Taiwan Housing Project: Sub-Language Trustees 12” (Ever/Never) Second album from this group from Philadelphia. I heard their previous one a few times, but I’m excited to sit down with Sub-Language Trustees, particularly since THP has made the jump to Ever/Never Records. I’ve been following Ever/Never for a few years now, and they are adept at finding bands who sit in the sweet spot on the continuum between weird / experimental and more straightforward and pop-oriented. Taiwan Housing Project is a perfect fit for the label as they have elements that remind me of musical experimenters of yore (Butthole Surfers in particular), but seem determined to push forward and make something their own. Sub-Language Trustees opens with “Charitable Fiend,” the record’s most avant-garde moment. The pounding, headache-inducing groove (if one can even call it that) is like early Swans with caterwauling vocals and skronking sax spewing ecstatic noise over top. A full album this abrasive would be an interesting (albeit tiring) experience, but by the third track, “Buy Buy Buy,” things are downright accessible. The track is bluesy with its wah-wah guitar, in-the-pocket rhythm, and Janis Joplin-like vocals, but like Fun House-era Stooges, this is dark, psychedelic blues, the music stretched to its breaking point. The rest of Sub-Language Trustees is full of surprises, and for all the out-there sounds and experimentation, there’s memorable music at the core, not unlike early Royal Trux in that respect. Recommended if you’re looking for something that challenges your brain while still gratifying your baser impulses.

Violent Party: Signals from Outer Space 12” (self-released) Latest record from this Portland noise-punk band who has been releasing records since 2011. Violent Party don’t seem to have much connection to the more well-known crust / hardcore scene in Portland despite having a lot in common with some of those bands, particularly Lebenden Toten, who push at the edges of the noise-punk style in similar ways. Rather than injecting noise-punk with psychedelic space rock like LT’s most recent record, though, Violent Party seem to be moving in a noise / power electronics direction, jettisoning the guitar for this recording. While that sounds like a radical decision for a noise-punk band, it doesn’t make a ton of difference to their sound, as they still follow the standard noise-punk format of having 3/4 of the band (drums, bass, and vocals) sound like a ripping hardcore band while the remaining 1/4 makes screeching, high-pitched noise over top. The noises here feel more interesting, presumably because they’re made with more appropriate tools than a guitar. I hear some feedback-drenched samples and what sounds like manual manipulation of phaser effects, which gives Signals from Outer Space more texture than your typical noise-punk record. It’s still a “deep heads only” type of thing, though it's worth checking out if you are more progressive and open minded rather than a purist.

Brain Tourniquet: S/T 7” (Painkiller) Debut 7” from this DC project featuring some familiar faces from that prolific scene, notably Connor and Robin from Protester (and a ton of other bands). This EP’s layout nods to the Crossed Out 7”, and if you come to Brain Tourniquet expecting tight (but not triggered or mechanical) blast beats, short songs, and unexpected and dramatic tempo changes you won’t be disappointed. However, this is far from a tribute record. In particular, I hear the members’ deep knowledge of hardcore coming through in subtle but unique ways, like the Cro-Mags vibes on “No Solution” or the Dwid-esque vocals on “Fate.” I think I saw the word “grind” mentioned in a description of this record, but Brain Tourniquet is pure hardcore to me, though like Heresy or Ripcord Brain Tourniquet pushes the tempos to the limit. I also love the clear but organic recording courtesy of CC. I don’t follow contemporary power violence, but this is worth a listen even for a dabbler like me.

Blood Loss: S/T 7” (Convulse Records) Debut 7” from this band out of Denver. I hear elements of SSD’s powerful and crunchy, Discharge-influenced sound, a little NYHC, and some Blazing Eye-esque pogo hardcore on one track (“Double Life”), all wrapped up in a bleak and gritty aesthetic. Blood Loss is hardly reinventing the wheel, but they have some memorable parts, particularly on the closing “Spineless / Relentless,” on which they work in some cool Negative Approach-style stops and starts and a burst of lead guitar. A ripping EP for those of you who love fast and tough, no-nonsense hardcore. 

Heavy Discipline: S/T 7” (Painkiller) Demo-on-vinyl from this Pittsburgh group featuring a bunch of familiar faces. You might think Heavy Discipline was from Boston, though, as they sound like an all-star jam session with Negative FX, SS Decontrol, and DYS. They have SSD’s crushing sound down pat, the catchy Choke-style vocals nailed, and DYS’s earworm riffs locked down. While some tracks hew pretty closely to their source material, I don’t see any reason Heavy Discipline shouldn’t wear their influences on their sleeve. Great songs, explosive performances, and a gritty recording from the Braddock Hit Factory. 

