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!

Sørdïd Sørdïd demo cassette

From 2011–2013, I spent an exorbitant amount of time going to NYC gigs that featured offensively raw hardcore punk. Bands like BORTGANG, ZATSUON, and PERDITION were an average night out, so to say I like SØRDÏD would be a total understatement. This demo sounds and feels like a subway train disaster, which is exactly how I’d expect it and want it. The guitar has that sound of having dumped a bowl of Rice Krispies and angry locusts into the monitors, while the rhythm section keeps the entire project from thrashing itself apart with heavy bass delivery and annihilating beats. The opening track “Blankhead” features a guitar solo that is relatively clean, but also incredibly grimy. The final track of this demo, “Idle Hope,” closes with a sound sample that could easily be ripped from a CRAZY SPIRIT track, and puts a heavy exclamation point on the statement SØRDÏD makes with this demo.

Speed Plans Statues of God LP

It’s always cool when bands can go super old-school without sounding like a wishy-washy imitation, and Pittsburgh’s mighty SPEED PLANS hit that description right on the noggin with whiplash-inducing results. These sixteen tornados of meaty hardcore are strewn with restless guitars and captured with a basement sound that makes this killer LP worthy of a spot right behind your favorite O.G. ’80s records. Commanding tracks like “Jesus Christ” and “Make Them Watch” are an instant win, and this type of authentic fury only gets better with every spin.

Swab Big City LP

Melbourne is a hot hub of hardcore punk nowadays—SWAB and their label, Hardcore Victim, are living proof of it. The band has just released their first album after a demo and an EP. Their latest work is a really fun record: thirteen songs in fifteen minutes of straightforward, direct, abrasive punk with no pretensions, artistic approaches, or pseudo-metaphysical lyrics. What could you expect of songs like “Hippies Still Exist (And I Hate Them),” “Pills in My Mouth,” or “A Real Punk”? They sound like a kid erupting in a childish tantrum, urgent but carefree, with a sloppy vibe but precise execution. No bullshit, just quality hardcore punk.

Why Bother? There are Such Things cassette

The latest in a slew of releases by Mason City, Iowa’s WHY BOTHER?, There Are Such Things is a cassette collection of songs from previous small-batch cassette/lathe releases, as well as five new tracks specific to this tape. The A-side, filled with the more straightforward new songs, is the beauty of this tape to me, with the B-side getting a little too artsy/avant-garde for this knucklehead’s tastes. All in all, it’s a very cool collection and shows the versatility of this somewhat uncategorizable band. They continue to toe the intersection of post-punk, synth punk, garage rock, art-punk, and whatever other sub-genres you care to throw at them. Dare I say, WHY BOTHER? trying to categorize them? An incredibly interesting and prolific modern band that deserves your attention. Hop to it and give this a listen!

Zone Infinie Atomisés LP

What a pleasant surprise; I’m so glad ZONE INFINIE came into my orbit. Having not heard them before, I was expecting more of an icy post-punk style like fellow Frenchmen BLEAKNESS or SYNDROME 81. Instead, it sounds like a mix of the CLASH and the JAM with a sprinkle of CAMERA SILENS for good measure. I mean seriously, the singer sounds like Strummer or Weller, depending on the song. Checkout the final track “En Plan,” with one of the best hooks I’ve heard in a minute, accompanied by girl group handclaps and clean and crisp guitar leads. Excellent stuff.

V/A Between the Coasts cassette

Heck yeah, this tape shreds! As you might guess from the title, Between the Coasts is a compilation of bands from the Midwest area of the ol’ US of A. Just when it seems like the big-city bands get all the glory, a release like this pops up to remind us that hardcore punk is alive and thriving in less obvious places. Featuring twelve bands contributing a single track each, this comp is chock full of stone-cold rippers. Highlights include vital cuts from RABIES BB, BIG LAUGH, WEAK PULSE, and ZHOOP. There’s a smattering of more eclectic numbers to keep things fresh, but front to back, there ain’t a dull moment to be found. Do yourself a favor and check this one out. 

Ättestor / Zero Again The Ä to Z of Ignorance, Indifference and Apathy EP

Brighton’s ÄTTESTOR made me feel anxious from the start—self-described ADHD-beat punks deliver straight-for-the-throat hardcore punk with a decidedly erratic bent that will make you clench your fists unconsciously. On the flip, ZERO AGAIN from Bristol goes heavier, goes darker, and paints a bleak sonic picture over their two tracks. The chorus riff in “Damaged Goods” is a should-be classic, and the entire song seems to set the tone for the unleashing of fury that fills the final 30 seconds. Not only is there no filler on this split, there’s barely time to take a fukkn breath.

