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!

Nice Smile / Pissed Off Zombies split 7″

Seattle songsmith Rob Vasquez put out singles under various monikers in the 1990s, leaving his greasy garage prints on exalted labels like Estrus, Sub Pop, and In The Red, among others. Cementing his legacy a little further, this one-two punch on Total Punk drags two of his previously unreleased tracks into the modern era. It’s a raggedy, primitive, blues-infected affair, like a totally shit-faced Billy Childish let loose on four-track, and rumor has it that there’s more of this to come (fingers crossed).

Passion Killers They Kill Our Passion With Their Hate and Wars LP reissue

I was thrilled when this weird little piece of CHUMBAWAMBA history came out as an LP on Demo Tapes fifteen years ago, and it’s really nice to see it reissued on Sealed now. PASSION KILLERS were a group of teens from a small town near Leeds who had a song (their Big Hit “Start Again”) on Crass Records’ Bullshit Detector 2. CHUMBAWAMBA was also on the comp, and wrote to all the other bands saying “Hey, let’s keep the momentum going, let’s start a movement based on this serendipitous collection of bands!”—PASSION KILLERS were the one band that responded. Long story short, the two bands released a split demo and played together constantly, and two of the members, Harry Hamer and Mave Dillon, moved in with CHUMBAWAMBA  (with parental permission, kinda), recorded the material found on this LP in 1983 with Boff of  CHUMBAWAMBA  joining in, and then got kind of absorbed into  CHUMBAWAMBA, with PASSION KILLERS playing their last show in 1984. They reformed to release a 7” of covers protesting the first Gulf War in 1991, but otherwise have not done anything until a series of reunion shows this year (I’m assuming this reissue was done to coincide with those shows). The backstory is cute and all, but happily the music is also fantastic, almost shockingly good for something that has remained so obscure. Dare I say, it’s better than the early CHUMBAWAMBA demos. You can tell that very young teens wrote a lot of this, and I don’t mean that in a bad way. There’s a really charming naivete throughout that is kind of refreshing in this day and age. The lyrics are political and largely idealistic, and the music is decidedly punk (more ’77 punk than anarcho-punk), very simple but very pop-informed and super catchy with sometimes off-key three-part harmonies. It brings to mind a lot of their contemporaries, bands like ANARKA AND POPPY, the MOB, and HAGAR THE WOMB that were straddling the line between punks and (gasp) hippies. It’s very easy to hear what the members brought to CHUMBAWAMBA, and it’s frankly magical. The record comes with a booklet with a detailed history of the band and all kinds of ephemera, and is all-around packaged beautifully with respect for the band’s ultra-DIY roots.

Pig Sweat Backward Values LP

Razor-sharp Swiss hardcore that sounds like S.H.I.T., which may be considered insulting out of context but in this instance, it’s high praise. Backward Values is stuffed to the brim with contemporary D-beat goodness and killer riffs that rock in a WARTHOG kind of way, especially on standouts “Death Dealer” and “Bullet.” I’m a fan, check this one out.

Poison Tribe False Narrative EP

POISON TRIBE out of Denver has released a couple of cassette recordings over the past few years, but this summer, they decided to release their first proper vinyl 7″ entitled False Narrative. On this five-song EP, we find POISON TRIBE offering a refined version of their signature crusty hardcore sound. Instrumentally, somewhere between DISFEAR and NASUM—POISON TRIBE uses a call-and-response, dual-vocal approach which creates a dynamic lyrical presentation. If you dig grindy guitars, shredded vocals, and a terminal velocity rhythm section, then you must absolutely check this out.

Smith Grind Curb Appeal LP

This band has members of FALL SILENT, who did the capital-H/’90s hardcore thing pretty hard, mixed with crossover/thrash elements. Here, thrash is the main ingredient (definitely of the thrash revival variety), with some intermittent forays into capital-H hardcore. A pretty solid effort, but some of the songs are a bit long for my taste (four of the ten tracks go beyond two-and-a-half minutes, with one track going over four), and they kinda lose me when they add breakdowns after what feels like a perfectly fine end for the songs. Not great, not terrible, might be worth your time if modern hardcore mixed with revival thrash sounds like your bag.

Splizz Splizz LP

As soon as the first track begins, you’re immediately immersed in another world. The layering of guitars and far-away vocals make you feel like you’ve been transported to a gloomy forest on a quest or sitting in nature watching the rain fall. I love how atmospheric and classically post-punk these guys are; amazing.

Tiger Helicide The River Squid CD

This comes in swinging like the DIDJITS or something. The first song, “AlaKABLAMa,” clocks in at just under four minutes and really takes the listener for a ride with all the tempo changes and oddball lyrics. The first listen to this TIGER HELICIDE CD had me plopping it into the trashcan. However, now on my third time through, I think I’m starting to get it. This is sloppy like a super drunk NOMEANSNO, SCHLONG, or LOVE SONGS, and retains the same charm throughout. I feel as though every member of TIGER HELICIDE loves a different style of punk, and together, with all of their personal elements brought in, they created this oddly perfect garbage fire. I say with one hundred percent certainty that TIGER HELICIDE is making the exact kind of music that they want to. If I have one critique, it would be that the vocals are a bit too loud and overpower the music a bit. I really like this though, and can’t wait to see what is next.

