Fairytale: 2 Track Tour Flexi 7” (self-released)* *Teaser release from New York’s Fairytale; the back of the sleeve says to expect a 5-song EP soon, but it’s not clear whether these two tracks will reappear there. Regardless, this is some raging, primitive d-beat. It’s clear that Fairytale takes a lot of inspiration from the 2nd and 3rd Anti-Cimex 7”s and the Shitlickers 7”, and while those aren’t uncommon influences, Fairytale makes it work. The sound is raw and very analog, constantly veering into the red, and while the riffs and rhythms are straightforward, there’s something about them that sounds classic rather than derivative. The only complaint I have about this EP is that it’s so short, but I can confirm it retains its impact through repeated plays. Nothing fancy, nothing flashy, just pure d-beat hardcore done exactly right.

Warhead: Change the Reality 7” (Farewell) Latest 7” from this long-running and legendary Japanese hardcore band. This is the first new material from Warhead in four years, and the band has not mellowed or changed at all with age. Their music is noisy and primal, with riffs that feel as violent and as precise as an attack from a seasoned assassin. It’s a sound they’ve honed over 30 years, and they own it… it’s hard to imagine anyone else writing these songs or performing them in exactly this way. While it’s a short record, I can’t see it disappointing any of the band’s many passionate fans, myself included.

Leather Lickers: Eye of the Scared 7” (Cool Death) Latest 7” from this Australian hardcore band who turned a lot of heads with their debut vinyl a few months ago. On Eye of the Scared we get three tracks. The first one is blistering fast, noisy, and out of control, like wilder groups from Japan or Cleveland. The second turns up the punk dial, accentuating the Cleveland over the Japan, while the entire b-side is a mid-paced fist-pumper that has the anthemic quality of Wasted Time or Fucked Up’s great early singles. The execution is raw and nasty, and the packaging—silver ink screen-printed on red paper—is nice. Another solid release from a band to watch.

The Wraith: Gloom Ballet 12” (Southern Lord) We carried the demo tape from LA’s the Wraith several years ago, and now their debut LP is out on Southern Lord. Wild, huh? Anyway, if you don’t remember the Wraith, the title Gloom Ballet hits the nail on the head. The Wraith bills themselves as death rock, and the record reminds me both of vintage post-punk like Killing Joke or Chameleons and more rock-oriented dark stuff like the Cult or even the modern metal band Ghost. The production is slick and took some getting used to for me—I’m more of a basement and 4 track type of guy—but if you’re a fan of the latter two bands I mentioned, you’ll appreciate the powerful sound.

Lipid: Nuclear Masturbation cassette (Vinyl Conflict) Second cassette from this hardcore band out of Richmond, Virginia. Having seen them live I expected Nuclear Masturbation to have a strong d-beat vibe, but it’s way more original than that. How it’s not quite hardcore, punk, d-beat, or metal makes me think of records like Crucifix’s Dehumanization and Agnostic Front’s Victim in Pain, gritty and primitive records that feel 100% honest and devoid of bullshit. I doubt that early 80s NYHC is much of an influence on Lipid, but “Obey the Whip” even reminds me of the Abused. I don’t think this is streaming online anywhere yet so you’ll just have to trust me, but this is some rad punked-up hardcore.

Noxeema: S/T 7” (Dot Dot Dot) Debut 7” from this Portland band. The sound is fast punk rock bordering on hardcore with an undistorted guitar and a dynamic, charismatic vocalist. While people who were into hardcore in the 00s would compare them to Regulations or Social Circkle, the personality-drenched vocals and proto-hardcore sound remind me the most of the Bags. Despite being in this stylistic pocket, it doesn’t sound like Noxeema is trying to be anyone but themselves, so they aren’t afraid to experiment with simple melodic vocal parts like on “Time to Go” or push into Amde Petersen’s Arme-type hardcore territory on “Victim Story.” With a great recording and eight songs packed onto a 45rpm 7”, you’ll enjoy this if you’re a fan of the bands mentioned above.

Program: Show Me 12” (Anti-Fade) Between the Whiffs, ABC Gum, and Program, it’s been a good month for power-pop records at Sorry State. While Australia’s Program aren’t as indebted to the American power-pop tradition as the former two bands, they’ll appeal to the same ears, particularly if you also have an affinity for the Television Personalities’ poppiest moments. While the guitars mostly jangle, the power chords in “Motorbike” make me think of new wave like the Cars, Tom Petty, or Joan Jett, and I also love the punky energy of “They Know,” whose Treacy-esque melody makes it my favorite track on the album. Program’s reserved, unpretentious presentation may mean it takes their music a little longer to catch your ear, but once it does, you’ll be so refreshed to hear a band that isn’t trying to be louder than everyone else. Like I said, if you’re a fan of vintage 70s power-pop, this should be on your list of new records to check out.