Be All End All A Further Life flexi EP

This four-song flexi EP is the newest release from Florida’s BE ALL END ALL. This release goes in hard and unrelenting, a mix of whirlwind fastcore and bludgeoning heavy hardcore—a mix that proves to be very potent, with roaring, hoarse shouting on top of the chaos, along with some guttural death growling in spots as well. An incredibly vicious and abrasive release that comes highly recommended.

Bulbulators Nie Nie Nie LP

Long-running Polish label Enigmatic is back on the scene after a fourteen-year hiatus from 2005 to 2019. Curiously, they chose to resurrect the BULBULATORS’ second full-length album from 2002, and reissue it on vinyl. Free of any nostalgic ties to this release, I struggle to get my head around why this needed to be dredged back up. That said, after a few spins, I admit that some of the songs have started to grow on me. There is a certain charm to the way they blatantly ape first-wave punk like the VIBRATORS or RAMONES. And while the BULBULATORS don’t actually sound much like either of those bands, it is clear that they genuinely embraced the spirit of ’77. I have a feeling that this album may, for some, inspire a glue-sniffin’ trip down the gutter of memory lane. For my part, I’ll stick with my worn-out copy of Pure Mania.

Cinderblock Breathe the Fire LP

CINDERBLOCK was an early ’90s hardcore band from Buffalo, NY whose members would go on to bands like EARTH CRISIS, SNAPCASE, TERROR, etc. Unlike the more metallic sounds of those bands, this collection of songs is much more melodic-leaning. These songs were originally written back in the early ’90s but recorded fairly recently, giving a fresh outlook to a throwback sound. I find myself going back for repeated listens, although I could see this not appealing to everyone.

Crime of Passing 2017–2020 cassette

Welcome to the synth/noise-laden post-punk world of CRIME OF PASSING; a combination of members from the DRIN and the SERFS. Hailing from Cincinnati, Ohio, CRIME OF PASSING occasionally calls to mind fellow Ohioan MY DEAD IS DEAD. The amount of synth packed into this cassette is deep: drone tones, electronic drums, and harmonious keyboard runs. The song “Eleventh Hour” manages to squeeze in some saxophone, which only encourages the feeling of bummed-out gloom. “Dancing Prick” has a very CURE-ish riff and vocal delivery, if you’re into that. Towards the end of the cassette, “Don’t Turn” kicks off with a lo-fi drum machine beat that initially reminded me of HE SAID, but when the vocals kick in, it’s an ireful delivery more reminiscent of SIOUXSIE AND THE BANSHEES. If you’re a fan of dark-spectrumed post-punk with a barrage of electronic instruments, then I highly recommend this cassette.

Crüel Night / Disdain Alászállás split LP

A filthy, filthy split coming from Hungary with two bleak bands. CRÜEL NIGHT opens hostilities with a B-movie-esque intro to set a dystopic tone for this split effort. Their side tells a story of suicide, so a heavy, hard-hitting, darkened crust approach ridden with blastbeats was taken. The interludes that live between the songs evolve into a more industrial space and even touch on dungeon synth. DISDAIN goes for a more raw approach, following the legacy of English crust like EXTREME NOISE TERROR or DOOM. The interlude usage continues on their side as well, painting another picture of horror and giving this split a narrative to follow.

Dead Low Not for Sale EP

Four blasts of mid-paced street rock’n’roll with a melodic undercurrent. Did this band time travel from the ’90s? It’s like they were drinking at a pub with the WRETCHED ONES and fell into a wormhole that dumped them out onto a grimy modern-day Massachusetts sidewalk. One thing’s for sure, DEAD LOW won’t be accused of breaking new ground. The guitarist’s flirtation with metal is a trifle unnerving and the production is overwrought, but they do pack a punch with solid musicianship and anthemic shout-along choruses. If you ever felt like the TEMPLARS were too stripped-down, this might be worth a spin.

End Forest E.N.D. LP

I like a record that demands a dedicated listen, and E.N.D. does exactly that. A project featuring more than 20 artists, END FOREST creates crushing, sample-drenched soundscapes and patiently delivers meticulously crafted otherworldly hardcore. NEUROSIS and SWANS influences are evident (MORNE and THEMA ELEVEN, as well), but hear the horns on “Ulsce Dudh” and know you’re listening to something entirely different. As a project and a concept, END FOREST is commanding…but as an album? Fucking spiritual.

Fatal Wound Fatal Wound demo cassette

Mean-as-fuck brutal hardcore that rules. If you like CITY HUNTER, or GAOLED’s excellent demo from last year, get on this. Most of the tracks are blistering fast punk with distorted bass and full-throated roaring vocals. There are enough dynamic shifts to keep it fresh, like the occasional thrashy divebomb solos and the creepy-crawl pummeling of “Senseless Slaughter.” In addition to some of the metallic guitarwork, FATAL WOUND takes some underground metal cues with the grim artwork and hard-ass photocopied Gothic font on the back. Check out the track names: “Pathetic Worm,” “Merciless Despair,” and the best, “Skinned for Sport.” Fuckin’ “Skinned for Sport.” What a stone-cold Grim Reaper title! If you are having a bad day, give it power and make it terrible with this absolute ripper of a demo.

