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Metallic forms of hardcore punk and a pinch of powerviolence are combined in this demo released in June. Vocals are draggy and desperate with traces of reverb and distortion probably by compression. Music is mid-paced in almost every track, with a repetitive yet sufficient formula regarding guitar and drums. Bass lines excel but are constantly missing in the mix. Good first effort, but still lacking determination and definition in some respects.
Legend has it that the entire composition of the song “Telstar” came to Joe Meek in a dream. Listening to Lunar Secrets begs one to inquire as to the type of nocturnal aquatic fever that may have birthed MOON PEOPLE. Behold the dawn of cosmic surf! May we all bask in the glorious spray of a cascading lunar tide. This six-song cassette will transport your undeserving flesh suit from the depths of a dank synthetic dungeon out into the cold, unrelenting stratosphere. If the VENTURES stole Dick Hyman’s Moog and replaced it with a Casio DG-1, these songs may have been programmed into its deepest memory bank. Or if DICK DALE was the king of surf keytar. Fully synthesized and ready to shred the barrel, MOON PEOPLE crush your typical twang and ‘verb into eight bits or less. The results are antiquated futuristic instrumental lunacy and it’s utterly brilliant.
Unearthed from East Germany’s underground cassette releases of the ’80s, the Tapetopia project brings us a set of NONTOXIC tracks based on 1989’s Haus der Jurgen Talente show (often stylized HdjT, a youth center in East Berlin). Gleaned from drummer Henning Rabe’s write-up on the Tapetopia site (worth reading if this music resonates with you), lead singer Bernd Shulz, who at the time had a blues band with guitarist Danilo Steinert, heard the title track from the the CURE’s The Top album beaming in from a West Berlin radio station, after which they quickly traded in their twelve-bar aspirations for something darker and more spacious. While inspired by the CURE (and perhaps the English darkwave scene writ large; SISTERS OF MERCY also come to mind), NONTOXIC tried to carve out their own sound and image, away from British imitation, and away from the boots, army belts, and shaved heads of local bands. The fact that the dark, cold, and angry cries of this music found a home in the heavily oppressed GDR comes as little surprise, and while the genre wasn’t created in East Berlin, its social landscape of the ’80s makes for no better poster child. Fascinating history aside, I do genuinely enjoy all ten tracks on this Intoxication LP—maybe wait for a colorless day this fall and brood in the icy synth and guitar, in the deeply rich and sad vocals, in the clamorous shuffle of drum and sludgy bass. Very cool that this music has seen a new release since its inception, given the fact that during that time tape recorders were scarce and the music had little circulation. I’m excited to hear more from this nearly misplaced era.
PHANE is from Vancouver, BC, and they are bringing the G.B.H.-style hardcore punk to the turntable. They’ve got it down, too—the song structure and the great guitar riffs, shouted vocals and powerful drums. If you’re a fan of UK82-style hardcore punk with some modern updates, you should rush out and grab this now.
PSYOP’s Dare to Live, recorded in West Liberty, Iowa in 2022 and released through Iowa City’s DIY label Pokeys Recordz, is a blistering, no-frills hardcore attack from the Midwest. This four-piece band puts speed above precision with these eight guitar-driven songs, each never crossing the two-minute mark. While most of these songs would fit right in on an ’80s hardcore comp, at times they also veer into noise rock territory, like in “State Violence,” which echoes the dissonant weirdness of Goo-era SONIC YOUTH. Singer Dolly Sperry (also of BOOTCAMP) sing-talks lyrics tackling topics like war apathy and police brutality, rejecting meat consumption and finding solidarity in an anti-authoritarian tribe. It’s raw, urgent, and unpolished in the best possible way. I hope they lean further into the weird without sacrificing the energy. Check out the track “Dare to Live.”
If you’ve ever wondered what it would sound like if the DISTILLERS met KIDZ BOP, this EP is it. Still Going Strong by PUNKY TUNES delivers the sound-blasted confection key to pop punk sounds. The band caught on quickly to what makes a good bubbly tune, with electrically charged drums by Matthias on every song and great melodic guitar by Laurent on tracks like “Keep On” and “Still Going Strong.” Coming from Sélestat, France, this EP calls back to the country’s roots, making the past proud with the politically charged lyrics of “Eco-Anxiety” and “Attitude” calling for a revolution, hailed energetically by vocalist Marie. Though nothing standout or provocative, this is certainly the right EP if you’re in the mood for a fun hit of upbeat music.
