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!

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.

Total Nada Aqui y Ahora 12″

You aren’t even ready. You think you might know what’s about to happen because you’ve heard TOTAL NADA before, but.you aren’t ready for this. The EPs are good, don’t get me wrong (they’re great, actually), it’s just that TOTAL NADA has done something truly special on Aqui y Ahora. Blistering hardcore punk that compresses all of the bouncy energy that makes Spanish punk so unique and just makes it….more. It’s faster, it’s more intense, and it’s more infectious than should be allowed. When they unleash, it’s impossible to not hear the influence of the Italians, but TOTAL NADA do all of this without sounding like anything except themselves. They manage to do all of these things in “Punta De Lanza,” but it’s still impossible to isolate just one track here. Their sound feels realized, they feel like a machine…now, what are they going to do next?!

The Unknowns Looking From the Outside LP

For lived-in, gritty power pop with a rock’n’roll spirit, you never have to look far past Australia. From the chugging downstroke riffs to the saturated full-throated vocals, this band knows what works and weaponizes it. Hooks galore and no shortage of riffs, all while embodying a timeless sort of cool that sells the whole affair. I sincerely hope bands never stop sounding like this, because it still sounds fresh even if it’s arguably “retro.” A song like “I Know That You Know” sounds like you grew up listening to it, and that’s a major compliment. Rather than sound stale, this is a group that’s keeping something alive that will always feel vital.

Vacation / Whippets split 7″

Up first on this split is VACATION from Cincinnati with a fun, rock’n’roll-driven sound on “Armory of Bays.” Heavy drum and bass propel a perfectly crunchy rhythm guitar with a tinkling, clean lead over powerful and rich vocals that sound like Paul Weller from In the City-era the JAM. I really like this one, and am excited to look back on their fifteen years of making music together. Next, we have WHIPPETS from Wisconsin, who put out their self-titled debut LP just last year. This is a group comprised of members from the HUSSY, TENEMENT, and PONEY, to name a few. Their contribution to this split, “C-Thru,” also has a fun rock vibe, with some really great riffing under creepy-crawly vocals singing “Hey you / See through” drawn out through the chorus. The ending picks up quite a bit, with a heavy rhythm, death screams, and fuzzed-out guitars. Great complimentary split from some Midwestern heavy-hitters.

War//Plague The Rot Thickens LP

In our day and age when bands often don’t last longer than two years, I am always astonished that WAR//PLAGUE has kept it going for so long. I distinctly remember when I got their first EP and have more or less followed them since, sometimes from afar as I must admit I did not get into all their releases, but I am always happy and relieved to see they’re still at it (a bit like that old friend you bumped into every five years and are relieved to see that he’s still a punk), and it makes sense that fate attributed their new LP The Rot Thickens (what a sadly relevant title) to me for review. The WAR//PLAGUE gents are old school punks raised on ’90s and ’00s DIY anarcho crust-punk, so you know you’ll be offered honest punk music, and that is the case here. The band is back to dark, metallic crust bordering on stenchcore on this one, reminiscent of Minneapolis crust anti-heroes MISERY and early HELLSHOCK, but also faster, “blackened” (I dislike the term, but it makes sense here) hardcore crust, not unlike MARTYRDÖD maybe? I find the album pretty solid, classic in terms of songwriting and riffs too, and I believe that’s when the band is at its best, as a resilient old school metal crust unit with something to say.

Agathocles / Yacöpsae Very Old Shit split LP

No false advertising here, this is indeed very old shit from both bands. The YACÖPSAE side is remarkably consistent in recording quality for a collection of 30-plus-year-old tracks, though you are going to get way more of a “mid-’80s German hardcore punk band in the practice room” feeling than you will their insane, speed-obsessed final form. There’s a couple songs that set foot into the blastbeat zone and scream of things yet to come, but overall, you get a lot more punky tupa-tupa than you see from the lads these days. Being firmly in the YACÖPSAE camp in terms of preference, I enjoyed their side way more. I found it interesting hearing them sound like they could have become an altogether different band from these recordings, an alternate universe version where YACÖPSAE went more straight-up hardcore punk. The AGATHOCLES side varies wildly in quality almost from track to track; you can tell these are from a lot of different recordings and they definitely dip below the “listenable enough” line a few times. You get very primitive-sounding mincecore, from probably one of the best documented bands in the history of the planet. The vibe on this side is more along the lines of a band working out their shit to become what we all know them to be, and that I just found less compelling. Overall, this is for the diehards, kind of inessential truth be told, but maybe something people interested in the history of the bands or with a love of that “we brought a boombox to record our band practice” sound will find value in.