Inepsy: Lost Tracks 12” (Feral Ward) So, it turns out Beyonce isn’t the only one who can pull off a surprise album drop, as Lost Tracks marks the unexpected return of both Inepsy and Feral Ward Records. It’s unclear how active either entity will be going forward, but for now I’m happy to count my blessings. We last heard from Inepsy on 2007’s No Speed Limit for Destruction. While that album’s clearer production and emphasis on hard rock riffing over punk energy garnered it a mixed reception, history has been kind to it, and most people now regard it as an essential piece of the Inepsy canon. Inepsy did basic tracking for Lost Tracks in 2009, so it’s unsurprising that this sounds more like No Speed Limit than the grittier first two LPs. All seven tracks sound like classic Inepsy, which is to say they sound like prime-era Motorhead with a slightly different vocal delivery and a more political lyrical bent. “Fuck the Power and Glory” and “Horror on the Greyhound” are the fastest / punkest tracks on the record, but my favorite is the closing “Nuclear Nightmare” (which is a nice callback to an earlier lyric). This track has the slowest tempo on the record, but it also has its meatiest, most fist-pumping riff. We've sold a ton of copies already, so you probably don’t need my encouragement to pick this up. However, if you had any doubt, I’m happy to confirm that Inepsy is still Inepsy.

Booji Boys: Tube Reducer 12” (Drunken Sailor) Latest LP from this prolific band from Halifax, Nova Scotia. If you haven’t been paying attention, since 2016 Booji Boys has released three LPs, a slew of tapes and 7”s, and been hyped up by Iggy Fucking Pop. Their catchy lead guitar lines bear an undeniable resemblance to the Undertones, they record everything in true shit-fi(delity), and when you first hear it, it sounds like someone playing an AM radio in a loud factory. However, the songs reward your continued attention with criss-crossing earworm melodies. That’s Booji Boys in a nutshell. If you’re already a fan, I can confirm that the Booji Boys deliver more of the goods on this LP, though I sense some creative restlessness, particularly on Tube Reducer’s B side. It all still sounds like Booji Boys, but the songs are shot through with more quirky rhythms, tempo changes, and chaotic forays from which they’re always able to reel themselves back in the nick of time. You probably already made up your mind about Booji Boys and I don’t think Tube Reducer will change that, but if you’re a fan, it’s hard to imagine you won’t think this is the band’s most accomplished record.

Nightmare_ Thirsty and Wander_ 12” (540) Japanese hardcore legends Nightmare dropped this new full-length earlier this year as a CD on Japan’s long-running Blood Sucker Records, and now we have a North American vinyl pressing courtesy of 540 Records. Those of you who follow Japanese hardcore should already know Nightmare, but sketching out the band’s history and relationship to more familiar strands of Japanese hardcore music would take quite a while and would require someone who is deeper head than I am. To hit some highlights, though, Nightmare came to the world’s attention after releasing two truly great records on the legendary Selfish label (1988’s self-titled 7” and the landmark 1990 LP Give Notice of Nightmare), continued to release a series of excellent EPs throughout the 90s, went through a weird period where they incorporated a screeching, Albert Ayler-esque saxophone into their lineup (controversial for sure, but recommended listening for true freax), and now they’re back with this new album that sounds more like their classic record (Give Notice) than anything they’ve done since. Even at their best, Nightmare is something of an acquired taste as they aren’t as anthemic as the more well-known Burning Spirits bands and they don’t follow the Discharge template as closely as the most well-known Japanese crust bands. Instead, the key element of their sound (for me, at least) is a spiky, fractured sense of rhythm that reminds me of late 80s Italian hardcore like CCM’s Into the Void or Indigesti’s Osservati Dall'Inganno, or perhaps Gauze’s 4th and 5th albums. It’s heady, complex music that takes work to unpack, but it's some of the realest shit out there. Now, to get to Thirsty and Wander… it fucking rules! As I noted above, Nightmare hasn’t been afraid to mess with their sound over the years, but this record is no experiment. It’s the sound of a band at the top of their game playing the most complex, explosive music they can conjure and recording it clearly and powerfully. It is the old heads showing the young folks how it’s done, and a typically unpretentious rebuff to the bands who get it wrong. If you’ve gone deeper than the Death Side / Bastard / Framtid level of Japanese hardcore and you like what you heard, you need to get Thirsty and Wander.