Brooklyn garage-y/power pop foursome out with their debut LP. Syrupy female vocals full of hooks over heavy riffing, trading lead lines back and forth between the two guitars—this is driving and fun the whole way through. Featuring members of MELTAWAYS, ADULT MAGIC, GIANT PEACH, and BACK-UP PLAN, to name a few. Catchy, crunchy, full of heart. Awesome!
Ultra lo-fi, synth-accompanied garage punk from Madrid. Sounding like a mix of CONEHEADS and CHERRY CHEEKS, the six short tunes here buzz with ear-catching guitar and synth leads. The laidback, sung/spoken vocals maintain the vibe without overpowering it. Standout “Simpatia” has a mysterious hook and a theremin-sounding synth warble that buries deep and refuses to let go, but really, all the tracks flow so well that it’s better to just listen to the whole thing and repeat. Enveloped in near-surf levels of reverb and sounding like it was recorded on a boombox down the street from the band, this tape is truly a no-fi affair, but you can’t deny the musicianship and energy. If you are on the lookout for bouncy egg-punk, this is about as good as it gets.
The barrage of noise in the intro serves as a premonition of the intensity to come—emphasis on “intensity.” SISSY SPACEK delivers a high-velocity attack of grindcore, solely using bass, drums, and vocals. You don’t feel the need to listen to some distorted guitars on top of this, as the drums and bass do a proper job of keeping the songs interesting. A blastbeat-driven fury of classic grindcore acts with the technical precision and sonic density of more modern exponents of the genre. The band has demonstrated a knack for crafting epic grindcore albums (28 songs in 12 minutes) that pack a tremendous punch despite their brevity—the songs rarely extend past the 30-second mark, but manage to feel epic in scope. For fans of extreme, boundary-pushing grindcore acts.
Back in the early 2010s, the same troupe of Cleveland scamps behind acts like PERVERTS AGAIN, CRUELSTER, KNOWSO, and the CARP put out a couple of 7”s under the moniker SMOOTH BRAIN. They recorded a third 7” in 2014 that got shelved for whatever reason until it got rescued by Just Because, who are issuing it here for the first time. Compared to the releases from their other projects, this record feels downright conventional. It’s five quick tracks of downstroke punk that mixes mutant pop and dum-dum slop, occupying some territory halfway between the HEX DISPENSERS and the SPITS. Honestly, it sounds like something that might come out on Dirtnap. Of course, these dudes can’t avoid getting their weird-ass Cuyahoga stink all over things, so even if you couldn’t guess the specific players here, it’s not like you’d mistake them for anybody normal. It’s maybe not the most memorable thing these guys have put out, but nevertheless, it’s a cool piece of history for one of the era’s most interesting (and best) collectives. Plus, it rips!
Under-documented UK femme-punk, rescued from the dustbin of history—the two tracks on this limited (50 copies!) lathe-cut single were recorded at a 1980 show in STANDARD ISSUE’s hometown of Leicester, and it’s the first time (as far as I can tell) that their music has actually been made available for public consumption outside of the fixed-time, had-to-be-there ephemerality of live gigs in the late ’70s and early ’80s. True to context, what’s on offer here is rickety DIY post-punk by way of some vaguely CRASS-style anarcho sensibilities, with clinging-to-tune guitar, stumbling drum beats, doubled-up vocals from two female singers, and lyrics that simultaneously balance being pointed, political, and poetic (“Who is right? / Fighting to see who’s seen the light,” as posed in “Religion”); I’m definitely reminded of early HONEY BANE, RUBELLA BALLET, or HAGAR THE WOMB, if less exuberantly danceable and much, much scrappier. Wish we could have gotten some studio recordings out of them, but I’m still glad that STANDARD ISSUE is getting their due now.
The debut LP from this kind of supergroup featuring members of SICK THOUGHTS, STATIC STATIC, and others is a jewel that seems like an ’80s relic of demonic metal raw punk. Brutal, anthemic, and filled with a crusty aggression only to be found in ’80s heavy metal and raw crust punk from the same era (read: D-beat) here. Cursed vibe, cursed drag, plus an excellent string section and riff selection. Favorite tracks: “Demonized,” “Nuclear Satanic Warfare,” and “Banished to the Tombs” for a specially twisted experience. Putrid minds beware, this is gonna like you.