Amargao Amargao demo cassette

High-energy, high-end ear-splitting garage hardcore from Santiago, Chile. Serious US Midwest energy and focused sonic damage over the course of five songs—vocals damaged to oblivion and showy guitars treated to a wall of effects, while a blown-out rhythm section propels the entire experiment forward with a careless urgency. A gloriously exhausting listen, highly recommended.

Black Dog Sewn Into Confusion EP

This new EP from Halifax noizecrust fanatics might be the best five minutes you are going to spend this month. Sure, it might get you sent to Bedlam because doctors are bound to ask what sane person in their right mind would enjoy being subjected to such a D-beat raw noize punk assault? The answer is easy: punks of good taste, that’s who. I was fortunate enough to review the band’s first EP, and I am happy to announce that BLACK DOG haven’t become a revival skacore band in the meantime. In fact, they sound even more ferocious, somewhere between D-CLONE at their most intense, FRIGÖRA, FRAMTID, and contemporary bands like PHYSIQUE, SCUMRAID, and others who wished they had been around at Final Noise Attack gigs in the ’90s. Sewn Into Confusion is masterfully crafted by this crew of Halifax punks who just know how to be genuinely good at being genuinely noisy. I love how aggressive and direct the vocals sound, closer to Scandicore bands than the more extreme Japanese ones. If you don’t like this kind of hardcore, this EP will not reconcile you with it, but if you do like it, it will make you love it even more.

Blank When Zero Stagna EP

BLANK WHEN ZERO’s Stagna EP is a blistering four-song burst from this long-running hardcore trio out of Bingen, Germany. These tracks may be short—most clock in around two minutes—but they pack a sound that’s weirdly massive. The singer’s voice hits with a theatrical clarity that brings to mind the question “what if Michael Kiske’s kid started a punk band?” and it mostly works. Picture the spirit of DRAGONFORCE filtered through a punk lens (with a tiny fraction of the production budget and none of the guitar showboating), rooted firmly in their progressive politics. My favorite track, “Momentaufnahme,” is pure cardio for the drummer. This EP really grew on me after repeated listens. Maybe for fans of HELLOWEEN and PROPAGANDHI.

Canteleu Canteleu cassette

The city of Lille is a working class metropolis in northern France near the Flemish border. Aside from being the location of this year’s Tour de France Grand Départ  it’s also home to goth punks CANTELEU. Late in 2024, CANTELEU released their inaugural self-titled EP and effectively laid down some of the best goth tracks ever to be recorded to tape. This three-piece whipped out five originals and a cover of Q LAZZARUS’s “Goodbye Horses,” with delightfully heavy synths, pounding beats, and urgent vocals that immediately conjure memories of French compatriots and punk legends EDITH NYLON and MÉTAL URBAIN. However, there is a dark, melancholic bent to CANTELEU that comes out with pop-infused howls and is accurately dubbed “Coal Wave” (as the north of France is its coal region), as CANTELEU brings a wave of chilling, dance-ready energy. If you’re struggling to maintain an icy cool demeanor during this hellscape of summer heat, then I’d suggest giving CANTELEU a shot.

Dana Clean Living LP

Have you heard of the saying “a chain is only as strong as its weakest link?” Well, there are no weak links on DANA’s latest LP, Clean Living. Every member, every instrument, and every song is perfectly on-point and solid as they could ever be, so much so that I won’t even bother dissecting every single element of their music. Just know that DANA is like a complex organism that works in perfect harmony—and disharmony, when they want to—without breaking a sweat. Clean Living radiates this energy of boundless creative power that always enchanted me with no wave acts like JAMES CHANCE AND THE CONTORTIONS, TEENAGE JESUS AND THE JERKS, and BUSH TETRAS. While it’s possible to hear influences from these classic bands, DANA is by no means a copycat group. If you don’t mind me, I’ll just go ahead and call this album a ten out of ten. P.S. Can somebody tell me what the fuck is going on in Ohio and how they always come up with the best, the weirdest, the quirkiest post-punk imaginable? Thanks.