Final Dose World Prisoner / Void Inside flexi 7″

World Prisoner feels like a final scream, an agonic yell from a post-apocalyptic, dying world. The guitars form a devastating wall of sound that kind of numbs you, like a steamroller rolling over you. I think they’ve listened to a lot of LEBENDEN TOTEN, because FINAL DOSE has some of that anguished anger in their music too, which they like to call “blackened hardcore.” I can’t really understand the second track, an electronic elevator song that doesn’t really do much for me. An interesting band to keep on your radar.

Greyhound Scorched Earth cassette

Is it hard for anyone else out there to relax? With the doomy vibes weighing heavy in all the same ways (climate in crisis, bloated military spending, killer cops, bigotry and violence), it takes a lot to get me to take a deep breath of relief. But that’s exactly what I got out of this stunning full-length of crisp, ripping hardcore from this Oakland group. There’s a distinct Bay Area grit to these eleven cuts, captured perfectly in the band’s rehearsal space and mixed/mastered/released by themselves. It hits hard as nails—there’s heft in the low end and clarity in the guitars, something other home recorders could take some notes on. On top of that, the songs bleed with passion and cut through the crowded HC landscape with ingenious guitar work that consistently caught me off guard. On top of all that, all the band’s proceeds (including T-shirt sales) go toward G.L.I.T.S., so while the world may be a miserable place, GREYHOUND is out there doing the good work. Real deal.

Gurs Tierra Quemada EP

Tierra Quemada is the impeccable debut of this quartet from Euskal Herria, born from the politicized underground of Bilbao. Four songs of muscular post-punk, with well-sharpened guitars and a very rich melodic quality, delivered in a very energetic fashion. Lyrics are political but full of rapturous, poetic images. For fans of Spanish bands like LA TRINIDAD or BIZNAGA. “Cien Cuchillas” is a great gateway to this band with a very promising future.

Heavy Mother This Time Around LP

This Bloomington outfit features an original member of the GIZMOS and some of the COWBOYS and, if I understand the weird write-up correctly, is a resurrected old band from the ’70s. It’s pretty close to some of the GIZMOS in sound, but leaning more towards the SEEDS and SONICS’ (whom they cover) garage with maybe a little NEW YORK DOLLS or HEARTBREAKERS thrown in, like on “Don’t Talk To Me.” Drinking corn liquor in a field and heading to a roadhouse is the vibe here, and that’s not a bad thing at all. Skip the hangover and pick this up instead.

ICD10 Faith in Institutions LP

Big movers from a few different nooks of the Philadelphia punk scene make up ICD10 on Faith in Institutions, their debut album following a self-released 2020 tape. Feels like this has flown under the radar a little, if anything, with the main POISON RUÏN dude and ex-SHEER MAG and DEVIL MASTER heads among the five members, but I’m going to chalk it up to Sorry State releasing the album two days before Christmas, because this is pretty ripping hardcore for rockers that splits the difference between heads-down charge and swirly psychedelic skygazing. ICD10 would be a pretty solid modern-classic HC band à la, say, MURO if they’d eschewed the hefty reverb on the vocals and other trippy FX, but those elements add a whole new dimension, with the guitarists going especially hog-wild for four minutes on LP closer “Can’t See Out.”

Kalle Hygien The Raft LP

I can tell you with close to 100% certainty that if I didn’t have an obligation to listen to this record, I wouldn’t have. Even if I somehow made it past this MEAN JEANS-ass record cover, I’m positive I would have shut it off within a few seconds of the jokey PET SHOP BOYS-meets-SLEAFORD MODS opener “The Raft.” This just isn’t the kind of shit I’m looking for when digging into any record, let alone one that purports to be punk. But we’re here to give this thing a fair shake, so let’s soldier on. KALLE HYGIEN appears to be the solo project of Kalle Jansson, whom you may know from the Swedish garage rock act the MANIKINS. This is the first LP from the project after a handful of EPs of aggro drum machine punk. But don’t go into this expecting more of the same! Aside from “Dope Him Up,” a cool rinky-dink dum-dum electro-punk number, this record bears little resemblance to his earlier releases. It actually sounds more like the GORILLAZ or an early BECK album. The winky rapping on “Snake in My Garden” has some punk bite to it, but it’s impossible not to imagine Damon Albarn yawning out that chorus. And the production on “Surprise Party”—one of the record’s highlights—really reminds me of the DUST BROTHERS maximalism you’d find on Odelay. Other tracks touch on chintzy ’90s neo-exotica or budget Red Mecca experimentation. Most of the tracks, even the ones I really dislike, are compositionally impressive, even catchy. They’re just not very punk. Probably worth checking out—I really did enjoy bits of it—but I wouldn’t blame you if you bail partway through.

