Reviews

For review and radio play consideration:

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

Abaddon Live at CBGB LP

I shouldn’t have to talk about ABADDON in the time of the internet, so I won’t condescend to you when you can use search engines…but please know that they are fucking important. This is probably the only recording of their 2003 US mini-tour you will ever hear ,and to say that it is worth your time would be a criminal understatement. Fierce and honest Polish hardcore originally active in the early ’80s, this recording captures a reformed ABADDON at CBGB blasting through tracks from 2004’s Godzina Krzywd instead of Wet Za Wet or the REJESTRACJA split (aside from opening with “Rewolucja”), and honestly, it’s a really good move. The band was on absolute fire, and the gruff vocals get a little rougher as the set progresses, just like the guitar gets a little looser and…this is what you want from a live recording. Legendary band, amazing set, grateful it was immortalized. Wild that ABADDON, ARMIA, and DEZERTER all toured the US in 2003—it was like our own Jarocin, and we just didn’t know it.

Abolitionist The Long Slide cassette

Out of the dampness of Oregon comes ABOLITIONIST with a ten-song cassette full of synth-driven, melancholic, post-hardcore-inspired political punk. Between the blasting E-beats, you’ll catch lyrics that tell a story pertaining to a potential future world. The Long Slide is a bit of a concept album in that regard. The Long Slide is also a sonic departure from previous ABOLITIONIST recordings with its electronic-driven rhythms, droning synths, and distorted vocals. “Smoke” has a great post-punk-influenced intro, then rips into a snotty vocal delivery of lyrics critical of accelerationism. There’s a Cold War-era vibe that permeates a lot The Long Slide, as it cites ’80s new wave but without an ounce of respect. I really dig the lightning-fast energy of “Where the Bad Folks Go.” All in all, The Long Slide reminds me of a late night dub session where PROPAGANDHI takes over the turntable with a collection of new wave singles and remixes them into some great punk rock.

The Anomalys Down the Hole LP

With over two decades in existence, Amsterdam’s ANOMALYS emerge further evolved on this latest LP, delivering a ragged and blackened garage punk sound with a warped 1960s lean. The frenetic freak-outs that filled much of their previous output are fewer and further between here, making way for heavier and moodier moments, but there’s still plenty of electricity in the sound. Tension peaks on numbers like “Despair” and “Slaughterhouse,” and the killer, decompressed instrumentals of the opening “Anxiety” and “Flat Top” round this outing nicely. Marvel at the calamity of their wailing, otherworldly racket—Down the Hole is the band’s crowning achievement.

Bleakness Living Shadows LP

Excellent live record from this Paris band. Recorded on tour in Georgia (the country), BLEAKNESS plays anthemic deathrock-inspired post-punk, captured flawlessly on this two-track LP. I don’t know if I have heard a better sounding live record, for real. For fans of POISON RUIN or ARCTIC FLOWERS, the songs feature heavy chorus on guitar, earnestly sung politically-themed vocals, and driving bass and drums. There isn’t much information regarding song titles or lyrics (other than stage banter), but it kills. They are so tight, and the energy is palpable. It sounds like there were maybe fifteen people in the Tbilisi audience, and I wish I was there. Dark punk for the ages and highly recommended.

Blind Alley Live Tuxedo 1982 LP

From the little I can gather, BLIND ALLEY was a “cult” mod/power pop band from Torino, Italy, active in the early ’80s. I think the description works, but I’d say you could also throw ska into that mix. And while they may be from Italy, you could easily mistake them for being English. I’m not sure they were a cult band, but they were certainly very good. There’s very much a JAM sound going on and, in fact, they do cover the JAM in this live set. And for a live recording from 1982, the quality here is very, very good. Good stuff.

Cemetery Girl / MDOP Asymmetrical Warfare split EP

Solid little slab of Michigan hardcore right here. MDOP plays classic heavy, mosh-oriented powerviolence with a hint of youth crew energy. Good stuff, but nothing you haven’t heard before. CEMETERY GIRL, on the other hand, teeters more on the early ’80s hardcore vibe and sounds a hell of a lot like a punk version of UPSIDEDOWN CROSS. I absolutely adore the vocalist, combining screeching yelps with charismatic toasting, almost like a hardcore Flava Flav! How can you not love that? Really, what’s important here is the messaging, as these are the anthems of our times. This is one of those records where the liner notes are just as crucial as the music.