Pronto: Pop Y Basura cassette (Desechable) You may recognize the vocalist of Mexico’s Pronto as Rafael from Canada’s Pura Mania, but you won’t find any of PM’s brilliant, anthemic punk here. Instead, Pronto draws from various threads of post-punk and electronic music, fusing mechanical and industrial-sounding dance rhythms with the power and menace of underground hardcore punk. The first four tracks feature a pounding, blown out drum machine and frantic synth rhythms, both recorded way in the red. The vocals carry little melody, instead channeling the desperation that I associate with 80s South American hardcore. It’s not unlike the Screamers’ best stuff, but not in a rip-off (or even a conscious influence) kind of way… both just have an overwhelming vibe of post-industrial, electronic menace. The fifth track eases the rhythm toward something more danceable and the vocals also back away from your jugular, sounding like a nastier, more underground version of Boy Harsher. The tape’s b-side weaves between field recordings that remind me of my travels in Mexico (though I’m not sure if that’s where they were recorded or not) and instrumental tracks similar to the more club-ready 5th track. I won't lie, Pop Y Basura is a weird little document that doesn’t fit into a ready-made scene (at least not one that I’m aware of), but the music is killer, and if my description set off any alarm bells for your particular tastes, I’d recommend checking this out.

Crucifixion: The Fox 7” (Splattered!) Reissue of this 1980 NWOBHM gem, spicing up the sleeveless original with a period-appropriate picture sleeve and and a big ‘ol poster insert. If you’re someone who has built your collection of New Wave of British Heavy Metal reissues by picking them up from hardcore punk distros like Sorry State, this single is tailor made for you. Crucifixion have that classic NWOBHM sound that everyone loves, but they’re one of the punkiest sounding bands from that scene I’ve heard. Like you’d expect, both “The Fox” and it’s b-side “Death Sentence” feature classic riffs and anthemic choruses, but the raw production and gritty, growly vocal delivery are perfect for me. Diamond Head or Def Leppard this ain’t, but if you’re also picking up the new Inepsy LP, throw this into your cart for an appropriate chaser.

Under Attack: Through the Blade 7” (Iron Lung) Debut 6-song EP from this new Richmond, Virginia band featuring Dave Witte from Municipal Waste and Discordance Axis on drums. This isn’t metal, though, but pure hardcore punk with an “80s by way of the 90s” sensibility to it. The playing is tight (which we might expect… these folks are pros!) and the riffing combines the straightforward catchiness of something like Minor Threat with the beefier sound of more metallic hardcore. I’m reminded of the 80s-sounding bands from Portland-via-Memphis scene (particularly Deathreat) or several of the bands that Brian Stern has played in (Look Back and Laugh, Needles, Shit Coffins). You won't find any trend-hopping here, just no-frills hardcore punk for people who have been around the block a few times.

Civic: Selling Sucking 7” (Total Punk) These Aussies show you how to do a Total Punk single on their latest! The a-side is a total ripper, basically a hardcore tune with a little rock-and-roll lead guitar that pops up here and there and nasty vocals recorded way in the red. Fans of peak-era New Bomb Turks will love this, but it’s even meaner and more ripping. Civic slow things down one wispy hair on the b-side, just enough for them to dig deeper into the pocket and add more heft. Like the best Total Punk singles it’s over before you know what hit you, but they don't waste a second. If you’re a fan of what Total Punk does, pick this up… I’d place it in their top tier of releases.

Benny and the Roids: S/T 7” (Discos MMM) Demo-on-vinyl from this Los Angeles group. This came out in 2015 as a demo and I don’t believe they’ve released anything since, so this one has been percolating for quite a while. This is some raw and nasty punk rock that sounds straight out of the UK circa 1979. While the gang vocals on the choruses are a clear nod to classic oi!, the riffs have a traditional punk rock sound and there’s more than a sprinkling of Heartbreakers / Dead Boys-style R’n’R swagger to spice things up. If you go to underground shows in Los Angeles, these songs are already anthems to you, but I’m glad they gave those of us who don’t live in perpetual sunshine a chance to catch on.