Diamine Ancient Riffs LP

DIAMINE is a Washington, DC three-piece made up of musicians from CAPITOL CITY DUSTERS, SEVERIN, and Florida’s DISCOUNT (a band fronted by Alison Mosshart, later of some band called the KILLS). Their debut LP Ancient Riffs mostly reads as mid-tempo alternative rock with personal lyrics delivered by a singer who sounds like a worn-down B.A. from SLOPPY SECONDS. Track seven, “Either/Or,” was the only one that I thought showed any bite. While some bands use “post-punk” to describe a distinct sonic signature—anxious tones, driving bass lines, sharp edges—others use it to mark what ex-punks did next. Ancient Riffs lands in the latter camp, and not necessarily in the best way. Coming of age in DC in the ’90s meant navigating wave after wave of projects built around ex-members of great bands—most of whom had lost whatever made those earlier bands compelling. DIAMINE sounds like one of those projects: the kind of group you might accidentally catch while waiting for the headliner. Recommended for friends of people who work at Dischord.

Eskolopendra Criminal LP

From the Spanish island of Tenerife, ESKOLOPENDRA conjures up passionate and sinister punk with classic deathrock vibes. The tunes on are undeniably catchy, propelled in no small part by the fantastic vocalist, and this young band has assembled a record here that plays like an album and not just a collection of songs—a solid debut. The name of the Spanish label that released this translates to “Methadone Records,” which is crazy, and if you want to put a creepy little jolt in your day, look up image results for the band’s name.

Flor Mi Cuerpa es Protesta cassette

FLOR spans an interesting gamut across the eight cuts on this release. The backbone of these tunes consists of anger-fueled, straightahead punk. It’s a rip-roarin’ time with chaotic elements that makes it feel like the whole thing could fly off the rails at any moment. Polished this is not, but fidelity here is replaced with passion and charm. And while the core sound is free of extraneous complexity, FLOR takes some interesting turns, like on “Preludio Al Dolor,“ where they veer into URINALS territory. This tape is a solid reminder that a band doesn’t have to spend a small fortune in a fancy studio or flaunt their technical chops to make a compelling release. They just have to give a shit about what they’re doing and go for it.

Green Fingers Ltd. Liminal Safe Space cassette

Seven-song debut release by a new band from Tbilisi, the capital of Georgia. Each of the seven songs by GREEN FINGERS LTD. is a bit like a roller coaster ride in the dark—there are elements that are fun and entertaining, but ultimately the unknown curveballs thrown at you feel more jarring than they do exciting. Musically, this is mostly some kooky, synth-driven egg-punk. The vocalist is doing real barked, gruffly delivered Muppet style vocals, which works for some realms of hardcore, but sounds wildly out of place in this context. That, plus the wacky decisions to add a Star Wars cantina-band-style transition in one of the songs and some real yo-ho-ho pirate chants in another leads to most of this tape coming off as a bit of a novelty project. There are aspects that make your ears perk up in a good way and wonder exactly what’s going on, but the piss-take is what really shines through above all.

Hilerri Herio Usaia LP

Brutal Spanish guitar-free D-beat. There’s a dark and sinister energy that their sound creates, even though (or specifically because) I am constantly yearning for that guitar. My mind is reaching for the empty space, and there’s nothing there. Because it’s empty. Because there’s no guitar. The songs are absolute shredders—erratic, no-bullshit, shit-fi D-beat mania punctuated by mid-tempo slogs like the title track. The songs are killers, the production and presentation are flawless. HILERRI is evil as fukk and they’ve got me hooked…and still I want those six strings.