Los Yndeseables Escapa del Control / Asquerosa Sociedad 7″

Raw mid-’80s electro-punk solo project from Kimba Vilis, who was simultaneously the drummer for Peruvian RAMONES disciples LEUSEMIA and Dangerhouse-ish punks DELIRIOS KRÓNIKOS, although the lo-fi industrial rattle he offered up as LOS YNDESEABLES couldn’t be further from visions of leather jackets and sniffing glue. LOS YNDESEABLES’ home-recorded 1985 demo is regarded as one of the first artifacts of Peruvian DIY but was never actually released until Buh put it on vinyl earlier this year, and this 7” completes the history lesson with two songs from the demo that were re-recorded in a studio later in 1985 for the landmark Vol. 2 tape comp. Both tracks are five-minute-plus creepy crawls through the same grimy electro-underworld occupied by fellow freaks like CHROME, SPK, CABARET VOLTAIRE, the NORMAL, etc., with menacing vocals, trebly no wave guitar strangulation, bass lines that would be eminently danceable if they weren’t so murky, warbling blurts of synth, and the monotonous tick of a rhythm machine—they could have easily come out on a label like Industrial or Mute or M Squared in the ’80s, while LOS YNDESEABLES were forging their own post-punk underground in Peru without the benefit of physical media. Really cool to see this rescued from the abyss of time.

Lost Legion Bridging Electricity 10″

Three brawny bruisers of the harder end of Oi!-influenced hardcore here, with luminaries from FUERZA BRUTA, among others. Gravel-gargling vocals and a sound that suggests ARMS RACE having a go at (saxophone-less) French Oi!—add a leftfield GO-GO’S cover into the mix, and you have a very promising first release.

Memory Ward Memory Ward cassette

Phoenix’s MEMORY WARD really leaves a mark with this cracking debut tape. Filled with blown-out agile and angular riffage, and pounding, primitive drums, this is some red-hot noisy hardcore. The warped thrashing partially buries the vocals that are bellowed, gnashed, and dripped through a broken bullhorn, resulting in a raw and caustic sound that’s reminiscent of Virginia rippers BLACK BUTTON at their nastiest. Great stuff, I’ll be looking out for more.

Neurotypicals Something in the Attic cassette

This Jackson, MS act ends this cassette, their second release after their July 2022 demo, with two covers—the NERVES’ “Paper Dolls” and WIPERS’ “Mystery.” I don’t think either track works particularly well (I don’t think I’ve ever enjoyed a WIPERS cover), but it should give you a rough sense of what these folks are going for on the rest of the cassette. And I think it mainly works! Most of the six originals, although played much faster than either of the bands they’re covering, do kind of blend Sage’s straightforward, oddball melodic punk with the more overt pop of the NERVES. It ends up sounding a bit like a more fucked MARKED MEN, thanks in part to a tinny boombox production and some loose overdubs. I dig it! They do throw you one curveball, though. “Janie Says” is this weird semi-reinterpretation of the VELVET UNDERGROUND’s “Sweet Jane” mixed with the similarly named JANE’S ADDICTION track—an odd woozy ballad that runs for over four minutes smack dab in the middle of a bunch of sub-two-minute scorchers. At the very least, I guess it’s interesting.

Official Hooligans 29 Years Wasted CD

This is some prime ’90s (the new ’70s) CT lo-fi trash dug up from the muck. They had another song from their legit first release included on a foggy-lensed, look-back ’90s comp, thus the new interest. I could totally see them on a bill with the SPITES or BASEBALL FURIES. “Percocet” is charming as hell, but a recorded “Sex Bomb” cover is unnecessary. Definitely worth a spin.

Prison Affair Demo III EP

Barcelona’s egg-punk referents PRISON AFFAIR released this four-track EP (their killer third demo) on Under the Gun Records from East L.A. in September 2022—deep, psychotic bass lines plus the most heavily dubbed synth mayhem. On the first track “Big Bottom Baby,” you get the feeling of descending into the prison of an internet tube. Addictive eggy, thrashy synth trances are here, with steady, monotonous vocals jumping through the fast-paced melodies, achieving complexity and implying layers in their sound as they mix theme songs with crazy catchy tracks. This gives them the title of the current kings of the eggy situation. Suggested tracks: “Big Bottom Baby” and “Nice Guys.”

