Reviews

For review and radio play consideration:

Please send one copy of 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. We reserve the right to reject releases on the basis of content. Music without vocals or drums will not be considered. All music submitted for review must have been released (or reissued) within the last two years. Please include contact information and let us know where your band is from!

Lumpen Exterminación EP

This is the third record from Barcelona’s LUMPEN, a band that has been on my infallible punk radar since their inception and that I have therefore kept a watchful eye upon, not unlike a majestic albeit featherless eagle of good taste. This new EP Exterminación aptly reflects the progress they have made since the opening shot of Desesperación in 2020. While the intention has always been to build on the beefier side of the classic UK82 sound, I could always hear a raw Latino punk influence at the start, especially the Mexican school (which I rate highly) like MELI or ESPECIMEN. On this new EP, the sound is not as chaotic and noisy (I think the guitar player really found his footing here), but more precisely closer to the original UK influences. They have been, rightly, compared to CRIMINAL JUSTICE, and I am also heavily reminded of the DISTURBED or LAST RITES, but with a darker, anguished edge thanks to the lyrics in Spanish that do make you feel like you are at a dodgy gig in el DF in 1989. I really enjoy the mid-paced number “Apatia de la Raza Humana” with its Horror Epics tribal beats, and the heavy nod to WRETCHED on the closing number (with lyrics in Italian) obviously speaks to the inner nerd. Synchronically speaking, you could see LUMPEN in the same light as bands like PRIMER REGIMEN, SAVAGEHEADS, or the MASSACRED, but with time, they did manage to find their spot in what has become a busy subgenre. Make no mistakes, these punks are for real. Another solid release from Discos Enfermos.

Missvnaries ov Charity Petrolevm Jelly cassette

Petrolevm Jelly, the latest release from Copenhagen’s MISSVNARIES OV CHARITY, is a bouquet of post-punk jams with a written invitation to the dancefloor tucked inside. Yes, it’s a traditional sound, but luckily, it’s one that never gets old. Huge drum machine beats, supportive layers of percussion, and tastefully dominant bass lines make up the groovy foundation of the cassette. Guitars add a good amount of spice to it all by going from tense to funky in a matter of seconds, and expressive vocals sit on top nicely with their cool, laidback delivery. If you have a soft spot for BUSH TETRAS and DELTA 5, this might be able to scratch that itch. Go put on your dancing shoes and give it a spin.

Não Obrigada LP

International punks NÃO, stationed out of Bremen, released a killer demo two years ago, and returned to the studio to record the full-length Obrigada. Eleven songs of noisy, speedy D-beat rocket from this recording with screaming guitars, thick bass, and cyclone drums. With members that include alums from VITAMIN X, ZANJEER, and INFERNO PERSONALE, it’s no wonder how NÃO is able to play with such power and precision. Heavy influences of GBH and KURO come through frequently with the guitar work, occasionally reminding me of ENZYME. Needless to say, the Obrigada LP by NÃO is absolutely recommended listening.

Peeve Grave Digger cassette

PEEVE sounds fuckin’ pissed! Anger-fueled, noisy punk with a pervasive duhka-duhka beat. Strong, abrasive vocals are the standout here, with some juicy quips like “Live, laugh, lose,” from the seething track “Squeet.” A nice accompaniment to the COFFEE STAIN EP from earlier this year, albeit a touch less feral and unhinged. Five songs that don’t overstay their welcome, with cover art that I think is a nod to the Grave Digger monster truck. A solid addition to the ever-growing Noise Merchant catalog.

Plaga Demo 2024 cassette

Four originals and a cover from Irish solo project PLAGA. Each original is scruffy, high-energy,  and produced just right; not too dirty and not too clean. With a little more oomph, this would approach DELETÄR levels of greatness. The only downside is the SIEKIERA cover which sounds like a different band altogether, with more traditional singing and a much slower pace. It’s awkwardly placed in the middle of the demo and unfortunately derails things a bit. It’s not a dealbreaker, but feels like an unnecessary addition to an otherwise solid set of songs.

Poizon Culture Scam Likely LP

I know the term “grunge” is a bit of a controversial one, but POIZON CULTURE would be best described as grunge punk. Scam Likely sounds like DRIVE LIKE JEHU mixed with MUDHONEY, very early ’90s energy—screeching melodies paired with a creative use of different time signatures, giving each track a sense of a winding momentum which in turn drives the narrative of the lyrics. Phew, that was a mouthful. I can’t lie, I had to make sure I hadn’t reviewed something from POIZON CONTROL in the past. I think it would be a stretch to call POIZON CONTROL unique, but that’s really my only complaint about this album. For a self-released slab, Scam Likely is beautifully produced. This is a solid follow-up to their 2020 EP and will be fondly enjoyed by people who worship at the altar of flannel.

