Jersey Beat Music Fanzine
 


Longtime NJ scene photographer and music blogger James Damion may have relocated to Washington, DC, but he still keeps a keen eye on indie, punk, and whatever else comes his way in this column.

Bashford – Wannabe (Big Neck Records; bashford.bandcamp.com)

Following up their 2021 debut LP Greener Grasses with 2025's massively impressive Wannabe solidifies Wisconsin grunge-punks Bashford as one of the key current acts to look into. Granted, the unsealed debut of the band’s debut was found in a box designated for trade-in, but listening to Wannabe had me racing to that box to retrieve it, rip off the plastic, and place it in the pile of “play next” records next to my record player. It marks, perhaps, the first time I’ve heard the term “grunge-punk.” The sounds and style I’m hearing from the Bashford camp and Wannabe could not be any more precise, featuring influences as varied as the Stooges and Mudhoney with an unavoidable likening to early Nirvana. Despite comparisons, Bashford easily carves out an identity all their own. There's a great vocal that not only has an angry undertone, but one that reminds me of a cross-section of Curt Cobain and Jerry Cantrell, covered in sludgy beauty. There’s a noticeable shift in Bashford’s sound since their debut, a shift that could and should benefit the Wisconsin act.

Incarnate – Document #2 (fortressrecords.bandcamp.com)

Incarnates Document #2 features eight songs of pure misery, with one of the worst mix of songs I’ve heard in decades. It reminds me of the times my buddy would insert a mix tape into his Ford Falcon cassette player and say, “Listen to this, it’s the worst shit I’ve ever heard.” If you dig that whole guttural/ growling and a sound that might serve as a warning that an all-consuming Demogorgon (note: Stranger Things reference) is about to spring into a feeding spree. Like I mentioned, “pure misery.”

Cheater Slicks – Don’t Like You (In the Red Record;cheater-slicks.bandcamp.com)

In a world of never-In a In a world of neverending remakes, reboots, and reissues, nostalgia keeps us seeing the past through rose-colored glasses, while it often distracts from the present. Considering the rising price of vinyl, prioritizing what’s worth a shot wnd what to leave behind has become paramount. Enter Cheater Slicks. The Boston-based band formed in ’87 and released Don’t Like You on In the Red Records. This reissue revisits the Boston-based garage-punk-noise band. And while the album’s production doesn’t seem to capture the band’s raw appeal, the addition of the original demos seems to make it all worthwhile, making it a worthy piece of ‘90s nostalgia. Available in limited color vinyl, so make your move.

N.E. Vains – Running Down Pylons (Big Neck Records; bigneckrecords1.bandcamp.com)

Formed in 2022, this U.S./Canadian outfit plays a style of Garage Punk that feels very mid. The cleverly named album Running Down Pythons consistently comes out of the gate with a raw energy that encapsulates the garage punk sound but never takes the lead or gets the blood pumping. Eleven fast-paced rockers that take the minute-and-a-half route to fulfillment, while never leaving much of a mark. In the end, it’s not a bad release, but one that never quite hits you in the gut.

Gino and the Goons/Chinese Junk - Talk Trash With... (Big Neck Records)

Gino & The Goons and Chinese Junk join forces for an unusual split album, ten tracks with Gino & the Goons offering up the first five and faster, snottier, Ramonesier Chinese Junk the latter five. The opener and title song, “Come On And Shake It,” is a real toe-tapper, reminding me of the gritty days of New York’s Lower East Side and the junkie stench of CBGB’s. (BTW, as a native New Yorker, I meant that as a compliment.) “Push York Luck” had both my attention and admiration. There’s an energy and a bomp that put the nail in the board. From there, the album gets better and better. The energy and spirited riffs are the glue. With cover art that reminds me of the Let Them Eat Jellybeans-era, Alternative Tentacles, Talk Trash With.. lets two bands hit all the switches and dials. I’m currently kicking myself for underestimating it in the first place.

Visual Discrimination - In Vain (YouTube)

Just when you thought the hardcore nostalgia vault was empty and the cupboard was bare, comes another reissue from the long-ago past. One that begs the question, "Was this at all necessary?" Unfortunately, nostalgia often comes at a cost, one often rendered through rose-colored glasses and old men in cargo shorts toasting the good old days. Such was the case, at least to my ears, with the reissue of Visual Discriminations "In Vain," representing the band's second 12-inch EP. The 8-song It's Alive Records release has been out of print and out of reach for some time. Hailing from Southern California's Orange County, the band played a meaty, perhaps more straightforward brand of hardcore than the many of their contemporaries, as well as what their label Nemesis Records were releasing at the time. Ideally, I could see Visual Discrimination on a bill with some tough guy acts from that time. Whether that's accurate is up for debate. The music of Visual Discrimination has not aged well, making the reissue of "In Vain" questionable. Featuring eight somewhat forgettable songs, including a cover of Agnostic Fronts "United Blood," hand-numbered and limited to 300 copies. From what I've read, the band is still booking shows and touring.