Two old tracks from a short-lived Toronto group circa 2011 released as a 7”. While the songs are over ten years old, they manage to concurrently feel fresh and timeless. These songs would be right at home on a Lookout! Records release from the ’90s, or a No Idea release twenty years after that. While having pretty different runtimes (one at less than two minutes and the other at over four minutes, respectively), both tracks are massive sing-alongs filled to the brim with hooks and energy. I’m glad Ugly Pop gave these anthems some new life by rereleasing them, and hope they find a whole bunch of new ears to appreciate.
Fuck yes! ABYECTA from Chile rocks super hard. Part Japanese hardcore, part UK82, part thrash metal, all killer! Blazing, melodic, metallic. And all recorded and written by one woman—an immense display of talent and creativity. This 12” combines two previously released 7” EPs on one slab, both brooding with equal parts intensity and tunefulness. I love this one! Fans of the SEXUAL, the EXECUTE, and the SKEPTIX should get a lot out of this one.
Instrumentally, this release by AIHOTZ sounds a lot like the ADOLESCENTS or AGENT ORANGE. However, vocalist Bea brings a range that is hard to beat and ends up landing somewhere near Eve Libertine and Poly Styrene, but with something almost operatic. The blend between band and vocalist makes this 12″ an enthralling experience. The summation of the parts is something that sounds like anarcho-punk but with a heavy rhythm section ready-made for dancefloor antics or skateboarding background tracks. Definitely check this out if you like punk rock. Absolutely check this out if you’re into intriguing vocals.
Without any prior knowledge of the band, my original reaction was “wow, this sounds a lot like the way Ian MacKaye sings,” just for me to find out that his sister Amanda MacKaye is the lead. Her vocals though have a touch of the droning of Siouxsie Sioux, mixed with the spoken yowling of Ian MacKaye. The majority of the songs are slow-to-mid-tempo with a kind of post-punk and artsy punk vibe. A couple of the songs sort of blended together to me, as they were sonically pretty similar and didn’t have a ton of variation. However, “Pan-Pan” had a nice tempo change and I think it’s a great song to end the album with.
Hailing from Albany, New York and heavily influenced by the NBHC scene, CINNAMON plays surprisingly accessible powerviolence infused hardcore. Produced by ORCHID’s Will Killingsworth in his prolific Dead Air Studios, this tape has got some high-ass quality for a demo; there isn’t a blemish to be found. Every element is fully locked in, from the perfectly gravelly vocals to the frenetic drums to the crunchy and thrash-y guitars (especially on opener “Cinntro”). All in all, an impressive first showing—I’d expect to see CINNAMON on some pretty big festival lineups in the not too distant future.
CRY BABY KILLER formed in the ’90s and finally offers their first full-length collection of songs with Double Black 13. Given the 23 tracks on display here, including “Sunday Best” and “Skull Shaking Boogie” which were previously released as a single back in 1996, one assumes this is a collection of songs rather than a singular album. Either way, this is a long run time that isn’t really meant to be ingested all at once. If you pick from the pile, there are for sure some solid sounds to be had, such as “Boystown,” which has a nice little NEW YORK DOLLS tinge to it. If rockabilly suits you, there’s at least a few tracks that dabble in that sound too, including the aforementioned “Skull Shaking Boogie.” Overall, there are some things to like here in smaller doses, but being presented with nearly 70 minutes of music is one thing that should have stayed in the ’90s.
This one is a punk relic treasure straight from the Filipino ’85 punk rock movement, representing the first LP effort by Pinoy punks during the dictatorship that ended in ’86 and now brought back to life by Berlin’s Merciless Records. Classic speedy punk rock with traces of sarcasm that remind me of DEAD KENNEDYS and even the sounds of the CLASH’s early records, plus a feeling of vitality and anger only found in those critical times. A great surprise from the tunnel of time regarding forms of punk with meaning, and a real treat in the respects of mastering, mixing, and restoration. Favorite track: “Dreamer.” Recommended.