Risposta Vstříc Zániku Člověka 12″

Dystopian Czech crust, bleak and deliberate. RISPOSTA’s cold pacing, stark guitar tone, and scolding vocals sketch a world in collapse—existential dread shouted in a language you don’t need to understand to feel. Minimal flourishes, maximum impact; it’s the sound of a final warning shouted from the barricades.

Skeptis Demonstrasi Oleh cassette

SKEPTIS is from Bandung, Indonesia, and this five-piece plays some gnarly and innovative anarcho hardcore on this four-song cassette. Raw hardcore transitions into intergalactic distortions which eventually emerge as synth work that quickly joins the melee. The nearly six-minute-long closer blends dungeon synth with noisy field recordings to create a fascinating yet anxious atmosphere which provides a glimpse into the world of SKEPTIS. The pogo-punk purists may want to pass on this release, but the rest of us will thoroughly enjoy this sonic experience.

Squelch Chamber Everything Turns to Shit, Volume 2 cassette

Forty-five minutes of pure sonic filth. Chaotic, abrasive, and beautifully unhinged filth. With a band name like this and a title so bleak, you’d expect total devastation, and that’s exactly what you get. Blending harsh noise, industrial textures, and an underlying hardcore sensibility, this release feels like being trapped in a collapsing building. It’s suffocating, cathartic, and utterly scary. Not for the faint of heart, but perfect for those who thrive on audio punishment.

Testors Prime Primitive 1976-1977 LP

In the conversation that’s dominated by references to the RAMONES and the NEW YORK DOLLS, TESTORS deserve a louder mention, and this release helps raise the volume for Sonny Vincent and co.’s pioneering old school efforts. The A-side presents nine of the band’s lightning-in-a-bottle studio cuts from 1976–77, newly remastered for this release, while the flip contains a careful curation of live performances showcasing lesser-known songs that add further dimension to the legacy. While revisiting this material, I’m struck by just how fast they played in this era—the B-side opener “Awmaw” sounds like a STOOGES song cranked up to 78 RPM. Though it was never in doubt, TESTORS’ status as top-tier O.G. punk visionaries is triumphantly reconfirmed, in a cool collector’s package complete with poster inserts and silver-foil jacket, no less.

Appaloosa Of Human Bondage 7″

Fun, one-track lathe-cut that brings to mind a combination of TILT, the SMITHS, and SUGAR STEMS. Hearkens back to an era when college radio ruled the underground. Sharp production and catchy song construction here. I just wish there was more to chew on.

The Berserk Where’s the Dictator? EP

Maniacal raw punk out of Philly that cops from various eras of hardcore without feeling cobbled together or incoherent. This EP is like a sonic endorsement of violence against authority with lyrics to back it up. See lines from the title track, such as “Where’s the dictator? / His forehead’s in my sniper sight.” Brutal. Solid production bolsters the more USHC-influenced tracks to great effect, recalling NECROS or the FIX but with way harsher vocals. A firm step forward from their demo from 2024, which was quite a beast to begin with. Profits from this release are donated to the Philadelphia Community Bail Fund, even more reason to jump on this one.

The Boreouts Do Your Scam / Tightrope 7″

On their debut 7″, the BOREOUTS deliver two tracks of unpretentious and raw ’60s-inflected garage punk that sound less like a calculated throwback and more like a group of seasoned Detroit musicians having a blast. With Jason Navarro of the SUICIDE MACHINES on vocals and guitar, Ko Melina from the DIRTBOMBS on vocals and bass, and John Bunkley of GANGSTER FUN on keys, this unexpected supergroup sidesteps nostalgia-pandering in favor of genuine energy and fun. It’s raw, it’s real, and it’s pressed on limited edition red vinyl. Act like you’ve got taste and grab a copy.

Chronophage Musical Attack: Anarchist / Communist Friendship EP

A lot of the music reviewed on this site can be understood (if even just at a surface level) fairly quickly—this is not a slight at all, but more of just an expression that one knows what they’re dealing with often within one listen, or one track, or one chord. That sentiment is definitely not the case with the latest offering from CHRONOPHAGE. This EP may take a number of listens to cement a reaction, and I suspect these Texans prefer it that way; the tag “spoken word” is the only descriptor on their Bandcamp, despite the fact that they clearly be singin’. My best approximation of what I’m hearing here is if Carey Mercer (FROG EYES) and Dan Bejar (DESTROYER) allowed their collaborative SWAN LAKE project to be a little poppier? Honestly, put these four songs on repeat for a while and see what you land on, because your first impression is going to be that you need a second impression, and that’s refreshing if nothing else.

