Reviews

For review and radio play consideration:

Please send 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. Please include contact information and let us know where your band is from!

The Downstrokes This Close to Vertigo LP

The guitars on “This Close to Vertigo” are catchy in a conventional, RAMONES-worship way. They got stuck in my head easily. I mean, how is “Go Nowhere Kids” not already a song? But why does the band keep dragging songs past the two-minute mark?  I’m a big believer that a good riff speaks for itself. Excessive repetition can drain punk songs of the momentum they need. I get it, I’ve been in bands and sympathize with wanting to show off a good tune. The DOWNSTROKES should trust listeners to enjoy these tunes on their own merits without pushing a second or third helping.

Gym Tonic Good Job LP

Phantom has reissued the synth punk reveling Good Job, originally out on Et Mon Cul C’est Du Tofu? in 2019. This debut has its moments of quiet, slow wandering, apparent on “Hiroshima,” with mod-wheel-driven synth lines and spoken word, but moreover turns up with dance beats on the likes of “Tourists of Death,” which is catchy by the end of the first listen. These dark song subjects made me feel as if I had GYM TONIC pinned, then they slip in egg-punk tracks like “Car Sick” and “B12 Injection.” And did I mention they’re named after an ’80s French workout show? Needless to say, they’ll keep you guessing! Can’t get enough? Also out on Phantom is their new Sanitary Situations EP.

Haunted Mansion Fake Money EP

Chaotic, lo-fi messy hardcore punk with reverb and creepy sounds. The guitars blend rusty chainsaw strings with noisy vocals and ever-ranting drums. Resemblances to early ’80s USHC mixed with chaos and chain punk sounds. Recorded to sound mixed (or actually mixed) by old tape machinery that makes it seem from another time, and not leaning too much on the haunted situation of the mansion may be a good call.

Kageneko / Merked split cassette

Great split between two grindcore bands from the West Coast. Both sound pretty similar, but MERKED has real drums and KAGENEKO is a classic cybergrind band with the drum machine playing impossibly fast beats. Reminds of something you’d find in some random distro in the early ’00s. Nothing groundbreaking here, but it’s fun as hell.

Neo Neos Get the Neo Neos/Act VII LP

You very well might be familiar with the first half of this release, a classic slice of 2018 gonzo bedroom punk that came up around when you couldn’t turn a corner without bashing your beak on syncopated smart/smart-ass takes on what a lot of people unfairly paint into a corner as DEVO-worship. Now you can listen to it on vinyl! This is a decisively nasty, murky version of that sound, and it gets even toothier and more gnarly with the second half—a collection of new tunes post-2018 released for the first time. Tracks like “Sandbagging (My Way Through Life)” are blown-out with almost everything in the red. The vocal performances are unhinged and stab at the listener as they devolve into wordless refrains, yelps, and howls. But it still keeps the listener locked into its singular world of madness that continues on into the following cut, “Clockwork,” which almost hits like a no-fi MÖTÖRHEAD and then lands a churning groove all under a minute-thirty. If you’re a fan of this sort of thing, you’ll be in heaven. And you should be, because you’ve been very good.

Optic Sink Glass Blocks LP

OPTIC SINK conjures memories of the minimalist electronic delivery of SUICIDE or the art-punk vibe of CRASH COURSE IN SCIENCE. “A Silver Key Can Open an Iron Lock, Somewhere” is a cover of Switzerland’s LILIPUT, and connects OPTIC SINK’s sound to the icy pop of Northern Europe. There are elements of austere post-punk which draw parallels to bands like DELTA 5. While most bands are busy attempting to develop an overwhelmingly full sound, OPTIC SINK takes the opposite course and leaves vast expanses of audible space. Pop delivery is tempered with frosty dissociation, all while synthesized noises develop fresh euphonious environments.

Personal and the Pizzas Raw Pie LP reissue

At this point, I feel like everyone should know about the phenomena of PERSONAL AND THE PIZZAS. How a band from New Jersey decided to take the RAMONES and turn them into a band that mostly sings about pizza is both disturbing and genius. I’m not sure it really needs to be reviewed. The thing sort of speaks for itself. I will say that it is well-done. I guess that’s a detail worth talking about.

