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Puñal: Buscando La Muerte 12” (La Vida Es Un Mus) I was just writing about how Lifeless Dark’s debut vinyl arrived so long after their demo, but Mallorca’s Puñal took even longer, waiting seven years between their tape and their first wax. However, I imagine most of you, like me, will hear Puñal for the first time on Buscando La Muerte (“Searching for Death”). What you’ll find is a stripped-down punk record with a lean, vicious approach and a crystalline recording that hits with maximum impact. I’m reminded of the mid-period records from higher-profile bands like G.B.H. and the Exploited who, as they grew in popularity, developed as players and saw their studio budgets rise, yet never wavered from their desire to make punk rock that’s as simple and direct as possible. Certainly if you love records like Troops of Tomorrow and Let’s Start a War, then tracks like “J****o Personaje” and “Carrera Criminal” are going to be right in your sweet spot. While most of Buscando La Muerte is in this vein, Puñal spreads out a little on the two tracks that bookend the record, with opener “Odio” bringing a more anthemic sound that has shades of Eskorbuto, while the closer “Jipis” incorporates some hard rock riffage and a longer, slow-burn intro. I should also mention Puñal’s vocalist is super charismatic, his tone an evil-sounding snarl with a side of Johnny Rotten sneer. There’s no reinventing the wheel here, but there’s more than enough power and passion here to elevate Puñal well above the also-rans.

Grand Scheme: EP 7” (11PM Records) 11PM brings us the second 7” from this DC band with a strong NYHC influence. Grand Scheme is adept at playing several different styles within the NYHC / straight edge milieu, with “Think Twice” kicking off the record with a blistering thrill ride of Straight Ahead-style rippage, “Counter Culture” and “Click Buy Consume” sounding like outtakes from the New Breed compilation, “Outlook” leaning toward more melodic youth crew a la In My Eyes, and “Marketing Budget” wrapping up the EP with a heavier take on youth crew a la Floorpunch. Grand Scheme also reminds me of their hometown heroes 86 Mentality on “Black Blox,” which has a driving beat and a chorus where the vocals lock in with the drums playing big, dramatic punches, which I’m always a sucker for. While all these styles are a little different, Grand Scheme is adept at all of them and makes them sound cohesive, aided by an excellent recording that’s clear but with the perfect amount of grit. A total ripper, and pretty much exactly what you want from a retro-style 7-song hardcore EP.

ROGO: In Un Mundo Senza Violenza 12” (Symphony of Destruction Records) ROGO is from Rome, Italy, features former members of Iron Lung Records band Sect Mark, and plays a dark and nightmare-ish style of hardcore punk. The songs are built around propulsive pogo beats and catchy, off-kilter riffing that reminds me of Hoax, but with a kind of overloaded mainframe / Bladerunner-type production full of digital distortion that reminds me of A.I.D.S. and L.O.T.I.O.N. (both of whom, like ROGO, spell their names in all capitals). The label’s blurb mentions Mecht Mensch and United Mutation as points of reference, and while I don’t think ROGO sounds particularly like either of them, they share a similar quality of ominous darkness that can turn twisted and psychedelic. The production on In Un Mundo Senza Violenza is both in the red and in your face, and it really doesn’t let up in intensity for the entire record, with both slower, stomper tempo tracks like “Salvador Blanco” and Give Notice of Nightmare-style blazers like “La Tua Condanna” operating at full intensity. If you’re looking to get pummeled, this will definitely do the trick.

Dumbells: Up Late with Dumbells 12” (Mind Meld Records) Total Punk Records offshoot Mind Meld brings us the debut vinyl from Sydney, Australia’s Dumbells. I gotta say, Up Late with Dumbells feels like a pretty special record, even for someone like me to doesn’t listen to a lot of melodic indie rock-type stuff in this vein. When I first listened to the record, it reminded me of the handful of 90s indie rock touchstones I really love, like Pavement’s Slanted and Enchanted, Guided by Voices’ Alien Lanes, and Sebadoh’s Bakesale. As with those bands, Dumbells make a melodic jangle that sounds like the Byrds and Big Star filtered through REM and sprinkled with a pinch of classic rock absorbed from a childhood spent riding around in the back of mom and dad’s minivan. The hooks are uniformly big, whether the song has a stripped-back punky rhythm a la the Number Ones (see “Seeds” and “Bubbles”) or something gentler and/or more complex. Up Late with Dumbells sounds fucking great too, with crisp tones assembled into an imposing wall of sound that gives these songs a psychedelic depth… bands used to need a recording budget in the tens of thousands of dollars to sound this good. While Up Late with the Dumbells is meaty enough for a track-by-track analysis, I’ll keep it short and just say that if you’re looking for an ambitious, multi-faceted indie rock record with punk energy and concision, I strongly recommend checking this out.

Private Lives: Salt of the Earth 12” (Feel It Records) Feel It Records brings us the second album from Montreal’s Private Lives, whose energetic and melodic sound could be classified either as punky power-pop or power-pop-y punk. Private Lives’ vocalist sounds a lot like Kathleen Hannah to me, with a sneering delivery that can take a sturdy melody and imbue it with enough charisma to make it leap out of the mix. And while the music’s presentation is lean and energetic, there’s a studied quality to the songwriting and arrangement, with the band building and releasing tension skilfully. They have a habit of starting songs with simple, four-on-the-floor drumbeats and building toward more density and complexity in the chorus, and when the central hooks arrive on “Feel Like Anything” or “Dealer’s Choice” the feeling is exhilarating. Private Lives’ guitarist gets in just as many good shots as the vocalist, too, whether it’s with more delicate-sounding riffs like the Tom Petty-ish “Wrong Again” or chunky blocks of power chords (see “Disconnected,” which reminds me of the Elastica track of the same name, which of course famously ripped off Wire’s “Three Girl Rhumba”). This adept fusion of pop hooks and garage rock grit makes Salt of the Earth tough to dislike.

Prison Affair: Demo IV 7” (Under the Gun Records) It’s been a while since I’ve checked in with Barcelona’s Prison Affair, but not much has changed on Demo IV, which features the same warped, Coneheads-inspired egg punk I remember from their previous records. Prison Affair has become a hugely popular band, and we sell their records by the bucketful here at Sorry State. I find this interesting because, while most bands that reach Prison Affair’s level of popularity have charismatic and singalong-ready vocals, Prison Affair’s sound is murky and the vocals are usually bathed in effects and buried at the bottom of a dense and chaotic mix. That’s still the case with Demo IV, but god damn those riffs sure are catchy. Actually, while listening to Demo IV, I had the revelation that these are basically rockabilly songs, centered on shuffle beats and twangy guitar hooks, but wrapped in that distinctive egg punk-style production that makes you feel like you’re trapped in an episode of Spongebob Squarepants. The production style is clearly based on the Coneheads template, but the songwriting here is totally different and very much Prison Affair’s own thing. I know a lot of people totally write off this style of music, but I’m a firm believer in the wisdom of the crowd, and the numbers don’t lie… Prison Affair has something here, and it’s apparent on Demo IV.

Phosphore: BDX 2024 7” (Symphony of Destruction Records) Phosphore, from the French d-beat mecca of Bordeaux, follows up their 2023 demo with this short and sharp 3-song flexi. As on their demo, Phosphore’s sound is straightforward and unadorned, with short songs built around simple but effective riffs in the Shitlickers / Anti-Cimex vein, but with a bigger sounding recording and a mighty, locked-in playing style that recalls the best Japanese hardcore bands of the late 80s and early 90s. These three tracks all clock in at under 90 seconds, and while I miss the mid-paced moments that broke up their (slightly) longer demo, there’s something to be said for the way these three songs coalesce into one sustained roar… it feels a bit like being pummeled with bricks for four straight minutes. This one is all meat, no potatoes.

Farce: Sights of War 7” (Systema Mortal Records) Sights of War is the latest EP from this Finnish band, and while they’ve released a few cassettes and digital releases over the past few years, this is the first time I’ve given them a close listen. When you drop the needle on Sights of War, you’ll think to yourself, “this is some top-notch Disclose worship,” but as you dig in further, you’ll find there’s a lot more to Farce than most bands who emulate this style. First (and like any band in this vein who wants to move from “just OK” to “really good”), they seem to have taken a lot of time with the tones they got on this recording. Sounding really fucked up is a fine art, and Farce are Picassos, hurling an artillery barrage of frequencies that slice, bruise, pummel, and burn, often all at the same time, and listening to Sights of War can feel a bit like being trapped inside a broken down lawn mower. While Farce hews closely enough to the Disclose template that they never sound out of the box, they’re great at injecting unexpected wrinkles like the delightfully odd lead guitars in “Shelling of Trenches” and “Killing for Fairytale.” It all adds up to an 8-track 7” that delivers everything you want from this style while being interesting enough to stand out from the many other similar records on your shelf.

Poguba: Sedem Pesmi cassette (Autsajder Produkcija) / Poguba: V Živo cassette (Autsajder Produkcija) Autsajder Produkcija brings us two cassettes from this young band from Ljubljana, Slovenia, continuing the label’s hot streak. Poguba strikes me as an extraordinary band, and while I’ll attempt to describe what they sound like, there’s something magical about these songs and performances that you really need to hear to appreciate. When Poguba is in hardcore mode, they remind me most of the primitive punk that came from the UK in the early 80s, though not any band or scene in particular… one minute they might sound like Chaos UK’s first couple of singles, while the next I’m thinking of the 4 Skins’ toughest tracks, and fans of the Massacred will dig “Mrtvaški Ples,” which speeds things up to a Special Duties type of tempo. But then there’s this whole other side of Poguba where they bring in these dark, post-punk-ish melodies that recall both 80s Eastern European punk and Joy Division’s earliest recordings (see “Nadgrobnik” and “Anarkist Javisst (Palimpsest)”). While Poguba’s music evokes these past eras of punk, it doesn’t have the copy/paste quality that so much contemporary punk has… there’s some quality of authenticity that’s hard to pin down, but definitely there. Poguba’s other strength is that their vocals ooze charisma. My favorite vocal moment is the closing track on the studio tape, “Z Glavo Skoz Zid” which has this manic blathering thing that makes me think of Amde Petersen’s Arme if they were obsessed with Eastern European punk instead of American hardcore. There’s definitely something special happening here, and it’s easy to imagine Poguba letting their ambitions run wild and quickly outgrowing DIY punk’s limited scope. Maybe they’ll even be like Fucked Up or Ice Age and garner the attention of indie rock fans and labels. For now, though, they are a unique and special underground punk band that you should hear. I recommend starting with the studio demo, Sedem Pesmi, then proceeding to the live cassette, V Živo, which captures (mostly) the same set of songs with slightly lower fidelity and slightly higher energy.