Irish Handcuffs Humbs EP

From their Bandcamp page, I learned that “after thirteen years and close to three hundred shows in around fifteen countries, IRISH HANDCUFFS are calling it a day.” To be honest, I’m bummed that I’m just now hearing this band. These four songs are mid-tempo and contain the speckled reflective parts of SAMIAM, JAWBREAKER, and MOVING TARGETS. Tunefully akin to OFF WITH THEIR HEADS and LEATHERFACE, but without that over-the-top, “gargle with sand” vocal style that many try and few do well. I appreciate that every guitar and bass note, every drum hit, every syllable is clear and mixed well enough to be a DESCENDENTS record, but not overproduced to where the tunes become flaccid song bags. I dig it.

Krigssystem / Smog split EP

Two tracks by SMOG, four tracks by KRIGSSYSTEM, all absolutely DISCLOSE-dosed. I dig the two tracks by SMOG as they walk the fine line between raw D-beat and full-on noise, while I like the KRIGGSYSTEM tracks as they embrace the noise nearly entirely but still manage to push adrenaline-inducing punk. Limited to a pressing of 300, this record is sure to sell out fast.

La Flingue Boredom With the La Flingue LP

A huge collection of almost all of  LA FLINGUE’s output, Boredom With the La Flingue brings together all four of their previously tough-to-find 12” releases. On its surface, 24 tracks can seem a bit daunting, especially given the average attention span in 2025, but just like the ocean, if you allow yourself to simply jump in, you’ll be glad to have submerged yourself fully. Whether they’re singing in their native French, English, or even German on the early standout “Hass Hass Hass,” these garage punk hits come fast (only one of the two dozen tracks breaks the three-minute mark) and loaded with snot. While this collection represents over four years of songwriting from LA FLINGUE, there isn’t a huge difference in sound between track one and twenty-four, proving that there was a singular mindset with these lads—once you’ve gotten into the water, sometimes you just want to stay forever.

Musty Flick Define Who We Are CD

MUSTY FLICK is fine Midwest emo. They are mellower than some Midwest emo bands and can slip into dreamy indie rock, but they can also switch back and be on pace with the other Midwest emo bands. There is a label called Tiny Engines, and I feel like this could be a decent fit on their roster with SOMOS, LAPÊCHE, HOT JOY, ALIEN BOY, PERSONAL SPACE, and others. I tracked down a show of theirs on YouTube and found them to be humble and charming, two things I was not expecting. MUSTY FLICK is from Southeast Iowa, and maybe you won’t completely find their sound to your liking, but they are on an island in the Middle West and they are trying to swim against the current. If this review is to keep at all with the origin and intent of MRR, then my hope is that someone from a neighboring town or state will build a bridge and start connecting. It’s never too late to start a scene.

Nasty Party Nasty Party LP

Sydney- and London-based NASTY PARTY, the conjoined brain child of Nasty Simon and Rhys Nasty, put out this LP with all their previously released material. Songs drive straightforward with a RAMONES-core catchiness, mixed with the British snot of Pete Shelley’s vocals. The first listen didn’t capture me, thinking it was some party (I guess their name led me there) Oi!-adjacent kind of band—but with some more focus, I heard a UK ’77 throwback, and really enjoyed it. These songs not only make me want to push around, they’ve also got something to say, like on “Strum & Drang” where they sing “You got social media influencers, the parasitic elite / I’ve never seen such a worthless pimple on society’s ass cheek.” Plenty of social commentary abounds in his thirteen-track LP that is as fun as it is poignant.

Pegasister Burn to Ash LP

Fuzzed-out pop punk with a power metal twist, as if FIDLAR started listening to DIO and MANOWAR and decided it was time to don the knight’s armor. I wish their Bandcamp page listed their lyrics, because from what I’m picking up, this sounds like the narrative of a Sega Genesis-era dungeon crawler. Speaking of the lyrics, the vocals are above and beyond the best part of this band. The kind of rock’n’roll screeches that every frontperson dreams of being able to pull off, chock-full of charisma and energy that can’t be taught. Don’t get me wrong, the music is great too, especially the little synth parts that are beautifully laced throughout each song, acting more like a garnish than a lead. It’s clear that PEGASISTER really took great care with these songs, because they are masterfully crafted and extremely catchy. Fire up your copy of Shining in the Darkness and give this a spin.