Psyop Permanent Underclass cassette

PSYOP plays USHC while folding in the usual pairings: a thrash metal riff here, a beatdown interlude there, and of course, some brief, grindcore/Cookie Monster woofing from the vocalist. The songs sound good, in no small part because of the drummer, who fires off all the standard beats and rhythms seamlessly. The lyrics tilt more towards the political than the nihilistic. For fans of vegan potlucks and union drives.

Repo Fam Venus Fly cassette

This feels a little bit over my head, to be completely honest. It is my opinion that for songs of any genre of music to be memorable, there must be a “hook” of some sort to keep the listener engaged. The definition of a “hook,” in my mind, is incredibly loose, as you can find them in the grimiest of punk music, the most intense of extreme music—they exist truly everywhere. The REPO FAM songs on this cassette almost feel as if any sort of “hook”’ has been intentionally taken out of them, and yet I am still feeling inclined to refer to this as pop music. I’m having a bit of an existential crisis over here about it. Can pop music exist without any semblance of pop sensibility? I don’t know that I have the answer to this question. Listen to these eight songs of avant-garde New York City music yourself and see if you can help me understand.

Rumor Kontrol Here are the Facts cassette

I can candidly say that this release will not be for everyone, but I absolutely love what I will affectionately dub “bedroom punk”—hardcore drum machine madness from RUMOR KONTROL’s maiden voyage, Here are the Facts. DIY as all hell. Fast and gritty guitar that sounds like it’s being played from an old practice amp. I don’t want to mince words, I mean this as a compliment. Although I champion all things lo-fi and DIY, I didn’t notice the bass until much later in the album; my only complaint is that it should be a little louder in the mix. But other than that, this is pure rock’n’roll rawness right here. No ego bullshit, straight to the point.

Some Kind of Nightmare DCxPC Live Presents, Vol. 9 EP

When a live recording is old, it can prove to be an interesting piece of punk archaeology, a picture from and of the past, in which case I listen to them sternly with my glasses placed right at the tip of my nose, looking like a proper professor. When it is just a live tape from your mate’s first band, the interest does dwindle, though. I am not sure about this one. This EP is a decent (good, even) example of a live recording that can be played and enjoyed, assuming you are into bouncy, three-chord, ’90s-style spiky punk rock. SOME KIND OF NIGHTMARE is from San Diego, has been playing for a decade, and has quite a few records under their belt. I do like the raucous male/female dual vocals, but on the whole, I did not really relate to the music. Not unpleasant at all, I am sure they are sincere, and they do have some catchy tunes and relevant things to say, but just not my cuppa. This EP is part of a series released by DCxPC, a label from Central Florida aimed at documenting the local scene, which is always a good initiative.

Stress Positions Walang Hiya cassette

From the prolific and diverse Chicago hardcore scene comes STRESS POSITIONS and their 2022 debut cassette Walang Hiya (“No Shame” in Tagalog). Musically, STRESS POSITIONS play fairly straightforward hardcore with lots of fun surprises thrown in—check out the noise at the 40-second mark on “Lust for Pleasure,” or the screeching halfway point of “This Land.” Vocalist Stephanie Brooks has a brutal vocal delivery that oscillates between shredding and shrieking, only slowing down to softer singing on an occasion or two. All of that said, the title track “Walang Hiya” is the standout here. Opening with ringing guitars before blasting off, it’s a three-minute punk odyssey condemning the white Catholic takeover in the Philippines and its destruction of indigenous culture there, specifically in regards to the treatment of women and their right to make choices about their bodies. It’s a bold song and a subject matter that doesn’t seem to be touched on often, at least not this specifically. By the time the repeated chorus of “Ayako sayo!” (“I don’t like you!” in Tagalog) comes along, the cover art depicting a Catholic priest being burnt at the stake by three Indigenous people feels a lot more profound. Highly recommended.

The Sueves Tears of Joy LP

This record could have been made in any of the last four or five decades. While sounding fresh and new, they remind me of TELEVISION—smart, groovy, mid-tempo garage punk. Some tracks like “Alexxa” and “Find the Right Fit” have a wilder, unhinged edge, like MR. CLIT AND THE PINK CIGARETTES. One track can be tight and moody, and the next could sound like it’s shaking in all directions like a low-rent carnival’s janky Tilt-a-Whirl ride. Over the course of the whole album, you get a satisfying synthesis of styles and eras with a throbbing vein of  straightforward rock’n’roll at its core. Other standout tracks are “Mop Bucket” and “These Pines.” Listening to them and closing my eyes, head swaying back and forth, I hear echoes of STOOGES and sometimes BLACK CROWES. This album would be a good soundtrack to a long road trip.