Pitchman My Angel Age EP

I bet you had a band in high school. I didn’t. I just abused an electric guitar while the four-track was rolling, discovering a love of noise coupled with happy accidents. But what if you had three friends that were cool and inspiring and intent on making a mark beyond the confines of your educational prison? Even then, you probably wouldn’t have slayed as hard as this group of Washington, DC teenragers did for one brief year in the early ’90s. Inspired by previous generations of DC punk, PITCHMAN clawed their way into the good graces of the egalitarian local scene and ended up playing with a cavalcade of older underground lifers like they were born to it. Now, thirty years later, you can hear what “the sound of young America” was all about. And it’s shockingly sophisticated! These kids weren’t banging out cheesy moshcore or four-on-the-floor cliches, they were learning in real time how to balance order and chaos, how to build up tension and hold fast until the release comes like a cleansing wave. No doubt inspired by producer Chris Thomson’s CIRCUS LUPUS, PITCHMAN unleashed ferocious punk that could be pigeonholed by a peabrain as “post-hardcore,” except there’s far too much arch adolescent sneering on display for such a humorless descriptor. The bruising “Standoff on the Top Stair” should be the fight song for every Final Girl, as Drée Thibert’s defiant pose is by turns inviting and threatening. Is it actually a song about being grounded? If only we could all transform our mundane experiences into such thrilling shapes. “Dead Girls” is a whirlwind of sardonic fury culminating in something like a manifesto—“It’s a natural disaster / Bite the adolescent fever.” “Route Thirteen” is a poison pen letter addressed to a partner-in-crime who has disappointed Thibert to such a degree that she is going to “meet you at the corner / and take you out with a punch,” ultimately concluding that “You’re just a crash landing.” What do the kids say now? I feel seen.

The Rough Touch Between Your Mind LP

Bluesy psych punk that reeks of cigarette smoke and late-night dive stumbles. Evoking legends like the BIRTHDAY PARTY and LAUGHING HYENAS, the ROUGH TOUCH plays simple blues figures that grow into psycho-strummed beasts, especially when accompanied with the dialed-in howling vocals. Think Jon Spencer without the schtick. “Death of a Preacher” has a dragging, noirish feel to it, and “Pigeon Stain” stomps with the urgency of classic garage punk, complete with effective backing vocals. Strong release if dirty, punk-adjacent bar rock is your sound of choice.

Single Bullet Theory c. ’79 12″

Here’s an interesting slice of rock’n’roll history, mined from the vault of a largely overlooked band hailing from Richmond, Virginia circa 1979 (hence the title). The story of SINGLE BULLET THEORY is one of near misses and many woes, exemplifying a struggle that I imagine was all too common in the world of late ’70s rock music—trying to forge a path in the music biz while holding down a day job, being on the cusp of breaking through without ever really breaking through. Despite supporting the PRETENDERS on multiple tours, and opening for the RAMONES, TALKING HEADS, and PATTI SMITH, things never quite fell into place for SINGLE BULLET THEORY. Their sole full-length from 1982 didn’t seem to capture the apparent energy of their live performances, and from what I’ve read, the band was often pulled in opposing directions by various producers and record execs trying to wring some cash out of their sound. The four songs here may well be the best representation of the band to find its way onto vinyl, 44 years later. These tunes would be right at home on one of the Teenage Treats comps, blending power pop, garage, and new wave with some impressive musical chops. Hints of the RAMONES, the PLIMSOULS, and the RASPBERRIES shine through and there’s just enough grit in the production to retain their own character in spite of the aging patina of corporate monkeying from yesteryear.

Squelette Fin de Partie LP

I’m not going to beat around the bush, I love this album. SQUELETTE’s Fin de Partie has so much nuance and substance; it’s dripping with style and replay value. The pleasantly soft and jangly instrumental “Nouveau Depart” kicks things off, and while the comparison was hard to pin down at first, I realized it reminded me of the SMITHS, and I mean that in the most complimentary way possible. SQUELETTE masterfully weaves acoustic shimmering into their traditional French Oi! style, shown beautifully on tracks “Dans L’Instant“ and “Ronde De Nuit.” Peppered throughout, you’ll also find bits of saxophone and cold synths, both in line with the sort of thing you’d find on ’80s Chaos en France comps. It’s no surprise that it was mixed by Maxime of Chateau Vergogne Studio, who seems to have the Midas touch when it comes to modern Oi! albums. Anyways, bravo SQUELETTE, this shit is magical. For fans of SYNDROME 81 and CAMERA SILENS.

Sub Space I Walk the Devil 12″

Subspace, the ideal place to be in a BDSM scene where one loses touch with reality, is a tough band name to live up to. Or maybe they’re just mathematicians gone punk? Either way, SUB SPACE (the band) is on fire here, delivering six tracks of hardcore with tinges of garage and a lot of beefy heavy metal guitar. You get songs sung in both English and Spanish, which gives this a little rawer extra punch. They remind me of a heavier CRIMEN at times, and “Redemption” is hands-down my favorite here. I look forward to a sweaty, disorientating live show soon to put me in that special place. Thanks.