Denevér Economía Doméstica LP

DENEVÉR is a duo out of Budapest harnessing the power of electronics to create complex, raw post-punk that occasionally toes the line of darkwave EDM. After consistently releasing material for the past few years, DENEVÉR decided to release the emotive and layered full-length Economía Doméstica. This eleven-song album uses everything from sampled audio, distorted synthesizers, overdriven drum machines, and noisy instrumentation to create an atmosphere that is on one hand reminiscent of ’80s-era new wave, and on the other is approaching post-hardcore. Emotionally heavy, Economía Doméstica is anguished, urgent, and melancholic while exploring a complex and shifting sonic space. The vocals are often delivered in unison by the duo which provides a sort of power behind the lyrics. Definitely check this out when you’re in the mood for something a little different.

Feral Housecats The Unherdable EP

Fun, guitar-heavy rock’n’roll that sounds like Richard Hell if the VOIDOIDS ran their gear through a Boss DS-1 with the distortion turned all the way up. Pretty typical punk affair here—they’re not reinventing the wheel, but it’s a fun jaunt regardless. They even throw in a live track about halfway through, which shows off how tight these folks are outside the studio. You’ll want to give this a spin if you’re a junkie for solid garage rock.

Frizbee Sour Kisses cassette

Indianapolis femme-punks FRIZBEE lived fast and died young, with Sour Kisses serving as the tombstone marking the end of the project’s two-year run. It’s nine tracks worth of noisy and raucous art-garage played with a borderline hardcore intensity (and short attention span) not dissimilar to last decade’s brat pack of UK bands like GOOD THROB, FRAU, and WOOLF, as interpreted by four Midwestern women in a post-Lumpy Records context. Vocalist Maude’s conversational but deeply caustic lyrics cut straight to the chase, lining up targets with zero ambiguity—see the repeated demands to “Give me back my own space” in “Evil Eye,” or the rhetorical taunt of ”Tell me why I’m burning at both ends” from “Defective”—with seriously blazing guitar and a claustrophobic, pinned-VU bass/drums pummel perfectly mirroring that vitriol. If you’re going out, might as well go scorched earth; FRIZBEE certainly did.

Italia 90 Collection LP

Very raw post-punk/punky band. There was some pretty witty lyricism which I enjoyed, in combination with lots of discordant, droning, strange guitar noises. There wasn’t a ton of variation with the vocals—I feel like the instruments made up for that, though some of the songs probably didn’t need to be as long. Overall, a solid and unique band worth checking out.

Lame Lo Que Extrañas Ya No Existe LP

LAME returns with their second full-length, Lo Que Extranas Ya No Existe (What You Miss No Longer Exists), which was recorded primarily on the sunny tropics of the island of Mallorca. This is a carpet-bombing of feedback, power chords, and very good drumming that is a constant shift of rolling patterns. The record is tightly-wound angst, with shredded vocals that are in front of the pack and reminiscent of NAKED AGGRESSION’s Kirsten Patches’s screamed stream of consciousness. Punishing and tight punk.

Los Corrosivos Estudios De Casos LP

Here we have a vinyl reissue of the 1987 cassette of the same name, plus four bonus tracks, from the legendary yet short-lived LOS CORROSIVOS of Buenos Aires. Recorded live at the Parakultural Center, the sound quality is actually pretty good for a tape that’s nearly 40 years old, also considering the raw, loud, noisy nature of the band. Drums are big and cavernous and sound fucking incredible, with a bullish bass existing in a similar realm. The guitar gets a little muddied, but ultimately fits in well with the rest of the band, providing that angular noise element, often on its own, squealing and wailing, somehow finding a riff to come in on. Vocals blanket the band’s traumatic shambling, and are both soothing and dissonant. Considering the vocals and general turmoil on display, this reminds me of Jello Biafra with the MELVINS—of course meant as reference only, as this way predates any of their releases. There’s a really great write up on the Bandcamp page from Tomás Nochteff about being at the Parakultural show when this was recorded, if you’re looking for some context on the post-dictatorship Buenos Aires scene that birthed this incredible record. Remastered for Calar by Jorge Morales with release support from Walter Fellini, both original members of the band. A rare, unearthed piece of history, absolutely not to be missed.

My o Vlkoch Slovo Je Zbraň LP

DISSENT, BAZOOKA JOE, LIBIDO BOYZ, HEAVY VEGETABLE, SCHLONG(-ish)—all bands that carved their way with quirky hardcore punk. This LP is a relentless barrage of interesting stop/start songs accompanied by lyrics that come from the wisdom of survivors. I love this, and this band would have 100% been on the Welcome to 1984 comp from MRR if they were around then. They also would have been on the MRR comp Noise Ordinance if they would have been around then, too. Go get this, please.