Thought Control P.M.R.R.T.W. EP

Damn, THOUGHT CONTROL has been eating their Wheaties since releasing their 2021 Shock to the System 7”. That record was a solid slice of old school, but on this new EP, the band has grown into an even sharper and more formidable unit. Titled P.M.R.R.T.W. (“Psychos, Murder, and Rape Rule the World”), this six-song 7” does the neat trick of making that old classic hardcore style fresh again for a few minutes. They rock back and forth between blazing fast numbers and chill mid-paced head-bobbers, sounding a little bit like Atlanta’s underrated JOINT D≠, especially on the excellent “Violence for Violence.” Good to have you back, THOUGHT CONTROL—always a pleasure. “Aunt Suzi Has An Uzi” has some real hit single potential, if you ask me.

Utsatt / Varoitus split EP

Two Swedish bands face off on this split EP released by ByeBye Productions and the very prolific Phobia Records from Praha, a label equivalent to a sanctuary for käng hardcore bands. Unsurprisingly, VAROITUS and UTSATT play Scandinavian hardcore punk, a field of expertise I am no stranger to, and which I can be exposed to almost constantly without flinching. VAROITUS includes members of bands like WARCOLLAPSE, EXPLOATÖR, 3-WAY CUM, and even the legendary DISARM, and indulges in that brand of raw käng punk that we have all grown to love (or grow bored of, depending on your worldview). Their two songs sound rawer than I expected, which is not a bad thing as it gives them a welcome ’80s feel. Otherwise, I have to say that VAROITUS is predictably effective and proficient in that “TOTALITÄR meets DISFEAR in 1992” way, with some rocking moments for you to headbang a bit and raspy, aggressive vocals, in Swedish this time. It does the job. On the other side, UTSATT offers three songs, and this EP is their first recording (although I very much doubt it is the members’ first endeavor into hardcore music). They are a little less powerful and not as fast, more gruff and primitive—I am reminded of SVART PARAD and early WARVICTIMS, which is actually to my liking. Cave-käng. On the whole, I enjoy this record, but if there were a 2023 Scandicore Royal Rumble, it would probably not reach the final four, as there have been a lot of worthy contenders lately.

Voces de Ultratumba Demo + Live Session cassette

VOCES DE ULTRATUMBA were the first all-female Galician punk band, an important stepping stone for a male-dominated scene. After recording a demo, some lineup changes occurred and, finally, the band changed their name to LA TRAICION. Buried since the ’80s, this demo was not forgotten and now sees the light of day. Side A is a rehearsal recording, while Side B is a live recording at the legendary Kremlin. Hauntingly beautiful and hauntingly disturbing, VOCES DE ULTRATUMBA perfectly encapsulates Spanish post-punk. Each song has its own mood and its own atmosphere, a quality that makes listening to this demo a gloomy journey into the unknown. The recording quality just adds another layer of discomfort, the good kind of discomfort, the one you would expect from an obscure ’80s post-punk release. A sinister recording that still feels in place with the current state of the world.

Witch Piss Witch Piss cassette

Well, this absolutely rules. The tape of the month, for my money! I believe WITCH PISS to be a solo project from Simi Valley, CA. Five songs of completely idiotic, synth-heavy, drum-machine-driven moron music. Subject matter of the songs ranges from painting The Hamburglar as a revolutionary, to the troubles of being Garfield, to transmogrifying oneself into a slug, and all things in between. This tape is super fun and easy to flip and continue listening to, as there is an A-side of the tape as well as an “also A”-side. Unfortunately for all fans of the utterly absurd, the WITCH PISS Bandcamp page informs me that this cassette tape is already sold out. Sorry, mutants.

V/A Girlz Disorder, Volume 3 LP

With 25 “femipunk” bands from 17 different countries, there’s a lot to enjoy here. I highly recommend taking a look at the Mass Prod website that details the DIY record label and show organizers, with plenty of photos from past events, an active calendar page of future ones, and tons of records to search through—Mass Prod is based out of Rennes, France and has been at it since 1996. But about the music…compilations are always tricky for me, I don’t want to leave anyone out, but in this case, there’s too many bands to mention. Compared to the Typical Girls, Vol. 6 LP that I recently reviewed, Girlz Disorder is much heavier, and in its abundant diversity, leans towards hardcore. Some of my top picks are the German post-punk group CONTA doing “Was Geben,” English hardcore/crossover band LADY RAGE with “Because F You,” featuring completely brutal vocals (think of a female-led FORESEEN), Canada’s pretty straightforward punk but really tight the HORNY BITCHES with “1000 Lives,” Brazilian hardcore rippers BIOMA with “Falsas Causas,” and Australia’s BLONDE REVOLVER with “Pocket Rocket,” featuring one of the best opening lines I’ve heard in a while (“I’m an alpha baby / And you’re a beta bitch!”). The contribution of these 100% female bands proves their gender is alive and well in the genre, and is as important and urgent as ever. Have a listen and I’m sure you’ll find something new to enjoy.