Burning Chrome: S/T 7” (Desolate Records) Desolate Records brings us this studio project by folks from the defunct Minneapolis band Zero, whose records were some of the earliest releases on Desolate. According to the label’s description, these recordings were completed remotely during the pandemic, as members of Burning Chrome were split between Minneapolis and New York, and in-person jamming was impossible. They mention describing songs over the phone and sending recordings back and forth, which is a wild way to compose and record, especially for music like this that typically lives and dies by a band’s ability to create a roaring, locked-in sound. The recording and mix are consequently a bit odd-sounding, with the drums having a different tone from the rest of the instruments and the rhythm guitar quite low in the mix. The songs themselves frequently invoke Death Side’s broad gestures with their soaring guitar leads and commanding vocals, but the recording pulls in a different direction, with an off-balance, introverted feel. The result is a record that doesn’t bowl you over instantly, but instead intrigues you subtly, and listening can feel like trying to make out an image through frosted glass. This self-titled EP is a strange record, but it’s so unique that if you dig it, you won’t be able to find anything that hits quite the same.

Problem: Violence on the Metro 7” (Under the Gun Records) Following up their Anti-You EP from 2022, we have a new three-song single from Los Angeles’s Problem. The artwork and the fact that this is a 3-track single immediately recalls the UK82 classics (the title also evokes Attak’s Murder on the Subway), but Problem adds their own wrinkles. The drums and guitars keep things straightforward and punk, but the more complex bass lines on these tracks add an extra layer of musicality. The vocals also drip with personality, going right up to the edge of being a cartoony, but imbuing these songs with a ton of personality. There’s an emphasis on catchiness, and you’ll definitely walk away from this EP remembering the lyrics to “Bite the Blade.” The closing track “Fuck the Human Race” leans in even harder with a bright, major-key chord progression and the singer changing “fuck you” over and over. You’ve gotta love a classic offensive singalong in the tradition of “Sex and Violence,” and if it wasn’t already clear Problem doesn’t take themselves too seriously, the brief reggae break seals the deal. Despite embracing the punk stereotype so fully, Problem never sounds goofy… like the droogs in A Clockwork Orange, they just like a little fun mixed in with their menace.

EKGs: demo cassette (Kill Enemy Records) Kill Enemy Records—the label behind Speed Plans and Illiterates, among many others—brings us the demo tape from this new Pittsburgh band. Like most of the other bands on Kill Enemy, EKGs play fast and hard, but definitely have their own spin on things. Their songs are mega short (most around one minute or less) and while they use a lot of blast beats, they’re not the slicked-up triggered kind, but the raw and punk-sounding kind that will remind you of Siege, Deep Wound, or Scum-era Napalm Death. The song structures are jagged and linear (rather than circular), rarely hanging on a riff or a part long enough to sink in… this is a band that likes to blindside you with a riff or a tempo change from the opposite direction as soon as you get comfortable. The vocals are really distinctive, in the Damaged-era Rollins school of outward manifestations of existential pain, but with a unique timbre. After 9 short rippers, the demo ends with two longer songs that feel even more like children of Damaged, including the closing singalong of “Permission to Cum,” which shifts the demo’s vibe slightly in an interesting way. EKGs are super fast, super raw, and super punk, but they also have a unique thing going on this demo that’s just bursting with ideas. Killer.

Siyahkal: Days of Smoke and Ash 12” (Static Shock Records) Static Shock Records brings us the debut vinyl from this hardcore band from Toronto who sings in Farsi. While Siyahkal has issued three demos in their nearly ten years as an active band, Days of Smoke and Ash is my introduction, and it’s an original and powerful statement. While the pogo beats and power chords bring to mind 2010s New York punk on Toxic State Records, Siyahkal excels at creating a foreboding atmosphere. As the label’s description notes, there’s a steady rhythmic throb at the core of Siyahkal’s sound and everything else exists in relation to that pulse, swirling around it, bouncing off it in counterpoint, and sometimes locking into it for battering ram power. While the instrumentalists have their moments (like the thrillingly off-kilter drumbeat in “Karbobalaa” or the atmospheric lead guitar in “Bootcamp”), they often hang back in favor of letting the charismatic vocals take the spotlight. Siyahkal’s singer has this breathy, desperate vibe that seems to come in part from all the guttural sounds in Farsi, but they also have this way of drifting away from the beat that’s unique and exciting. The inchoate screams in the opener, “Your Head in My Arms,” make that track sound like Hell opening up, while the next track, “Beshin Pasho,” ends with another pained scream that’ll give you goosebumps. Days of Smoke and Ash isn’t an easy listen, but its intense, gritty atmosphere and thoughtful lyrics give it real gravitas.

Kronofogden: Lägesrapport 12” (Flyktsoda Records) Flyktsoda Records brings us the latest 16-song full-length from this eclectic and long-running hardcore band from Hudiksvall, Sweden. American d-beat fanatics know Hudiksvall as the hometown of the almighty Totalitär, and a similar strain of very Swedish-sounding fast d-beat hardcore forms the backbone of Kronofodgen’s sound. However, from the first track, “Ropa Varg,” it’s clear Kronofogden isn’t interested in sticking too close to existing templates. That song starts with a big, catchy riff, but as it moves into its next part, it falls into this lengthy, complex series of rhythmic punches that you’d need a protractor to figure out. Across Lägesrapport, Kronofogden finds a cornucopia of ingredients to mix into their d-beat hardcore. “Självförsvarsmord” ends with a blast of grindcore, while “Driver Blydagg Faller Syraregn” has an intro that borrows sludgy rhythms and dissonant chords from later Black Flag, and tracks like “En Mordgalen Tonåring” and “Hälsingeliv” incorporate octave melodies that make me think of the later records by Norway’s So Much Hate. While there are sixteen tracks and what feels like a million musical ideas, the album is over before you know it, so you’ll need several plays to parse everything that’s happening. If you’re looking for something that’s dense with ideas but uniformly intense, Lägesrapport fits the bill.

1-800-Mikey: Digital Pet 12” (Erste Theke Tonträger) I missed 1-800-Mikey’s debut full-length from 2022, and since (like this new album) it came out on the classic egg punk label pairing of Under the Gun Records and Erste Theke Tonträger, I assumed I knew what I was missing. Turns out that’s not really the case. While the label names on the back and the fuzzy sound indicate a spiritual affinity with the egg punk set, Digital Pet sounds to me like a dyed-in-the-wool melodic punk album, landing somewhere between the gooey pop-punk of Lookout! bands like the Queers and Sweet Baby Jesus and the more urbane, punky power-pop of the Boys. The songs are straightforward, built on a familiar verse-chorus-verse skeleton, but they’re packed with memorable guitar and vocal hooks and never overstay their welcome, generally clocking in at 90-120 seconds. While the penultimate track “Story” features the album’s most memorable chorus, I love the rock and roll swagger of songs like “W.F.H.” and “Welcome Back,” whose extended lead guitar passage reminds me of the great song “T.C.P.” by the Boys. Often bands that toe the line between punk and power-pop can lack the energy and heft to keep them punk and/or the big hooks that make you sing along, but 1-800-Mikey gets it just right.

Shatter: Deny the Future 7” (Desolate Records) Minneapolis’s Shatter released a demo tape on Desolate Records last year and now they’re back with their debut vinyl. As Joe B’s description for the label notes, Shatter is a tough band to pin down. In some respects, they sound like a Japanese hardcore band—Death Side in particular—but they don’t lean on the same tropes as most bands who emulate the Burning Spirits style. There’s some cool lead guitar, but Shatter doesn’t aim at the epically triumphant quality of Bet on the Possibility, but the lean-yet-sophisticated bluster of Death Side’s earlier records. The riffing is inventive, memorable and hooky without being overtly melodic, and the rhythms are totally locked in, resulting in a huge, driving sound. While that’s what I hear in Shatter’s music, the vocals come from a different place, sharing the throat-ripping rawness of Dani from Flower, but with a willingness and ability to carry a soaring melody. The most memorable of these melodies is on the opening track, “Up to You,” whose chorus lodged itself in my brain on the first listen and hasn’t let go. I imagine some people will hate it because it breaks the rules of what this kind of heavy, crusty hardcore is “supposed” to be, but “Up to You” sacrifices none of its power by having such a distinctive and memorable vocal hook. The other three tracks are similarly inventive and compelling, and it’s great to hear a band that can take a classic sound and carry it forward a few steps.

Puppet Wipes: The Stones Are Watching and They Can Be a Handful 12” (Siltbreeze Records) The Stones Are Watching and They Can Be a Handful is the debut record from Calgary, Alberta, Canada’s Puppet Wipes, and while it came out in 2022, Siltbreeze recently repressed it. I totally missed out on it the first time, so here I am writing a description three years late. Puppet Wipes shares members with the Calgary band Janitor Scum, who released an LP on Lumpy Records in 2016 that I was just gaga over. If you also remember that record fondly, you’ll definitely want to check out Puppet Wipes, but be forewarned that things have gotten way weirder. The cloudy 4-track production is still there, as is the influence from the early years of the Fall, but rather than the danceable grooves of “Totally Wired,” it’s the eerie, inchoate Fall of Dragnet and Room to Live that looms over this album. Honestly, though, I’m reluctant to lean too hard into any comparisons because this record doesn’t sound much like anything I’ve heard before. The songs follow an idiosyncratic logic that is beyond my grasp, with instruments and vocals wandering in and out like tweakers making their way through a 7-11 at 3AM. It’s not like XV’s stream-of-consciousness “free punk,” but more of a fragmented dreamscape where nothing seems real or stable. The production is very raw and bathed in tape hiss, and while most songs are mixed to place the focus on one or two instruments, there are misty impressions of a lot more happening in the background. There aren’t really melodies you’ll walk away humming or grooves you’ll shake your hips to, but there’s something that holds my attention nonetheless. The Stones Are Watching is a confounding record, but I like being confounded, and the way this enigmatic record floats in and out of focus, just outside my intellect’s grasp, leaves me feeling like a pleasantly puzzled panther.