Frenzy: S/T 12” (Distort Reality) It’s been several years since we’ve heard from Portland’s Frenzy, but they’re back with their debut LP. As before, their aesthetic is silly and over the top (my favorite part is the track listing on the back cover, where they cover every letter in meticulously drawn studs, chains, and zippers), but the music is original and hardly a joke. Yes, they use pogo beats, but more often than not they’re played at blazing tempos that can sound more like Scum-era Napalm Death than Asta Kask or the Swankys. Further, their vocalist doesn’t grunt, scream, or squeal, but has a hardcore-style bark that reminds me of Pat Dubar from Uniform Choice. Or maybe if you can imagine a jam session featuring members of Straight Ahead (in particular the drummer) and Gai it might sound like this. I doubt Uniform Choice or Straight Ahead are influences, but getting at why Frenzy sounds so different from your typical noise-punk band requires a bit of creativity with your analogies. Beyond the sound, these songs build and release tension in the way only a talented veteran band like this can. Sure, there is a lot of mediocre noise-punk out there, but there are also plenty of records like this that are innovative, exciting, and a blast to listen to.

Powerplant: People in the Sun 12” (Erste Theke Tonträger) Second album (and the first to appear on vinyl) from this London group, and the only bad thing I can say about it is that every time I see the cover I get the song “People of the Sun” by Rage Against the Machine stuck in my head. Fortunately, the vinyl is always at the ready to purge that tune from my head. Erste Theke’s description of People in the Sun calls it a synth-punk record, but I think it’s a lot more than that. Sure, there’s a synthesizer on every track here, but these twelve songs run a wide gamut. “Hey Mr. Dogman!” and “In White” might deserve the synth-punk tag (and fans of Lost Sounds, Ausmuteants, or Nots will love them), but the sunny guitar riff in “True Love” reminds me of DLIMC, “Take My Money!” is like a lost Tubeway Army track, and the title track brings in some Ian Curtis-esque crooning baritone vocals. While I’m sure fans will have their favorites, the whole record is uniform in quality, which is particularly impressive given its stylistic breadth. With twelve tracks, this also feels more like an album than just a 12” EP, which is refreshing when records seem to get shorter and shorter as the years go by. Highly recommended if you like gritty underground pop music.

Future Shock: In Three Dimensional Space cassette (self-released) Demo cassette from this Chicago-area band that plays catchy, mean hardcore with a whirring synth bulking up the sound. The riffs are catchy, burly, and mean, reminding me of bands like Glue or C.H.E.W. in how they maximize intensity without sacrificing an ounce of catchiness. And I’d be remiss if I didn’t also mention their fellow Chicagoans Droid’s Blood, as Future Shock sound quite a lot like Broken Prayer / Droid’s Blood’s most vicious moments (though Future Shock don’t have any of the darkwave / post-punk trappings). The recording is loud and powerful (it causes everything on my coffee table to rattle around even at a moderate volume) and may well inspire you to break something. If that sounds like a good thing to you, I recommend picking this up.

Maladia: demo cassette (Cold Comfort)  Demo cassette from this UK band that splits their time between pogo-fueled hardcore and brooding death rock. After a short intro, “Gelded Eyes” draws you in with its seasick guitar and Rozz Williams-esque vocals, but as soon as you’re comfortable Maladia drops into hardcore gear for the next two tracks, whose catchy riffs and wide-open pogo beats remind me of the almighty S.H.I.T. Maladia is a talented hardcore band, but they’re even better when they brood, which they do brilliantly on the last two tracks. The indisputable climax is the closing track, “All Your Dead,” whose lumbering, later Black Flag rhythm gets broken up with seemingly random bursts of chaotic semi-blast beats while the lead guitarist weaves through like Greg Ginn on a strong hit of acid. The way Maladia combines catchiness with a strong avant-garde sensibility on this track reminds me of one of my all-time favorite songs, “A Human Certainty,” the closing track on Saccharine Trust’s Paganicons. If you’re a fan of older death rock like Christian Death or UK Decay or gloomy newer bands like Subdued, Maladia is well worth a listen.

Lost Sounds: Black Wave 12” (FDH) This notable part of Jay Reatard's discography is now back in print thanks to FDH Records (the label who released it back in 2001, Empty Records, ceased operations some time ago). Lost Sounds is Jay Reatard’s third most famous project (after his solo work and the Reatards), and with the band receiving a lot of his creative energy through a big chunk of the early 00s, the project is an essential piece of the puzzle for anyone hoping to understand his music. If you’re a fan of Jay’s other work, there are several songs here that will do it for you: “Plastic Skin,” “Do You Wanna Kill Me,” and “Dark Shadows” (among others) are all great tracks that, while not achieving the heights of Blood Visions, are great punk songs. Lost Sounds is best appreciated, however, not as a prequel to Jay Reatard’s solo work, but as their own thing. Not only are the other players’ contributions substantial (particularly Alicja Trout), but also Lost Sounds had a particular framework they were working in, combining synth bleeps and bloops (long before you saw a Moog or a Korg at every basement show) with garage-punk hooks, stadium rock dynamics, and a bit of black metal vibe. Critics tend to overstate the black metal thing, but it comes out strong on “I See Everything,” and it’s a sound that I wish the band had played with more. Black Wave is an ambitious double album with a lot of material on it, and while it’s probably only the super fans who will love every second, there’s a ton of great material here.