Itchy Bugger: Double Bugger 12” (Low Company) Second LP from this project helmed by Josh from Diät, Idiota Civilizzato, the Love Triangle, and a bunch of other bands. Itchy Bugger’s first LP flew under the radar—probably because the vinyl sold out immediately—but it was one of my most listened-to records of 2018. Josh comes from punk and hardcore so I doubt he'll go full indie rock in a way that alienates those of us who share his background, but Itchy Bugger explores a much broader range of sounds and emotions. That trend continues on Double Bugger. Since the first LP Josh has moved from Berlin back to his native Australia, and Double Bugger brims with the hazy sunshine I associate with that country and its recent musical output. That being said, the sonic framework comes from UKDIY in that it’s pop music, but with idiosyncratic ideas and primitive execution. In other words, it’s pop music that isn’t for the popular crowd… think the Cleaners from Venus or the Television Personalities’ The Painted Word album. In terms of songwriting, I think Double Bugger is a masterpiece. There are silly moments like “The Wanker from Mataranka,” heartbreaking ones like “Have You Seen John?,” and upbeat ones like “Nothin Tougher Than Hard Yakka,” but there isn’t anything I would call less than brilliant. If you’re a fan of ambitious pop music with DIY aesthetics, you’ll love this. I, for one, can’t get it off my turntable and I can’t recommend it highly enough.

ABC Gum: New Arcade 12” (Let’s Pretend) Debut vinyl from this band out of Bloomington, Indiana. As I was listening I thought the vintage, 60s-style production and songwriting chops reminded me of the Cowboys, and indeed the Cowboys share members with ABC Gum. The vibe here is a little different, combining the naive-sounding lyrics and vocals of Television Personalities with hooky American power-pop like the Nerves, the Speedies, or the Shoes. Like the Cowboys, ABC Gum tread a lot of ground across this LP, ranging from angrier tracks like “On Your Side” and “My Wild Life” to poppier tracks like “Lovey Quicksand” and “Lack of Sleep,” ending with the quirky, organ-driven “New Arcade.” The production is spot-on and the hooks are plentiful, so if you’re into quality, retro-sounding power-pop I’d grab this along with that new Whiffs LP.

Nukkehammer: A Distant Hissing in Your Ear 7” (Solar Funeral) Latest EP from this band out of Columbus, Ohio, coming a mere eight years (!!!) after their debut. I was a fan of Nukkehammer back then, and after spinning A Distant Hissing in Your Ear I’m even more of a fan now. While the record doesn’t sound out of step with the times, it also doesn’t feel constrained by the current scene’s trends and styles, as you might expect from a band that has been around for so long. The standout track for me is the opening “Kills by Nuclear,” which captures the manic style of peak-era Gauze (albeit through a grainy filter), but the wild-sounding “Skeletal Hand of Reagan” and brutal, Corrosion of Conformity-esque “Chainsaw of Storms” are also totally ripping. There’s a lot to digest on this EP, but if you’re the type who demands more from your hardcore than just a competent take on an established style I recommend picking this up.

Mobs: Kill ‘em All 12” (Fan Club) Compilation release from this 80s Japanese hardcore band, bringing together their first two 7”s with a handful of rare demo tracks. I don’t remember hearing anyone talking about Mobs ten years ago, but they’ve surged in popularity over the past few years thanks to YouTube and Discogs making it easier to hear them. Their first EP, Diabolism, is a solid slice of early Japanese hardcore. Like a lot of Japanese hardcore from this period, it’s indebted to Discharge (particularly the first track, “Dead People Having Sex”), but the murky production and uniquely Japanese vocal phrasing mean it sounds very different from the Discharge-inspired bands from, say, Sweden or Finland. The two demo tracks on the a-side are cool if you’re a fan of Diabolism, as they’re along the same lines, only with a rougher sound and more UK punk influence. While Diabolism is cool, for my money Mobs got a lot better with their second EP, Projection of Astral Body. With much-improved production and more complex and engaging songwriting, it finds Mobs establishing their own style. While it’s not as raging as something like Gauze or G.I.S.M., if you’re into the quirkier end of Japanese hardcore this EP is an essential listen.