Negative Charge Negative Charge LP

One of the funny byproducts of writing music reviews is learning about parts of the world that I’d maybe overlook otherwise. In reading about NEGATIVE CHARGE, who hail from Winnipeg, I realized I knew next to nothing about the area. In the time between being assigned this review and putting pen to paper, I’ve become aware of the fact that the beloved children’s character Winnie the Pooh was named after Winnipeg, and that the city had a strange affinity for one of my favorite cult classics, Phantom of the Paradise, a film that otherwise didn’t do so hot at the box office nearly anywhere else. Aside from those gems, I learned about their deep-rooted punk scene that has been forged in snow and ice over time to produce a slew of bands I was unfamiliar with that are total rippers, including standouts NUCLEAR MAN, HUMAN TARGET, and JUG. Another among them (and I think including some shared members of the aforementioned) is NEGATIVE CHARGE, whose debut self-titled LP is a lean and mean masterclass in hardcore. Following in the footsteps of bands like POISON IDEA and AGNOSTIC FRONT, everything here is just right; the guitars are muscular, the drums pound and pummel, and the vocals are gruff and tough as nails. The breakdowns are heavy and the guitar leads wail, all surrounded by riffs that sound instantly recognizable. “Shut Me Off” and “Decay” are particularly great, the former boasting some off-the-wall drumming and the latter seeing the vocals reduced to a gnarly snarl. I could go on, but this album speaks for itself. Don’t sleep on NEGATIVE CHARGE, and don’t sleep on Winnipeg. Highly recommended, and a top ten of 2025, for sure.

Problem Violence on the Metro EP

PROBLEM is fed up with the rise of attacks and violence toward commuters and operators on the L.A. metro rail…fed up to the point of posing with sneers and clenched fists in front of a stationary rail car on the front of this tiresome EP. Three songs of botched street punk emulation that aren’t worth drawing comparison. To say this record sounds contrived would be subtle, and with the band blasting off with such choice lyrics (“Nobody is safe on the train / You can get robbed or you can get slain”) and song titles like “Fuck the Human Race,” I cant help but to think they may feel the same way.

Put Pùrana / Tromblon split LP

There’s got to be a joke that goes “you can tell how good a screamo release is by how many different labels are putting it out.” Seven different labels coming together to release four tracks by two bands? This split is surely transcendent, no? Well, it is pretty great, to be honest. PÙT PURANA offers three hectic tracks, with often-discordant guitars and great shifts throughout each song, and at their more melodic moments, vaguely reminiscent of BIRDS IN ROW. TROMBLON offers up a different approach on their side of the wax, with one track clocking in at over eight minutes. Opening with a somber, religious feeling of organ sounds and chant-like vocals, the vocals then shed their effects and pick up intensity as the drums build, the guitars rise, fall, and rise again, and the walls of sound they build start to threaten to topple over—and this is all in just the first half of the song. Thankfully, the back half of their singular track is just as rewarding as the first.

Sexfaces Bad Vibes OST LP

DC-based SEXFACES are out with their debut LP, and it is not to be missed. Having formed two short years ago, the bandmates sound perfectly suited for one another, albeit very unhinged. With Neil Cobra (TEEN COBRA) on bass , Jacky Cougar (DES DEMONAS, THEE LOLITAS) on drums, Sal Go (STOP WORRYING & LOVE THE BOMB, THE NVS) on guitar, and Hana Racecar (TADZIO, COVEN TREE) on electric viola, it makes sense that this cast of well-established musicians has formed a mutant punk spectacle that’s garnishing attention. The music has that droning death snarl sound that is really accentuated by Hana Racecar’s electric viola, often leading to a VELVET UNDERGROUND comparison, but with noise and rambling scuzz qualities added to the incendiary blend, creating a beautiful dumpster fire. Noted in a See/Saw article, Jacky Cougar and Sal Go started the band with the intention of (in Cougar’s words) “…an atonal, BIRTHDAY PARTY, PUSSY GALORE noise thing.” He then goes on to describe how he got conned into a rock’n’roll band, but the noise elements have clearly stuck with the group—the atonal nature of the viola alone, or the irreverent lyrics on “Babies” where Cougar sings “I don’t want a baby that looks like you,” and the “fall apart only to find the rhythm again” squawking band ethos makes for a great homage to aforementioned bands while, yes, having some catchy hooks (“O My Dima”) and rock-structured songs (“S.C.U.M.”). “Special-Lame” deserves a shout-out for its devolution into a parody of CARLY SIMON’s “You’re So Vain,” with Cougar and Go performing the chorus in moaning rounds. Fucking awesome. While I believe it’s those two responsible for most of the vocals, nowhere does it credit any one in particular, and we certainly get whole-band shouts throughout. Genre squabbling by the band aside, whatever they have made here is special, funny, dark, and with a well-deserved cackle. I’ll be excited to hear any and all directions they go next. Get after this Bad Times OST.