Waylon Thornton Frantic Mother’s Head cassette

Ten-song cassette of lo-fi, minimalist, twangy, guitar-driven, psych-adjacent garage rock. It’s fun and catchy and toe-tapping, but I wouldn’t call it groundbreaking. Almost sounds kinda like a budget, less memorable DEAD MOON. If you’re into garage-heavy simplistic punk or modern pop-psych stuff like OH SEES, you’ll probably dig this. The last song “Prince of Hell” has got to be one of the strangest compositions I’ve heard in a while. It sounds like a damn MEAT LOAF song, if Mr. LOAF was a member of SUICIDE.

Warkrusher Armistice 12″

I love it when BOLT THROWER gets worshiped by punks, because, in essence, BOLT THROWER was a punk band that played death metal! Crushing death metal with a clear vibe of Realm of Chaos-era BOLT THROWER, mixed with apocalyptic crust like classic AXEGRINDER and DEVIATED INSTINCT. The thing with the so-called “stenchcore” is that it has all been done countless times before, but Montreal’s WARKRUSHER really knows how to pay a proper homage to the war masters. From the logo, the cover, the songs, and overall vibe, they nail the fuck out of it. Enter the realm (of chaos) of Armistice at your peril. Crussssssst!

V/A Downright Vulgarities CD

Alright, this is an interesting one, a CD compilation with five Japanese hardcore punk bands I have never heard of. The bands are all from Kyushu Island so that the project is regional, and area-based compilations are often the best way to discover current local scenes. Overall, all the bands’ recordings display that distinct spontaneousness and urgent sound that characterized the traditional Japanese hardcore sound that ruled the country between the late ’80s and the mid-’90s (like LIPCREAM, NIGHTMARE, OUTO, and the like), and still does. The winner of Downright Vulgarities appears to be M.V.11 (meaning MAXIMUM LEVEL 11, that did crack me up) because they are the band that displayed the highest level of energy, the most effective and epic choruses, and that triumphant vibe that goes hand-in-hand with the genre. Despite not being comprehensively cognisant of that type of hardcore (B2 level I reckon, one cannot excel at everything), I suppose the listener is bound to expect it to have that fist-pumping vibe, and a lot of songs on this CD do. A special mention also goes to ABSURDITIES with their super snotty punk vocals (almost SWANKYS-like) and their intense speed. I still see Downright Vulgarities as an album primarily aimed at the biggest fans of traditional Japanese hardcore who want to keep up with where the genre is at a given point in time and in a specific location. If you are just a casual, albeit rather educated listener, eighteen songs might be a bit much for you.

Anarchy for Assholes / Beat Up You Are Beautiful… But This Place Sucks split LP

I know you can’t always judge a book by its cover (or its title, for that matter), but in this instance, You Are Beautiful… But This Place Sucks, the split LP by ANARCHY FOR ASSHOLES from Oklahoma City and BEAT UP from Athens, GA, visually and sonically doesn’t do it for me. Side A features the unfortunately named ANARCHY FOR ASSHOLES, whose sound and style have an element of CRASS-influenced anarcho-punk, especially with the shared male/female vocals. Frankly, I wish they’d lean harder into it, because they completely lose me with the weird party vibe on the last two numbers. On the flipside is BEAT UP who are cleaner sonically, leaning more towards ’80s US skate punk with a vocalist who’s got a funky Jello Biafra vibe that somehow mutates into a twangy Nick Cave impression by the final track. It’s politically charged and decently executed, but overall a little generic. All said, I give this one an unenthusiastic “meh.”

Barricade Apocalypse Joyride LP

Heavy-metal-infused D-beaters BARRICADE deliver a relentless beating of raw energy, staying true to the genre’s roots. Their thunderous drumming, ripping guitars, and vehement vocals create a sonic onslaught that captures the essence of D-beat. Members of FUGITIVE, ANS, and GUERRA FINAL, to name a few. Fans of fast-paced, aggressive soundscapes will find BARRICADE both nostalgic and invigorating.

Big Mess Cleaning Up With Big Mess LP

BIG MESS has that hooky sing-along style that manages to melodically link the ’77 sound with Oi! while still sounding fresh. This Copenhagen band brings twelve tracks in twenty-two minutes with not a single dud, blistering relentlessly onward from the first song. This sounds like the full-length album that ONE MAN ARMY could have made right after Rumors and Headlines.

Citric Dummies Zen and the Arcade of Beating Your Ass LP

Killer LP from Minneapolis punks CITRIC DUMMIES, who sound like an amphetamine-fueled MISFITS. I mean it, the singer is pretty much doing a DANZIG impersonation here. Don’t ask me how, but it works. Throughout fourteen tracks, CITRIC DUMMIES stick to their successful formula of straightforward, rabid punk with an occasional pop of color, like the saxophone on “Drugs in the Snow” and the keyboards on “My True Love is Depression” and “Doing Dope at Chucky Cheese.” Overall I recommend it, especially if you need something to play at your next kegger.