Cult Crime: S/T 12” (Ugly Pop Records) Ugly Pop Records brought us the debut single by this Toronto band last fall, and now they’re back with the full-length. Cult Crime exists in the long lineage of punk bands that seek to recapture that magical moment when punk became hardcore, when the sound reached a fever pitch of energy but hadn’t yet abandoned the pop song format. Think Dangerhouse Records, the Lewd, early Black Flag, up through more recent bands like Career Suicide, the Carbonas, the Imploders, and Chain Whip. Cult Crime’s drums and vocals are total Black Flag Mark 1, with lean-forward rhythms and a singer who barks out his words through a film of snotty post-nasal drip. The guitars are where the pop comes in, favoring Pistols-style dramatic chord changes flecked with Johnny Thunders-derived rock and roll swagger. Melody is largely relegated to the back seat, so riff-worshippers will get the most out of this one. If you dug the recent full-length from Pittsburgh’s Snarling Dogs, Cult Crime scratches a very similar itch.

Disturd: From the Darkside 12” (Black Water Records) Portland’s Black Water Records released the first 7” from Japan’s Disturd back in 2011, and nearly a decade and a half later, they’re back with the band’s latest release, From the Darkside. Disturd’s well-populated Discogs page shows that, in the intervening years, they’ve been busy with a slew of releases in different formats on a ton of different international labels. While I haven’t heard all of them (or even most of them), I get the impression not much has changed over the years, with the band continuing to explore the vintage UK crust influences that have shaped their sound since the beginning. To my ears, , Disturd sounds like those bands who took Amebix’s brooding, foreboding sound and exchanged the misty atmosphere for gleaming metal precision, with tighter playing and crisper, more detailed production. The label’s blurb mentions Antisect as a point of comparison, but Axegrinder’s Rise of the Serpent Men is another good one, and they’d make an excellent pairing with their label-mates Hellshock, too. From the Darkside features one side recorded in the studio and another live side, and the similarity between the two shows how dialed-in Disturd’s sound is. While I don’t think Disturd has any novel innovations on the formula that might convince a sceptic, if you’re a fan of this sort of heavy, chugging metallic crust, they know just how to scratch that itch.

Retsu: S/T 12” (Black Water Records) Black Water Records brings us the debut release from this new UK hardcore punk band featuring guitarist Scoot, who played in Extinction of Mankind and Doom. To me, Retsu sounds like a UK hardcore band whose members have grown and evolved—particularly in their playing and recording skills—but who never lost their anger at the system or their taste for a nasty riff. The riffs are my favorite part of this record, totally steeped in Discharge circa Hear Nothing, See Nothing, Say Nothing, but with a knack for finding clever innovations that keep me from feeling like I’ve heard it before. The rhythm section is heavy and mean, but does a lot with stops, starts, and change-ups to keep the songs spicy, and while the clear production and super locked-in playing helps keep all this legible, it may sound a bit too “pro” or slick for the real down-in-the-dirt crusties. Lyrics tackle contemporary topics like Brexit and Nazis’ continued infiltration of the underground music scene (“NSBS”). Cheers to Black Water Records for giving this release the perfect home in the US.

Coronary: M.A.D.ness  12” (self-released) Second full-length from this Chicago band who infuses their hardcore with various styles of underground metal. Coronary feels like part of hardcore’s post-Power Trip moment where it’s not uncommon to hear bands weave together influences from heavy, tough-sounding hardcore, extreme metal, and classic d-beat. This slurry comes out differently with every band, but Coronary certainly makes it work well for them. From d-beat they get the simple, driving riffs and slightly groovy, in-the-pocket rhythms that keep songs feeling light on their feet, while metal provides the flavor (a dash of thrash riffing here, a well-deployed blast beat there), and the tougher end of hardcore lends its mosh parts for occasional big climaxes. The playing and production both toe the line between clarity and grime, tight without being clinical and energetic without being sloppy. If I had to level a criticism, it’s that sometimes the infusion of metal into the sound can feel a little too deliberate, like “here’s a grind part” or “here’s a death metal part,” but, on the other hand, Coronary has full command of all these styles and it’s nice that they mix things up rather than giving us 12 versions of the same song. If you’re into the strain of modern crossover you hear on labels like Quality Control HQ and Triple-B, this is well worth a listen.

The Disgusting: S/T cassette (Sex Fiend Abomination) The hot new Richmond label Sex Fiend Abomination brings us the debut cassette from the Disgusting, a mysterious new band from North Carolina. Sadly, I haven’t gotten to see the Disgusting yet, but their raw, noisy, and wild hardcore is a perfect match for the label that brought us recent releases by Cicada and Fried Reality. Like Fried Reality in particular, the Disgusting draws from the wild, nihilistic end of Japanese hardcore. To me, though, they don’t have the mannered quality of so many bands who pull from this sound, who often lean on easy signifiers (pogo beats, gutteral vocals, noise-drenched guitar) yet totally miss the vibe. The Disgusting nails the vibe, and listening to these four songs feels like being dropped into one of those massive machines that rends and shreds giant pieces of industrial machinery for recycling. The recording adds to the sense of disorientation, cloaking everything in noise and fuzz and working alongside the band’s manic energy to ensure the listener never finds their footing. But while it feels very loose and spontaneous, it feels like the Disgusting has taken seriously the task of making the most abrasive and, well, disgusting sounds they can… just get an earful of that wild feedback that ends the tape. A downright beautiful slice of noise-not-music.

Hekrojagotki: Majčice Veštice 12” (ОПАЧИНА) The Macedonian label ОПАЧИНА brings us this relic from their home country, a vinyl version of a wild 1992 cassette by Hekrojagotki (Некројаготки). Hekrojagotki is totally new to me, though maybe if you’re deep in the trenches of international underground tape trading you’ve heard of them before. Despite its obscurity (the group only produced this self-released cassette), it’s easy to hear why ОПАЧИНА wanted to put this on vinyl for a wider audience, because it’s some unique music. Part of what’s interesting is that it doesn’t fit neatly into one bucket. Much of what appears on this tape could be described as cult underground metal, though there’s a lot of variation even within that. Some tracks sound like super raw, early Pentagram demos, but amped up with a post-Bathory / Hellhammer heaviness. That combination of sleazy riffing and ugly heaviness also reminds me of the parts of G.I.S.M. or the Geizz that recall Motley Crue. Other tracks are even more evil and nasty-sounding, and could stand alongside your most underground 80s South American metal. But then as you make your way through this tape’s 20 minute journey, you also hear moments that recall Goblin’s prog-y film scores, and the last track channels the creepy ambiance of my favorite Residents material, even featuring a defiantly out of tune flute solo. Despite the eclecticism, Hekrojagotki doesn’t sound wacky or try-hard, just legitimately fucking weird and unhinged. The recording is very rough and 4-track-y, and oddly enough it makes me think of the most experimental moments of early Sebadoh or Guided by Voices, which makes sense given the original tape’s release date of 1992. Yeah, this is way the fuck out there and definitely won’t be for everyone, but those of you who crave the weird-ass shit from the margins are gonna LOVE this.

Inocentes: Miséria E Fome 7" (Morrer Discos) The new label Morrer Discos has set the bar high by starting their run with reissues of two of Brazil’s best punk records: Olho Seco’s Botas Fuzis Capacetes and Inocentes’ first EP, Miséria E Fome. While both bands debuted on 1982’s Grito Suburbano compilation, Inocentes share the slightly tuneful edge of their comp-mates Cólera, though these tracks have plenty of the bruising first-gen hardcore sounds that make Olho Seco’s EP such a classic. According to the label’s description, Inocentes originally conceived Miséria E Fome as an 11-track LP, but were forced to scale it down to a 4-song EP when the other tracks were censored by the country’s military dictatorship (the dictatorship ended in 1986, making way for the un-truncated Miséria E Fome to come out in 1988). As for this compact edition, it’s all impact. The a-side track is the anthem, with a multi-part chorus that builds slowly to the climactic chant of the EP’s title (which translates to “poverty and hunger”). I have a feeling it hits even harder if you know Portuguese, but it’s pretty darn exciting even for a monolingual punk like myself. The three tracks on the b-side speed things up considerably, with two lean rippers followed by the more complex “Calado,” which features tempo changes into this cool mid-paced part that reminds me of the Dead Kennedys. The music is all killer, no filler, and as with Morrer’s Olho Seco reissue, the packaging and presentation is detail-oriented and very true to the original artifact’s aesthetic. An essential grip for anyone into 80s international punk.