Slakt! Damai Hanya Sebuah Harapan? cassette

From the streets of Malaysia, these Scandinavian hardcore aficionados scream an emotionally charged statement about the current world. The title (translating to Is Peace Just a Hope?) sets the tone for a band that questions authority, unrest, and the fading dream of harmony in a fractured world. With gritty instrumentals and urgent vocals, SLAKT! delivers a powerful critique that resonates deeply in today’s turbulent climate. A must-listen for fans of politically conscious hardcore punk, or if you are just into bands like SHITLICKERS. With members from INFLUËNZIA, CROWNOISE, and BOMBRÄD.

The Stress Balls The Last American Weekend LP

There’s something terribly comforting about hearing punk bands that are dead-set on keeping old school spirit alive. These Bostonians are doing a little more than that, teetering into genre experimentation, such as on the garage-inflected “Stay Stupid,” and bringing a nouveau Oi! flair to what is otherwise pretty straight-ahead, convincingly-played old school punk. The recording is satisfyingly lo-fi and the vocals have a great deal of character and grit to them. There’s a surprising amount of breadth of style here, but overall, this is hook-filled punk you’d put on at a party—crowd-pleasing without being cloying or boneheaded. It’s refreshing to hear a band having this much fun without feeling self-serving or corny. It’s not going to change your life, but it might change your night. At eighteen tracks, it does slightly outstay its welcome, but in a time when most bands feel it fit to call it a day after a four-track EP that takes as many minutes to listen to, it feels counter-intuitive to criticize someone for having too many ideas.

Tropel Nat Demo 1989 LP

A remastered Barcelona crossover relic that still packs a bite. TROPEL NAT blended melodic vocals, metallic riffing, and hardcore velocity in a way that must’ve baffled punks in 1989. This reissue restores the grit while sharpening the edges, throwing in bonus cuts for collectors and nostalgia junkies. A must for Mediterranean punk archivists.

Yes Flag Grand Bystander LP

This is well-recorded pop punk, and the songs are exactly what you’d expect—just like DOC HOPPER, the A.G’S, the ERGS!, TEENAGE BOTTLEROCKET, CHIXDIGGIT, CLEATUS, BOUNCING SOULS, a couple of those ALL records, and such. This is a perfect record if you have a crush, are getting dumped, wanna ask a person if they like you as much as you like them, are bummed about a pal that is dating a person you like, are bummed about the people you let down, are being hurt, are giving up on a crush, are remembering what being kids was like, are paying too much to see a band you like, and so on, all done in a sing-along way. This is a solid record, and hits on all the MXPX and DESCENDENTS points that it should for a first date. Also, there are sixteen tracks on here. So go ahead and listen to the linked song, add fifteen more to that, and there you go.

Agur Hil Egingo Zara LP

Not every band can pull off the clean guitar sound without losing something in translation, but AGUR manages the feat. In fact, I’d go so far as to say that it adds a certain bite to the top end that helps the riffs cut through the mix. It’s also a smart move because it allows the guitar to recede when needed, like when the bass player is going the fuck off, which isn’t a rare occurrence on this album. Throw in some snotty vocals and you’ve got a solid foundation for some memorable ’77-style punk with a garage rock bent. These tunes are frankly infectious, driven by major chord melodies and upbeat tempos. AGUR may venture to implement a piano or saxophone here and there, but even still they keep it lean and stay right in the pocket. I didn’t think this would be my cuppa tea, but I keep returning for repeat listening cause it’s just a fun and easy album to toss on.

Axon Starving Dogs EP

Ooooffff—bombastic and chaotic hardcore taken to another level by Virginia’s AXON. Words like “relentless” get thrown around a lot, but the side break here comes as a very welcome respite after less than four minutes. The breakdown in “Industry” is fukkn everything, and the rest of this record is literally everything else. Furious, intense, thunderous, fast, metallic, and relentless hardcore punk. If you have a black vest and you only listen to one new record this month? AXON.

Bombardement À L’ombre des Crassiers: Live LP

BOMBARDEMENT’s live LP A L’ombre des Crassiers, recorded in Bordeaux as part of the Kick Rock Live Series, captures nine scorching tracks of what they cheekily describe as “adult-oriented D-beat.” True to their name, this is an unrelenting assault—drums and bass locked into a pounding rhythm while the two guitarists peel off their own tangled, sometimes metallic freak-outs. The performance may sound chaotic, but it clearly rests on serious musical skill. Oriane’s vocals cut through the din with power and authority—urgent and commanding. While the bass came in last in the mix, the guitars more than compensate, occasionally threatening to rewire your brain. I’ve never fully clicked with D-beat as a genre, but whatever BOMBARDEMENT is doing here absolutely rules. The mix and recording quality are surprisingly strong for a live release, but with only 200 copies pressed, good luck getting your hands on one.