Indie/power pop split out on an attractive Snappy Little Numbers 7” disc. A-side is Seattle’s DROLLS with an upbeat pair of tunes in the Epitaph realm of good-time indie—BOUNCING SOULS come to mind on the first track “Burned Out,” while “Happy Hour” has a MIGHTY MIGHTY BOSSTONES arrangement (sans gravelly bravado and horns). The B-side comes from GENTLEMEN ROGUES out of Austin, Texas, who push further into the indie realm, even having the saccharine vocals more associated with 2000s emo in the sense that it’s a little whiny, but not exactly sad or melancholic. This music has a place, and I think is gaining popularity with nostalgia-seekers who were teens during the height of this craze—while I fall neatly in this age group, it is admittedly not my bag. If, however, it is yours, please enjoy this sugary little 7”!
This was always going to be a total cracker. A motley crew of alumni from CHUBBY & THE GANG, ARMS RACE, STINGRAY, and the NEW YORK HOUNDS, among many others, combining forces to create a love letter to rough-as-yer-like Italian Oi! The result of a session in London’s veritable hit factor Fuzzbrain studios, fuck-all practice, and a shared love of skinhead rock’n’roll, baby, this six-track EP is pure not-from-concentrate, stripped-back, hard-rockin’ Oi! There are clear influences from NABAT, KLASSE KRIMINALE, and even a sprinkling of CAMERA SILENS with a faint sax lick for all the Euro skins. Vocals like a cement mixer, bass lines so thick you could spread ‘em on toast, it’s the real deal. Plus, the online-only THIN LIZZY cover is pure pint-necking fodder. A real mid-tempo stomper that you need in your life.
GEE TEE is from Australia and has been around for eight or so years now, and this is a compilation described by the label as “eighteen tracks from both the distant future and the nearly forgotten past.” I would describe it as lofi punk/pop that was very popular from around 2006 to 2018. Bands like the OKMONIKS, NOBUNNY, SNEAKY PINKS, HUNX AND HIS PUNX, and others—I can hear some of the same influence as the current Australian bands that are so popular right now. Rocking lo-fi.
Rip-roaring hardcore punk from Athens, GA, and the debut release on a new tape label also from Athens, Total Recall Recordings. Three-song demo that consists of a total of two minutes and fifty-six seconds worth of music. I listened to the demo in its entirety three times just while attempting to decipher the bramble of a band logo on the tape cover, then again a few more times while I attempted to figure out how to type an “Ä” on a computer because I’m admittedly a bit of a caveman. Fast hardcore with D-beats peppered in for flavor. HÄXORNA bursts through these three songs with pure intensity and aggression, not letting up for a single second. Can they keep that energy up past the three-minute mark? I, for one, look forward to hopefully seeing them live to find out firsthand.
HELLSCAPE, out of West Yorkshire in the UK, is a unique band to say the least. Heavy deathrock influences pervade this recording, but there are also hardcore breakdowns and a big helping of anarcho-punk. It’s a sound that shouldn’t work out, but it does, and it’s fucking awesome. Vocalist Ciara is full of fury as caustic lyrics are delivered. Joe on drums and Lily on bass make up the rhythm section and keep perfect time with effortless stops and shifts. Guitarist Ben uses a buzzsaw tone that is absolutely punk rock. From start to finish, this six-track EP is an absolute blast.
Damn, I had no idea that this Panama-based band was still going. I was aware that the singer had found employment in HEZ, but naively thought that JUVENTUD PODRIDA had retired. The band released some solid records in the first half of the 2010s, notably the 1989 EP in 2012 that put them on the map. Good on them for not giving up and continuing to fly the raw hardcore punk flag at home. Control/Encierro is classically executed and well coherent with the Discos Enfermos catalog. Mean and fast Scandi-style rabiozo hardcore punk with direct and snotty vocals in Spanish and fuzzed-out distortion on the guitar but, even without taking the vocals into account, it does sound like a non-Swedish band having a go at the genre (the band must have carefully played some crusty Japanese records from Osaka). The production is very energetic and certainly packs a punch. In theory, the vocals, very reminiscent of traditional old school “hardcore en Español” in terms of singing style, should not totally fit with this distorted käng hardcore sound, but they actually do, and it brings a different vibe altogether. I was going to say “fresh,” but that’d be a bit far-fetched. A strong comeback, and I can imagine JUVENTUD PODRIDA to be crushing live.
It’s okay, I guess. I had a big yawn at the end of it. They have energy, I’ll give them that, but it’s all kind of weighed down by a shitty performance and overly glossy production. I’d probably be able to get more into this STOOGES-meets-MÖTORHEAD sound if it had the grit of a punk band rather than the washed-out muck it serves up. The drums and everything about it just sound weak to me. Wake me up when this boring wave of punk is over.