Crippling Debt Depletion cassette

CRIPPLING DEBT from Fort Lauderdale, Florida plays old school grindcore/powerviolence, but with a decidedly more brutal approach, so sans electronics, samples, or bullshit. The Depletion cassette has nine songs, and each is well under the minute mark, with most clocking in at less than 30 seconds. FUCK ON THE BEACH, but a heavier CAPITALIST CASUALTIES with more metal and aggression. CRIPPLING DEBT also integrates a death metal vocal styling with guttural grunt work, so think something like CATTLE DECAPITATION or OCEANO. Perhaps the most general comparison I can make is imagine a raw punk version of INSECT WARFARE.

Disciple B.C. Blood, Power, Sacrifice LP

Excellently executed doomsday crust punk filled with satanism and blasphemous whips. Featuring members of DOOM and AGNOSY, and led by an unholy reverend who merges Biafra with Vanian in the most literal way possible. Theatrical to the core in the vein of MERCYFUL FATE, but with a horror crust punk sound. Tight, strict-grip drums and ripper guitars. “If there is a Hell, we’ll see you there!” Favorite track: “Pray.”

Fear of Extinction / Warcollapse split EP

This split EP is a perfect example of punk lexical fields. With the bands’ names being made up of words like “fear,’’ “extinction,’’ “war,’’ and “collapse,’’ one can easily guess that they are not going to deliver retro ’90s ska-punk, which, to be honest, is a relief for humankind by and large. I missed out on this even though I follow Phobia Records closely in its divine mission to convert the masses to Swedish hardcore, so I was fairly curious. WARCOLLAPSE has been a favourite of mine forever and their brand of gruff Scandicrust effortlessly exemplified the classic crustcore sound, and they have kept producing solid works until today. I sadly have to confess that I could not get into their latest album, but the two songs on the EP are more in line with what I expect from the traditional WARCOLLAPSE sound. The first number is a heavy and metallic mid-paced old school crust number, while the following adheres to the typical fast and dark Swedish crustcore blueprint. On the other side you will be faced with two songs from the long-running FEAR OF EXTINCTION, the most Swedish-sounding band of Czechia. I would lie if I claimed to be conversant with all their discography, but this is excellent. This merry bunch worships at the altar of late ANTI-CIMEX and WOLFPACK, and they do so with the utmost devotion. Punishing, intense, and proper angry. You can tell they know what they want to achieve and how they plan to go there. Whether you want to embark on the journey is completely up to you, but at least neither of the bands lies about the destination.

The Gents / Klint split EP

Goodbye Boozy is giving me consolation in the current garage punk landscape. I don’t think there is a release by the Teranesian label where I am not finding the perfect balance of compelling and filthy. Case in point, this new split by Hamburg’s the GENTS and Schleswig’s KLINT. The former is a band of off-duty elementary school teachers ripping into four tracks of snotty, working-class (and I can’t help but think a bit pent-up?) punk, made to be played in front of drunken friends at the pub. How could this not be good? Listen to “Leftovers” first. KLINT brings an open hydrant full of synth aggression that can only be summed up as savage. The band has a long discography of reliable, sonically assaulting releases, which this split continues in perfect step. I love “Toiled for Nothing,” in particular.

Hedge Better Days LP

Straight out of the gates, HEDGE starts kicking you in the chest with a catchy tune that builds on all the better melodic bands from the late ’80s and ’90s. Imagine the first time you heard MOVING TARGETS, RADON, the LEMONHEADS (Hate Your Friends to Lick, none of that solo Dando crud), TILTWHEEL, middle-period HÜSKER DÜ, and even JR. JUGGERNAUT. This record has a comfortable and familiar sound while retaining its newness, entwined in well-crafted and memorable songs.