Brözerker Stay Rad! LP

Beer-soaked skate-punk thrash from Columbia, SC—fast, reckless, and self-aware enough to be hilarious. High-velocity riffs collide with party chant vocals, weaving in skate references, thrash swagger, and the occasional lyrical face-plant. Like SLAPSHOT crashing a backyard ramp session—rowdy, sweaty, and way past curfew.

Crow People Wasteland: Recordings 1985–1994 2xLP

Until now, CROW PEOPLE has been a band veiled in obscurity and almost lost to the sands of time. Formed in Doncaster UK in 1979, CROW PEOPLE released several discs during their tenure, but remained a lesser-known act due to geographic isolation and limited pressings. The double disc Wasteland: Recordings 1985–1994 is a tidy package of almost every song recorded by CROW PEOPLE and filled with historic documentation of the band. This collection provides an extensive experience of the band whose sound started as jangly, BUZZCOCKS-inspired post-punk but evolved into powerful anarcho-rock that sounds a lot like KILLING JOKE or AXEGRINDER. The first few songs of this collection have hints to the future sound of the band as the distortion pedal launches a crunchy guitar lead through the midpoint of the individual tracks. However, by the fifth song “Ambition,” it becomes evident that CROW PEOPLE is headed for a much heavier direction. Most of the songs are longer than your typical punk tune, and this allows for CROW PEOPLE to explore rhythms and riffs with a bit more depth. If you’re into ZOUNDS, AMEBIX, and the MOB, then you’ll absolutely want to check this out.

Darker Than It’s Your Funeral CD

I think there is a motorcycle that starts this off. Ya know that side of the BLATZ/TRIBE 8 split 7” with that amazing BLATZ song? Well, that is what this reminds me of. Lots of thoughtful lyrics that singer Hanna delivers clearly, backed up by one of the dudes in the band (backing vocals not listed). As this goes on, there are driving portions that are reminiscent of ARCTIC FLOWERS and SIGNAL LOST. This is their second EP. What I’m going to say now might be a little controversial, but here goes: DARKER THAN is doing this the right way. Allow me a minute of your reading time. MRR fucked up in the mid-’90s when they stopped reviewing demo tapes. That single move gave birth to a million bands that would have been given a shitty review and never committed themselves to vinyl, and now, well, look around at all the dollar bin records we don’t buy. DARKER THAN has two cassette EPs and a CD, all while taking the time to figure out who they are as a band. The lyrics “I wish my mom was an anarchist” on the seventh track show DARKER THAN’s playful quality while trying to take on big topics in two minutes. This is available on cassette, too.

The Dick Burrills Waterfall the Fountain cassette

A two-piece recording project that I have to admit is wildly over my head. I recognize that I may be a bit of a simpleton and that the concepts found in a lot of “art” elude me. Well, if those are known truths, then the DICK BURRILLS have got to be the deepest and most profound release I have ever been sent to review. Nowhere on the sleeve or on the internet is there a single track name. There are an unknown number of tracks, broken apart by spoken word slam poetry. Clearly an attempt to make a comprehensive project dipping toes into many different aspects of punk—dare I say, attempt failed. I am just left feeling underwhelmed, very confused, and a little bit dumber than I started. I say art-punk, with a heavy emphasis on art and a minor in punk. The band (I’m sorry, the recording project) and the label self-describe this thing as “refracted-nostalgia.” Attempting to understand that fabricated term alone was enough to blow the fragile fuse in my brain.

Fatigue Blurry But Bright LP

Punky garage rock, mostly mid-tempo distorted guitar with melodic vocals. While the tempo didn’t vary a ton between tracks, they kept it fresh with unique sonic twists, like a more post-punk vibe to “Cotton Candy” or a nice sludgy bass in “Takes One to Know One.” My favorite track was “Imperfection,” as I thought the lyrics of “I am enough / You are enough / We are enough” or “Embrace your imperfection” seemed so inspiring, especially with the heavier, distorted guitar that created just a super fun contrast.

God My Pal 7″ reissue

As an uninitiated outsider, it took me a bit of digging to grasp why this two-song 7” is being touted as a classic of Australian rock’n’roll. To my untrained ear, this sounded like a band trying to ride a ’90s grunge nostalgia trip that appears to be having a resurgence. Well, it turns out I had that exactly backwards. My Pal is genuinely recognized as an iconic single from the pre-grunge era of the late ’80s that built on the foundation of Aussie staples like RADIO BIRDMAN and X, and essentially paved the way for a whole slew of groups that would run with things in the coming decade. The topside title cut is the kind of song that you’ll feel like you’ve heard before upon first listen, channeling the same energy and tenor that would rocket NIRVANA into stratospheric super-stardom. The refrain, a raspily crooned “You’re my only friend / You don’t even like me,” captures the essence of the aroma of disaffected youth in a way that was at the time entirely novel. Not to mention the fact that when this came out in 1987, the band members were bona fide teenagers. The flipside cut, “A Man Without a Woman is Like a Nun Without a Jackhammer,” is more straightforwardly punk with a driving rhythm section and an altered vocal approach, landing somewhere between LUBRICATED GOAT and MUDHONEY. For better or worse, it’s hard to imagine that a band such as SILVERCHAIR would have come into being without GOD setting the scene. Props given where props are due. It’s stated that this is the final re-issuing of this record, so if any of the above appeals to you, this may be your final chance to procure a piece of Melbourne rock history at an affordable price.