This is modern garage rock/punk from Spain. The vocals are very melodic and sound great with the distorted guitar. The song arrangements seem to show that they can write traditional garage rock songs, and this is a nice change of pace for me. If garage rock is what you like, I think you will like this one!
This Detroit-based guitar-and-drums duo delivers two tracks, “I’m a Fool” and “Would You Say (I’m in Love),” firmly rooted in ’60s/garage rock influences. The playing is loose and raw, with a gritty, unpolished energy that fits their sound but the muddy production doesn’t do them any favors. Lyrically, the tracks delve into themes of love, loneliness, and heartache, capturing a classic melancholic vibe. If you’re into the rough edges of rock, this pair would be right at home opening for any number of bands from the Crypt label from the ’90s. I’d love to hear them revved up to eleven, but they’re currently at about four.
Third cassette release by this Jacksonville, Florida-based solo project. N.E.O.N (NEGATIVE EFFECTS OF NASCAR) is some sort of goofball amalgamation of harsh noise and synth punk that is incredibly heavy on the industrial music interludes. It actually starts out with a pretty straightforward SCREAMERS-type song that has an industrial drum beat behind it, but devolves into complete madness before the song even ends. The cassette kind of continues getting more confusing and unhinged as it proceeds from there. As a bit of an outsider to the whole industrial world, this project comes across rather perplexing to me. Most of the songs on this N.E.O.N cassette feel like an unfinished, less memorable version of NINE INCH NAILS, who I have never fully understood to begin with.
Portland, OR’s post-crust favorites OLD CITY are out with their second LP. This (mostly) three-piece band has developed a full and driving force of disillusionment—Dan’s ferocious, tom-heavy drums play under the leg work of Erik’s distorted bass, often acting as both rhythm and bass guitars, next to Nick’s guitar leads and downcast vocals that owe as much to Portland predecessors DEAD MOON on tracks like “Illusion of Peace” (with Sara on guest vocals to boot), as they do to mean-spirited D-beat screams on “Not Here, Not On the Other Side.” This variety, along with the penultimate “Isolation,” a short acoustic guitar-led instrumental, gives the album an undeniable depth, furthered only by the anthemic closer “Wilderness” that despairs with “And when you need a friend / We’ll never meet again.” Sara performs soaring melodies on this final track; it is beautiful and dark. The Last Thing Left to Harvest is not to be missed.
Six more tracks of ripper crust from the reigning monarchs of crasher chaos, Olympia’s PHYSIQUE. You should know what to expect by now—raw, blazing FRAMTID worship from the very best in the game. It obviously rips. They’re as fast and as ferocious as ever on this one. It’s more D-beating goodness, but it’s still as fresh and as exciting as it ever was. A must-listen.
Slow-motion reverse hardcore from North Carolina that mixes the crush of early EARTH with the spirit of classic bummer punk like NO TREND and FLIPPER. Led by Gus Engstrom (formerly of GRIDS) with a revolving cast of musicians, this time Scott Wishart of LATE BLOOMER and guitarist Kathleen Johnson, a beloved Charlotte scene icon who tragically took her life during the recording process. This release takes noise rock to new heights (depths?) with quaking Sunn amps and subterranean guitar tones that are challenging, confrontational, and off-putting in the very best way. Opener “Exorcist III” (originally by the STRANGULATED BEATOFFS, one of three covers on the record) crawls through nearly six minutes of down-tuned droning riffs and repeated vocals that sounds like a punk band stuck in a molasses spill. DRUNKS WITH GUNS cover “Wonderful Subdivion” features Engstrom’s piercing, Albini-adjacent vocals piercing the sludge with diatribes that twist the original into something even heavier, ending with a five-minute collage of feedback and chaotic crowd riot audio. “Aural” grinds over an industrial-leaning “heave-ho” rhythm evocative of early SWANS, and the band’s cover of BLACK FLAG’s “Damaged I” turns the classic inside out, leaving all the guts on the floor. Basically, if you are into any of the bands mentioned or you can handle the outer limits of nihilistic noise punk, you’ll dig this.