Kar​ō​shi The End of the Illusion of Freedom LP

Not being totally encyclopedic with Japanese culture, I had no idea what “kar​ō​shi” meant before listening to this humble and overlooked record. It can be translated roughly as “overwork death,” so basically a poor soul who dies from working too much (which is pretty fucking horrible, indeed). Who said punk couldn’t be educational? You can thank KAR​Ō​SHI for this trivia-worthy piece of wisdom. They are a studio project with Brian from DISAFFECT and SCATHA, as well as two members of the legendary ULTIMO GOBIERNO from Spain, a fairly unlikely collaboration. I have to admit I was a little suspicious and not particularly optimistic, but this is really good and quite unique in its own way. KAR​Ō​SHI plays somber hardcore punk with a metal influence, but they rely more on anarcho-punk angst and anger rather than the brute force, perms, and punishing heaviness you would commonly associate with metal punk. This is punk rock first and foremost. I like the political nature of the lyrics and how melancholy the album sounds at times. The stronger point of The End of the Illusion of Freedom lies in the groovy, epic, mid-paced metal punk numbers reminiscent of AMEBIX or AXEGRINDER in the writing, but using the more progressive, psychedelic “post-crust” mood and tones of bands like BAD INFLUENCE or ZYGOTE. The faster, ’90s-flavoured anarcho-thrash songs are pretty basic, classically executed; DISAFFECT or ΝΑΥΤΙΑΣ come to mind. Overall, you could argue the production is lacking in intensity and impact, that there are some slip-ups here and there, and it could all sound better, especially in the light of modern production, but then I think the LP has a charm and a je ne sais quoi that makes me come back to it and that most bands are unable to create. The guitar work is brilliant here, there is always a catchy melody, a hook that makes the song stick with the listener. It pushes all the right buttons and I did not expect to like it that much.

Dion Lunadon Systems Edge LP

This record really is strong. It’s raw, but it’s catchy. It’s brutal, but it’s melodic and kind of pretty. It’s got a grittiness and pounding beat that demands attention. You can’t ignore it. There’s also an uneasiness about it. That doesn’t always work for me, but it definitely works here. And it doesn’t really sound like the STOOGES, but that band does come to mind for some reason. Maybe it’s the energy. Anyway, this is totally worth looking for.

Mentally Parasites …To Live LP

There isn’t that much information on the obscure Slovakian grindcore band MENTALLY PARASITES, other than that they formed in 1989, released the obligatory split with AGATHOCLES, and a couple of other records. Upon digging a bit deeper, in 1997 they recorded a dozen songs for their planned debut album …To Live. However, the official release never happened, as the band broke up shortly after. Fast-forward to 2025, when Papagájův Hlasatel discovered this lost album and decided to finally give it a proper release. “The Last Nation” begins with an unexpected, thunderous tribal pounding of drums that erupts into mid-era NAPALM DEATH groovy grindcore, with some semblance of what SEPULTURA was doing on Chaos A.D. and even Roots (with all the tribal elements). The punk elements in this record come mostly in the form of lyrical content that focuses on ecology, animal rights, anti-racism, and all those important topics. For fans of groovier grindcore and even death metal acts like OBITUARY.

No Spoiler Ghosting LP

A snarling buzzsaw of an album from Italy that has equal parts ’77 punk, ’80s power pop, and ’90s grunge. There’s an UNDERTONES-inspired track with “When It’s Over” and a BUZZCOCKS-sounding song with “Aubrey Plaza.” “Straight from the Heart” sounds like it could have come from the OUTCASTS singles collection. The album sounds strongly cohesive, and every one of the ten tracks is solid.

Promaja Bravo Brava LP

Ethereal post-punk band PROMAJA has achieved a very complete, well-rounded, and full sound. They’re melodic and lyrical, with sort of distant-sounding vocals that wrap around you like a swirling mist. Each song flows from the next in a subtle but lovely way. I really enjoyed the track “Cinematic TV Static,” as it started with a faster drum beat, which was a bit different, but then built to their classic, powerful post-punk sound.

Punter Australienation LP

High-quality production on this one. It’s not that often I hear something recorded as well as this. They sound like they travel in the same circles as AMYL AND THE SNIFFERS, although I like this band more. The playing on this is great as well. At their best moments, they remind me of LEATHERFACE a little bit. If you’re a fan of melodic hardcore, there is a lot to like here.

