to their songwriting. It’s just as tight as their Pick a Path 12” from 2021, but these four tough tunes feel a bit more creative and catchy than the band’s previous output. It seems like these guys are becoming the diabolical machine they allude to in their lyrics and artwork, and “Scammer” is a real jam if you’re looking for something snappy to get stuck in your head.
Powerviolence out of Portland teetering more on the trashier side. Hard for me to not compare these guys to MAN IS THE BASTARD seeing as they’re a bass/drums combo, but that’s what I’ll have to default to here because…well, they sound a lot like them! They also give off a SPAZZ/CAPTAIN THREE LEG vibe, as their riffs are catchy and melodic. For just being two people, they sound massive and super heavy. Drums sound natural, which is always an A+ in a genre that resorts to triggers.
Caveman hardcore from California somewhere between a palate cleanse and a pressure wash, KEVLAR UPPER tips their hat to notions of “mystery,” presentation-wise, but not so much that I can’t highlight the presence of dudes from WORLD PEACE, COMPASSION, ULTRAS, and Fear the Walking Dead—as in the TV show, not some band naming themselves after it. Spenser Granese is the guy adding to the long if intermittent crossover history of hardcore punk and acting, and I think it’s him on vocals for these five songs. Charging out the gate with borderline powerviolence intensity—in the ballpark of someone like VACCINE—the five-piece goes slower and longer for “Shackle,” which is kinda like a weightlifter’s version of TOTAL ABUSE. A fine example of the sort of thing it is.
LIFE SCARS from Eastern Poland recently dropped this full-length slab of melancholic, stench-ridden, D-beat-driven crust and it’s pure gold. Simple yet concise instrumentation backs a vocal delivery that is reminiscent of NAUSEA. Lyrics delivered in LIFE SCARS’ native language have a sort of sweetness that feels ancient but alive. Blasting breakdowns and screaming guitar crescendos are ubiquitous and draw the listener further into the pummeling storm. If you’re a fan of NUX VOMICA, ROT//WOVEN, or AGE OF COLLAPSE, then be sure to check this out!
Mazandaran is known as “Devil’s Land” in north central Iran. This UK-based band consists of members of the Iranian diaspora playing protest music, reminiscent of Burning Spirits-style Japanese hardcore with epic guitar leads. Estranged is the debut recording by the band, with direct political expression coming from their own complex experiences. Raging hardcore punk with a sense of urgency and a combustion of powerful energy.
NIGHTFEEDER’s music is a raw, intense blend of punk and metal influences that some would call crust. The fact is that their members helped shape the genre with such important bands as DISRUPT and CONSUME. So, with a resume like that, you should open your ears to this three-track EP! Side A is an anthemic mid-tempo banger with a big chorus hook that almost flows like a VENOM song, and Side B expands on their more straightforward crust past with guitar-driven hardcore expertise. The band’s DIY ethos and commitment to their underground roots add authenticity to their sound. NIGHTFEEDER’s music is a fierce statement that captures the spirit of crust punk, and the artwork creates an interesting immersive MISFITS-like vibe.
Heavy, rocking, full-throated hardcore with former members of VOORHEES and IMBALANCE. The earnest shouted vocals and mostly mid-tempo clean production recall a mix of B’LAST and FUCKED UP; carefully arranged heavy guitar music with enough grit to appeal to metalheads as well as punks. The title track has a three-way guitar and bass call-and-response pattern that adds texture and gives slight post-punk vibes. This is continued in the six-minute-plus “End Song” with JOY DIVISION bass and sung vocals that builds into a loud climax. Solid, straightforward hardcore worth checking out.
A lo-fi and primitive punk artifact from the late ’80s Polish scene, this demo from PRZEJEBANE (“Fucked” in Polish) was allegedly recorded in 1987 and features ten tracks of cut-and-dry punk, with clear influences from the RAMONES, the CLASH, and a little bit of early BAD RELIGION, sometimes inching towards skate punk. Lyrically, from what I found through some internet sleuthing, the band speaks mostly on anarchism and drug use, however I can’t make out if it’s in a positive or negative light. Pretty cool, but not entirely essential stuff. If you want a small taste of some late ’80s punk from Poland, this may be worth your time.