Day Residue Deadly Walk cassette

Hailing from Detroit, DAY RESIDUE channels the feral sound that only the Motor City is capable of. Verging on hardcore, but full of untamed rock’n’roll energy, this cassette is a blast! Six songs that rip so hard it feels like a whirlwind. Gnarly riffs and ferocious drums run rampant through this cassette, while vocals deliver vicious personal diatribes. “Piss Paradise” is a sub-two-minute song that channels punk energy into a guitar-driven basement anthem. I fell in love with this album within the first 30 seconds, and I’m sure you will too.

Ex-White The Complete Collection cassette

Intense garage rock rollercoaster that contains the whole discography of this chaotic yet groove-filled project. Intensity-driven screaming vocals plus strident, garage-y guitars are their formula, with very good intros to the songs. It can get repetitive, but I mean, it’s their whole works put together, and it’s an energy diffuser and a great ride altogether. Recommended for garage punks, prepare for the insane amount of 38 tracks.

Hygiene 15 Minute City EP

HYGIENE and Static Shock have each been at it for fifteen years now (time flying, etc.), and this new EP serves as a three-part candle on their shared birthday cake. “15 Minute City” returns to a frequent font of HYGIENE lyrical inspiration (the mundanities of city life and labor under late-stage capitalism) by appropriating recent conspiracy theorist critiques of sustainable urban planning with tongues planted firmly in cheek, riding on a fixed-stare, Chairs Missing WIRE-like rhythm before unfolding into an undeniably melodic and slightly askew gang chorus, while “L.T.N.” is a short, sharp stop/start shock like the URINALS gone UK DIY, and the shambolic punk jangler “Petrol” takes on peak oil with customary peak sarcasm (“Man on the news said not to worry / There’s lots and lots to go around”). Ace sounds for navigating the labyrinthine despair of the daily grind.

Inner Conflict At Any Time LP

INNER CONFLICT is back with their first LP since 2010’s Nachhause, and first release since 2018’s First They Take Manhattan Then They Take Kalk EP. This Köln, Germany-based melodic hardcore group has a lot of music in their larder, having formed in the early ’90s, yet they still present a raw, powerful sound on this recording. They don’t incorporate a double bass pedal—which I’m very happy about—and therefore stay more on the punk side of the dial, while ranging into emotive, tech-y guitar riffs and Jenny’s resonant voice carrying lovely harmonies with male bandmates. You like this type of thing or you don’t, you’ve known the band for years or are just passing by—either way, props given to a group still putting out music 30 years on. Pretty rad.

Juicebumps Jumbo LP

This is a deliciously maximalist approach to punk that engages and entertains from the first note. Three chords and the truth is great and all, but this scratches a wide range of itches. Sort of a less proggy descendant of CARDIACS, and even reminiscent of the cross-genre collage rock of MR. BUNGLE, especially with the group’s penchant for hooks couched in the herky-jerk and the healthy dollop of surf music woven throughout. The band is cool, confident, and has excess energy that an aging punk like me can only be envious of. You’ll be hard-pressed to find a more satisfying and boogie-inducing track as the aptly-named “Wiggler,” which rides a juicy bass line through a total funhouse of riffs and is full-to-bursting with melodic tangents. It’s got bite, but it’s also a joyful affair unlike most bands out there getting it done.

Karkaisu Tulenarkaa EP

Hardcore crust out of Finland. Very thrashy at points. In fact, this feels more like a metal album than a punk one. Not that I’m complaining, I’m a big fan of this release. It was almost a little shocking to see this was recorded within the last year—it honestly feels like this was unearthed from the early ’80s. Very tight recording, and the guitars are absolute fire. Blistering fast galloping that never wavers. Fantastic stuff, and the album art is the icing on the cake. For fans of early METALLICA and ZNOWHITE.

Money Money LP

Collecting material from the band’s two previously released cassettes, the new 12” from MONEY features some of the most blatant cocainery I’ve seen on a sleeve since the first GANG GREEN EP. Lo and behold, behind the geeked-out demon on the cover lies a fittingly fast and gnarly eight-track attack. It’s a chaotic sound of blackened metal punk, loaded with distortion, chainsaw guitars, wailing leads, and the singer’s cracked growls and bellows. A solid documentation of this nasty Texas hardcore band, the record is also offered in a limited edition on powder white vinyl, because of course it is.