Rainswept Demo ’25 cassette

RAINSWEPT’s name might sound poetic, but don’t let that fool you—this four-piece out of Rome, boasting members of STRENGTH APPROACH, FIRST BLOOD, and BLVD OF DEATH, is clearly chugging from the same bottle as 1990s NYHC bands like MADBALL and BIOHAZARD. Groove is the name of the game here, and there’s plenty to mosh to if metallic hardcore is your thing. But the first song, “137 Anthem,” is a seemingly pointless instrumental that eats up about a quarter of the whole release. Bold move, guys. This isn’t really up my alley, but if any of the bands mentioned above do it for you, check ’em out.

Skull Cult Can You See What I Mean? EP

Let’s get something out of the way real quick. We all agree that this is the best album cover on this godforsaken planet, right? Yes? Good. From the epicenter of egg-punk (or weird punk, if you’re too cool for that), Indiana’s SKULL CULT has proved again and again that they mean business, and has been a staple in my personal hall of fame ever since I first heard of them. This year’s Can You See What I Mean? sounds like they’ve dialed down the weirdness a bit and leaned into the catchiness element. Don’t get me wrong, all the things that made SKULL CULT great in the first place are present throughout the EP. Blown-out guitars, hyperactive drums, sick bass lines, nice synth melodies, and batshit insane vocals are still front and center, just a bit more modest. To me, Can You See What I Mean? signals a slightly new direction for the band, one that I’m curious to see where it leads.

Snörkler Sleven Songs cassette

Disjointed, riff-less art-punk from Memphis, TN that’s as angular as the cassette’s isometric artwork. Each of the seven songs takes the listener on more of a wild ride than I would ever willingly sign up to be a passenger. I don’t think I fully understand the intention of a band like this. Everyone is clearly good at their instruments, but between the showboating, the herky-jerky start/stops, and the quirky vocal growls into yelps, it almost feels as if each member is fighting for the spotlight. From what I can tell, SNÖRKLER is very novelty costume-heavy in their live performances. Think of it as something of a noise rock SLIPKNOT. Hell, some of the licks don’t sound that far off from that comparison, from what I can recall. To me, this comes across like much more of a confusing art project than a punk band. I was excited when I saw that the singer also plays flute/piccolo in the band, but after three listens, I still can’t find it. A shame. I don’t think there’s a song in existence that has a discernible flute on it that I don’t find strangely beautiful.

The Speedways Triple Platinum LP

This collection of tracks from the SPEEDWAYS’ first five years has everything you want in this style of power pop—hand-claps, catchy-as-hell choruses, key changes, you name it. A perfect rendition of early ’80s power pop, when new wave sounds were starting to creep in but nothing was ruined by major label pariahs just yet. Even better, as this is a collection of mostly singles, you don’t get any of the filler that was almost a gimme if you decided to snag a full-length by, say, FOTOMAKER, the SCRUFFS, or (to a lesser extent) 20/20. Some of these are re-recordings or remixed versions, and it adds to this collection of hits almost feeling more like a deliberate album. Forty-five years ago, the SPEEDWAYS would have been lapping their peers, and honestly, they still do today.

Thighs Total Dejection cassette

Sonic weirdos, check this one out. Boston art-damaged misfits take traditional rock, no wave, and sound collage and transform them into eleven short mini-skronk epics. Churning loops of baritone sax weave around spoken and shrieked tag-team vocals. My brain picks up signals from the CONTORTIONS, ERASE ERRATA, and MORPHINE mixed with a little Poly Styrene vocal spice. “City Incinerator” and “Humans” are warbly ’50s rock throwbacks like jukebox 45s distorted from melting in the back seat of a hot car. More playful than, say, TEENAGE JESUS AND THE JERKS, but just as confounding upon first listen. Great tape. Catch them live never because these rascals already broke up!

Youth Crusher Youth Crusher LP

Excellent set of demos from Athens’s YOUTH CRUSHER, one from 2018 on the A-side and one from 2017 on the B-side. YOUTH CRUSHER plays politically-charged hardcore punk inspired by early Greek punk bands like NAFTIA, XAOTIKO TELOS, and ADIEXODO. Both sides rip, but I prefer the A-side (2018) as it’s a little more streamlined and concise than the rough and gruff B-side (2017). This is a cool way to be introduced to the band (who have been active for a decade now) and sees a neat evolution of their sound; I’d recommend starting with the earlier stuff and working your way towards the later. Regardless of which order you spin it, this one is highly recommended.