A.F.K. Another Pair of Eyes LP

A.F.K. from Hamburg has been going for a while and is, in my opinion, one of the most solid hardcore punk bands in Germany right now. I never quite got their moniker (the initials stand for ‘’Aargh Fuck Kill,’’ the very words I utter whenever I stub my toe on a table leg, which is quite often), but at least it is pretty easy to remember. Their latest album Another Pair of Eyes can be rightly considered to be their most intense and focused offering so far, and for good reason. The production is thick and heavy and the band does not try to hide behind walls of distortion, mists of reverbs and echoes, or endless pedal boards, and relies on energy and intensity first and foremost. The trick is that there is really no trick. Like many contemporary bands, A.F.K. blends several hardcore punk schools and paces in order to create a versatile sound that still manages to sound angry as fuck, but also cohesive and compact and not like a patchwork. When they speed things up, they are not far from the classic, heavy anarcho-punk sound of ANTI-SYSTEM, or HELLKRUSHER’s late ’90s UK dis-core, or even NO SECURITY, and because they are intent on varying paces, I am reminded of a more modern take on the great ICONS OF FILTH or ’90s bands like POLICEBASTARD (conceptually) or even a non-dissonant version of BAD BREEDING with spikier hair and a crusty bumbag—I am aware that someone with a big American hardcore background would probably hear different things. This is pummeling anarcho hardcore punk that is done with sincerity and never sounds boring, and they are a powerhouse live. A highlight of 2022 released on Ruin Nation, a label celebrating its 30th birthday in 2023.

The Anomalys Glitch LP

These Dutch masters (haw-haw) of surf-tinged rockabilly garage have been a Euro staple for more years than I’ve paid attention. They play a punker version of what their Swiss peers/elders the MONSTERS have been doing forever. The singer has a crooning, almost REVEREND HORTON HEAT style of singing, but all comparisons aside, these people can stand on their own merit quite well.  Nine songs speed by in a blur, leaving you spun and dizzy from head-bobbing and hip-shaking, and I imagine vast amounts of hash and beer. “Steppin Out” is the best. Yay. Proost.

Black Shape F·U·C·K·M·E cassette

Earlier encounters with BLACK SHAPE, London-based if not necessarily Londoners, pegged them in my mind as jawdropping outsider two-man doom primitivism (with recorder solos and monologues)—a British version of SLOTH, in essence. This album-length tape is distinct from that, in that the songs are faster and it sounds a little cleaner, though we’re talking guitar heroics somewhere between HARVEY MILK and SCISSORFIGHT with a touch of SHELLAC clang-tone, so all these things are relative. The guitarist, David Burdis, also writes lyrics for the ages: genuinely funny without just doing relentless one-liners or otherwise going OTT on the zaniness (that NORMAL MAN LP from a few years back is a decent reference point, actually.) “Your Money or Your Life,” towards the end of the album, contains especially pleasing multitudes: a VAN HALEN-worthy solo, Burdis’ condensed history of capitalism (“Back in the day it was all about goods / Brought in the ships by the merchant traders / Now they trade in imaginary things / Information, numbers, ideas”), and a concluding call for solidarity with people who have to clean toilets after the world’s vomiting hordes have passed through.

Boom Boom Kid Souvenir Tour Europeo 2022 7″

Date yourself by saying that you remember BOOM BOOM KID’s debut Okey Dokey like it was yesterday. Now note that this EP was released for the European tour that marked the 20th anniversary of that timeless slab of melodic punk and…sigh. But they’re still at it, and these two songs are some of the best BOOM BOOM KID material I’ve heard. Tuneful and tune-filled infectious punk fronted by Nekro’s inimitable and eponymous tenor voice. Equally perfect for long-time fans like me or soon-to-be converts like…you?

Caverna Nueva Paz 12″

Another hardcore band from Colombia, and yes, they are great, too. Each song is violent and intense, although most have an interesting blend of different tempos, unexpected bridge parts, and smart stops. The record has the power of running into the wall and continuing to crawl forward through the cracks, yet CAVERNA operates with rather thoughtful coloring of, at their core, raw punk songs—these extra thoughts do not tame any of their songs. Each is killer, recorded in a great form that translates their power perfectly. If not, and they are in fact even better live, then I would love to see them. For real, this is a great record; there is the powerful urgency, the drums are beaten as if each slam would hit my brain, and the record has a non-stop noise current that pushes each song into my face. It’s super pissed, tastefully diverse, and lacks any gimmicks. I should stop writing this and instead try to find a copy for myself. Highest recommendation.