Grauzone: Live at Gaskessel 12” (Winterschatten) Just last week I was raving about Grauzone’s Eisbär in the newsletter, and then we get this excellent reissue of a 1980 live gig in the band’s native Switzerland. While “Eisbär” is a minimal synth masterpiece, this live recording captures a different side of the band, relying on more familiar rock band instrumentation and a grittier post-punk vibe that reminds me of early recordings by Warsaw and Joy Division. The sound here is excellent—better than a lot of bands’ studio recordings, even nowadays—and while some songs are stronger than others, anyone with more than a passing interest in the post-punk era will enjoy this front to back. Interestingly, while the scratched out matrices indicate this is a bootleg, it comes with a 20-page booklet full of archival material about the band (which is, sadly for me, all in German). Post-punk deep heads should jump on this one quickly before it’s gone.

Mower: S/T 12” (Japanese Edition) (Splattered! Records) Mower is a d-beat rock-and-roll band from Pittsburgh, and this is a reissue of their self-released debut 12” from last year. You don’t see many reissues of year-old records, but this one makes sense; the original version didn't get around much, the reissue adds much improved packaging and two extra tracks, and the new label is a perfect fit for the band. Speaking of which, Splattered! Records has been making a name for themselves reissuing classic NWOBHM singles, and while that’s not exactly Mower’s style, the band’s amped up, Discharge-inflected Motorhead-isms will appeal to the folks who picked up those reissues. To me, Mower sound like a mix of Annihilation Time’s rock riffing, Inepsy’s hard-charging rhythms, and Midnight’s grittiness; if you drew a Venn diagram of those bands’ styles, Mower would live in the little spot where they all overlap. If you’re a fan of that style, this is a top-notch take on it you’ll no doubt enjoy.

Rakta / Deaf Kids: European Tour 7” (Nada Nada Discos) Released for their recent joint European tour, I believe that this isn’t a split 7”, but a collaboration featuring two tracks with members of both Brazilian groups playing on each. However, I’m not positive about that. I can tell you that each of these two tracks are as brilliant as Rakta’s incredible recent LP, Falha Comum, though they take the echo-drenched dreamscapes on that album and add a ton of percussion and (on the b-side) a bit of industrial-sounding guitar; presumably these contributions come from Deaf Kids as they aren’t a typical part of Rakta’s sound. Like Falha Comum, the vibe is similar to Public Image, Ltd. at their very peak, though these two songs are even more layered. The packaging is minimal—I thought the sleeve and labels were blank until I noticed the band names and track titles printed on the inside of the sleeve—and while it’s a shame that it doesn’t have striking artwork a la Falha Comum, the music is more than great enough to stand on its own.

Mentira: S/T 7” / Flexi (Nada Nada Discos) Second EP from this minimal synth project featuring former members of Gattopardo and Rakta. This is on the minimal end of minimal synth, with a Casio keyboard, drum machine, bass, and vocals. The music is mechanical and monochromatic a la a lot of early minimal synth, but like the best groups the vocals carry the tracks. Nowhere is this truer than on “História Sem Graça,” the track on the bonus flexi that accompanies this single. Here, the vocals latch onto a memorable melody and the synths let in a little sunshine. A low-key record, for sure, but recommended for fans of minimal synth.

Pleather: S/T 7” (Feral Kid) Debut single from this band out of Hattiesburg, Mississippi. While that city is the unlikely locale of a fertile hardcore scene, Pleather are more of a punky, jangly, and home-spun power-pop group. The two songs here are the opposite of flashy: the drummer holds a steady beat, the guitarist bangs out the chords with an occasional single-string lead, and the bassist follows the same rhythm and progression. However, the minimalism only serves to highlight how great and catchy these two tracks are. Pleather reminds me of Australia’s Parsnip in that their overall vibe is sweet and sunny, but there’s enough grit there to keep things from becoming twee. If you love simple, well-constructed pop tunes, these two tracks will find a loving home in your collection.