The first new release from this Columbus quintet in about two years, REJOICE reminds me a bit of what NEGATIVE APPROACH would sound like if its members were born within the last quarter-century, mainly because the singer sounds like a modern-age John Brannon. Otherwise, this a pretty groovy record, and teeters more on the metal side of the hardcore see-saw than punk. I don’t know how else to explain this, but this record is chock-full of what I’ll call “spooky” guitar leads that you often hear in black metal. Actually, this whole album has a blackened edge to it. It would probably sound like it came directly from the Arctic Circle if the recording quality wasn’t so top-notch.
This Chicago project’s debut LP delivers aggressive raw punk with somber tones and solid cavernous, reverbed screaming vocals, strident riffy as hell guitars, and sharply pointed drums. With former members of anarcho-punk beasts SIN ORDEN (who played once in my backyard on Argentina back in circa 2009, which I will never forget), they exude South Side Chicago attitude and scream about social inequities of the shit system as a very fast-paced ball of sound and mayhem. You are welcome to play here at my house again whenever you want! Recommended.
Ready to have your speakers blown away by some raw, unfiltered Swedish D-beat music? SCARED EARTH’s second album is here to bring that gritty, high-energy sound straight to your ears! Drawing inspiration from legendary bands like ANTI-CIMEX and HEADCLEANERS, SCARED EARTH’s music is a powerful blend of old school Swedish hardcore vibes and modern intensity. They stay true to the roots of Swedish D-beat, delivering that signature sound with fierce passion. With members from DOM DÄR, SVART PARAD, MARTIAL MOSH, and DISSOBER, you know you’re in for a wild ride!
This release consists of demo sessions from Houton’s own SEXPILL. Waging warfare of unrelentless noise bombardment with the H-town royalty, Big Swerv’s Sakevi-style barking vocals rip your skull throughout the record. Feels just like grinding up some rare vintage GAI and CONFUSE demo tapes from the ’80s, crushing up some Hot Cheetos you got at the gas station, mixing it together, and snorting it up your nostril. SEXPILL’s got some real tracks, and I think we all already know who’s going to win the next Grammy Awards. My favorite track on the EP is “Barry White.”
An album from this Portland, Oregon-based band that was stalled by the pandemic lockdown finally makes it out on vinyl. The album is split into a “studio side” and “live side,” giving a special raw looseness to the latter half. The band’s anthemic mid-tempo sound feels equally influenced by garage rock, power pop, and an early ’90s college radio lineage. The lyrics and vocal delivery are what set the band apart from its peers, with a mumbled hesitant optimism for an increasingly dysfunctional existence.
Originally released as a 10” in 1982, Straight Out the Fridge is as succinct and perfect a representation of early ’80s UK DIY as you’re likely to find this side of a Messthetics CD-R: spiky enough to serve as a logical successor to the golden age of Rough Trade art-punk, sweet (but not saccharine) enough to lay down the initial bricks of a (wanna buy a) bridge to the jangly bash of C86. Sally Andrews’s chirpy vocals are the most obvious element connecting TWELVE CUBIC FEET to their proto-indie pop contemporaries like GIRLS AT OUR BEST! and DOLLY MIXTURE, bursting with giddy enthusiasm over the junkshop disco beats and bubbly keys of “Blob” and switching from breathless shouts to dreamy, sugar-coated melodies amidst the dark, moody swirl of “Mary’s Got the Bug.” Bassist Matthew Vosbergh takes the lead on “Escaping Again,” which slowly unwinds with a looping throb of post-punk bass and the otherworldly homespun minimal wave atmosphere of his SOLID SPACE project, before crashing into an pseudo-mod rave-up with Sally’s ecstatic backing harmonies and lilting keyboards, while the mind-bendingly hooky chorus of “Hello Howard” is borderline new wave in its synth-forward warble—it’s not difficult at all to imagine it being a ridiculous hit in a world less stacked against DIY pop oddballs. If you weren’t already a TWELVE CUBIC FEET believer, you can (and will) be one now.