Havana Syndrome Demo 25 cassette

HAVANA SYNDROME’s debut Demo 25 tears through orbit and crash-lands near Buffalo, New York with an earth-shattering, sinister force. This alien breed of synth punk sounds like it was made by an invasive species and transmitted across outer space as a big “fuck you” to all the other lifeforms. Although it’s driven by melodies seemingly coming out of a toy synth, this thing isn’t fooling around or trying to be quirky. Instead, it finds a steady balance between unbridled aggression and a twisted sense of fun. The claustrophobic, lo-fi production makes you feel handcuffed to a steel pipe in a humid boiler room, while the combination of harsh drums, nasty bass, and disgustingly hysterical vocals slam your eardrums like a rusty flail. I know it doesn’t—and shouldn’t—sound fun to anyone in their right mind, but I can guarantee it absolutely is. And if you are a fan of RESEARCH REACTOR CORPORATION like I am, I know for a fact you yearn for it.

Khlore Khlore demo cassette

A crasher crust wet dream! KHLORE’s debut pulls no punches. Raw, tense, and relentlessly furious, the demo blends hardcore intensity with noise-soaked riffs and a bleak atmosphere that feels suffocating. There’s a cold, calculated rage in every track, not just noise for noise’s sake, but a focused outburst that hints at deeper unrest. KHLORE may be new, but this demo proves they’re not here to be ignored and that they are putting France on the crasher map. Long live Kawakami!

Laxisme Laxisme LP

I’ll wait in line for a band like this any day of the week. Infectiously melodic, convincingly pissed-off, with rhythms and riffs that snap like rubber bands. As far as I can gather, this is a Leipzig-based crew that sings in French? But that’s all minutiae. Eight tracks (if you don’t count the intro, which I don’t) in under twenty minutes that bob and weave through toothy garage with hollering vocals. Few bands sound this confident, and it drives home tracks like “Grands Cerveaux,” with a bouncing bass line and submarine echoes of guitar that is as gleefully rock’n’roll as it is brainy. Overall, this is just highly energetic melodic punk that isn’t flashy, because it doesn’t have to be. It impresses on its own terms, and bows out without making a scene. I’m definitely left wanting more. On closer “Victoire,” it’s clear this is a band that is focused on what they want to be doing. It’s not trendy, it’s not fussy, it’s just cool. You can’t fake that.

Les Lullies Une Nuit à Leipzig LP

LES LULLIES play a brand of punkish rock’n’roll that proudly wears its French roots on its sleeves. Yes, you’re gonna hear influences from the EXPLODING HEARTS, and you can compare their approach to bands like ROUGH KIDS, but there is an underlying tinge of that French garage sound that will not be denied. That dancey/joyful vibe certainly underlies this live LP that resolved the question of “what do they actually sound like live?” for me in quite a satisfying way. I found the first LP to lean a little too hard on production to make it feel like garage rock, while the second saw them commit to a cleaner and much more powerful punk rock sound which made it my favorite of the two. The live setting lets the band come through way more than the production choices of the first LP could, lending energy and a little fun looseness that feels like actual personality, while the amazing recording job (direct soundboard, if I had to guess) gives you a pretty broad sense of their power as a band. The night’s proceedings feature a very well-curated selection of originals from throughout their career, plus a DEAD MOON cover that earns its spot but feels the lesser surrounded by so many great original tunes. Like most live records, this is a no-brainer purchase for already established fans, but it also upends the “preaching to the choir” nature of other such efforts working really well as an introduction to the band at its best for the uninitiated. This kicks ass.

Moleskine Affective Experience of Urban Space cassette

Economical art-punk from Nantes, France that’s constructed like matchstick architecture, simultaneously precarious and precise. Spacious but taut mutant funk rhythms provide the grounding for short, scratchy shocks of guitar, blasé guy/girl spoken word vocal trade-offs, and on tracks like the gyrating, 99 Records-styled “Adjoining Wall,” some emphatic punctuation from a skronking saxophone. “Some Trivial Task” echoes the bass-forward, Euro neo-no-wave minimalism of bands like DUDS and HANDLE from the past decade or so, as “Non Sense” hits a slinky, all-night LIZZY MERCIER DESCLOUX-ish beat. “A Leak” and “Neurotic Pressure” lead off the back half of the tape with smoldering, dubbed-out grooves occupying a similar headspace as modern practitioners NON PLUS TEMPS, but any release of tension they might signal is then quickly interrupted by “No More Guests” sounding the FIRE ENGINES’ anxiety-disco klaxon call. I’m sold!