Neon Leon 1979–84 Singles Collection LP

Right out of the gate, I have to say that I would never have imagined that I’d find myself reviewing a record for MRR that features Mick Jagger on one of the tracks. “Neon” Leon Matthews is one of the true unsung heroes of NYC punk, and his story is truly the stuff of legends. Matthews’ was shredding with members of PURE HELL in Philadelphia in the early ’70s, before relocating to the fabled Chelsea Hotel at the urging of Johnny Thunders. It has been asserted that Matthews was the last person to see Sid Vicious and Nancy Spungen together prior to her death. For more info on his remarkable life, check out Neon Leon Fast Track to Hell, his autobiography. Back to the matter at hand, Hozac has compiled all of NEON LEON’s singles from the late ’70s to the mid-’80s. The eight tracks span a range of sounds, from revved-up NEW YORK DOLLS-esque glam, to synth-tastic new wave, and a straight-up killer rendition of “Heart of Stone,” with none other than Mick Jagger contributing backups. It’s a wild ride! The opening cut “Rock’n Roll is Alive” is worth the price of entry on its own, with a phaser-laden drum intro (à la DEAD BOYS), unhinged guitars, and chorus reminding us that “rock’n’roll is alive in New York City!” From what I hear, NEON LEON is based in Germany and still performing. Killer! Snatching this up is a total no-brainer for fans of DEAD BOYS, WAYNE/JAYNE COUNTY, PAGANS, NEW YORK DOLLS, etc. NEON LEON rules!

Ovef Ow Vs. the Worm LP

Chicago art-punk band OVEF OW has been making noise for nearly a decade, and this recent release finds the group using their hallmark sound to create a new wave opera of sorts. Songs are creative representations of the reality of modern life as viewed through the lens of artsy detachment. Sounds that are reminiscent of riot grrrl bands twist together with late new wave to form a dance-worthy soundtrack. Music that creates a party-like atmosphere while lyrically dissecting society through a stream of consciousness is the hallmark of this album.

偏執症者 (Paranoid) Cursed CD

Dark and dreary from this summer, PARANOID returned with a powerhouse of chamber-echoing Swedish thrash metal, combined with their signature D-beat attack. Ten tracks of ’80s-infused metallic riffs under savage, raspy vocals and dense, punctuated percussion. Mid-paced and catchy, PARANOID is somewhere between CRUCIFIX and NIHILIST. I’m a big fan of DEATH BREATH and BASTARD PRIEST, and PARANOID always delivers, but even more punk. Actually, this might be my favorite recording from them (I have their covers cassette Out Raising Hell LP, and that session’s outtakes LP). It’s clear, harsh, and just moves like a war bison. A tornado of punk metal thrash and a dash of hardcore; breakdowns, anxiety, death, and destruction. If PARANOID has not let you down in the past, this is sure to hit hard as hell.

Ponys Auf Pump Probezeit EP

Energetic synth punk with a progressive garage vibe from Germany, exuding histrionic vocals and a classic garage-y guitar sound that I really dig. Sufficiently soft synths that work great with the string section, where the garage vibes truly flourish. Suggested track: “Bullenschwein.” A good merging of new wave sounds and a less gloomy than usual type of German post-punk closer to rock.

Private Life Get Me Outta Here cassette

As we move further and further into a digital music world, there’s something very cool to me that cassettes remain a thing. There’s also something somewhat comical about listening to a tape on Bandcamp. Anyway, five cuts here. There was a time when some people might have called this hardcore. Not anymore. It can be faster paced at times, but it’s got a quirky pop thing about it. While it may be difficult to label, it’s not difficult to like. It’s quirky and catchy and very much straightforward. I like that. A lot.

Quarantine Exile LP

Philly’s QUARANTINE is back and, damn, if they didn’t let up or run out of steam doing the same ultra-basic NEGATIVE APPROACH meets YDI meets MACHINE GUN one-two-one-two USHC formula. They add just enough variety with songs like “Voiceless Survival” to avoid any generic tags. My favorite is still their demo tape which emerged in actual quarantine times, but this record is fierce and short just like a hardcore record should be. “Widespread Terror” is tops. See them live. You won’t regret it.

Railing Stay Mad Forever LP

Debut LP from Portland, Oregon’s RAILING, with a no wave take on grunge. While this hangs on the mothball tailcoats of regional grunge forbearers, it does attempt to create a unique, spacious sound. A lot of these songs start slow with droning, repetitive guitar riffs (that I think could be battered in a little more sludge), oddly bouncy drums, and a fierce female vocalist (who kind of saves the whole wandering ensemble). Midway through most tracks, the tempo ramps up, gets snotty, only to end right when you’re nodding along. I must say, I’m left wanting a little more. A touch faster? More gut to the guitars? But you didn’t ask me, and who the fuck am I? The lyrics are affirming, genuine, and writhe under society’s general control, as in “I’m sick of keeping up / Just to stay down” from “Now.” “Radio” kicks along consistently at a mid-tempo pace and is fairly catchy, so there’s some gems within. Not for me this time through, but I’d try out their next take.