Before I even listened to ULTIMATE DISASTER, I already knew that I was highly likely to love it. Not just because the name is an absolute cliché (just like myself), or because the band is from Richmond and has members of DESTRUCT and HORRID PEACE, but because I knew that it would comfort me and validate my tastes, which is pretty much why I listen to new bands these days. ULTIMATE DISASTER plays orthodox D-beat, meaning they don’t stray far from the “te amo D-beat” philosophy. In fact, they stick to a very pure version of the formula, not so much aping DISCHARGE but emulating those aping DISCHARGE. Know what I mean? D-beat bands like ANGER BURNING or DEATHCHARGE or even HORRENDOUS. The sound is raw with a “live in the studio” feel, but it still sounds aggressive and impactful—not unlike ’80s peace punk, maybe. D-beat raw punk at its finest, and you can tell that ULTIMATE DISASTER knows exactly what they want to do and how to do it. The D-beat path is a well-trodden one that many think is easy but it is hard to do well something as seemingly and deceptively simple as a good DISCHARGE rip-off. It requires taste and faith in the beauty of the D, and this band has both.
Getting old is strange. Listening to new(er) bands draw from disparate and foreign influences to create something that sounds familiar in the context of DIY punk is interesting to say the least, and WHITE BEAST is this feeling in spades…’90s grunge, dark indie songsmiths, SYSTEM OF A DOWN, and infectious modern punk anthems will all find a place to nest here, and the Richmond, VA bass/drums duo owns all of it in a way that’s impossible to criticize. When’s the last time you heard a band conjure GODHEADSILO and INTERPOL?
Woooofffff, this one lands just right. How did ARTIFICIAL JOY inject ’80 Sunset Strip energy into snotty, femme-fronted modern hardcore stomps? I don’t know and it doesn’t make sense (though I did blast RATT for a solid six hours the other day), but ARTIFICIAL JOY makes me feel like that even though they sound like a ripping 2020s DIY punk act. And this, my friends, is wonderful.
Two bands from Barcelona that I have absolutely never heard about (damn, I do get older) do a split tape together, and well, you’ve got to like it when local bands team up to release something. Sadly, this is not my cuppa at all. SVNYA reminds me of late ’80s Deutsch punk or early ’90s Mexican hardcore back when both genres were starting to become boring. The band definitely sounds like a Spanish band (especially the very special vocals, half spoken/half shouted). I am not really sure what the band is trying to achieve—you’ve got straight-up punk songs, some with a crossover metal punk feel, and the production is heavy but somehow lacks energy and aggression to really work. I am a bit harsh and I can see the band has a worthy political message, but their side is not for me. On the other side, BANDA DES FEMER delivers 21 short hardcore songs, and I actually quite like it. Simple and unsophisticated old school hardcore punk in Catalan with a raw sound that fits the genre. I am reminded of classic Spanish bands like HHH or ANTI DOGMATIKSS, and more recent bands like OTAN when BANDA DES FEMER goes fast, but I am unconvinced with their slower, snotty punk songs. You can tell the band has a lot of fun and they’ve got that youthful energy that makes their side worth giving it a try if you are into raw Spanish punk. This is the first recording for both bands, so they are bound to improve (or are they?). The artwork is punker than you.
As a fellow Illinoisan, I will always give props to bands from not-Chicago, especially if they’re from the very bottom of the state. I hear Carbondale has a great punk scene, though. Anyways, lovely pop punk outing here. A very nostalgic listen for me. Reminded me of the first time I heard Fat Music for Fat People, which forever changed my life. Catchy vocals, noodly guitar leads, treble-heavy bass runs, and the occasional drive-by ska riff! Feels like the early ’00s for me, makes me want to dig out my old skateboard and pretend like I know what I’m doing again. Great stuff here. For fans of early Fat Wreck and Epitaph.
DISCLOSE worshipping time! You know the drill, this one is for the Kawakami aficionados out there. Nothing new under the sun, just two bands, CMOΓ (“Smog”) from Skopje and ERGOPHOBIA from Germany, sharing their love for noisy, fuzzed-out D-beat. So if you’re ready to dive headfirst into a sonic maelstrom of D-beat, give this one a spin. You won’t be disappointed.
Carrboro, NC band of scene veterans that plays SUPERCHUNK-style indie punk with some fuzz-psych and hardcore sprinkles. Tracks like “Cactus Wife” and “North Pole South” are catchy, likeable noisy pop that you could throw on at a backyard BBQ with no complaints. “Fast Fash Treasure Island” branches out with some Kim Gordon-esque vocals and a sneaky lead line that gives a hint of what’s to come. “Fixedair” and “Penelope” are swirling psych excursions with fuzz tunnels and submerged cave-in vocals. Then, as a surprise, COLD CREAM goes hardcore for the last two, channeling the melodic end of HÜSKER DÜ. Upbeat and enjoyable CD with enough experimentation for repeat listening.