No Sector Mercury Poisoning EP

Not to sound hyperbolic, but NO SECTOR’s Mercury Poisoning is in my estimation a perfect EP—a tight mixture of international hardcore elements that doesn’t waste a moment of its nine-minute run time. Hailing from Wellington, Aotearoa, NO SECTOR masterfully blasts through six catchy tracks that smack with UK82-inspired fury and heavy anarcho-punk themes. Sonically, NO SECTOR is relentless, with buzzsaw guitars intertwined with floor-shaking bass and drumming that rattles and rolls with chaotic precision. Lyrically, the band continues on the path set forth by many who have come before them, painting a picture of modern society that is anything but glamorous, delivered with a perfectly deadpan style that occasionally boils over in a rage. Everything from rotten housing to rotten government to rotten food (on standout “80HG”) is touched on, with NO SECTOR all but asking the same question CRASS did 47(!) years ago on “Do They Owe Us a Living?” Smart, powerful, and effective, Mercury Poisoning is an absolute banger that will easily be in my top ten 7” records of the year.

Palatka We Were Right 2xLP

Released in 2024 on Belladonna (the label run by bassist Jason Teisinger), We Were Right is a sprawling 62-track discography from Gainesville, Florida’s fiercely DIY hardcore/emoviolence band PALATKA, capturing the entirety of their pre-2000 output plus three practice space recordings from 2015. The disc includes their full-length, split contributions, compilation appearances (including tracks from the classic Possessed to Skate comp), and eight demo cuts, making it the definitive PALATKA release. Fans of screechy, high-pitched vocal intensity in the vein of ORCHID, REVERSAL OF MAN, and SAETIA will feel right at home, and while the vocals on the 2015 tracks don’t reach the same piercing register, the songs themselves are among my favorites. Covers of songs by GORILLA BISCUITS, GO!, and STRAIGHT YOUTH round out a collection that’s raw, relentless, and required listening for fans of chaotic ’90s screamo.

Psychic Scream EP1 cassette

Modern shoegaze that sounds a whole hell of a lot like SWERVEDRIVER, but also incorporates parts of FU MANCHU and QUEENS OF THE STONE AGE. Lots of groovy, doomy, desert rock breakdowns that go heavy on the fuzz pedal. There’s a wealth of diversity packed into this four-song EP, with each song sounding a little different from the one preceding it. For example, the slab kicks off with a RADIOHEAD-esque, riff-driven vehicle, and ends on a chaotic garage punk track that falls more in line with the CONEHEADS. This one goes by quickly, and is well worth a listen if you’re a fan of that mid-to-late ’90s alternative rock sound.

Retirement Attention Economy LP

The combination of PDX bands plus Iron Lung equaling some of the best bits and bobs on the market is becoming more and more fact, not opinion. Case in point: this spastic hell-ride from RETIREMENT, which is the second LP the band has put out, following 2023’s Buyers Remorse.  The band makes note that Attention Economy is their “cathartic release”—I hear it more as a type of primal scream therapy backed by a repetitive, death toll of a drum beat. The band is on full display in all of the LP’s fourteen-song set; there are no skips and the consensus is complete hatred towards the consumerism and materialism our culture is lost in. “You Will Be Forgotten,” “Parasites,” and the slowed-down “Next Time” should be your start.

The Stick Figures Disturbance CD

As soon as the opening track on this collection of previously unreleased tracks from 1980–1982 kicked in, my ears perked right up. “The Other Myth” comes right in with some urgency, and I was so eager to hear where it would go, hoping it would continue to sound like “Ambivalence and Spark Plugs,” the only single released by former Chicago new wave outfit IMMUNE SYSTEM. Unfortunately, the urgency that pulled me in gave way to more of a dreamy art pop that just felt too impactless. There is a certain curiosity that is enjoyable to explore here, as it feels a bit like stepping into a time capsule with these tracks being offered up for the first time in over forty years. But a lot of these tracks spend a bit too much time exploring their space, and the end product just doesn’t seem to land. Should these tracks have stayed buried? No, no, nothing like that. But perhaps I was set up for failure expecting one thing right at the drop of the needle and only getting something else entirely.

Suicide Club Facing Fears EP

Malaysian punks SUICIDE CLUB channel USHC’s finest on Facing Fears, an EP that sounds like something Unlawful Assembly would put out. Each track is as straightforward as you can get without any extra bells or whistles, just pissed-off, head-pounding rocker after rocker. Second song “Torn World” stands above the rest with some sinewy guitar leads and drums that really smoke. If you like your punk from the school of POISON IDEA, this one’s for you.