Πλεκτανη Κ​α​λ​λ​ι​τ​ε​χ​ν​ι​κ​έ​ς Α​ν​η​σ​υ​χ​ί​ε​ς LP

We have some pretty raging hardcore punk from Athens, Greece here. It wouldn’t have surprised me if they were from Sweden, because they play that style of hardcore. “Plektani” is how their name translates into something I can try and pronounce. Two-guitar attack that makes it sound thick and full. Good production, good songwriting, excellent riffs, I couldn’t ask for much more. I will listen to this again and again.

Angel Face Take Me Back / Night and Day 7″

From Tokyo supergroup ANGEL FACE, “Take Me Back”/”Night and Day” is a classic one-two rock punch. With Fink (TEENGENERATE, RAYDIOS) and Toyozo (FADEAWAYS) handling the strings, the band’s impressive pedigree sets expectations high, and this tight single rises to the occasion. The A-side is an awesome upbeat pop-punker with a sickly-sweet hook; the kind of tune that does that neat trick of making heartbreak seem kind of fun. On the B-side, “Night and Day” comes in sounding like it’s about to be a cover of “Detroit Rock City” before breaking into a formidably infectious boogie complete with sing-along chorus. Flip it over and over and over and over.

Ansiax / Bakounine split LP

ANISAX is crusty hardcore, some D-beat, some good riffs, even a song that reminds me a bit of the way D.R.I. plays. Most of the time, they are playing music influenced by a lot of classic crust bands. I like this, it reminds me of the 1990s. BAKOUNINE is a good match for this split. Similar in style, but a little more D-beat. Both bands give us some nice hooks that really make this a good listen.

Brute Force Trauma / Socialstyrelsen split LP

Swedish punk is a bit like crisps. You’ve got so many different flavours that you just cannot taste them all, unless the idea of kebab-flavoured crisps is your thing (in which case, you should probably talk to someone). What I mean is that I had never actually listened to SOCIALSTYRELSEN (who have been going for a long time), and never even heard of BRUTE FORCE TRAUMA, although I like Swedish punk and crisps. It pains me to say, but this split LP leaves me a little cold. SOCIALSTYRELSEN is certainly a powerhouse and their side sounds absolutely relentless, but I had a hard time getting into their ’00s modern dark crust style. I was reminded of AMBULANCE or SCHIFOSI, KONTROVERS at the best of times, but I am seldom in the mood for that sound these days. The band mastered the craft, undeniably, they are tight, ferocious, have the appropriate dark guitar leads and a great vocalist, but I am personally not won over (but I know a lot of people who would be). On the other side, the new band BRUTE FORCE TRAUMA is said to have former members of WOLFPACK and CRUDE SS, so that does make one curious. They go for a more direct and rocking heavy downtuned käng style, aiming for a late CIMEX/WOLFPACK vibe, but they fall a bit short as the recording lacks the threatening ferocity and intensity necessary to really pull it out, and I was left unconvinced by some of the vocals and guitar arrangements. Not a bad record, but not one I would rush to buy.

Car Bomb Parade / RBNX split LP

Hard-charging New York punk. RBNX is a little chunkier and has a slight metal tinge, while CAR BOMB PARADE is slicker and injects considerable grit into the mix (lyrically and musically). Both bands are well-polished, determined, and ready for action—aggressive and honest. Into both sides more the more times I listen.

Chasm Demo 2025 cassette

DISCHARGE-drenched D-beat aficionados CHASM come tearing onto the scene out of Seoul, Korea with this four-track ripper. CHASM is set apart from the general D-beat milieu due in part to the vocal delivery, which is very much of the studded leather-gauntlet-covered fist in the air type. From the opening squeal of feedback to the final drumbeat drop, this demo is brimming with noisy D-beat which never strays from the band presenting their brand, so sans any superfluous sounds, you get just straightforward CHASM. This short sampling is absolutely worth a quick listen, but leaves me hungry and wanting for more.