Conditions Apply Rage & Ignorance CD

CONDITIONS APPLY aren’t especially catchy, but their songs still have a memorable, infectious quality, like a chant at a St. Pauli game. The drums deliver a martial beat while the guitars and vocals follow suit: three, maybe four chords barely identifiable under the distortion and rumbling bass. The lyrics include the usual suspects of left-wing punk grievances, but honestly, even the party song sounded like an angry screed.

Cymeon X Wygrać Swoje Życie LP

While one of my best pals is from the Polish hardcore scene, along with a few other heads I’ve met, I know little about Poland’s history of punk and hardcore bands, with the exception of a couple of current bands such as the hip group TONFA and HEAVY RUNNER. Nevertheless, it is really refreshing to hear a gem like this released from a very wild time in HxC. Originally released in 1992, Refuse Records’ reissue of this is fitting in our day and age when deep dives are more popular than ever before, thanks to an online database of limitless information known as the internet. While their photos would convince any audience that CYMEON X were fans of the BOLD or EARTH CRISIS style given their look, this LP sounds more like if bands such as LÄRM, KAAOS, and TERVEET KADET were listening to the likes of STRAIGHT AHEAD and the New Breed! compilation. It sounds like a pretty hilarious combination, but the poor recording of this LP adds such rawness to a clearly good band. It’s not the best Euro edge I’ve heard from the ’90s, but it’s still cool. 

Dead 77 Demons LP

The first full-length from Los Angeles’ DEAD 77. Upon first glance, I fully expected this to be a street punk album, but was pleasantly surprised to find that it was more akin to the early A-F Records bands such as THOUGHT RIOT and the CODE. Gang vocals galore here, which act as a call and response to the raw, melodic lead vox. There’s a delicate balance to be had between both, and DEAD 77 does a good job of not overlapping them. It creates a strong energy that is unwavering throughout the entire record. This is also helped by the guitars, which are layered into a wall of sound, peppered with fiery leads throughout. Well worth a listen if you’re a fan of late ’90s melodic hardcore.

Discomfort Creature Discomfort Creature LP

Melodic punk that kinda sounds like GREEN DAY, if they made a hard right at the fork in the road that led them down the rock opera path at the left. Cementing this opinion is the fact that the singer sounds so eerily similar to Billie Joe, both vocally and in the way some of the vocals are structured, that I had to make sure my headphones were plugged in to the right thing. Now that I’ve gotten that out of the way, this is a really great record. A very catchy, fun listen. Kinda like a more matured take on the pop punk sound.

Exploatör Blind Elit LP

Comprised of ex-TOTALITÄR members (three out of five) and other high-ranking käng veterans, EXPLOATÖR are simply kings of the genre, sounding better than ever on their third release. The formula remains the same – heavy hardcore punk with a manic D-beat backbone and raw vocals, and here it’s executed flawlessly. The sound is full and scorching, with some direct DISCHARGE worship in tunes like the title track and “Skiter På Allt,” as well as songs like “Ingrid Framtid” and “Dags Att Dö” that echo the almost-jazzy energy of TOTALITÄR’s swan-song Vi Är Eliten LP. These guys somehow make that rough shit go down so smooth. Special props to Poffen for stubbornly refusing lozenges since the 1980s.

Factory City Children Perfect Utopia EP

Here’s some cool shit outta New York via Mateo (or “Tormented Imp,” as credited here) of WARTHOG fame. Auto-drum mutant punk is how I’d describe this one; imagine the Gremlins from the movie Gremlins starting a punk band and you’re close. First up is “Perfect Utopia,” which is more or less “Some Kind of Hate” by MISFITS if it were dropped into a vat of toxic sludge. It’s as awesome and weird as it sounds. The rest of the EP follows suit: wicked vocals, catchy riffs, and demented programmed drum beats. “Obsessed” and “Gut the Pig” are both quick and evil bursts that sound like RAMONES songs dressed up in Halloween costumes. “Hell Man 88” changes the pace a bit with a mid-tempo WARTHOG-ish rocker, and “F.U.M.E.S.” wraps things up nicely, taking a quick feedback-filled breather before making a final descent to hell. Originally released in 2021 on cassette and now on vinyl thanks to Toxic State, this is a surprisingly charming EP that is sure to delight all of you mutants listening out there.

Fruit Tones Pink Wafer Factory LP

FRUIT TONES have the ’60s-inspired garage revival sound completely nailed down. From the jangle and chime of their lo-fi guitars, to the Jagger-on-benzos vocal delivery, these Manchester (UK) freaks deliver just the right blend of charm and sleaze to make things interesting. There’s a touch of early BLACK LIPS and a hint of REIGNING SOUND lurking beneath the paisley-patterned façade, but FRUIT TONES stick mostly to their roots. This album fits into the Alien Snatch catalog like Lux Interior fit into a pair of sweaty leather pants…exquisitely.