Apocalypse: S/T 12” (Prank Records) Prank Records gives us a meticulously crafted US pressing of this enigmatic record that first surfaced in a tiny edition in 2021 on the Japanese label Mangrove. The record documents two different bands, both fronted by Crow (vocalist for the legendary Japanese hardcore band Crow), and at least one of which was called Apocalypse. Confused yet? The recording is dated 1987-1989 and “all lyrics and music” are credited to Crow, but beyond that, concrete details are scarce. I am a huge fan of Mr. Crow’s music. I love Crow’s early, heavily Discharge-inspired records, I love their later, Sabbath-infused records (perhaps even more), and I ride for Crow’s other projects like Grave New World, Death Comes Along, and Kaiboushitsu. Crow, as a musician, is artistically restless and always pushing limits, and this Apocalypse record contains some of his most challenging work. Indeed, the first track, “Apocalypse I,” may be the most challenging piece of music Crow has ever released. It’s a ten-minute long deconstruction of the Discharge style, and its first eighty seconds seem to ask, “what if you took the Discharge template and stripped away the riffs, the drums, the guitars, bass, and even the lyrics… what would you be left with?” The minute and twenty seconds of multi-tracked, abstract vocalizations that answer the question are not an easy listen, but perhaps “Why (Reprise)” is too easy a listen given what that music aims to express. (For a different frame of reference, imagine an a cappella rendition of Integrity’s “Vocal Test.”) Once the music kicks in, “Apocalypse I” sounds a lot more like Discharge, but instead of extracting almost all the elements, it removes just one—any sense of musical development or resolution—subjecting Discharge’s style to Krautrock’s hypnotic repetition. But rather than Can’s meditative quality, “Apocalypse I” sounds agitated, enticing you toward insanity with the riff’s relentless, uncompromising repetition. If you’re able to make it past that first track, the rest of the record is less difficult, but still soaked in Crow’s instantly identifiable aesthetic. “Apocalypse II” and “Inferno” lean toward the spooky, mid-paced 80s Japanese style of Crow’s Kaiboushitsu project, while “Dream” fiddles with the template of later Discharge songs like “The Price of Silence.” “Apocalypse III” is closer to free jazz than hardcore punk, while the album-closing “The End” (reprised on Crow’s 1995 The Crow EP) is more conventional musically, but lets Crow run wild with his talent for making strange sounds with his voice and finding uniquely eerie melodies. While there are probably only a handful of people on earth who are steeped enough in both Discharge-derived hardcore and avant-garde music to truly appreciate this record, those who do will be happy to make some shelf space for a record that is peerless in the singularity of its vision.

Zyklome A: Uitgesproken (1980–1985) 2x12” (Ultra Eczema) Lately there has been some conversation in the hardcore underground about reissue culture, specifically the tendency for labels to pad out reissues of classic records with (what many see as) unnecessary extra tracks and packaging bells and whistles like posters, booklets, box sets, etc. I’m all for getting the music out there as cheap as possible for the punx, and I also agree that, more often than not, this bonus content only dilutes a record’s original impact while making it needlessly more expensive. But, on the other hand, a well-done reissue can also deepen one’s enjoyment of an original punk artifact. Case in point, this reissue from the 80s Belgian band Zyklome A. I think even the most committed hardcore maniac would concede that Zyklome A’s 1984 LP, Made in Beglium is a good-but-not-great album. Zyklome A can play fast and hard, the production is strong, and the packaging is cool and punk, but the record is kind of samey-sounding, growing repetitive by the end of its 16 tracks. Just a couple of months ago, we had an original copy in the shop and I listened to it several times, trying to figure out if I liked it enough and would listen to it often enough to justify the expense of an original pressing. Ultimately, I let the record go (Usman bought it, LOL), and now we have this double-LP reissue in stock. I’ve been loving this reissue, but I don’t regret my decision to pass on the original because I think this collection does a better job of representing Zyklome A than Made in Belgium did. The first disc of Uitgesproken is a straight reissue of Made in Belgium, and while I don’t have an original copy to compare, I swear this reissue sounds better than the original. The mastering on Uitgesproken is clear, loud, and bright, and when I played disc 1, it hit me in a way Made in Belgium never has. Maybe I was just in the right mood or in the right environment, but without a doubt this collection (both discs) sounds great. Then you get to the second disc, which collects all the split EP and compilation tracks Zyklome A recorded along with a live set. Despite the disparate source material, disc 2 sounds just as good as disc 1 (even the live stuff, which must be straight from the soundboard as there’s no audience noise whatsoever). Maybe it’s because these songs are from different sessions, but disc 2 avoids the samey quality that plagued Made in Belgium, with the band shaking up the tempos and grooves just a hair while remaining very, very punk. And then there’s the booklet, a super thick, full-color tome that tells you everything you could ever possibly want to know about Zyklome A. It’s bursting with pictures, flyers, and ephemera, all of it beautifully photographed and reproduced. Flipping through this booklet while listening to the music, I’m transported to mid-80s Belgium, immersed in Zyklome A’s world. Of course some bands like the Misfits or the Stooges can build a world and invite you in like this on a studio LP… Zyklome A need a little more than that, but visiting that world is just as exciting, and Uitgesproken takes me there more effectively than Made in Belgium ever did. Certainly Uitgesproken is a treat for any 80s international hardcore fanatic (especially at the attractive price we’re selling it at), and while I don’t think we should suspend our skepticism of reissue culture, for me this is proof that a deluxe reissue can be done right.

Peter And The Test Tube Babies: Banned From The Pubs 7" (Bad Habit Records) Australia’s Bad Habit Records gives us a no-frills reissue of Peter & the Test Tube Babies’ first single. Originally released on No Future Records in 1982, “Banned from the Pubs” stands out as one of the strongest releases in a label catalog packed with all-time classics. This single flips the typical UK82 single script, putting the two rippers on the a-side and relegating the mid-paced, more tuneful “Peacehaven Wild Kids” to the b-side. But how are you not gonna put “Banned from the Pubs” as the lead track? It takes the big riffing and catchy choruses of Sham 69 and rips through them at a tempo that keeps pace with the emerging US hardcore scene. The other a-side track, “Moped Lads,” is similarly brisk and has a great chorus hook, and while “Peacehaven Wild Kids” is a solid song, Peter & the Test Tube babies would really perfect mid-paced melodic punk on their excellent 1983 album The Mating Sounds Of South American Frogs. This single is great ammo for your punk DJ night or an evening spent home alone with a stack of classic 45s, and if you don’t have an original, this repro fills the gap just fine.

The Brood: For The Dark 12” (Armageddon Label) Ten years after their first 7” and eight years after their previous release, we finally have the debut album from long-running Philadelphia hardcore band the Brood. Featuring members of Caustic Christ, the Pist, and Witch Hunt among many others, the Brood sounds like the veteran hardcore band they are, their diverse but coherent sound reflecting many years in the hardcore punk trenches. The core of the Brood’s style is heavy hardcore punk, reminding me most of American bands from the 2000s who incorporated the heaviness of Japanese hardcore into a straightforward, Poison Idea-influenced aesthetic. Other influences poke their heads in around corners: “Burning with the Sands of Time” and “Enemy” have street punk-ish rhythms, while “Shallow Graves” and “The Best Parts of You Died” have some Motorhead touches, and “Long Gone” goes for the throat with a straight Discharge-influenced attack. A two-guitar dynamic and Janine’s charismatic backing vocals lend additional depth and texture to each song, and (as you might have noticed from the song titles), there’s a vintage horror theme running through the lyrics, eloquently echoed in the cover illustration by Max from Invertebrates. With twelve songs in 22 minutes, the Brood offers an efficient, no-frills pummel that’ll leave you eager for the next spin.

Castigo: Escape 7” (Archaic Records) Archaic Records brings us this very limited (150 copies!) 7” from Mexican punks Castigo. Castigo reminds me a lot of Nightfeeder, with fast-but-not-crazy-fast tempos, riffing that’s inventive without being flashy, and playing that’s heavy on groove while keeping all the energy, rawness, and aggression you want from d-beat hardcore. You get the impression from moments like the tight punches in the intro to “Narcoestado” that the band could do something more technical, but they devote their energy to playing their hooky riffs with maximum power and style. I really like the vocals too, which are gruff and soaked in phlegm, but still perfectly comprehensible, which I think is important when you take on political topics like Castigo does. With four originals and a Disrupt cover, there’s no time for fucking around, and Castigo keeps things short and to the point. This might be hard to find given the small press run, but it’s worth the hunt if this is your style.

Dominación: Punks Ganan 7” (Discos Enfermos) Discos Enfermos brings us the debut by this band from Barcelona. They mention there are familiar faces in the band, and while I’m not sure what projects Dominación shares members with, it’s clear from the sound of this record that they know their way around a hardcore punk tune. Punks Ganan stays within the parameters of Japanese-style crasher crust—you could reference an older band like Gloom just as easily as a contemporary one like Physique—but Dominación finds plenty of room to make the sound their own. “Hora Final” is a straightforward rager with almost no bells or whistles, while the opening track “Inocentes” is a maze of dramatic stops, starts, and breaks that keep the listener on their toes. Dominación maintains that push and pull between straightforward rippage and more complexity across these seven tracks, with the last song, “Asesinados En Las Carceles Españolas,” climaxing with a show-stopping, inhumanly long scream. So sick.

Antiheroes: 1984-1989 7” (Twistin Bones Records) Archival single from this obscure 80s Argentine punk/post-punk band. The story here is rather interesting. Antiheroes was started by young Polish immigrants to Argentina who brought with them records by bands like Siekiera and Brigada Kryzys, and the gloomy grey vibes on this 7” evoke eastern Europe much more than South America. While the band was around for five years, they only got into a professional studio once to record these tracks at the studio of 80s Argentine pop singer Silvestre in 1985. The songs are dark, pulsing post-punk with understated but charismatic vocals and a keyboard adding subtle texture and counter-melody around the edges of the mix. The sound is grainy and washed-out, again bringing to mind brutalist architecture and heavy, neutral-tone overcoats. Adding to the mystery, Antiheroes’ vocalist Monica Vidal disappeared after boarding a flight from Bolivia to Brazil, never to be heard from again. It’s too bad we don’t have more songs from this group as their heavy vibes are something I want to soak myself in, but an excellent two-song single, well-produced with liner notes in English and Spanish, will have to do.

The Stalin: Kubi Dake Atsureki 7" (General Speech Records) General Speech does the world’s population of Japanese punk lovers a huge solid by reissuing this archival release by the Stalin. As General Speech’s description notes, this release is a dream come true for fans of the Stalin: four undiscovered studio tracks recorded in 1983, a few weeks after the band completed their third album, Mushi. Many people unwisely sleep on Mushi; that it was released primarily on picture disc and ends with a ten minute long song are both red flags, but it’s a great album, primarily carrying forward the sound of the all-time classic Stop Jap, but adding just a hair more each of complexity and restraint. These four tracks sound like they could be outtakes from that album, with a very similar writing and recording style, and just as much power and conviction in the band’s performance. As the liner notes explain, no one seemed to realize this recording session existed or knows what the songs were intended for, though if I understand correctly, one track appeared with some additional guitar overdubs on the Welcome to 1984 compilation. I’m particularly thankful for the format they chose for this release. They could have tacked these on as bonus tracks to a reissue of some previously released material that fans would have had to buy all over again at an inflated price, but instead we get this lean 7” EP, priced reasonably and featuring an awesome cover illustration by the same artist who drew the cover of the Stalin’s first album, Trash. When these songs first came out in Japan in 2023, the edition sold out quickly and immediately started selling for a premium on the second-hand market, and since General Speech says this is a one-time pressing, I strongly urge you to lock down your copy before the same happens with this pressing.