Demmers / The True Faith split 7″

Council Records in recent years has become a trusted name in underground music. Wherein, whether you like what they release or not, the underlying thread is one of quality craft and toned to a mature listener. TRUE FAITH’s side is a perfect synth rock song akin to HOME FRONT, 1985–1990 CURE, TALK TALK’s “It’s My Life,” FLOCK OF SEAGULLS’ “Space Age Love Song,” or those first few HUMAN LEAGUE LPs. The DEMMERS side is more of a 1981–1983 CURE vibe, starting from the first rhythmic bass through to the very last ringing guitar note. Both songs could easily slide into any mid-’80s mixtape that your art school friend recorded off their college radio station, and I say that in the best, most delightful way possible.

Drink Deep DD EP

DRINK DEEP’s 7” DD is a no-frills time warp straight into the heart of classic DC hardcore, ripping through eight tracks in just over seven-and-a-half minutes. Recorded live in-studio by a Berlin four-piece in 2023, this EP features members who’ve played in such far-flung bands as REMISSION, the FOG, and PRAISE. Formed just a few years ago, DRINK DEEP nails that classic ’80s-style hardcore vibe with all the grit and sweat you’d expect. Phillippe’s vocals have an urgent, unpolished energy that brings to mind a young Ian MacKaye, and the lyrics feel sincere without slipping into preachiness. It’s not out to change the game, but it’s a solid hit of nostalgia for punks who still swear by the ’80s sound. I liked it. Check out the track “Empathy.”

Farce Sights of War EP

Brutal Finnish D-beat trio that sounds exhausted with anger, pummeling hate, and pain, giving us vibes of total raw crust punk devastation. Anti-militarism merges with incessant noise, harsh-as-nailbombs drums, and caustic strings. Aggressive, exhaustion-driven, and with a geopolitically-minded stance, ranting against war and the miserable existence on this deadly planet, the eight tracks pass through you as a much-known ghost. Raw, violent, and dissonant, like reality.

Go! Impact LP

What if late ’80s NYHC had been heartfelt and honest and without pretension? What if ’80s NYHC had been made by nerds and emo kids (before emo kids were even a thing)? What if ’80s NYHC had had a sense of humor (BORN AGAINST notwithstanding, of course)? If those things had been so, then ’80s NYHC would have sounded like GO!, but fortunately there was GO! so the answer is yes, this is what (late) ’80s NYHC sounded like. They were but a blip, but somehow managed to crank out a half-dozen (or more?) records between ’89–’91, and their approach to hardcore might sound even more refreshing now than it did then. Mike’s vocals are almost lazy, but it feels like he’s just confidently spitting facts to a backing track of no-bullshit USHC punk…because that’s what is happening. Impact compiles the two EPs (Reactive and What We Build Together) from a reformed GO! that were released in the mid-’00s with a ripping live WFMU set from 2006, and this is the anecdote to oppressive toxic hardcore. “Your power means nothing at all.”

Headsplitters Curse of Life LP

I can’t get enough of D-beat. There is just something very appealing and hypnotic about hearing the same beat over and over again. If you are anything like me, you’ll get excited for the new HEADSPLITTERS. Ten bone-crushing tunes from New York’s deadliest punks. There is a very metallic quality to their songs, most likely due to some BROKEN BONES and ENGLISH DOGS influences. I never minded a little metal in my punk!

Hot Earth II Hot II Furious cassette

HOT EARTH is from ATLANTA (previously Hattiesburg?) and is composed of members of a buncha bands—the promo bills them a “supergroup”—with the one standout of the list being JUDY AND THE JERKS. Well there you go, let’s listen. This is HOT EARTH’s second release and clocks in around five minutes of near-perfect, crusty punk set at a blindingly fast cadence.  This small offering is worth everyone’s immediate attention.

Lidské Zdroje Pedalling Through (…Part 1) LP

Dang, duder! Anyone that knows me can attest to the fact I hold my “dang, duder(s)” for only the most outstanding things. From the cover alone, I could tell this band was into physical fitness, and that dedication to self-help and preservation will always be paramount to a successful band. Musically, you are pulled into a lo-fi garage, which is where I imagine their home gym is located, with instantly hummable and toe tapping tunes not unlike SO COW, or HEAD. I could see this on Goner, Dirtnap, and Rad Girlfriend. Some of the tunes have a charming BUZZCOCKS feel, and others have a charming early BLACK FLAG feel. As the record moves on, it gets a bit more refined and loses some of the rustic feel, but still a very solid record that I will be spinning frequently.