Putzfrau: Demo 2019 cassette (Edger) Demo cassette from this new band out of Portland featuring members of Suck Lords. If you’re a fan of Suck Lords, you’ll want to check this out, as these folks know how to put together a great-sounding hardcore recording. Putzfrau has a very different vibe than Suck Lords, though, putting the emphasis on speed rather than anger. These tracks are blazing, too, lightning-fast and packed with thetight little rhythmic tics that make Koro so great. Only one song breaks the one-minute mark, and while it’s ostensibly the mid-paced song, it’s still faster than at least 90% of hardcore that I hear. Totally ripping!

Doldrey: Invocation of Doom 12” (Iron Lung) Five tracks of brutal, grimy death metal-infused hardcore (or is it the other way around?) from this band out of Singapore. Particularly during their churning mid-paced parts, Doldrey reminds me of Innumerable Forms; I guess it makes sense that Doldrey would catch Jensen from Iron Lung’s ear, since he plays guitar in Innumerable Forms. While Doldrey has all the heaviness that you want from a death metal band, their mosh-able rhythms and economical compositions (only two tracks break the 3-minute mark) are tailor made for an attention span shaped by hardcore. Like everything on Iron Lung, Invocation of Doom is worth hearing, but I’d be sure to check it out if you’re a fan of classic death metal.

The Whiffs: Another Whiff 12” (Dig! Records) Second record from this power-pop group out of Kansas City, and it’s one of the most accomplished examples of the genre I’ve heard in some time. The downfall of many a modern power-pop band is a weak vocalist, but the Whiffs have not one but three capable singers. Not only that, but they’re able to nail incredible three-part harmonies that will send chills up your spine. While the Whiffs are accomplished players, Another Whiff has a dirty, home-recorded quality that keeps their songs sounding fresh and organic. They’re also adept at balancing out the sweeter moments in their music. For every gentle moment like the country-tinged “Please Be True” or the beautiful pop song “She,” there’s something like the Velvets-y guitar solo on “My Vision of Love” or the high-energy rock-and-roll of “Now I Know.” In fact, for something that fits comfortably in the “power-pop” subgenre, there’s a huge amount of variety on Another Whiff. Rather than rewriting the same song over and over, the Whiffs have crafted a lengthy album (fourteen tracks!) that doesn’t overstay its welcome. While Another Whiff isn’t as punk as, say, the Exploding Hearts, if you’re a fan of the heyday of American power-pop—bands like the Flamin’ Groovies, Big Star, and the DBs—you should check out Another Whiff.

Gino & the Goons: Do the Get Around 12” (Drunken Sailor) Latest full-length from this long-running Florida punk/garage band with a bulging discography. While I checked out their singles on Total Punk, I’m not familiar with Gino & the Goons’ long history, so I won’t be able to tell you how Do the Get Around stacks up against their previous records. I can tell you is this is a raw and primal slice of rock-and-roll. Gino & the Goons sounds like a seasoned band, able to pull off a broad range of garage rock styles, from the Chuck Berry-esque “Take It Off” to the more melodic, Ramones-y “Pills in My Pocket” to the swampy “Better Believe.” The recording is loose and grimy, but it adds to the feeling that you’re in a room fragrant with the smell of spilled bear and sweat. Gino is also a great vocalist, with a library of unique tics and inflections that give each song that little something special it needs to stand out.

The Tits: Great Punk Tits 12” (Distort Reality) Compilation LP and first US release from this Japanese noise-punk band who recently toured the US. I hadn’t heard of them before the tour, and when I looked them up on Discogs, it surprised me to find how extensive their discography is, with several demos, 7”s and flexis, and an LP. There isn’t much info on Great Punk Tits, so I’m not sure what comes from where, but you can hear some progression across its sixteen tracks. While you could describe everything on this LP as noise-punk, the earlier tracks have more of a traditional Japanese hardcore sound a la the Execute or early Lip Cream. As you get further into side 1, the Tits get crazier and more unhinged, moving more toward a sound that reminds me of Indignation-era Confuse or Creation and Destroy-era D-Clone. With powerful production, great dynamics in the arrangements, and a noteworthy vocalist, the Tits are worthy of those lofty comparisons. Despite their tour, I haven’t heard a ton of hype about the Tits, but I’d put this up there with Physique and Extended Hell as some of the best raw hardcore I’ve heard this year. Highly recommended.