If you’ve never heard of either of these bands, the good news is you have two great discographies to worm through some of the verviest, vibiest bedroom punk put to tape in the last decade. This split exemplifies what each act does at their best—lo-fi hard bops to tickle your brain and move your ass. “On Line” is one of my favorite tracks to date from Nashville’s SNOOPER, with its furious pace and a bass line that never ends (until it does, abruptly). Barcelona’s PRISON AFFAIR likewise keeps it filthy with overcooked lo-fi gems careening into your innerspace. Squawking, drum-machine-fueled masterpieces like “Algo Huele Mal” put you through your paces and set the tone for two more tracks of bug-eyed manic marvelousness. It’s faster than hardcore and catchy as pox. Two of the best at their best, what more do you want?
This interesting retrospective pulls together 34 tracks from Poland’s REBELIANT, a long-running, eclectic hardcore punk outfit. Active from 1989 until the early ’00s, the collection features cuts from various cassette releases throughout the ’90s, along with some live material and previously unreleased studio captures. Given all of this, the sound quality is surprisingly consistent. The tunes themselves are also quite consistent in terms of quality, which shifts the emphasis on how the band evolved over time. The sound they cultivated is unique, but unashamed of letting their influences shine through. Smash the CLASH, NOMEANSNO, and DEZERTER together, and the results of that alchemy have to resemble REBELIANT. Although they don’t sound that much alike, I tend to think of REBELIANT as a spiritual sibling to CITIZEN FISH. Worth a spin for anyone interested in the more experimental side of punk.
Listen, I need to start off this review by saying that I am extremely impressed with the production and general care SALEM WOLVES put into this concept album, telling the story of a downtrodden pro wrestler who utilizes a magical device called The Psychotron to make all of his wildest dreams come true, ultimately leading to his own self-destruction (I think). It’s like Lord of the Rings, except instead of the Ring, it’s a Psychotron…whatever that may be. The band took it a step further and created a zine and trading cards that pair with this cassette to bring the story to levels that I can only describe as world-building. Musically, it sounds like if BRUCE SPRINGSTEEN was signed to Drive-Thru Records during their darker period in the late 2000s. As a fellow fan of pro wrestling, I was more than excited to dive into this release, and I would again like to reiterate that SALEM WOLVES have completed something that very few underground bands even dare to begin, let alone finish. But in the end, this release is slightly boring at best and, at worst, a slog to finish. It all feels flat, and nothing really ever kicks into second gear. The musicians are all clearly very talented, but I’ve listened to this album a handful of times now and nothing has grabbed me or left a lasting impression. There’s very little catchiness here, and while I understand that the storytelling is the most important part, you gotta give me a reason to want to come back. This may play well for those who value pageantry and theatrics in their music over anything else, and if that’s your thing, then I suggest you give this a listen.
From Oakland, SMOKERS deliver a sort of frenetic, moody, dark punk. It’s also got elements of power pop and even a demonic/metal edge to it at times. Still, in the end it remains very much rooted in punk rock. It’s self-described, or “tagged,” as “detached-garage,” one of the funniest things I’ve heard in a long time. Go check this out.
Don’t be fooled by the cover art, this is a ferocious D-beat album! TERMINAL is a solo effort from Apostol of Kifisia, Greece, and he manages the job well. Since the first demo released in 2018, TERMINAL has been putting out songs that grab you by the collar and shake you awake to the realities of the world. The TOTALITÄR influence is prevalent throughout, but it manages to stay in its own lane. Δεινός Εξευτελιστής offers a cathartic outlet for the downtrodden with its unrelenting ferocity and stands as a defiant middle finger to the powers that be.
Tribute album to the late, great Gilles Bertin and CAMERA SILENS from an assortment of Tough Ain’t Enough bands. While none of the participants actively defile the legacy of one of French Oi!’s greats, it did just make me want to go and dust off my copy of Réalité more than anything. Go do that instead.
Quite possibly the catchiest KBD cut of all time, 1980’s “I Was There At The Texas Chainsaw Massacre” by NY weirdo rockers AMBIENT NOISE gets promoted to a big ol’ 12” courtesy of trusted historian Harry Howes at Brooklyn’s Almost Ready records. A humorous homage to the 1974 cult film, this hokey little earworm of a tune famously features sing-along lyrics that are impossible to remove once embedded in the brain, as well as oddly anthemic guitar soloing, resulting in fun for all ages. After this goofball classic comes three more jams—the B-side from the 7” and two unreleased songs from the same recording sessions. A quirky little ode to artificial insemination, the previously unheard “Test Tube Babies” melds a rudimentary new wave groove with classic rock noodling. Next up is the original flip, the sleepy, CCR-esque “Hostage Hotspot,” with its offbeat political commentary accompanied by a requisite shaking tambourine. Finally, the decidedly less jovial “Another Day Gone” most closely resembles an earnest attempt at expression from this short-lived act. It’s always cool when records that have become prohibitively costly are supplanted by a more desirable version, and this is an exemplary instance of such. Scoop it up and cross this one off the checklist for good.