Aberrate: Grounded demo cassette (Acute Noise Manufacture) The debut cassette from this Tokyo crust group gets a US pressing on Acute Noise Manufacture, which is Patrick from Destruct’s label. Destruct fans will hear immediately why this caught Patrick’s ear, as Aberrate’s bulldozer sound has a lot in common with Destruct’s patented brand of eardrum obliteration. The rhythms are a little stiffer and less groovy than Destruct, leaning toward the E.N.T. end of the spectrum, but the wall of noise production and bursts of squealing, metallic lead guitar will be music to the ears of any Destruct fan (and obnoxious noise to everyone else). Aberrate features members of Frigora, Life, and Abraham Cross, and fans of those bands should definitely check this out, as should anyone who dug those Horrendous 3D 7”s that came out a few years ago. The sound is massive but intricately textured, and the performance has all the power and charisma you’d expect from a bunch of Tokyo scene veterans. Don’t miss this one.

The Scumbag: S/T 12" (Beach Impediment Records) Beach Impediment Records brings us a collection of studio recordings from this late 80s Tokyo hardcore band whose members would go on to groups like Dread Yankees and Rocky and the Sweden. If you’re a fan of that late 80s style of thrashy Japanese hardcore, that’s precisely what you get here… think records like Outo’s No Way Out 7”, Chicken Bowels’ Keep Our Fire Burning EP, and maybe even Systematic Death’s Final Insider album and aspects of S.O.B.’s early releases. It’s thread of crossover that was unique to the Japanese scene at that time, with chunky muted guitars, catchy punk riffs, and big choruses wrapped up in circa-late 80s metal production (biting guitars and big, boomy drums). One of my favorite aspects of this scene is the crazy fashion, which takes a lot from 80s skate culture (flip-up hats, board shorts, basketball shoes), but applies that uniquely Japanese, more-is-more aesthetic. You don’t get much of a sense of that from listening to this on bandcamp, but when you’re sitting down with the vinyl and blasting this while looking at all the photos on the insert, it certainly helps fill out the picture. I could deal without the casual misogyny in the lyrics, but it was a different time and hopefully the members have grown and matured since. While I think this strain of Japanese hardcore can be an acquired taste, anyone who loves the aforementioned records will certainly dig this compact 8-song collection.

Seudo Youth: Nobody Gets Down Like... 12" (Going Underground Records) After a couple of cassettes, here’s the debut vinyl from this LA punk band. Seudo Youth features members of People’s Temple and Diode, and it sounds to me like those two bands’ sounds smashed together. The music here is very much in the vein of People’s Temple’s hooky US hardcore, with sturdily crafted power chord riffs and a confidently minimal rhythm section. When the guitarist joins in on call-and-response backing vocals on “Meet Your Maker,” it almost sounds like an outtake from the People’s Temple EP, but Seudo Youth’s main vocalist takes a very different approach. Their vocals are bathed in distortion and echo, high-pitched and more rhythmic than melodic. While I definitely wouldn’t call Seudo Youth egg punk, the vocals pull it toward that sound, and fans of hardcore-leaning contemporary punk bands like Warm Bodies and Judy & the Jerks will like what they hear. I could see fans of People’s Temple and G.U.N.N. (with whom Seudo Youth also shares members) not liking the vocals and Diode’s fans thinking the music is too straightforward, but I think something unique and compelling arises from this unexpected mash-up.

T.S.T.: Vås Punx 7” (No Plan Records) No Plan Records reissues this Swedish punk grail from 1981. I was more familiar with the two records TST released subsequently—1982’s No Teenage Future 12” and 1983’s self-titled LP—and while those records have a tough, UK82-influenced sound, this first EP captures a younger, punkier version of the band. The main word that comes to mind when I listen to these four tracks is “anthemic,” with this early version of TST drawing influence from the Clash and Sham 69, influences I don’t think of as a huge part of the Swedish punk sound. While TST would get more locked-in and powerful musically on those later records, I love the spirit of discovery you hear on these four tracks; “I’m Looking at You” even lands on a similar doo wop-y rhythm to the Misfits’ “Some Kind of Hate,” and while one could see it as a stylistic detour, it’s also one of the EP’s most memorable moments. No Plan’s reissue adds an insert featuring a short essay about the band, lyrics for all the songs, and a bunch of photos and flyers from this period of the band’s development (they look like babies!), which is a welcome addition. While the music here is raw, unpolished, and youthful, it’s a treat for anyone interested in early 80s Swedish punk or the wider late 70s European punk explosion which this record has more in common with musically.

Cathexis: Demo 2024 cassette (Roachleg Records) 4-song demo of occult metal-punk from this one-person project based in New York, sort of like if first-album-era Bathory had been infected with the G.I.S.M. virus. The music is a little more toward the Bathory side with straightforward metal riffing and primitive pounding on the drums, but there’s definitely one foot in G.I.S.M.’s M.A.N. LP aesthetically, with a similarly cold and hollow sound and a penchant for echo effects on demonic vocals. There’s also an introverted quality to this that reminds me of Norwegian black metal… there are no fun parts, no rocking out, just cold grimness in a studiously primitive package.

Total Con / The Troops: split cassette (Scorched Noise Records) Split cassette from these two USHC-obsessed projects working at the highest registers of energy and the lowest registers of fidelity. The UK’s Total Con is a one-person project from Bobby of the Annihilated, and he’s had a prolific run lately with a few blasts of raw and immediate early 80s USHC worship on small cassette labels. These four new tracks are as nasty as one would hope, with some of YDI’s desperate but heavy energy, and the cover of Hüsker Dü’s “M.I.C.” is a classy hat-tip. The Troops from Florida have an even more blown-out recording, but they parallel Total Con by starting with a sample and giving us three originals and a classic cover. The Troops remind me of early 80s US bands that took a lot from Discharge—think Crucifix, Final Conflict, Against—and their Ultra Violent cover shows their bona fides while also reminding us that band had more than just one good song. Both sides here are raw, nasty, and punk as fuck.

Malignant Order: This Is Mankind? Demo cassette (La Vida Es Un Mus) La Vida Es Un Mus brings us a demo from this new (presumably) UK band. I’m not sure which bands Malignant Order shares members with other than Stingray, but their apocalyptic, metal-informed punk sound has a lot in common with London bands like Subdued, Second Death, and Permission. I hear a lot of 80s UK anarcho-punk in their sound, but I also hear something of Black Flag’s existential angst in Malignant Order’s vibe, particularly the desperate-sounding vocals. As with some of the aforementioned bands, there’s something unapproachable about how Malignant Order presents themselves that can make them a bit tough to listen to—there are no concessions to putting the listener in a more pleasant headspace—but these are supremely effective as gritty downer jams.

Frenzy: Beyond the Edge of Madness 12” (Distort Reality) Portland’s Frenzy has been at it for more than a decade, plowing their own very distinctive lane of noisy hardcore punk. Based on their records’ artwork—which tends to feature cartoon punks with spikes and studs and eye-searing combinations of fluorescent colors—you might peg Frenzy as Swankys worshippers, but they’ve actually developed a unique take on the noisy punk sound, particularly on this, their second full-length. The guitar sounds are appropriately fried to hell, but the singer’s hoarse shout sounds a lot like Pat Dubar of Uniform Choice to me, and the fast scissor/paddle beats give me Heresy / Ripcord vibes. Speaking of beats, Frenzy is rhythmically sophisticated, with a lot of different fast hardcore punk rhythms that are intense and immediate and keep this long-ish LP from getting repetitive. One thing Frenzy share with Swankys worshippers, though, is a willingness to work the odd sunny-sounding melody into the mix. I wouldn’t call Beyond the Edge of Madness an odd record, but its idiosyncrasies along with Frenzy’s finely honed chops make this record a unique and powerful statement.

Vaxine / The Last Survivors: split 7” (General Speech Records) General Speech Records brings together New York’s Vaxine and Tokyo’s the Last Survivors on a well-matched split 7”. Both bands rep a charged hair, combat boots, and bondage pants image, and their songs are energetic and hooky enough that whether you’re coming at that sound via the classic 80s UK bands or the less-cool-to-rep wave of 90s bands, you’re gonna leave satisfied. It’s funny, though, for all the similarities with their image, the two bands sound pretty different. Vaxine’s iteration of the style is razor-sharp and lock-tight a la Ultra Violent, while the Last Survivors are looser and fuzzier, with a UK Subs-ish rock’n roll flair in places. Some people might prefer one or the other, but both bands do the tradition proud. I don’t think you’ll see many people calling this a one-sided split.

A.O.A.: Satisfactory Arrangement 12” (No Plan Records) No Plan Records brings us a reissue of the 3rd and final LP by 80s Scottish anarcho-punks A.O.A., 1988’s Satisfactory Arrangement. I think A.O.A.’s first 12”, Who Are They Trying to Con?, is a supremely underrated record, an energetic and intense slab of ultra-fast UK hardcore. No Plan mentions they were sometimes called “the Scottish Discharge,” and I while I haven’t heard anyone say that myself, I imagine that comparison rests largely on that first 12”, which is a leaner and more to-the-point record than Satisfactory Arrangement. I think Satisfactory Arrangement is excellent, mind you, but the band has evolved and (dare I say) matured since their first record. The music is still undeniably hardcore punk, but A.O.A. sounds more flexible and confident here. One thing I appreciate is that they’re able to play locked-in when the situation calls for it—the early Amebix / Killing Joke-esque parts on here are suitably crushing—but they can change gears and sound really loose and wild as well. More metallic songs like “Acceptance of What” have some of the off-the-rails vibes of Venom or early Bathory, and other parts find them going full gluebag chaos mode a la Disorder. A new wrinkle on Satisfactory Arrangement is two tracks that feature spoken vocals over gentler instrumentation, and while (particularly by 1988) it wasn’t anything no one had heard before on an anarcho record, it adds even more depth and variety here than A.O.A. had on their earlier stuff. Plus, all this is transmitted through a much clearer, more professional recording that highlights just how good the band was. I know everyone has a soft spot for a band’s earliest, rawest material, but I think Satisfactory Arrangement is a logical outgrowth of that earlier material that’s a little more subtle and refined, but still powerful.