Tom Bonauro: Polaroids book (Vague Absolutes) Vague Absolutes is a division of Warthog Speak Records focusing on small-run editions of items of niche interest, and this is their first non-record project. This is a beautiful little art book collecting 27 Polaroid photographs taken by Tom Bonauro in the late 70s and early 80s. While the book doesn’t include much info—its stark, minimal design places the emphasis squarely on the photos themselves—you’ll recognize several famous faces like Darby Crash, Joan Jett, Tomata Du Plenty, Penelope Houston, and Patti Smith. More important than who the photos depict, though, is how they’re depicted. These snapshots aren’t publicity shots, but candid photos of friends hanging out. They capture a surprising amount of historical detail given the technical limitations of Polaroids, but I find myself paying more attention to how beautiful the photos themselves are. This is a slim volume, and it’s expensive, but it’s beautifully executed, feeling more like something you’d pick up in a museum gift shop than a rough-hewn punk zine.

Various: Complete Death Live 12” (Euro Import) Another month goes by and we get another Japanese hardcore bootleg from some obscure corner of the world. This one is interesting as it goes a little further than the typical “press the officially reissued CD to vinyl” theme. Complete Death was a VHS release featuring live sets by several legendary Japanese hardcore bands at one of the most exciting times for the scene. No doubt you’ve seen the amazing Death Side footage, which I believe comes from this show. The video stuff is amazing—pro-shot with good lighting and multiple cameras—but the audio sounds great too. This LP collects the audio from Sqwad, Outo, S.O.B., and Poison Arts. While it’s not a studio recording, the audio quality is top-notch and well worth hearing if you’re a fan. The only one I wasn’t familiar with was Sqwad. They were a band featuring ex-members of Ghoul, whose song “Oi!” they do here, and their two originals also sound like a Burning Spirits-ified Ghoul. Outo, S.O.B., and Poison Arts are all at the top of their game, and Outo in particular delivers a ripping set of tracks. This is well worth your time if you’re a Japanese hardcore head, and here’s hoping we see a second volume with the Tetsu Arrey, Death Side, Final Bombs, and Systematic Death tracks also on the original video.

The Natural Man Band: Living in a Chemical World 12” (Lumpy) After a tape and a 7” on Neck Chop (billed as “Natural Man and the Flamin’ Hot Band” on both), we get the debut 12” from this Kansas City group featuring Ian Teeple from Warm Bodies on vocals and synth. Living in a Chemical World reminds me of bands like the B-52’s and the Suburban Lawns (and contemporary bands like the World) in that they sound joyous and alive, partaking in the amped-up energy levels of punk rock with none of the heaviness or macho posturing of hardcore. While it’s super melodic, there’s so much going on in the music that it never sounds poppy… the vocals are way down in the mix and catchy melodic lines often cross-cross and buzz past one another faster than you can process them. While the band makes a big sound, the saxophone is often the focal point, and I like when the other instruments harmonize with the saxophone lines, which happens often. The Natural Man Band is doing their own thing, and if you like your punk out there, original, and high energy, this is a solid grip. Great artwork, too!

Cement Shoes: Too 12” (Feel It!) Debut 12” from this Richmond band featuring members of Fried Egg, Brown Sugar, and heaps of others. I could be brief and say that Cement Shoes sound like a band influenced equally by 80s hardcore and hard rocking US proto-punk, but that isn’t the full picture. There’s some intangible quality of Cement Shoes’ music that I can’t seem to put my finger on… a slithery, seedy weirdness that sounds like no other band. The riff-tastic, anthemic “Mine Mine Mine” is the record’s highlight for me, but even when Cement Shoes are laying into some straightforward 80s hardcore bashing they sound totally singular. I don’t think I can do any better than the label’s description of their sound: “a sonic rendezvous where the ’83 LA cast of punkers from “Suburbia”, “Funhouse” era Stooges, Alice Cooper Band, Totalitär, and Cider are all invited.” Too also has a warm sound befitting its 70s rock influences (they recorded it at the same place as the Fried Egg LP, live to analog tape) and artwork that’s as head-scratching as the music. Cement Shoes are a band that’s too weird for this world, but if you live on the fringe, this might be your soundtrack.