NTSC PAL Full of Spots cassette

Sometimes you don’t really need much to make kickass music. You don’t need intricate songwriting, a full band of virtuosos, crystal clear production, or lyrics that give Shakespeare a run for his money. I mean, wasn’t this the whole premise of punk rock in its early days? You just need the attitude, style and intent. It really can be as simple as “Here are three chords, go start a band,” and you don’t even need to start a band nowadays. Melbourne’s egg-punk powerhouse BILLIAM knows this by heart and proves it once again in his new no-strings solo affair, NTSC PAL’s first EP Full of Spots. It’s very stripped-down: just synths, drums and vocals, à la the SCREAMERS (duh). Even though we all know that BILLIAM is more than capable of coming up with billiams of sick guitar riffs in a heartbeat, he makes the conscious decision not to by leaving out guitars all together and focusing on simple earworm synth melodies this time around. I don’t know about you, but I think there’s something magical in something so simple and barebones. Though technically not a BILLIAM release, NTSC PAL’s Full of Spots is my favorite entry to the BILLIAM-verse to date.

Plastic Tones We’re All in This Together 10″

A tragically beautiful female-fronted EP from this Finnish group. Sounding like a less disparate RAINCOATS or SLITS, the band skirts between art school punk, power pop, and new wave seamlessly. The album continues a tradition of great Scandinavian indie pop similar to Sweden’s MAKTHAVERSKAN or WESTKUS.

Push Back Demo 1 cassette

Debut seven-song demo of metal-infused hardcore punk from Massachusetts. A very professional-sounding, discernible, slick-recorded demo, which would be high-quality enough for most bands’ official releases. With tempos ranging from plodding dirges to blastbeats, often within the course of the same song, PUSH BACK brings us palpable anger at any speed. Politically-driven songs seemingly mostly about greed, corruption, police, and gender. In my opinion, the regurgitation of OPERATION IVY lyrics as a spoken word part in the first song to get such a point across was a bit of a jarring choice. The band self-identifies as “heavy metal and black metal-infected HC punk.” While there are some noodly guitar leads and some double-kick rumble, I don’t really hear any aspect of black metal, and would say the band’s metal connection is more closely related to the early 2000s phenomenon of describing any sort of fast hardcore punk band as being “thrash.”

Rapid Dye Rapid Dye LP

Totally unhinged hardcore from Sydney’s RAPID DYE, a band who have been around the block and whose reputation for good live shows proceeds them. Fortunately, their first LP achieves the rare feat of living up to that hype, featuring nine songs in about ten minutes that do a good job capturing the loud and sweaty experience of a punk show, much like the one featured on the cover. Lo-fi vocals, distorted-to-oblivion guitars, and an unhinged rhythm section barrel forward with the energy of a hurricane and draw comparisons to the blunt force of early NYHC. If you can’t catch RAPID DYE live, you could do worse than listening to this.

Raut II cassette

Eight brief tracks from this Warsaw duo who bang out coldwave-meets-egg-punk cuts that sound like Ian Curtis fronting the CONEHEADS. Lo-fi, reverbed garage punk guitar pushes up against crispy drum machine beats with production that sounds like the band is playing down in the sewer as you are walking on the street above. Vocalist Pawel has a baritone voice that drapes a feeling of darkness over upbeat rhythms, and it balances nicely between catchy and tough. It’s like a cartoon character with a knife in his pocket; forget Garfield, this is Heathcliff music.

Shit Missile Shit Missile cassette

Bluesy German band with an underlying scatalogical presentation and theme. Feeling this one for sure; it is zero-fi rock’n’roll done with no bullshit trappings, just youthful abandon. If you like the HEADCOATEES, Sympathy Sessions-era OBLIVIONS, or GORIES, buy this now.

Slaughterhouse Sick and Tired 12″

I was hooked immediately with the repeated guitar riff that started out the album. Great punk. I loved the badass, distorted bass in “Sick and Tired,” not to mention their great cover of “My War” by BLACK FLAG, that kept a fast punk tempo throughout which was unique. They were also able to branch out into more melodic, pop-punk-style songs as well. Lastly, I thought the font they used on their album cover was sick as hell. Check these guys out for sure.