Electric Masochist / Smog: Split 12" (Burning Anger Records) Burning Anger Records brings together Macedonia’s Smog and Berlin’s Electric Masochist for this international hardcore split 12". Both bands sound inspired by Disclose, but put their own spin on things. Smog has the relentless d-beating drums and fried guitars, but their vocals are unique for the style, a higher-pitched howl that sounds more like primitive early black metal than Kawakami. The production is drenched in noise and reminds me of Paranoid’s harshest material, but the vocals give this one a fiendish atmosphere all its own. As for Electric Masochist, I saw them play in Berlin a few years ago and I remember thinking, “wow, they sound EXACTLY like Disclose.” On these four tracks they still sound quite a lot like Disclose, but their voice comes through a little more. This is true of the first two tracks, which have more complex, swingier riffs that aren’t as straight Discharge-inspired. I also really like the lyrical approach on the track “Out of My Way!,” which takes the impressionistic Discharge lyrical style and turns its focus on a treacherous night out in Berlin. Both bands give fans of the genre everything they’d want plus a little extra, and I just love the textured fold-over sleeve. Any d-beat maniac will be mighty pleased with this one.

Fine Equipe: Moral D’Acier 10" (Offside Records) Fine Equipe is a new studio project from some folks in Syndrome 81, and just as their Mentalité 81 project turned their attention toward early 80s US-style hardcore, Fine Equipe puts the classic late 80s straight edge / youth crew sound through these musicians’ distinctive filter. As with Mentalité 81, all the genre’s aesthetic signifiers are there—dynamic arrangements with instruments constantly dropping out and careening back in, big breakdowns, and gang vocals—but the French language and these musicians’ peculiar aesthetic sensibilities make this feel like more than a mere retread. I think the folks on the 185 Miles South podcast hit the nail on the head when they compared this to the late 90s Boston band In My Eyes. Like In My Eyes, Fine Equipe has a very classic take on the youth crew sound that minimizes the aggro and heaviness and flirts with Gorilla Biscuits-style melody (especially when the guitarist plays around in the upper octaves) without sounding poppy or wimpy. While the Mentalité 81 release was frustratingly short, we get 9 whole minutes of music on this 10” EP. For folks whose tastes encompass both the Syndrome 81 cinematic universe and the Revelation Records classics, this may well blow your mind. For those of you who find yourselves in one of those camps but not the other, this is so spot on that I think you’ll at least like it, if not full-on love it.

Wet Specimens: Dying in a Dream 7" (No Norms Records / Brain Slash Records) Dying in a Dream is the latest dispatch from this Albany, New York band who has been very active, releasing a spate of material over the past several years. I haven’t checked in with their recordings in a while, but Dying in a Dream caught my ear when I checked it out, with a sound that’s undeniably hardcore punk, but doesn’t sound like anyone else I can think of. The first track, “Dying in a Dream,” is built around this tense, skittering drumbeat that has a tension I associate with anarcho-punk, but the harsher textures also make me think of S.H.I.T., another master of building tension. The next track, “Curtain Call,” is another slow burn, with the addition of horror movie synth helping to evoke the feeling of wandering alone in some creepy-ass woods. Then the two tracks on the b-side turn the focus to charging d-beat, but keeping the progressive tinge you hear on the a-side and climaxing with the stretched-out mid-tempo part that ends the record. Dying in a Dream is heavy, raw, and aggressive just like you want DIY hardcore to be, but Wet Specimens push way past the established formulas that bog down so many other groups.

Impotentie: Zonder Titel Deze Keer 12" (Roachleg Records) Roachleg Records brings us the 3rd release from these punks who are based in Canada, but of Belgian heritage, singing in Dutch and turning their lyrical attention toward Belgium’s history and politics. I’d strongly recommend reading the label’s description for this release, as it succinctly outlines the political and social impetus behind each of Impotentie’s releases so far. They say that Zonder Titel Deze Keer focuses on themes of bleakness and hopelessness, but fortunately the music doesn’t sound dour. In fact, Impotentie’s songwriting chops have only improved, with Zonder Titel Deze Keer rich with interesting sounds, compelling melodies, and inventive arrangements. A cursory first listen might leave you thinking “this sounds a lot like Rixe” thanks to the similarly fuzzy guitar sound and penchant for catchy gang choruses, but the similarities end there, and there’s a lot more to this record than a cool guitar sound and catchy choruses. The guitarist has a real way with a melody (“Nat Vuile Land” almost sounds like early Blink 182 until the gruff vocals kick in), and there are a ton of unique moments like the monk-ish backing vocals in “In De Koolmijn” or the way “Wijken” has this woozy sound to it like the tape is dragging or something. Each song feels rich and substantial, and that Impotentie doesn’t beat you over the head with the same ideas for the entirety of Zonder Titel Deze Keer means that as soon as it finishes playing, you just want to hear it again. Anyone into raw and catchy international punk really needs to hear this.

Dream World: demo cassette (self-released) 5-song demo cassette from this new band from Richmond, Virginia. For Sorry State’s readers, “Richmond” is virtually synonymous with “ripping hardcore,” but Dream World is a little different (though still very punk). I got to see Dream World live before I heard the recording, and my main takeaway was how their music conveyed a tension I rarely hear in today’s hardcore punk. Rather than playing all-out fast and hard, their songs tend to ride along at this dramatic three-quarters tempo, just at the precipice of full-on explosion, but not really falling off the cliff until the final track, “Blood Philanthropist.” Part of that tension comes from the drumming, which I just love. The songs are based around these eerie pulses, but the drummer constantly interjects all these little fills and accents within the pulse, like he’s just itching to go off, straining against the songs’ measured tempos. I’ve heard people mention Icons of Filth as a comparison point for Dream World, but I think these songs sound like no one but themselves. Fans of contemporary punk in the anarcho mold should definitely give this a listen, but I think there’s something here that rises above the “recommended if you like” formula.

Various: Vending Machine: Live at ABC cassette (Archfiend Records) Vending Machine is a compilation featuring nine punk groups from Los Angeles, and it’s one of the most thought-through and well-executed compilations I’ve heard in some time. The projects on the tape are deeply connected; all of them are affiliated with the ABC rehearsal studios and House of Tomothy venue / record label / recording studio, and many of them share members. The standardized recording style provides further cohesion, with each band recording their contributions live-in-the-studio, Peel Sessions-style, during one of four marathon recording sessions. Most bands get three songs to show us what they’ve got, though Big Shot and Advoids get four tracks, and Sacred Bathers provide electronic interludes during the transitions between songs. Thanks to all, this, Vending Machine listens differently than most compilations... it’s almost like each band kind of bleeds into one another, as you might hear the same synth player or bassist on two consecutive bands’ tracks. In terms of style, most of the bands on Vending Machine fall broadly within the arty DIY punk spectrum... think bands like Uranium Club, Spread Joy, Shopping... bands that aren’t inaccessible, but definitely left of center. The only band I was familiar with was Rearranged Face, and while their three tracks sound great, they’re only one of many highlights on this substantial 32-track collection. The tape also comes with a booklet insert with artwork from the bands and some information about the project, much of which I’ve summarized here. Since Vending Machine isn’t streaming and it’s so embedded in its own peculiar world, in all likelihood, not many people are destined to hear it. If it sounds interesting to you, though, I strongly recommend making the extra effort it takes to get a physical copy.

Betrayer: demo cassette (self-released) Crossover-tinged hardcore from this new band from Portland. These three songs fall on the more hardcore side of the crossover equation, with metallic riffing that reminds me of Attitude Adjustment or DRI and a barking singer who sounds kind of NYHC. A lot of bands like this go for short, simple songs, but Betrayer’s songs are longer with a lot more parts a la mid-period Poison Idea, and while the singer’s range keeps things pretty straightforward, they also have an ear for a hook. The production is the perfect amount of lo-fi for me, very 80s sounding, but proficient in all the right ways. With another layer of polish, I could see Betrayer catching on with a bigger crowd, but personally I hope they stay on the raw and nasty path.

Self Defense: 12 Track EP 7” (Slow Death Records) This British Columbian band crams twelve tracks of primitive but hooky hardcore on their vinyl debut. Sonically, Self Defense is firmly grounded in the early Dischord / Touch & Go aesthetic, with songs primarily taking the form of 30- to 50-second blasts of aggro. One place Self Defense excels is in their arrangements. They have a Negative Approach-ish knack for doing these tightly executed drop-outs and trade-offs that make the songs really dynamic, and with twelve songs it’s great that they don’t repeat the same patterns over and over. As with the Betrayer demo we also looked at this week, the production has that perfect early 80s patina, though the vocals could have been allowed to shine a little more I think, as a charismatic performance could have really pushed this over the top. As it stands, though, this is a ripping slice of retro 80s hardcore punk.

Breech Boys: Greetings from Paradise 7” (Slow Death Records) Slow Death Records brings us another new band from their neck of the woods in western Canada, with Breech Boys’ first vinyl release after a few digital releases. The Black Flag and Beach Boys references in the band name and artwork had me expecting something taking inspiration from southern California, but Breech Boys aren’t so easily pinned down. When they pair a woozy-sounding riff to a big pogo beat, they remind me of Glue, but the presentation is much different. The guitars are loud and thick, with a recording that’s raw and punchy but not trying to sound old, and the band likes to ride the edge of chaos as much as they like to lay down those groovy pogo parts that make the kids move. The vocalist is particularly chaotic, making all types of wild noises, though it’s mixed with distortion and frequently drown out by the waves of guitar. The energy level is high too, with the band sounding inspired and explosive throughout these five tracks.