Rat Nip: demo cassette (self-released) It’s been a gnarly month for Pittsburgh hardcore releases, but I hope you haven’t reached your listening limit because Rat Nip are just as much worth your time as Loose Nukes, Drug Lust, or Detainees. While all of those bands clearly take a lot of influence from 80s US punk and hardcore, they each have their own take on the sound. Rat Nip is a little heavier and slightly metallic, and when you combine that with the gritty recording on this demo you have something that reminds me a lot of early material by New York hardcore bands like the Abused, the Mob, and Agnostic Front (though other heavier, meaner hardcore bands like SS Decontrol or DC’s Youth Brigade could also serve as references). Five songs, six minutes, and a complete absence of bullshit. Highly recommended if you like hardcore.

Grauzone: Eisbaer 12” (WRWTFWW) Perfectly-executed reissue of the 1981 debut EP by this German post-punk / minimal synth band. “Eisbaer” is a minimal synth masterpiece, and if you like records like the Normal’s “Warm Leatherette,” Solid Space’s Space Museum, or Visage’s “Fade to Grey,” you need this song in your collection. Like Visage’s “Fade to Grey,” it’s a glossy take on the sound, with loud, thumping drums that will dominate any dance floor. And over that pounding beat you’ll hear synth lines as straightforward and as memorable as any foundational rock and roll riff. While the two tracks on the b-side don’t quite reach the heights of “Eisbaer,” they’re well worth your time. Like I said, this is an all-time classic, so if you have a minimal synth collection, this needs to be in it as much as the Sex Pistols or the Bad Brains need to be in your punk collection.

Pleasure Leftists: The Gate 12” (Feel It) Fourth 12” release from this Cleveland post-punk band, coming a full four years after their last one, The Woods of Heaven, on Deranged Records in 2015. If you are familiar with Pleasure Leftists’ previous records, you know they have a well-developed style: a melodic take on post-punk with powerful, Siouxsie-esque vocals, heavy chorus on the guitar, and memorable bass lines over a steady drumbeat. A lot of bands have copped this style, but Pleasure Leftists were way ahead of the curve when their first record came out in 2011. The Gate continues to explore that framework, with the band finding new wrinkles without changing their style. The opening track, “In Dreams,” is one of the most melodic the band has ever done, with a sound fit for mainstream radio, while tracks like “Try the Door” and “Phenomenon” feature complex, almost math-y interplay between the guitar and bass. Pleasure Leftists are very Rust Belt in their approach, continuing to ply their trade and hone their craft despite the prevailing winds of larger musical trends. Pleasure Leftists fans will certainly want to check out The Gate, but even if you’re new to the band this is as good a place as any to dip into their discography.

Asid: Pathetic Flesh 12” (La Vida Es Un Mus) Debut vinyl from this UK hardcore band. Asid is a 5-piece with a big and burly sound, and while they scatter a few interesting lead guitar parts across Pathetic Flesh (like the dive bombs on “Cave to Pressure” or the more metallic lead on the title track), they use the extra heft to make their simple and brutal riffs sound even burlier rather than adding rhythmic or harmonic complexity. This bulldozer approach gives moments of Pathetic Flesh an early death metal vibe, which I imagine isn’t an influence so much as a common approach of making music as primitive, brutal, and punishing as possible. More obvious influences are early Agnostic Front (particularly on the first track) and S.H.I.T.’s catchy pogo-hardcore (“Bootlicker”). For me, the highlights are the off-kilter main riff on “Paranoia Puremania” and the cacophonous closing track “Riastrad,” which reminds me of the reprise of the title track at the end of Discharge’s Why?. While Asid doesn’t reinvent the wheel, Pathetic Flesh maintains the standard of quality we expect from La Vida Es Un Mus.

Pscience: S/T 12” (Space Taker) Debut LP from this New Orleans band featuring a bunch of familiar faces from the city’s fertile garage-punk scene. The sound here is punky new wave with a raw, late 70s-sounding recording. While some synth lines sound like something Ausmuteants might come up with, Pscience has a grimier sound closer to bands like the Units, Nervous Gender, or Metal Urbain’s catchier moments. Any song might contain a memorable guitar, synth, or vocal line, with all three often competing for your attention. I love when bands have a layered sound like this; every time you listen you discover something your ear hadn’t caught before. The vocals and lyrics are also great, spitting out witty critiques of modern consumer culture from what appears to be a scientist’s perspective. If you follow the current New Orleans punk scene and / or if you like a lot of the catchy new wave-influenced punk coming out of Australia over the past few years, I recommend checking this out.