偏執症者 (Paranoid) Possessed / Deserted Centuries 7″

If there’s one thing everyone has to acknowledge about PARANOID, it is that they are original and singular in a genre that strives on sameness and rules to survive. It’s not like they included reggaeton or chanson into their music, but from a rather classic, distorted, noizy käng unit, they have turned into a FROST-loving metallic Scandicore act (it is to be noted that PARANOID is a prolific bunch), and in the realms of DIY hardcore, it is considered as a big step. This 7″ was part of a series of five records with covers structured around a similar colour palette and template. “Possessed” / “Deserted Centuries” appears to be the only one of these with two mid-paced, old school metal songs and no fast bits, and while the Swedes are good at what they do, I have to admit I miss the faster hardcore punk moments. Still, a well-executed endeavour from people who have been doing this long enough to know what they are doing.

20 Minutes Sucks LP

A dozen buzzing garage gut-punches here from the picturesque city of Domodossola. 20 MINUTES continues the lineage of stone-cold rock’n’roll that can be traced all the way back to the STOOGES, in the vein of its re-emergence with a fresh coat of paint in the ’90s. Injecting a bit of delicious pop into the formula, the band achieves a sharp and barreling sound that falls somewhere between Germany’s (excellent) KÜKEN and fellow Italian punkers the DICK DASTARDLYS. The resulting record rips, with tunes like “You Die” and “Payment” that would fit perfectly in a mix with the finest of golden-era bangers like TV KILLERS and the SPLASH 4. Ace shit.

Aqua Tofana Miroirs LP

Punky post-punk band with high-pitched screams sprinkled throughout. I loved how they manipulated different levels of sound from whispering vocals with cascading guitar to more outright screaming or layered vocals talking all at once; I felt thoroughly immersed throughout this whole album.

The Boogie Spiders Songs For Losers LP

Great start to this BOOGIE SPIDERS LP. Herky-jerky, rock’n’roll punk that starts out fun as fuck. Lyrically, this first track feels like you’re right in a basement or bar with a sticky floor. This is going to sound wild, but this has a very East Coast and West Coast feel at the same time. Rock’n’roll and surf guitar all at once. This is like if the Dirtnap and Estrus labels made a baby with DIRT BIKE ANNIE and then…ya get the BOOGIE SPIDERS. The cover throws off how good this record is. If you are a fan of Sympathy for the Record Industry and classic/early the JAM wiggling in there too, then this record is for you.

Bunnygrunt Action Pants! Thirtieth Anniversary Director’s Cut LP

Reissue of St Louis’s underrated indie pop/rock stalwarts’ debut LP. This record is fucking fantastic. While mostly it stays in the lane of upbeat twee pop endemic of the indie pop scene of the era (yet another record I’m reviewing for MRR with a big ole whiff of GO SAILOR/TIGER TRAP coming off it, and I ain’t mad), they do bring in some fuzzier guitar moments and even shoegaze-y ambience to mix things up and grab from indie rock sounds that were the style at the time. This reissue sounds great and features four tracks not on the original release: “Inanimate Objects,” which came out on a single shortly after the original release, and three songs fronted by their original bass player Renee, which had been dropped from the original release after her not-so-amicable split from the band. If you’re in the market for twee pop with a little bit of a rougher edge, or if you are into indie pop at all, this is a must-own record.

Claimed Choice Genuinely Crafted Noise LP

Fast and loose bangers from CLAIMED CHOICE, whose energy has a hopped-up sense of swagger from beginning to end on Genuinely Crafted Noise. This is a perfect record to play while getting ready for a night on the town with the crew, sounding at times like everyone from GIUDA to the RIFFS to CHUBBY AND THE GANG’s first record. Call it Oi!, call it glam, call it punk, it’s all rock’n’roll to me and it rules, OK?

Distance Le Décor 12″

Touting influence from the French and Scandinavian underground as well as power pop and Oi!, this Bourdeaux group has a strong and formidable style that builds everything around a melodic core. The vocals are a little too forward in the mix, but that’s a quibble when the hooks are this deep. The guitar has a satisfying chorus-laden crunch and the bass is punchy, harmonizing beyond just plunking on the root notes to a deeply satisfying end. At six tracks, the energy stays consistent throughout, and the band doesn’t outstay its welcome. Just a really solid affair through and through, and catchy as hell.