Merrygoround: 1983 7” (Bronze Fist) Vinyl reissue of the 1983 cassette by this band from Himeji, Japan. I was familiar with Merrygoround’s No War flexi (I own it but haven’t spun it in a few years), so I was excited to see this release, particularly since the packaging includes cool photos and a short but informative history of the band. Like the original cassette release, one side of this 7” is a live recording, while the other is a studio recording. The live recording has a rough sound with the bass up front. Since the bass seems to carry the melody for a lot of the songs, these tracks have a punkier feel that reminds me of Trash-era Stalin. The tracks on the b-side are listed as a studio session, but given that the recording quality is even rougher it might be a rehearsal room recording rather than multi-track. Regardless, the more even mix and aggressive approach reminds me of Fuckheads era Gauze or perhaps Kuro, whom the band lists as an inspiration in the liner notes. While Merrygoround is a deep cut, the packaging and presentation here is on point, making this a solid buy for anyone into raw Japanese hardcore.

Dark Thoughts: Do You Dream 7” (Peterwalkee) Brand new two-song single from every hardcore punk’s favorite melodic punk band, Dark Thoughts. I can see why “Do You Dream” gets the a-side as it might be the poppiest Dark Thoughts song yet. The approach is still the same, but whereas the vocal melodies used to have to fight the riffs and the blistering drumbeats for your attention, “Do You Dream” seems comfortable being a sing-along. The b-side, “It’s Too Late” (which is exclusive to this 7”), is more riff-driven and Ramones-y, and it’s just as good as any other Dark Thoughts track. This single is very short, but it does its job getting me salivating for the upcoming third full-length.

Future Terror: Plague 12” (Ryvvolte Records) Debut vinyl from this crust band from Richmond, Virginia. While the world has no shortage of d-beat bands at the moment, Future Terror stands out with a heavy, metallic sound that reminds me of Extreme Noise Terror or Doom. For me, the danger for metallic crust is that it gets too polished and antiseptic, but Future Terror is raw and nasty. While the recording is clear and heavy, the grimy guitar and bass sounds and throat-shredding vocals don’t sound anything like “stadium crust.” The raw, “yelling into a cave of despair” vocals could fit with Morbid Angel or Napalm Death as easily as any crust band, and if you loved Skemäta’s vocals I’m sure you’ll be on board. So much of crusty hardcore these days is about trying to be raw and primitive, so I’m stoked to see a band aim for something a little different and nail it.

Warp: Traffic Control 12” (Thrilling Living) Debut vinyl from this Bay Area punk band. Warp plays music that’s right in my sweet spot, with all the catchiness of a classic punk band, the energy of a great hardcore band, and the complexity of something you could label “post-” something or another. Maybe I’m flattering myself since I play guitar in the band, but Warp reminds me of Sorry State’s own No Love, particularly on tracks like “Sheet Cake” and “Makeup,” which are both catchy but tough-sounding rather than melodic. That being said, they throw some unexpected ingredients in to the mix like the staccato anarcho rhythms on the title track and the swirling, psychedelic double-tracked guitars on the climactic closer “Goat.” The lyrics are also brilliant, surreal yet thought-provoking. The lyrics to “Traffic Control,” “Cellophane,” and “Sheet Cake” are worth the price of admission alone. For instance, here’s the full lyric for “Cellophane:” “Stick of butter, butterball. Throw a brick of butter, butter on the wall. Broken bucket with a big ol hole. Don’t bet on a bucket that’ll never get full. Sorry, baby, he’s silver cellophane.” I used to teach a college-level introduction to poetry course, and I could have spent an entire class period on that one. I doubt you’re surprised Thrilling Living has put out another record I Love, but I’ll confirm this one’s a keeper.

Acrylics: Sinking In 12” (Iron Lung) Full-length debut from this California hardcore band with previous releases on Neck Chop and Iron Lung. Their first release came out way back in 2014, so it’s unsurprising that they’ve changed, but Sinking In is a stark leap forward. Acrylics always had an arty, off-kilter edge to their music, but on Sinking In, hardcore seems like just one of several influences rather than providing the over-arching framework for the entire aesthetic. Burners like “New Face” and “Awake” recall Bad Breeding’s richly textured anarcho-hardcore, while tracks like “Retreat” lean in to more of a noise rock influence. There are also two instrumental interludes (one spacey and ambient, the other mechanized and industrial) and they bookend LP with two psychedelic guitar freakouts that bring to mind Destruction Unit’s total sensory overload. Sinking In is more than just a mass of cool sounds or a heaping riff salad, it’s an ambitious, realized album with an ebb and flow that feels considered yet natural.