Pyrex Slugman EP

After their excellent LP Body from earlier this year, I was not expecting a fresh batch of songs from NYC’s PYREX so soon, but I guess this is my lucky day. Sounding as raw and evil as ever, Slugman sees the band dig their heels further into the nastier elements of their brand of grimy hardcore punk. From the maniacal opener “The Curse” to the menacing closer, the appropriately titled “Menace,” this is bad music for bad people in the best way possible. Absolutely recommended.

Scheisse Minnelli / The Shining / Verbal Abuse Speed Kills, But Who’s Dying? split LP

Three bands, three labels, and fifteen tracks of fast “fuck you” music. It rules, folks. This slab originally came out in 2011 as a CD, and I can see why they brought it back for the vinyl treatment. O.G. HC athletes VERBAL ABUSE open the proceedings as a tough act to follow, with five blistering tunes that set the tone for the thrashing to come. In addition to having one of the funniest band names I have ever heard, SCHEISSE MINNELLI evokes just a bit of an early SUICIDAL TENDENCIES feel with their agile metal guitars and goofy humor. Finally, the SHINING caps it all off with some menacing crossover out of Amsterdam. It’s a bonafide ripper, recommended for fans of CONCRETE SOX, HERESY, and other fastcore champs.

Sewer Urchin Global Urination LP

The cover for this record reminds me of a mutant version of those children’s car track rugs. I wouldn’t guess this was a crossover album by any means. Global Urination is a filthy, spit-in-your-face assault on decency and order. SEWER URCHIN oozes with thrashy riffs, sewer-slick bass lines, and vocals that sound like they were recorded in a rusted drainage pipe. Their sound almost feels like NUCLEAR ASSAULT with the punkier edge of CIRCLE JERKS. It’s raw, sarcastic, and politically foul, with song titles like “Godzilla vs. the Financial Sector,” like a middle finger raised from beneath the gutter. If global collapse had a soundtrack, this might be it.

The Slugs A Song for Every Feeling LP

I came into this record not familiar with the SLUGS, but from the first track it took me back to a time when I would listen to the MOLDY PEACHES and a bunch of lo-fi indie pop. Mind you, where the PEACHES were a little unhinged and wild, these two British girls are more cheeky and adorable in a very bedroom pop kind of way. One member plays drums, the other guitar/bass, and they both sing line for line with each other on basically every moment of the record. This approach, youthful songwriting mixed with clean, clear production, creates quite a bit of charm (and takes the whole thing out from under the lo-fi banner). The band didn’t pull the album title out of their ass either: each song goes for a different feeling, even if sometimes they can be too precious to pinpoint what that feeling is aside from “cute.” Still, there are some very catchy moments, interspersed with some clever bits that betray a band with more depth than one would initially assume them to have. The whole endeavor gave me an “I don’t wanna grow up” feeling that I can certainly identify with, and though not the most memorable record I’ve heard, it’s not forgettable either. I hate to use the term, and I use it as much as a compliment as it can be, but this record is nice. Just nice as hell. It’s not gonna kick your ass/change your life and it may be a little too breezy, but goddamn, it’s nice.

Terre Neuve Depuis Les Marais EP

Belgium is an oft-misunderstood country. Frequently (and incorrectly) called boring by shallow-minded dullards, as if any country that’s powered by chips, 9% trappist beers, and disappointment at a nearly-ran international football team could be anything other than fertile ground for some good ol’ fashioned Oi! TERRE NEUVE is one of the leading lights of the Cobra Jaune scene, a loose group of rapscallions and ne’er-do-wells coagulating around the titular venue. This particular release has the kind of bite and bile that so much contemporary Euro stuff lacks, putting me in mind of RIXE in their pomp, and that’s high praise from yours truly.

The Unknowns East Coast Low LP

One of these days you’re going to read a review of an Australian release where things are panned, but that sure as hell isn’t going to be today. Bringing to mind other brilliant Australian classics like the RIPTIDES and the EASTERN DARK, this album is a case study in how a foundation of good taste can take you far. These tracks are brimming with power pop hooks, pub rock call-and-response shouts, and classic punk energy. While the UNKNOWNS include members of the CHATS, this is far from anything one might call a “side project,” as the UNKNOWNS have been cranking out hits with regularity for a decade.