Subliminal Excess Witness EP

Chicago’s SUBLIMINAL EXCESS finally follow up their raging 2020 demo tape with Witness, and it goes just as hard. Four tracks of uncompromising hardcore brutality—fast speed and aggression mixed with hard and heavy grooves à la BREAKDOWN. This shit gets me pumped, I get a massive kick out of it. When the four tracks are up, they leave you wanting more but, as Witness proves, good things come to those who wait. Highly recommended.

Subsonics Subsonics LP

Vinyl issue of Atlanta garage rockers’ debut album from 1992. Classic garage that has more in common with the SONICS or even CARL PERKINS than it does with their contemporaries like NEW BOMB TURKS or DEAD MOON. These sixteen tracks are built around clean strummed guitars with surfy leads and ’50s-style affected rockabilly vocals. If it weren’t for songs about Charles Manson (“I’m Charly, I’m Jesus”) and heroin (“Heron Addict’s Beach Party”), I would have dated this as a much earlier release. The songs are all competently performed—twangy leads and yelpy crooning—and are recommended if you are a rock’n’roll classicist. There’s even a surfy, reverbed instrumental (“Red Roses”) that would fit nicely next to LINK WRAY on an early rock compilation. I like a little more grit to my garage, but this is well-done if the older old school is your jam.

Tozcos Infernal LP

TOZCOS’ latest LP Infernal boldly explores themes of self-perception and the experience of having immigrant backgrounds, particularly as descendants of Mexican immigrants in the US. The punk energy infused with poignant lyrics creates a compelling narrative that reflects the struggles, resilience, and identity of those navigating life in a new cultural landscape. A mixture of the Orange County sound (where the band is from) like ADOLESCENTS and T.S.O.L., and Spanish-speaking punk like ESKORBUTO. TOZCOS’ debut Sueños Deceptivos was an amazing punk record, but Infernal leaps further up the ladder. Infernal not only serves as a musical testament to the punk ethos, but also as a socio-cultural commentary.

Verdict The Rat Race LP

There are bands that you feel you have known forever—recent ones, new ones even—because you are already so familiar with what you know they are going to offer, familiar with the anticipation and the need, with the pleasure you expect them to, quite rightfully, provide the masses (by which I mean people who have once considered calling their first-born Käng). VERDICT is such a band. It has members of MEANWHILE, NO SECURITY, WARCOLLAPSE, 3-WAY CUM, TOTALITÄR, and too many other bands, and even though I have never actually met any of them, I still have had more interactions with them through (over)playing and rocking to their records than I have had with some members of my family, which, to be honest, is definitely for the best. VERDICT is a rather new (but experienced in the things of the D) käng hardcore band, and they know exactly what they are doing and how to do it. Had they produced something different, that would have completely taken me aback—something horrendous like ska-punk would have made so little sense that I would have had to quit punk altogether. Alright, what about The Rat Race, then. This is the follow-up to last year’s Time to Resign, and this one has even more punch, fury, and pummeling power than its predecessor. Unoriginal, in a good way, and thoroughly checking all the correct boxes: the drumming is pure and relentless, the riffs’ efficiency is religiously executed in a “Scandicore 101” way, the vocals are angry, direct, and raspy. Think a joyous orgy between NO SECURITY, UNCURBED, and TOTALITÄR. This is the kind of record that makes the world a better place to rock. Thank you Phobia Records. Käng up your life.

Adulkt Life There is No Desire LP

Excellent LP from this London band featuring Chris Rowley of HUGGY BEAR on vocals. There is a lived-in world-weariness to this music, a pull between remaining relevant and revolutionary amid a life of overabundance, as evidenced in opening track “Relationship Studies”: “And I see everything on these streets / I suffer from too much to eat.” Mid-tempo, chilly post-punk bass lines meet thick power chords on tracks like “Liberation Tags.” Pulsing with punk energy, the song edges into heavy alt/rock like HUM, with guitars that deliver both crunching crush and beautiful chiming textures. “4:33” is another standout that gallops for the first half before spacing into a swirling psych slow-down that fades into a field recording of bustling, honking street life. Rowley’s vocals sound like an exhausted exhale of frustration that matches the lyrics and downtrodden vibes. “Art of Boxing” suggests a person fed up with the drag of modern life and its constant churning change: “These kids got no boundaries / ‘Cause their folks got no boundaries / It’s not the same around here like it used to be.” It evokes a disconnect with the kids as well as an ironic throwback to the previous generation who undoubtedly said the exact same thing. The cycle continues—youth is a thrill until it’s over and the new crop gets under your skin. This focus on aging and growing makes so much more sense to me than the wallet-chain bands who sing about skateboarding and breakups well past middle age. ADULKT LIFE is vital grown-up punk that is highly recommended.