Dr. Sure’s Unusual Practice Blue/Bubble LP

Synthy punk stuff is great and I’m always down to dig into these sounds, but rarely do I think that it has a genuine edge to it. Enter DR. SURE’S UNUSUAL PRACTICE to challenge that very thought. This combo release of, you guessed it, their Blue and Bubble releases, provides plenty of fun, sure, but also you’re treated to a bunch of synth-soaked garage punk tunes that sound actually urgent and truly propulsive. The first two acts that came to mind were SPIRITUAL CRAMP and HANK WOOD & THE HAMMERHEADS. Of course, there is plenty of dynamism to be found across these eleven tracks that prove DR. SURE’s practice is indeed unusual. After the first few garage-y offerings, the album explores more whimsical cartoon sounds on “Blue Evening,” but then trades the staccato synth hits for sustained sounds and nylon string guitars in “Not the End of the World.” The second half of this combined release, the Bubble side, explores sounds even more, tending to feel a lot more post-punk, with another highlight in “Outside Looking In.” This LP challenges your definition of “egg-punk” and tosses you a whole slew of exciting sounds that coalesce into a fantastic listen.

The Fects Rocket to Ruin LP

What is happening? Am I currently facedown at Gonerfest with a HELLACOPTERS and HOOKERS bastard love child band playing songs over me, while in between songs, they turn me on my side to make sure I don’t aspirate on my own puke. The FECTS’ Rocket to Ruin is a non-stop party record, without calling it a party record. Around track five (“Topic”), about sitting in a room listening to the radio and trying to tape songs, it made me think these folks are as old as me. It was a crazy time when you had to actually physically move to find a sound. I would drive my grandma’s car 70 miles to pick up MRR’s radio show from a college station. My favorite thing about this record and the THE FECTS is the fact it sounds 100% natural. If you put these folks in a room and told them to make a record that sounds like metal-math-emo-hard-egg-synth-goth-ska-pop, they would come out of the room, looking up at you doe-eyed, and they’d ask, “Is this right?” And it would be this record, because this is what they do and they do it perfectly.

Fugitive Bubble What Will Happen If We Stop? LP

I had never heard of them before today, but it’s hard for me to consider a band falling too short after having the superb name of FUGITIVE BUBBLE. They are a three-piece from Olympia, WA that plays a mathy and urgent punk cutting close to the NEO BOYS/AVENGERS meets MINUTEMEN bone. There is more beyond the typical within What Will Happen If We Stop?, as well as moments of thoughtful surprise. One moment you are beating your skull to “Eftio,” and the next are in a moment of introspection with the two-part “Demodex in Situ.” The range is revitalizing to listen along to, and I am eager for part two.

G*U*N*N G*U*N*N LP

The main influence I hear is the FU’S. Even a little bit of STRAW DOGS in a couple tunes, but generally speaking, the approach is incredibly satisfying meat-and-potatoes hardcore. What you can also hear, though, is California. Think stuff like the FACTION, with that focus on skating and partying and just being a Cali punk. I am not familiar with their earlier releases, but this sounds incredibly purposeful—love to hear a band knowing who they are and exactly what they want to do on a record. The record absolutely benefits from repeated listens, it gets more fun the more familiar you are with what’s happening, and I appreciate the SPAZZ-ish devotion to throwing in samples to make the whole thing feel even more cohesive. This would be a great second or third release for most bands, but as a debut LP, it’s even more remarkable.

Isolationsgemeinschaft Start. Stop. Zurück. LP

Look, I wasn’t alive in the ’80s and I’ve never been to Berlin, but I’ll take a wild guess: ISOLATIONSGEMEINSCHAFT’s latest LP, Start. Stop. Zurück., sounds exactly like it. Freezing cold atmosphere, gothic undertones, a bunch of analog synths, and deep-voice talk-singing in German. At this point, you should be able to perfectly imagine what this record sounds like—and there’s nothing wrong with that. I particularly enjoyed the more danceable, EBM-influenced parts of it, but it definitely has more to offer for the fans of this sound.

Kerosene 454 Came By to Kill Me LP reissue

Here we have a reissue of KEROSENE 454’s 1996 sophomore LP Came By to Kill Me. Hailing from Washington, DC, this release was originally released on Dischord and Slowdime Records—the latter run in part by KEROSENE 454’s John Wall (also of CANYON), who formed the band with brother Jim Wall and Erik Denno. If these labels bring to mind classic DC post-hardcore, you’re not wrong, though KEROSENE 454 added in a bit of melodic hardcore (a sign of the mid-’90s, I suppose), while still keeping roots in the sounds that formed early Dischord bands. I hear pretty classic post-hardcore on “Injection”—fast little guitar riffs, dissonant and squabbling, drums keeping a syncopated beat, vocals spoken, shouted, spat, with a strong backbone of bass. “T Minus 100” offers up some of those melodic qualities, while the closer “Continued” has a slacker sound, and is tamer than the rest—possibly a foreshadowing of Wall’s slowcore career to come in CANYON. While I may prefer ’80s-era DC bands, I like this record, its lineage in the city’s history, and the fact that it’s getting a new day in the sun.

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.