V/A Still No P.E.A.C.E. Still War LP

When I first heard of War Bad’s Still No P.E.A.C.E. Still War compilation, the infamous International P.E.A.C.E Benefit Compilation (commonly referred to as the P.E.A.C.E. comp) immediately sprang to mind. For those unfamiliar, a brief rundown: the P.E.A.C.E. comp was put out in 1984 by MDC’s Dave Dictor (in association with this very zine, MRR). It was a profoundly impactful album whose profits went towards various good causes including anti-nuclear groups, Food Not Bombs, and Greenpeace. It also featured a track list that included everyone from G.I.S.M. to WRETCHED to CRASS (and that was just on the A-side). It’s endlessly cited as a musical entry point for people the world over, and remains an untouchable piece of punk history for its stellar lineup and its message that it is in fact cool to give a shit. Now, fast forward 41 years and here we are in motherfuckin’ 2025, once again coming together to raise profits for a cause: the heinous terrorizing and starvation of Palestinians at the hands of completely unchecked world powers and their all too apathetic peers. It’s beyond the pale, to put it mildly, as anyone with eyes, ears, and a smartphone could tell you. And while I feel significantly less qualified to give a comprehensive history lesson on the subject, I have no problem saying that ignorance and non-action is not an option. So what can you do? Well, amongst many other things, you can skip the latte and buy a copy of War Bad’s Still No P.E.A.C.E. Still War comp. With an ethos that follows in the footsteps of the aforementioned ’84 P.E.A.C.E. comp, War Bad brings together a who’s-who of today’s best punk bands to support a cause that takes the brutal Palestinian genocide head on. Each of the 22 bands featured here have reputations that proceed them both sonically and in their clear-eyed messaging, providing a near-perfect snapshot of today’s punk scene that could only be made stronger if this thing were double (or even triple) the length. From the ghastly urgency of SPIRITO DI LUPO’s opening to the all-out attack of WARTHOG’s “Iron Fist” cover, this thing is a beast of a sampler platter that I would gladly serve up to anyone interested in getting into punk music in 2025. Time will tell if it holds the same place in hearts and minds that the ’84 P.E.A.C.E. comp did, but regardless, its impact will surely be felt for years to come. Dictor’s idea behind the ’84 P.E.A.C.E. compilation was to show how prevalent hardcore culture had become across the globe and how its raw music and leftist politics could be harnessed to create something that is much, much more than the sum of its parts. That is in essence what Still No P.E.A.C.E. Still War is: a spiritual predecessor that once again shows how the alleged “fringe” of society can come together for a good cause. Because it is in fact cool to give a shit.

Animals Revenge Invasión // Destrucción EP

No bullshit, just D-beat. Controlled chaos on this three-song blast from Tijuana—their dis-attack feels like it’s on the edge of collapse at all times,the tension that results is like a drug, and I’m tryna get fucked up listening to this shit. More, please. The closer “Perro Tráfico” is a short and restrained number that closes the release in the most brutal manner; this is the mid-tempo dis-banger that is supposed to (if you’re following the formula) come in the middle of the first side of the album before the band really unleashes. But here? It’s the end. So I’m not just wanting more at the end, my mind is demanding more at the end. Total fukkn dis-banger of the highest order, highly recommended.

Anticitizen Take to the Streets LP

Is it weird to think that this band is mis-marketing themselves? From the spikes and the spiked hair and the pictures of them snarling at the camera with spiked wrist bands, I feel like they want to be a street punk band, but they are more than that, and better than that, methinks. They are from New Jersey, and I love New Jersey, from the mountains, the Delaware Water Gap, Princeton Record Exchange, Pine Barrens, and the Jersey City and Newark areas, but I’m not sure which part these guys are from. This could be a great hardcore record, like NAUSEA, DEAD SILENCE, CELEBRITY MURDERS, or some of the fast BORN AGAINST songs. But then ANTICITIZEN will self-sabotage with “Drink, Smoke, Fuck, Die!” if only because it doesn’t fit in with the more penetrating and thoughtful approach of the prior four songs. Some of the standouts are “Blood Money” and “They Live, We Sleep.” I’ve never been a fan of songs about “punk” or being “punk,” the same way I don’t care about a country band talking about how they are so totally country because of their “beer, dog, truck, or (insert your best),”, and this record does have a few of those songs. However, if you get past the easy stuff and dig into the songs like “100 Seconds” or “Industrialized Sacrifice,” then you’ll find a pretty great and thoughtful New Jersey/New York hardcore record that maybe should have been seven songs instead of twelve. But dang, those seven songs are rippers for the ages and could go one-on-one against some of the greats.