Slevy: Vol. 1 12" (Petruska Records) Slevy is a one-man project from Basque Country and Vol. 1 collects a bunch of recordings made around 2005. According to the liner notes, most of these tracks were released across two EPs and a few compilations, but when I search the names of those EPs and compilations nothing comes up… have they been scrubbed from history or did they exist in the first place? Who knows? I’m not doubtful that the tracks on Vol. 1 come from different sources and sessions, though, as the recording and songwriting styles change from track to track. The quality is uneven, but fucking hell some of these songs are scorchers! While the label’s description references Eastern European punk as a key influence on Slevy, I hear a lot of classic Spanish punk in the sound. Perhaps it’s a side effect of the lyrics being in Spanish, but I hear some of the trademark Clash-isms of early Spanish punk in Slevy’s sound, albeit with many other influences mixed in. “Hadas En El Infierno,” creeps along at a menacing Q: Are We Not Men? tempo before erupting into one of those anthemic, Clash-y choruses. “Pesaje a Utramar,” on the other hand, has a bigger, Buzzcocks-influenced sound. With over 40 minutes of music spread across these fourteen tracks, there’s the feeling that you’re sifting through a lot, but the highs here are undeniably high, and the last handful of tracks where they really lean on the pop melody are worth sticking around for. If Slevy buckles down and puts out a wall-to-wall banger a la Blood Visions, I could see Vol. 1 becoming a very desirable record. For now, though, it’s one of those great little secrets we lovers of international punk can’t get enough of.

Consec: Biohackers 7” (11PM Records) Putting out a 7” with only three minutes of music is a bold move, but I’ll take new Consec material any way they’re willing to serve it up. We last heard from Consec on 2023’s Wheel of Pain, and while I loved that record, Biohackers’ higher concentration makes it even more potent. Hailing from Atlanta, Consec isn’t too far from Koro’s stomping grounds, and I feel like that influence is all over the title track, which crams an insane amount of twists and turns into its furious 31 seconds. “Coward” and “Misanthrope” stretch out a little more with broader riffs, the latter even featuring a tempo-change, but the whole record is still over long before you can find your footing. Pundits may debate the pros and cons of this having a physical release on 7”, but the minimal DJ-style packaging (which reminds me of Urban Blight’s More Reality) doesn’t oversell what’s here, and one would be hard-pressed to identify a single second of filler.

Faux Départ: S/T 7” (Disques Mutant) We’ve been following France’s Faux Départ for years here at Sorry State, and now they’re back with a new 4-song EP. The first two tracks lean toward the poppier side of Faux Départ’s sound, with upbeat tempos, jangly guitars, and plaintive melodies that remind me of Ebba Grön (and, by extension, the Vicious and Masshysteri), but also have enough near-twee melody to slot in next to Neutrals’ neo-Television Personalities style. The songwriting is great, and when that burst of lead guitar erupts toward the end of “Drone,” it’s a magical moment. The two songs on the b-side are faster and more jittery, and while the Marked Men are an obvious comparison thanks to the blistering hi-hat work, “Toujours Là” is a catchy enough song to warrant it. I think this band might fly under the radar of many people in the US, but if you’re into well-constructed melodic punk, they’re not to be missed.

SOH: Cost to Live 12” (No Norms Records) Los Angeles’s SOH follow up 2022’s Life in Edge EP with their first full-length record, showcasing their musical chops and forging a path that’s totally punk but also fully unique. SOH doesn’t sound like anyone else out there, and while you can hear antecedents in their galloping d-beat rhythms, metallic riffing, and charismatic vocals, it all comes together into the band’s distinctive sound. Part of what defines that sound is its eclecticism. You never know what SOH is going to throw at you next, and each song offers something new, whether it’s a different rhythm from the drummer, a new style of riffing, some bubbly bass lines, or a new vocal technique that you haven’t heard on a previous track. It feels like SOH took pains to make sure they weren’t just writing the same song over and over, with each one adding something distinct to the band’s oeuvre. This means the record is full of highlights, and if you get hooked, for instance, by the crazy demon vocals on the second verse of “Walang Paglaya” or the reverbed-out East Bay Ray guitar stylings in “Annihilate,” the band won’t beat you to death with that idea for the rest of the record. SOH’s vocalist is a total chameleon, using everything from shouts to screams to grunts to speak-singing to keep every moment on Cost to Live fresh and exciting. Much like the record’s eye-catching artwork, Cost to Live is fully thought-through but not belabored, holding itself to a high standard of originality and execution without losing the rawness and personality you want from underground punk.

Traume: Wrzask 12” (Quality Control HQ Records) Quality Control HQ brings us the debut LP from this Polish punk band who fuses their country’s tradition of intricate yet hooky punk with the stripped-down drive of contemporary hardcore. Those of us who have spent time appreciating classic Polish punk bands like Dezerter, Siekiera, and Post Regiment will certainly hear the through line in Traume’s music, particularly in the guitarist’s dense, intricate riffing style, the rhythm section’s blistering yet agile grooves, and the singer’s ability to balance hooks and aggression. Of the classic Polish bands I know, Post Regiment is the most obvious point of comparison for Traume (they even cover the Post Regiment song “Wstyd,” which is a vinyl-only bonus track on Wrzask), since their singer sounds a lot like Dominika from Post Regiment in places. Traume also share Post Regiment’s rhythmic precision and density, but the way they can also bludgeon you with simple and fast pogo rhythms and driving, down-stroked riffs in the S.H.I.T. school feels totally modern. And as with Siekiera and Dezerter, the guitarist has a way of taking angular post-punk-inspired riffing and squeezing it into hardcore’s faster, more charging rhythms, which (as with those older bands) is a thrilling combination. The songs themselves are sturdy, well-constructed, and engaging, and will keep you listening whether or not you appreciate the influences Traume’s sound draws from.

Atomic Prey: S/T 12” (Iron Lung Records) Iron Lung Records brings us the debut release from this new Portland band, which they aptly describe as “a total psychedelic d-beat smasher.” While the phased-out noise guitar and heavy delay on the vocals are definitely giving psych, to me what feels more psychedelic about Atomic Prey is the way this EP takes you on this crazy journey. It’s very brief—six songs in 14 minutes—but Atomic Prey touches on a lot of hardcore punk sub-styles here, from full-on crasher crust pounding to brooding and organic anarcho rhythms, to driving pogo-punk, galloping d-beat, ENT-influenced chaos, and beyond. While Atomic Prey is pretty much always in full-bore attack mode, these subtle variations keep things from falling into a rut, making it feel as though the energy level is constantly spiking. On the surface, there seem to be no dynamics here at all because it’s all so harsh and noisy, but there’s so much happening in these songs in terms of tempo, rhythm, and atmosphere that each one feels like it contributes something unique to the record. A real scorcher.

Human Trophy: Primary Instinct 12” (Iron Lung Records) Iron Lung Records brings us the second album from this grimy, noisy death rock band. Their first album came out on Drunken Sailor in 2021, and while we actually still have a couple copies in stock at Sorry State, I don’t think I listened to the band closely until now. Perhaps it’s that I approached Human Trophy at the right time of year—fall seems like the perfect time for death rock—but Primary Instinct has really been hitting the spot. Rather than “goth” or “post-punk,” “death rock” seems like the most appropriate genre tag for Primary Instinct because it’s so heavy and driving, and while the baritone vocals have shades of Ian Curtis, the more direct musical influences are in the Christian Death / Samhain school. As with those bands, there’s a sense of restraint to Human Trophy’s sound that imbues their music with ever-escalating tension that they rarely release. The first three songs on Primary Instinct feature ever-slowing tempos, and when they finally break out into something like a hardcore rhythm on “Devotion,” it feels like the first gasp of air after you’ve been holding your breath for a long time. One benefit of weaving this tension through Human Trophy’s music is that is focuses the listener’s attention, and when there’s a hook like the slightly bluesy, Cult-ish chorus in “Only a Knife” or the big guitar hook in “The Cabin,” it sinks in much deeper. The back half of Primary Instinct also offers some unique moments like the (comparatively) upbeat, sunny rhythm of “Serpentine Grin” (which reminds me a little of “I’ll Melt with You” by Modern English) and the shoegaze-y “Bright Like Perspex.” The murky sound and muted rhythms of Primary Instinct may take you a few listens to warm up to, but once it hits you, this record’s dense atmosphere and ambitious songwriting will keep you absorbed

Closetalkers: Path to Peace 7” (Neon Taste Records) Neon Taste brings us the debut vinyl from this three-piece hardcore band from Calgary, Canada. While the label describes Closetalkers as d-beat, I don’t hear much Discharge in their sound, except in the roaring maximalism of the production and the sense of menace that pervades these six tracks, which also makes me think of creepy mid-80s Japanese bands. The riffs are catchy (just on the verge of melodic, in fact), relying primarily on furious downstrokes that make me think of S.H.I.T. or Blazing Eye. Closetalkers’ secret weapon, though, is their drummer. The guitarist’s furious downstrokes hold down the driving rhythm, freeing the drummer to pack these songs full of inventive rhythms, creative fills, and unexpected accents. Closetalkers are ripping enough to grab you within a few seconds, but as these songs sink in, you’ll realize there’s a lot more going on than you might notice at first.