Slumb Party: Spending Money 12” (Drunken Sailor) Second album from this post-punk band out of Nottingham, UK. These days I’m skeptical of bands playing post-punk-influenced music. There’s been such a glut of that stuff over the past decade, so much of it mediocre and forgettable, that I’m reluctant to check out something unless it’s recommended from a trusted source. I’d seen some chatter about this new Slumb Party record and I’m glad I checked it out. Rather than the poppier or goth-y sound that a lot of bands that get described as post-punk go for, Slumb Party remind me of quirkier, artsier bands like early XTC, Essential Logic, and Suburban Lawns. Like those artists, Slumb Party’s music is interesting and memorable without being melodic as such. Rather than building songs around melodies, they coalesce around rhythms and textures, prompting you to move your body more than sing along. I also love the varied instrumentation. While bass, drums, and vocals are a constant, they’re accompanied, alternately, by guitar, organ, and saxophone. This gives Spending Money a lot of variety, not only from track to track but often from moment to moment. I’ve already spun Spending Money a few times, and its variety and complexity will keep me returning to it for a while.

Neon: S/T 12” (Square One Again) I was a huge fan of Neon’s demo tape, so I was looking forward to their debut vinyl. Thankfully it does not disappoint! Along with Mozart (with whom Neon share members), Neon is at the forefront of a new brand of hardcore that takes tropes that are big parts of the genre for certain fans—heaviness, tightness, and precision—and chucks them right out the window. There have always been hardcore bands that sound loose, raw, and wild (Italian bands like Negazione and Cheetah Chrome Motherfuckers spring to mind), but Neon’s take on the genre feels like an important political move. In a technology-obsessed world that demands humans act more like computers (a subject Neon addresses on the track “Bodies”), Neon’s music feels human, organic and alive rather than mechanical and regimented. Wrapped up with those tropes is also a long history of misogyny in hardcore, and Neon’s self-described “ugly girl music” does more than just reject that misogyny, it sees through it and finds the possibility for free and radical self-expression in a genre that can seem calcified. Moreover, the music just rips. The LP is full of catchy bass lines, inventive guitar playing, furious drumming, thought-provoking lyrics, and vocals as memorable as they are unconventional. Challenging politics, brilliant and exciting music, stunning packaging… what more could you want from a punk record?

Bombardement: S/T 12” (Symphony of Destruction) Debut vinyl from this French d-beat band. Bombardement takes a lot of inspiration from Discharge, as do a lot of bands these days. However, Bombardement doesn’t sound like many other modern d-beat bands. First, the recording is not self-consciously raw. This 12” has a big, clear, and modern sound that is heavy and thick without sounding polished or anything like stadium crust. Second, Bombardement seems to borrow more heavily from the Hear Nothing See Nothing Say Nothing era of Discharge than the earlier singles and Why? MLP. Just listen to the track “Greed Prevails.” The main riff is a descendent of “Drunk With Power,” which is a strange Discharge track in how the riff seems to float rather than rip, rage, or crush, and Bombardement accentuates that quality with an excellent, lengthy guitar solo section in the middle. While I love the moments on this record that feel stretched out, Bombardement can also write a grade A ripping d-beat track, as evidenced by “Wheel of Destruction” and “The Brink of Collapse.” While much of the d-beat world’s attention seems focused on releases that are very noisy and/or psychedelic, Bombardement explores a whole different corner of the Discharge aesthetic here and, in the process, delivers a crushing record.

Warhead: Cry of Truth 7” (Break the Records) Reissue of this all-time Japanese hardcore classic, originally released way back in 1991. Basically, if you like Japanese hardcore of any stripe you should own this record. Cry of Truth was one of the early records I discovered as I started digging deeper into the Japanese hardcore scene. I love how it combines the almost melodic riffing and gang vocals of early Death Side with a sound that’s faster, looser, rawer, and more straightforwardly punk. The main riff for “Fight with No Fear” is an all-time classic, and “You in Corruption” is another standout with its epic chorus (it’s just two voices yelling “ugh!” (or maybe “yeah!”?) at one another in the two stereo channels), ripping guitar lead, and dramatic ending. The visual aesthetic is also perfect, a look that everyone wants to achieve and so few do. While these tracks appeared on the Warhead collection LP on 540 a few years back, I’m happy to see this back on the shelves with its brilliant original presentation.