Anemic Boyfriends: Fake ID 7” (HoZac) Reissue from this early 80s Alaskan punk band… in fact, Anemic Boyfriends might be the only punk band I’ve ever heard from Alaska. While this single borrows the front cover artwork from the band’s “Fake ID” single from 1981, it collects the a-side from that single and the b-side from the band’s first single from 1980, presumably because these were the band’s two strongest tracks. “Fake ID” is a ripper for sure, a Runaways / Dolls / Stones-influenced proto-punk (in sound, not chronology) track with a catchy riff, memorable vocals, and seedy lyrics that, even being sung by a woman, sound a little creepy in 2019. Still… hot track. The b-side is similar (right down to the lyrics) and while not as strong is still well worth flipping the record over for. Whether you’re checking this out because you like Detroit-influenced proto-punk like the Dogs or Destroy All Monsters, because you’re interesting hearing early punk made by women, or because you want to hear what an Alaskan punk record sounds like, I doubt you’ll be disappointed.

Constant Mongrel: Experts in Skin 7” (Upset the Rhythm) After lighting up the DIY punk scene with their recent LP on La Vida Es Un Mus, here’s the follow-up single from this Australian post-punk band. The a-side is a brooding post-punker with a Crisis-type catchy lead guitar line repeated for the entire length of the track. While the guitar doesn’t modulate at all, the song gradually builds in intensity, climaxing with a burst of saxophone in the final section. The b-side is more pop-oriented, with a punkier guitar sound balancing out the more melodic vocals. It’s a brief single, but worth your while if you’re a fan. Oh, and it’s limited to only 400 copies so don’t sleep.

Pobreza Mental: Ya No Me Pertenezco 7” (Toxic State) After an excellent demo back in 2017, we get the debut vinyl from New York’s Pobreza Mental. I’m glad this one stayed in the percolator for a while, because it displays a notable amount of range across its five tracks. I hear some of the off-kilter rhythms of contemporary Spanish punk bands like Una Bestia Incontrolable, a lot of the wild sounds of early South American hardcore, and some catchy UK82-style riffs. While some moments sound primitive, others like the inventive drumbeat in “Tormenta” and the ripping guitar solo starting “Nowhere to Go” are more ambitious. While Ya No Me Pertenezco is unpretentious in its delivery, this is a record packed with surprising twists and turns. And, as per usual with Toxic State, the gritty recording, beautiful artwork, and handmade packaging are all 100% on point.

Detainees: S/T 7” (Double Man) More killer 80s-style hardcore punk from Pittsburgh. While Loose Nukes are more raging and Drug Lust are a little heavier, Detainees work the catchier end of the 80s punk angle. The five songs here bop along at a pace that’s sprightly but not harried, the riffs have a classic 80s punk feel, and the vocals are raw but melodic, often following the same melody as the guitar riffs. It reminds me of the catchier bands of the early to mid 00s hardcore scene: Regulations, Social Circkle, Acid Reflux, etc. 5 songs with the no-bullshit presentation you expect from this style.

End Result: The Seven Year Locust Returns 12” (Alona’s Dream) Vinyl reissue of this 1982 cassette, which the band only circulated among their friends in the Chicago area. While I’ve seen End Result’s name crop up in discussions of early Chicago punk, they sound nothing like the big names I associate with that scene: Naked Raygun, Effigies, Article of Faith, Big Black, etc. The label’s description pegs End Result as a no wave style band, but they don’t sound like the Contortions or DNA. Instead The Seven Year Locust Returns sounds like a total deconstruction of music. The tracks appear chronologically, the first from September 1980, and the last track coming from July 1982. This running order emphasizes their process of deconstruction; while the first track, “Children Die in Pain,” reminds me of the bleakest moments of early Joy Division, it’s by far the most conventional track on the record. While you’ll hear guitar, bass, and drums (as well as some trumpet and more ambiguous noises), there’s nothing here that sounds like a conventional rock band. Sometimes it’s formless, like the Velvets-esque jam “Let Them Eat Cake,” while other tracks hang around a minimal structure reminding me of minimal synth music. It’s clear End Result were trying to go as far out as they could, and each successive journey took them further and further away from whatever rock-isms they may have began with. The one constant is the menacing, often frightening, vocals, which remind me of Tomata Du Plenty from the Screamers or Bruce Loose from Flipper. The only catch is the recording is very primitive. While I’m not positive, these sound like primitive rehearsal room recordings, which blunts the impact somewhat. Still, historians of Chicago punk and/or the wider no wave / outsider punk scene will find value here.