Bilingual Beantown street punk, as indebted as much to Nantes as New England, with a follow-up to their debut 7”. Vocals are pleasantly gravel-gruff, clearly been listening to his TEMPLARS tapes, but the plodding chug that underwrites the ambling middle of this album really tests the patience—a song over four minutes? Chill out, RICK WAKEMAN. Ultimately, I cannot be too mad at a record that has this many tunes about how coppers are all a bunch of bad bastards, but it could really do with a kick up the arse to speed up a bit.
Orange County punk rockers with exultant SoCal influence all over them, almost like waves in their vast sea. Flawlessly recorded by Jerry “This Ain’t Disco” Adamowicz, the engineer involved in recordings of JFA, US BOMBS, T.S.O.L., F-MINUS, STITCHES, and more, so you know what you are getting here, and it is excellent. Such an embedded sound can’t deny ADOLESCENTS, AGENT ORANGE, and the whole spectrum contained in between, with reverbed sounds and steady cadences, fierce palm-mutes and ever-ranting vocals, plus strident guitar sections that evoque pool skating sessions from the early ’80s and beyond. Suggested tracks: “Antisocial,” “The Last Rites,” and “When Men Were Men.” Great record, give it a spin.
Latest LP by Colorado’s CANDY APPLE, reminiscent of Youth Attack releases or TOTAL ABUSE-style hardcore from the late ’00s era; somewhere around noise rock meets the faster side of ’80s USHC. Chaotic aural destruction with tons of noise, distortion, and feedback to annoy your roommates. For a noisy hardcore release, it does have enough interesting phrasing where it doesn’t become too overwhelming, yet it’s still cohesive.
The UK.’s CHELSEA may be best known as the starting point for a young William Broad (a.k.a. BILLY IDOL, who quit with most of the band to form GENERATION X), and for being contemporaries with bands like the SEX PISTOLS, the DAMNED, and the BUZZCOCKS. But this collection of outtakes and demos from their 1977–1980 period captures the raw energy of a young scene channeled through music that sits somewhere between rock’n’roll and new wave. The playing is solid and frontman Gene October can really sing. By today’s standards, this music is more pop than abrasive, and it wouldn’t be difficult to find this band’s DNA mixed in with a lot of Lookout!-style pop punk from the ’90s. Versions of these songs are already in circulation, but this collection has been remastered and it sounds great. They might not be your next favorite band, but there are plenty of worthy tracks here for your next mixtape. Check out the song, “I’m on Fire.”
Gloomy, frantically pissed and maddening, distorted and blistering classic raw hardcore punk with a grim and raging twist that I personally enjoy very much. Crazy, upset vocals rant about existentialism and social critiques on behalf of their singer Diente. The string section is on-point delivering never-ending riffage, with such a strict grip that makes you pogo instantly—as tight as mayhem-filled hardcore punk can be, while the drums are ever-ranting, speedy and well-executed in the fill sections. Suggested tracks: “Hongo Entero” and “No Comparto.” This blasts without doubt, and they are a violent party live; chaos is assured.
Formed nearly a decade ago in the punk hotbed of Bogotá, Colombia, DEAD HERO is mostly composed of members of SECTA in addition to vocalist Paula Suarez, whose snappy vocals give a refreshing spin to their brand of BLITZ-worship Oi! Collected here are their demos, splits (one with the aforementioned SECTA) and 2017 LP La Vida Continua. Opening with a tastefully executed cover of BLITZ’s “Solar,” DEAD HERO’s collected material show a band committed to and proficient in ’80s British and French Oi!, proving over and over again that they know how to play catchy and anthemic rippers in the vein of mainstays like COCKNEY REJECTS and the BUSINESS. From the catchy singalong chorus on “Nuestra Vida” to the ringing guitar intros of “Por Siempre” and “La Vida Continua” to the sparse post-punk of “La Ley,” DEAD HERO has the sound down to a science. If you’re enjoying the current wave of modern Oi! bands like the CHISEL and MESS, pick this one up.