Disclose: Nightmare or Reality 12” (La Vida Es Un Mus) I’m sure you don’t need me to tell you how great Disclose is, or to convince you that La Vida Es Un Mus is doing the lord’s work by bringing another of their records back into print. The cult of Disclose is strong, and for good reason. Despite being more or less ignored in their time, they’ve become one of the most influential bands on 2010s punk. Nightmare or Reality (like the other two LPs that LVEUM has reissued) is a highlight of the band’s discography, coming at the tail end of what most people would consider their classic era. While Disclose had been releasing music since the early 90s, their final several years (1999 or so to 2004) were productive. Not only were releases coming out steadily, the band seemed to experience a burst of creative energy, experimenting and exploring their sound without losing their essential voice. Once again, kudos to LVEUM for keeping this material in print in an edition true to Kawakami’s original vision.

Celda: demo cassette (Destrozado) Demo cassette from this band from Mexico City. Celda’s big, crashing chords (particularly when they pair them with fast 1-2 beats) remind me of ripping 90s hardcore like Deathreat or Talk Is Poison, though they infuse that sound with the modern pogo-hardcore of bands like Gag or Blazing Eye. It’s a raw, scrappy explosion of anger, though they still make time for a great melodic guitar lead on “Dr. Pisquiatra.” Perhaps this isn’t an essential grip for a dabbler in hardcore, but if you’re interested in the contemporary Mexican hardcore punk scene, this is well worth hearing.

Confuse: Fuckin’ All Media 12” (Fan Club) Another Confuse bootleg rolls off the pipeline, this time compiling the band’s later material: the Spending Loud Night 7", Contempt For The Authority and Take Off The Lie 7", Stupid Life 7", and tracks from the Violent Party Omnibus and Neo compilations. The last Confuse bootleg we carried had truly atrocious cover artwork, but thankfully this one is better. As I've said, there are no bad Confuse releases, and if you love Japanese hardcore and/or noise-punk you should be familiar with all of their material. One thing I love about Confuse is how much they changed from release to release, and that’s on full display here. Spending Loud Night is one of the band’s nastiest recordings, a wash of hiss and treble that barely even qualifies as music. That stuff is great and very important for pushing the boundaries of noise not music, but I love Confuse’s releases with cleaner recordings even more. Case in point, the Contempt for the Authority 7”, which has a crystal clear recording that highlights how raw and crazy Confuse were even better than the noisier and more primitive recordings. The three tracks from compilations here are also essential (particularly the track from the Neo comp, which is the cleanest recording Confuse ever got), and the LP ends with the Stupid Life EP. While “General Speech” is a classic Confuse hardcore ripper, Stupid Life finds the band drifting away from traditional hardcore punk, delving even further into the noisy chaos. The title track even reminds me of 90s noise rock. This reissue includes an insert with lineup and recording info, reproductions of the original sleve artwork, and top-notch sound quality.

Hellish View: Reaper’s Hand 7” (Desolate) The insert for this record reads, “inspiration: Disclose, Disclose, Disclose,” just so you know what you’re getting into right off the bat. Interestingly, though, Reaper’s Hand starts with a mid-paced track, “A.P.O.D.,” that reminds me more of Amebix than Disclose. From there, though, it’s a wash of raw noise. It’s fitting that we’re writing about this in the same update as the reissue of Disclose’s Nightmare or Reality, as that record must have been a big inspiration on this one. While Hellish View doesn’t elaborate on that sound, they nail it with the chaotic, layered production I love to hear from this style of music. If you can’t get enough Disclose worship, this 7” should be up there with the new Physique EP on your list of buying priorities.

Zorn: Hardcore Zorn cassette (self-released) Latest 4-song recording from this metal-punk band out of Philly. It’s always been tempting to dismiss Zorn as Devil Master Jr since they’re from the same city and have a similar sound and image (and Devil Master’s bassist Cassidy even provides the artwork for Hardcore Zorn), but I don’t think Zorn is redundant by any means. That’s particularly true of Hardcore Zorn, which I haven’t been able to stop playing since it hit the internet. While I’ve seen Zorn referred to as blackened punk or hardcore, the ornate song structures and complicated riffing on Hardcore Zorn remind me more of dark, technical thrash like Forbidden or Testament, albeit with a hardcore/punk energy and vocal delivery and a dash of gothic catchiness thrown in to sweeten the pot. I’m hesitant to pull this apart too much because everything fits together so seamlessly and perfectly. If you’re a fan of the early Devil Master stuff this is a no-brainer, but I encourage anyone with an interest in both metal and punk to check this out. It’s infectious.