Anti-Machine Too Many Eyes EP

There is a dragon that I have been chasing away at since I was a wee little shithead. It’s finding a moment that gets me closer to the initial, cautious, and addictive feelings of first contact with grimy, dark hardcore. It’s fleeting, to say the least, until a band like ANTI-MACHINE comes around and dishes it.  This is the band’s follow-up to their October 2021 self-titled EP, and like their first recorded offering, it destroys and brings pause. Too Many Eyes is loud, fast, and bleeding in vomit.  Who the fuck are these people? The NYC five-piece  shares some of the same mechanics as contemporaries 80HD and KINETIC ORBITAL STRIKE, with a feel of early BORN AGAINST. There is a place for some old fart like myself to situate themselves into this, for that I thank the band. Hail ANTI-MACHINE.

Burnt Envelope I’m Immature: The Singles Vol. II LP

The recipe for BURNT ENVELOPE’s I’m Immature: The Singles Vol. II goes as follows: mix equal parts STOOGES psychedelia with VELVET UNDERGROUND’s White Light/White Heat, add a heaping spoonful of early lo-fi BLACK LIPS, and top with a sprinkle of black humor, and voila, seven “singles” (a.k.a. fourteen tracks) of lo-fi slacker bedroom punk that sounds like it was a lot of fun to record. Get stoned and listen to “The Chameleon Pt 1 and 2” for a weird time.

Cherry Cheeks CCLPII LP

I pretty much knew this would be a home run before I put it on. Portland’s CHERRY CHEEKS’ first LP was a juicy blast of bedroom eggy punk that was catchy as hell. Now a full band, everything that worked before functions on an even higher level. The hooks are heavy, with the synth often taking front and center. The band overall is snappy, offering a jumped-up and mechanically precise sound even as they keep things lo-fi. Then things get even more synth-heavy on Side B with cuts like “Pure Power,” with a bounce that evokes TUBEWAY ARMY with more manic, shouty vocals. It’s good to see a band tweak the formula to keep things interesting for themselves. The penultimate track “DATA” stands out in particular, with its ’80s cyberpunk intro, nimble bass line, and stabbing guitar. It’s a perfect accompaniment to a panic attack. All in all, this band started out really good and is just getting better. Keep an ear out for what comes next.

Crippled Fox That’s Just Life Now EP

Budapest’s CRIPPLED FOX’s latest release is a fierce, energetic fastcore explosion. Fast, start/stop, relentless punch of shortcut hardcore tracks. A raw-quality recording that isn’t crap-sounding, but not overly produced either. No lousy parts or boring breakdowns, focusing on fast speedcore intensity at its finest moments.

D.R.L.N. Broadcasting cassette

Incredible album—has a classic DC vibe and sounds a lot like a more sinister FUGAZI. I’m sure they get that a lot. Lots of energy, but also some slow, low, and sludgy moments. Very cool mathy parts; I love how the drummer utilizes the hi-hat as a stopgap in between certain measures. It helps foster a strong dynamic that keeps the orderly chaos moving. The singer is a modern-day Guy Picciotto, which I’d argue is hard to pull off in earnest. It doesn’t come off as cosplay. Very authentic and raw. Over the years, the genre of post-hardcore has evolved away from its original definition, but I think this album brings the style back to its roots. Well worth a spin if you’re into stuff like QUICKSAND, RIVAL SCHOOLS, and Q AND NOT U.

Erik Nervous Immaturity LP

ERIK NERVOUS returns to a solo project for this interesting, self-taught Indiana DIY release that actually rips. Everything was done by ERIK NERVOUS himself, except the mastering—it’s an exquisite mix of new wave, punk rock, and synth punk that really works. Energetic with a sick punch and a very well-achieved sound, heavily recommended for synth punk lovers. Favorite tracks: “Comfortable” and “Third Layer.”

Flashes Red That Halo Won’t Hide Those Horns EP

The band describes themselves as “post-COVID,” but they sound almost pre-Y2K to me. Not that I’m complaining, I think many who enjoy late ’90s and early ’00s emo-ish HC will find a lot to like here. The vocals are a gurgle-y growl and the drums often leave a gap between notes, giving the songs the aforementioned expressive emo feel. FLASHES RED switches smoothly from those parts to brief but charged HC thwapping, providing many opportunities for sing-alongs and pointed fingers.