A handful of quick and buzzy songs, featuring the oddly light sound of a certain flavor of Spanish punk. Seriously, how do bands like LA URSS and FUTURO TERROR achieve that “distortion cut with clean guitar” sound? It’s too gritty for just a boost, but not nearly full-blown distortion. Anyhow, the music here is bouncy, (usually) punk-moderate tempo, just right for pogoing.
It’s been a long moment since I’ve listened to a grindcore album and simultaneously enjoyed the riffs while giggling at the jokes. Enter DIURETIC, a four-piece from Philadelphia. With all the ways grindcore is stretched to fit these days, it’s really refreshing to hear a band that sounds like old school, straight-up, no-holds grindcore. NAPALM DEATH and UNSEEN TERROR-inspired guitar with speed-shifting rhythm and blasts that race through your aural canal straight to your brain. DIURETIC chose to write this ten-song EP with the theme of “workplace accidents” as the inspiration. Song titles like “OSHA Supersoldier,” “Forklift Certified Early Retirement,” and “The HR Rep is Dead” deepen the joke behind the album title. A really fun listen and definitely something I want to catch live.
There is so much to say about FAUCHEUSE that it’s challenging to find the right place to start. There’s just not another band on the planet that sounds anything like them. They synthesize a range of distinct influences and sculpt the raw material into a totally novel form. Scorching käng fretwork mayhem is injected with a tinge of classic rock sensibility, while Emilie’s searing and unexpectedly tuneful vocals catapult their sound into the goddamn stratosphere. Have you heard a D-beat band make use of an organ? On paper, this might not make much sense, but in practice, FAUCHEUSE absolutely shreds. Rêve Électrique pulls together five songs from their demo and an additional five brand new ragers to create an incredibly memorable album. If you listen to these ten cuts and aren’t immediately sold, it’s worth playing through a few more times to let the full scope of FAUCHEUSE’s brilliance come into clear relief. A top-tier release, one of my favorites of the year.
From the solo bedroom (read: basement) project of Myles Page, the fairly prolific FREAK ACTIVITY drops another cassette. Buzzy guitars greet us on the opener “Come to Me,” with simple backbeat drums, distorted vocals, and a generally pop-forward sound, maybe BILLIAM-reaching. While this is true for tracks one through four, five through nine take a different tone, trading a freewheeling irreverence for a melancholic shuffle. The B-side also brings in the synth, which is at times cantankerous (“Lots of Things”) and at others catchy disco-poppy (“Material World”) like a COBRA MAN song. There’s a cover of DIGITAL LEATHER’s “Physical Man” as well, which is booming, spacious and doom-filled, leading perfectly into the last track “Lost at Sea,” featuring a mesmerizing synth line with lyrics that repeat “I lost my ship along the way;” a sense of loss, despair—insert whichever feeling you like—and is my absolute favorite of the album. From what I can tell previous releases—something like five EPs, a few singles, and an LP—were all self-released digitally or via hand-dubbed tapes or CDs with personalized drawings on each. Cassette Tape #2 marks the first label release on Painters Tapes, self-described as “Detroit’s Worst Cassette Label.” So, congrats, and please keep up this enjoyable FREAK ACTIVITY.
Does anyone remember the ’00s band CRUSTINA AGUILERA? They had a hilarious name and played top-shelf snotty anarcho-punk, and since the GEORGE CRUSTANZA moniker immediately reminded me of them, I thought I might be in for a good surprise. I was expecting straightforward, energetic, political, fast hardcore punk, and once again my punk radar was right—I have not been disappointed, to say the least. Despite the pun, GEORGE CRUSTANZA from San Francisco is not a crust band, although they do have some käng influence and are able to pummel the shit out of the casual listener if necessary. The band can switch from a fast primitive hardcore beat to a stomping mid-paced one and then conclude on a D-beat, all in 90 seconds. They are versatile and very much in tune with the modern school DIY hardcore music in that respect. What I appreciate here is that they don’t hide behind dozens of pedals and mountains of effects (which I increasingly tend to find rather distracting instead of engaging) in order to accomplish their punk mission. It is direct, unpolished, energy-based, and it works perfectly. I love the female vocals here, angry but still keeping a snotty sense of tune. Overall, a very enjoyable tape.