Billiam Sylvie S Goes to Hawaii EP

The prolific BILLIAM is back again, this time with a quasi-concept EP. The A-side finds BILLIAM doing his version of an eggy MEAT LOAF, with a five-minute tale in mini movements about a vacation gone wrong. And sure, an “eggy meat loaf” might sound gross on paper, but it sounds great in the ears. While the A-side is one five-minute song, the B-side finds the inverse with five one-minute songs. Frenetic sounds that feel like they overheat and explode at any moment, but BILLIAM has it all under control. Fans of the storied, modern Australian sounds like 1-800-MIKEY and TEE VEE REPAIRMANN will of course feel right at home here.

Body Maintenance Far From Here LP

If you, like me, are just hearing of this Melbourne-based post-punk band, then listen up: BODY MAINTENANCE may become your latest obsession. This is their second LP, after 2023’s Beside You—Far From Here stands up with ’80s UK greats like First and Last and Always and In the Flat Field, with the vocal authority of The Black Album-era Dave Vanian. I hear lots of jangly acoustic guitar, keeping rhythm with the tom-heavy drums, under tragic electric riffs, soaring synths, and gurgling bass. The rhythms have a danceable gait to them, contrasting with the dark and downcast nature of the melodies and lyrics. This will easily make my year-end top ten list. Gripping, heartfelt, melancholic and bold.

Cam Girl Flesh & Chrome LP

For an album that was self-released, the production here is really off the charts. This would be right at home on my local hard rock radio station. Very reminiscent of that style of pop punk that was big during the early 2000s, like the DONNAS, BILLY TALENT, SUGARCULT, and the hair-metal-infused era of SUM 41; the kind of punk that took more of their influence from DEF LEPPARD and MEAT LOAF than your typical D-beat band. There’s also an element of theater here that really adds to the storytelling of the songs and energy. Speaking of energy—this slab is chock-full of charisma and catchy, clever lyrics. I can’t lie, readers. I didn’t expect much here, but by the end, I was hooked.

Cash Bribe Demonomics LP

My biggest qualm with CASH BRIBE’s last outing was its lack of cohesion; the songs were solid enough, but a lack of clear direction felt distracting. On their new LP Demonomics, I’ve got to give credit where credit’s due, as the band sounds a lot more dialed-in and focused. Across six tracks, CASH BRIBE takes their brand of metallic NYHC and leans into some evil overtones, most notably on the sprawling title track’s creepy intro and spoken word outro. Overall, it works, and while this still isn’t really my cup of tea, it’s great hearing a band’s progression.

Décima Víctima Un Hombre Solo LP reissue

DÉCIMA VÍCTIMA was a Spanish post-punk band from 1981–1984, and Un Hombre Solo is one of their last recordings. Un Hombre Solo is a ten-song album that merges Spanish guitar style with the flanged repetition of post-punk to form a basis for crooning vocals reminiscent of JOY DIVISION, but with a decidedly Spanish swagger similar to SINIESTRO TOTAL. It’s a similar energy to PARALISIS PERMANENTE, and DÉCIMA VÍCTIMA should be considered a basis for Spanish dark punk or the “dark sound.”  I’m infatuated with the long moments of quasi-psych-rock-inspired instrumentation that seem to pop up sporadically throughout this album and lend a sort of hard-to-describe but very distinct flavor to the proceedings. Munster Records has lovingly preserved Un Hombre Solo and presented it with only minor improvements to the album art per the band’s request, so the packaging has a fresh but also archival feel.