Gee Gee Decorator Gee Gee Decorator LP reissue

It’s been a hot minute since a true blue, bona fide WTF-is-this LP came down the pike, but the virtually unknown GEE GEE DECORATOR scores top marks in that particular category. Even the story of stumbling upon a copy in the wild—which involves Newark, NJ, the Sopranos, and assorted European actors—seems like a tall tale, but the real question is: does the music deliver the cannolis? Opening up with an expletive-riddled come-on (all the songs are untitled, or maybe someone forgot to pick up the jackets from the printer some 40 years back), GEE GEE DECORATOR is like if PUSSY GALORE was more into Stax than CRAMPS; there’s even clanging metal percussion strewn about these tracks like loose railroad spikes. The GEE GEE perspective is entirely irreverent, as the band seems to sneer at anything and everything, including “musicianship,” within their purview. You can almost hear them laughing off-mic, but that doesn’t mean this album is just a one-shot joke. It does have a peculiar charm to it, and you can tell it was put together with something resembling intention. In that respect, GEE GEE DECORATOR is reminiscent of art-damaged rock savants like ROYAL TRUX. Like the SHAGGS, GEE GEE DECORATOR come off as blissfully unaware of the outside world. It sounds like they locked themselves in a moldy basement studio, gave free rein to the drummer, and had a chemical-fueled blast for 48 hours straight. We can count ourselves fortunate that a vinyl spelunker uncovered this fucked-up little slice of heaven (New Jersey). Bada bonk.

Happy Straps Pleasures 1985​–86 LP

Cold war post-punk from East Berlin featuring two members who would later form the nu-metal-adjacent industrial band RAMMSTEIN in the ’90s, but don’t hold that against them! Pleasures 1985–86 cherry-picks tracks from HAPPY STRAPS’ two cassettes (1985’s What a Pleasure and 1986’s Last Pleasure), and opener “We Live in Paradise” is a bit of a stylistic outlier within the context of the rest of the collection, following a fairly basic and rudimentary first-wave punk template, although the warbling vocals and interjections of space age synth point to some weirder creative impulses clearly at work. The rest of the A-side also skims the band’s first tape, including “Railway Station,” a stuttering post-punk spy theme with co-vocalist Claudia Böhme’s delivery splitting the difference between hiccuping and deadpan, right up there with the best ’80s femme-led Euro art-punk (LILIPUT, HANS-A-PLAST, TRÜMMERFRAUEN, you name it), and “Running Away,” which recalls the dreamy, beauty-in-drone side of SST-era SONIC YOUTH (think EVOL’s “Starpower”) or the less frantic side of MISSION OF BURMA. Last Pleasure is covered on the B-side, with HAPPY STRAPS wandering down darker, unsettling goth corridors—the graveyard-dwelling atmospheric guitar, sinister bass rumble, and guitarist Christian Jaeger’s howling vocals on ”White Bird” all echo early BAUHAUS, while the gnarled, barely minute-long “Tod” (German for “death”) crawls bleary-eyed through some BAD SEEDS wreckage, and the Claudia-sung “Tape Song” plunges into the depths of cavernous bass and a death disco beat. The Tapetopia series that this LP is a part of has been bringing all sorts of gems from East Germany’s cassette underground (like, way underground) to light, and this might be one of the best installments yet.

Jonas Patterns of Dominance 12″

A re-release of their 1996 demo recording, pressed from the original masters. Classic grindcore from a time before bands started using drum triggers and studio trickery. Vocals sound authentic and real, unlike a lot of today’s grind acts who run their singer through a whole mess of effects and processing. I’m starting to come off like some bitter old man, but it’s refreshing to hear something that isn’t attempting to be a polished product. Noisy, raw, and fast as hell. Blink and it’s over, just the way it should be.

Ladrones Máquina Caótica EP

Hailing from Atlanta via Puerto Rico, LADRONES have been consistently pumping out electrifying punk rock’n’roll since their 2019 self-titled debut on Slovenly. Following some lineup changes, the band has developed into a wild and energetic garage monster primed to lay waste to anything its path. The three cuts featured on this EP capture a raucous and rowdy vibe that can’t be manufactured. If ANGRY ANGLES had been from Atlanta or CARBONAS spent too much time in Memphis, we may have ended up with something similar to what LADRONES are up to, but they’re not quite that easy to nail down. This record hints at a powerful direction for the band. Can’t wait to see what nastiness they’ll spin up next.

Motive Controlled Confusion EP

After a blazing demo (that this reviewer actually had the pleasure of releasing) last year, Leeds-based Harry Townend returns with more from his solo endeavor MOTIVE. It rages even harder than the demo with its five tracks of twisted D-beat mayhem, taking the best aspects from UK and Scandinavian D-beat and molding them together in a frenzied haze. This record is made all the more impressive when you learn Townend was a mere seventeen years old at the time of this record’s writing and recording. Fans of VARUKERS, ANTI-CIMEX, and the like will get a massive kick out of this barnburner.