Slicks I Broke Player / Cherry Roll 7″

Hailing from Hakata, Japan, SLICKS have been at it since 1989, and this 7” is the latest fruit of their long-standing labors and the first new music they’ve released since their 1990s heyday. “I Broke Player” is a snotty number that wears its SEX PISTOLS influence on its sleeve, and “Cherry Roll” on the B-side is a groovier take on the same sound with a lot of thumpin’ bass to bob along to. This triumphant return comes a couple of years after the General Speech and King’s World labels conspired to bring us the Total Filth Collection compilation of the band’s earlier recordings, and should be just as pleasing for budget rock bros and first-wave freaks alike.

Split System On the Edge / On the Loose 7″

One of many incredible Australian acts to make a splash keeps their hot streak going with two mean, sneering cuts of street punk. While “On the Edge” has a confident strut anchored by a dripping meaty bass line, “On the Loose” picks up the pace with a neck-snapping number that showcases their dual-guitar lineup with an earnest, blazing guitar solo. Jackson Reid Briggs’s throaty, booming holler is perfectly suited for this music, somewhat calling to mind the confidence of Chris Shaw (EX-CULT, MEMO PST). This band is operating at a high level with a sound that’s outside of time, referential but fresh and hitting like a hammer. Motor City back-alley rock by way of Melbourne. This single is a perfect entry point to the group whose swaggering, garage-inflected punk already feels classic as it’s being made in front of you.

Thee Rogue Telstars To the Moon / Do the T.E.L.S.T.A.R. 7″

Whenever a band opts for “Thee” over “The,” the hope is for some proper garage rock, and THEE ROGUE TELSTARS provide exactly that with these two tracks. If THEE HEADCOATS went to space, it would sound something like this. Simultaneously frantic and tight, “To The Moon” bursts with energy from start to finish, while the B-side starts slow and retro, but quickly finds itself back at the same breakneck speed with a tasteful rockabilly sheen slapped on top. The perfect use of the medium, it’s no surprise this hot slab of Canadian wax was put out by Toronto’s Ugly Pop Records.

W.M.D.’s Front Toward Enemy demo cassette

Excellent fast hardcore from London inspired by the likes of RIPCORD and HERESY. Five tracks of manic drumming, barked vocals, and heavy riffing, similar in style to fellow Londoners STINGRAY, and released on Quality Control HQ (Free Ola!). Extra points for the hard-as-fuck band name. If all of that’s not enough to persuade you to check this one out, give “Bodies” a listen, you will be convinced. Highly recommended.

V/A The Absolute Fuckin’ Worst of Backwoods Butcher Records: Demo Tape Collection CD

I bought my car about a decade ago, and the first sticker I threw on the thing was a Backwoods Butcher logo. I marked out quite a bit when this thing slid across my desk because this label can do no wrong, and that’s especially true here with this collection of demo tapes aptly titled “the worst.” That’s a compliment depending on who you’re talking to. Featuring a collection of previously released demos from SKITKATEDRAL, RANCOROUS SLOG, TELEKINETIC DECAPITATION, IGNORANT CORPSE, GAMMA-GERÄT, and CEMETERY FUNGUS, this compilation perfectly encapsulates what one should always expect from a Backwoods Butcher release: a little bit of grind, a little bit of Southern rock, a little tongue-in-cheek, and a lot a bit of DIY. Really great stuff here, and recommended to anyone who likes to drink a warm beer on their rickety front porch.

Another One Never Again EP

Eleven songs are on this 45 repress that originally plopped out in 2014. There is a strong LEGENDARY WINGS, BIG DRILL CAR, and DOC HOPPER impression to the songs. I really wish there would have been a lyric sheet instead of a bunch of almost legible writing on a bedroom wall; I’m certain they didn’t get their security deposit back. I heard a bunch of “she” and “her” and the one line I made out clearly on the first pass was “My sex drive’s lacking and she wants to get fucked.” If you like any of the above-mentioned bands, then you will most certainly enjoy this platter as well. I think there are only 50 of the splattered version, so act now while supplies last. Or don’t act now. Free will, baby.