Guiding Light: S/T cassette (Down South Tapes) The cassette label Stucco (and its many sub-labels like Impotent Fetus and Down South Tapes) has been bringing us some of the most creative and exciting music from the hardcore-adjacent underground for the past several years, and their latest from Texas’s Guiding Light is one of my favorite releases yet on what has become one of my favorite current labels. Guiding Light’s sound is difficult to pin down. Broadly, I’d put them in the tradition of forward-thinking, progressive hardcore bands like the early Meat Puppets and Saccharine Trust, but if you come to these five songs looking for an homage to a certain band or era, you’ll be disappointed. Instead, Guiding Light has firmly established their own voice, built around furious hardcore drumming, propulsive bass playing that isn’t afraid of melody, distant, mannered vocals that alternate between German (I think?) and English, and a brilliant guitarist who sounds like Johnny Marr trying to squeeze himself into an early 80s Midwest hardcore band. While the overall sound is definitely hardcore, it’s a brand of hardcore I’ve never heard before, and one that belongs entirely to Guiding Light. Even more impressive is the way Guiding Light explores their sound over these five tracks, showing how fertile their peculiar chemistry can be. While the opening track, “Sterb Doch,” leans into an artsy aggression that makes me think of Essential Logic, mellower moments in “Lost in Voices” and “Simmen” have a sun-bleached , Southwestern vibe that actually sounds a bit like the Meat Puppets. These adventurous songs—particularly with their rough, analog-sounding production—remind me of the creative explosion of UKDIY, but the more aggressive aspects are bound to alienate the modern iteration of that scene. On the other hand, Guiding Light is a fucking weird hardcore band; like the bands I mentioned at the top of this description, though their music sounds like hardcore, they do not feel like a hardcore band, but a band whose different paths intersect with hardcore’s extremes of tempo and volume. But for someone like me who loves the Raincoats and Mecht Mensch in equal measure, this tape is pure gold.

Bottled Violent: No Rules 7” (No Norms Records) No Norms Records brings us the vinyl debut from this hardcore band from Bandung, Indonesia. While Bottled Violent is from Southeast Asia, their sound draws most explicitly from early 80s US hardcore, with hyperactive rhythms, shouted vocals, and a thin and scratchy guitar sound that marks them as sonic allies of 2000s bands like Regulations, Social Circkle, and School Jerks. Like those bands, Bottled Violent’s decision to keep the distortion in check prevents their simple and catchy riffs from getting subsumed into an inchoate roar, but my favorite part of No Rules is how youthful it sounds. The riffs are dead simple, the band is slightly sloppy, and the production isn’t 100% dialed in, but while it’s easy to dismiss these things as shortcomings, it’s precisely these aspects that communicate Bottled Violent’s infectious enthusiasm… they’re just so stoked on hardcore that they’re making it happen and not sweating the details too much. And in a scene full of 30- and 40-something bands who are so good at what they do and so self-aware as to sound sterile, No Rules sounds refreshingly like a hardcore punk record and not a simulacrum of one.

Alambrada: Ríos De Sangre 12” (Unlawful Assembly Records) Ríos de Sangre, the debut LP from Bogotá, Colombia’s Alambrada, arrived earlier this summer in a small edition that disappeared instantly, and now that we have a restock in-house, I wanted to hip anyone who might have missed out on this monster record the first go-round. While displaying the trademark intensity we expect from the contemporary Bogotá hardcore scene, Ríos de Sangre fits with a particular strain of hardcore I’ve often championed at Sorry State. I don’t think there’s a name for this sub-scene, but I think of it as true psycho shit, bands that play at ridiculously fast tempos, cramming their songs to overflowing with musical ideas and whose unbalanced, evil-sounding vibe borrows from the outsider hardcore canon of Cheetah Chrome Motherfuckers, Spike in Vain, and Septic Death. Allergic to safety of convention, this is music that keeps the listener off-balance through a carpet-bomb deployment of odd rhythms and whiplash tempo changes. Incredibly, Alambrada keeps up the intensity across this record’s entire 20 minutes, not only abandoning hardcore’s genre-wide conventions, but rigorously avoiding repeating themselves or falling into their own patterns that might deaden the impact of their constant jump scares. It would take longer to catalog Alambrada’s seemingly endless bag of tricks than it would to actually listen to Ríos de Sangre, but even the final quarter of the album feels full of surprises, like the exceptional Buzzcocks-esque guitar solo in “Silencio Sepulcral” or when the drummer finally does a full-on blast on “Rabia.” It’s a wild ride, and like similarly over-the-top recent records from Psico Galera and Idiota Civilizzato, these twelve tracks will crank your heart up to hummingbird tempo and not let you rest until they hit the last note.

EXO: demo cassette (Roachleg Records) This cassette is the debut release from New York’s EXO, out on their hometown label Roachleg Records. While Roachleg’s primary focus is the more abrasive end of hardcore, EXO isn’t afraid of melody, trimming their antsy pogo beats with breathy, ethereal vocals and touches of what sounds to me like xylophone. It still sounds raw and punk, but there’s also an artsy, introverted feeling that creates a unique tension. The latter qualities also manifest in the lyrics, which focus on the lives of insects. The songs are all a little different from one another: “Mantis” is the most ferocious, while “Figwasp” has an upbeat, garage-punk feel and the closing “Plastic” foregrounds the vocal melody and has more of a C86 feel. Yet it all sounds like New York punk, albeit of the more enigmatic variety. Fans of artier New York bands like Nandas, Pinocchio, and Dollhouse will certainly enjoy this, as will folks who love bands like Zounds, the Mob, and others who pulled pop and art-punk tendencies into rawer punk aesthetics.

Grimly Forming / Rolex: Split 12” (11PM Records) 11PM Records brings us a split from these two perfectly matched LA punk bands. While Grimly Forming and Rolex sound pretty different when you describe them—the former plays weird hardcore with black metal touches, while the latter plays arty proto-hardcore—their music has a similar overall tone and feel: fast, minimalistic, agitated, and progressive. Rolex—a band we’ve been following for many years at Sorry State—delivers their most compelling material yet with a set of skronky, bass-led numbers that sound like the moments in the early Minutemen and Saccharine Trust catalogs most influenced by Wire’s Pink Flag. Here Rolex also reminds me of Texas’s Blue Dolphin in the way they embrace both the freewheeling, anything-goes hippie mentality and intense musical chops (see: the crazy drumming on “Destination Moon”) that characterized the early SST set. As for Grimly Forming, their sound is similarly thin and arty, but their vocals are nastier and more guttural and their drummer incorporates blasting techniques that remind me of Norwegian black metal, particularly those moments that feel eerie and weightless. While that’s a big part of Grimly Forming’s sound, they also have a knack for writing killer mid-paced riffs, which you hear on “Killing Spree,” “Passing Cars,” and the climactic “The Mirror,” whose riff approaches Warthog levels of battering ram catchiness. The split record is kind of a dying art, but this one knocks it out of the park with a full helping of grade-A material from two bands who are well-matched but different enough to complement one another.

Heaven: 4-track EP 7” (Iron Lung Records) Iron Lung Records brings us the second EP from this hardcore band from Texas. As the label’s description notes, these four tracks have a crustier sound than the band’s more straightforward debut, with low, guttural vocals and a monolithic, wall-of-sound production informed by masters like Framtid and Physique. The first track, “Stagnant Dream,” is a full-bore bruiser, but other songs conjure eerier and more demented sounds, like the demonic interval in “S.C.U.M.” and the closing “Peace Lies,” which winds itself up into a real frenzy. The band writes that “The inspiration for this record is the hopelessness we often feel in our survival as the cogs in a vile and inhumane machine of capitalism,” and that rings true when I listen… these four songs feel vital in a way mere genre exercises don’t.

Taifun: Kaiju Power 7” (Black Water Records) I listened to these two tracks several times without the thought even crossing my mind that this band wasn’t Japanese, then I sit down to write this description and find out they’re from Germany. Who woulda thunk it? Taifun features at least one member from Burial, though, so they have years of experience looking to the east for hardcore inspiration. One reason it never occurred to me that Taifun wasn’t Japanese is that these songs are so idiosyncratic. Typically, when a band looks to a far-away scene for inspiration, they are careful to include touchstones everyone accepts as markers of that style, but Taifun doesn’t. I can’t pinpoint moments where I’m like “that’s a Death Side move,” yet it’s clear Taifun takes inspiration from the grandiose quality of so much Burning Spirits hardcore… they just summon that quality in their own way. I particularly like how they stretch out motifs, like the extended outro for the a-side song and the way the b-side track pounds on those epic punches at the end until they achieve a hypnotic effect. I’m sure folks who are interested in contemporary bands in the Burning Spirits style will enjoy this, but I think what Taifun does here is interesting and unique, and worth the time of anyone who likes progressive hardcore punk.

Gen Gap: Hanging Out with Gen Gap 7” (MF Records) MF Records—the record label arm of the Delco MFs rock and roll group—brings us the debut 9-song (!!!) EP from this new Philadelphia band featuring 3 members of the current MFs lineup along with two other Philly punkers. As you might expect from a 9-song EP, this is hardcore punk, but hardcore punk of the snotty and hooky variety. Tracks like “First Gen” and “Used Up” blaze at hyper-fast, near Delco MFs speeds, but “Fuckshit” and “Scumbag” are punkier, with chunky, major-key riffs and the occasional burst of lead guitar providing an extra bit of hook-age. A couple mid-paced sections like the breakdown in “Strut” and the stomping “Five” keep the pit moving, while the vocals are fast and snotty, occasionally rising above the din with a memorable line or phrase. Hanging Out with Gen Gap presents itself as no-frills, but airtight song construction and blistering performances ensure this is a cut well above. Limited to just 300 copies too, so scoop one quick.

Fulmine: Randagio 7” (La Vida Es Un Mus) According to the label’s description, Fulmine came together as a band and recorded these six tracks in a mere six hours without a single rehearsal. Amazing! Maybe it’s because they kept things so loose, but Fulmine ended up with a unique modern oi! record here. The recording is raw and nasty, the bass sound blown to shit and vocals so guttural as to sound almost demonic (I think Nick who sang for Arms Race also sings in Fulmine). Especially with the Italian vocals, you can’t help but think of those grimy Italian classics from the 80s. However, while the songs and performance are raw and direct, there are all these details in the recording that give Fulmine a unique sound, whether it’s the Camera Silens-esque sax that pops up now and again, the ethereal backing vocals in “Vita Di Sudore,” or the layers of noise in “Puro Odio” and “Insurrezione,” whose origins I can only guess at. The bruising street punk on this record pulls you right in, but those more idiosyncratic touches really separate Randagio from the modern oi! pack.