Step Forward- Demos 1989 - 1990 (RefuseRecords.bandcamp.com)

Not to be confused in any way with the Boston band formed in 2o16. The short-lived Step Forward existed as the late '80s morphed into the '90s and are considered by some to be pioneers of Sweden's nucleus of bands that shaped 90's hardcore musically and aesthetically. As someone who collected demos through friends and networks of tape traders often listed in the back of fanzines, Step Forward played the up-tempo and positive hardcore that appealed to and, for the most part, still does. Featuring all the elements you came to expect from hardcore. Characteristics such as the mid to fast tempos, breakdowns, and sing-alongs choruses.

The lead track "Change Today" and just about everything on the '89 demo remind the listener serve as a reminder of everything coming out of the Revelation Records at the time. Though not very original, it gives you a sense of their influences and a prevalent sound at the time. Overall, I found both the demos and their production to be quite rewarding. And while nostalgia for any era, style, or sound can be a bottomless rabbit hole. Sometimes the rewards can justify the journey. This one did. For more information about the band and this release, I highly recommend clicking the link below.

Quiz Show - Geographic (quizshow.bandcamp.com)

Three epic tracks from Montclair University Anthropology professor and Shudder to Think founding member Chris Matthews. As someone who's become old and jaded, I find it rare when something - in this case, an opening song, the EP's title track, "Geographic" - grabs my attention and refuses to loosen its grip. As expected and perhaps hoped, Quiz Show features some of the eccentricities we all loved about Shudder. With Matthews's vocal style carrying more of a sinister edge. The following song, "Sunday Morning," builds on the promise of the opener, while the third and final entry, "Januhappy," dips its toe in epic greatness. If you ever need evidence that great things often come in small packages, this is it.

Fred Armisen – 100 Sound Effects (fredarmisen.bandcamp.com)

Fred Armisen is many things: comedian, actor, and producer, best known for his time on SNL and the award-winning sketch comedy Portlandia with Carrie Brownstone. But did you know he was a gifted drummer and record collector? Did you know he was a talented drummer who spent time behind the kit for Late Night with Seth Meyers and Chicago punk band Trenchmouth to name a few? All of this might be trivial to many. Who knows? Armisen’s pursuit of this project and his choices on this album are just plain weird, and, to a point, unnecessary. Yet here I am listening and reacting to each entry and eagerly awaiting what’s next. Buyers Beware, as 100 Sound Effects is some weird shit. With titles such as “Romanian Crowd at a Rock Club Shouting” and “Music Store Exit with Security Checking Receipt,“ is it entertaining? Yes. Is it necessary? Absolutely not. Still, I can’t help but listen attentively. Is 100 Sound Effects a comedy album, or some sort of attempt at avant-garde artistry?

Endpoint Pre – "In a Time of Hate (Demos 1989)" (duncanbarlow.bandcamp.com)

If you’re a fan of the Louisville hardcore band Endpoint, you're an ‘80s end-of-the-decade hardcore kid like me. Turn your clock back to its breaking point and take a few minutes to check in on some high-end material. This EP features three songs that capture the raw energy of teenagers in love with and about to shape the sound of hardcore music into a new decade. In what might turn out to be one of the more interesting back stories, the studio where this was recorded and the producer they worked with, a man who was known for his history with pop music, had never listened to hardcore or hard rock in his life, perhaps giving the recordings an uneducated, yet interesting approach. "Model,"" "Valerie,"" and "Rebirth" each have a sound and delivery that stand the test of time. Endpoint would go on to record four top-notch albums with labels such as Slamdeck, Conversion, and Dog House before calling it quits in ’94. In comparison, I don’t know whether this qualifies as official. However, I appreciate Duncan Barlow bringing it back to life.

Faz Waltz – Your Lovin’ Really Got Me Wild / If You Don’t Care About Me (Spaghetty Town Records; fazwaltz.bandcamp.com)

An international favorite returns with a single that confuses just as much as it rewards. Just who are Italy’s Faz Waltz? A Fifties-influenced rock band? A tribute band? Or straight-up mirrors of a certain era that is now seven decades old? “Your Lovin’ Really Got Me” is a raucous, bluesy/country-rock explosion that made me wonder if Jerry Lee Lewis came back for one more song. Beautifully structured and performed, yet off-putting as it lacks any sense of originality. The B-side, “If You Don’t Care About Me,” is a slow ballad that seems to call on the ghost of a young Elvis. I need some clarity on what Faz Waltz’s calling is.

Contempt – You Will Suffer (AdvancedPerspective.bandcamp.com)

Chicago’s Contempt releases their self-recorded debut, notably recorded on an analog four-track, featuring annoyingly cliché cover art and a generic sound that will most likely earn the band a place in the current retro straight-edge scene, Contempt’s 9-song debut is just what the revivalist straight-edge kid or adult ordered. Though it’s not much different from the straightedge hardcore of the late ‘80s/early ‘90s scene, which seemed to be everywhere. If you were a fan of the posi-core that followed the Youth of Today look, sound, and message, you'll like this. While I liked the clean sound and clear vocals, I never felt like I was hearing anything unique or original. Describing Contempt and “You Will Suffer” as generic might seem harsh, but honesty will eventually make a comeback. Song times range from half a minute to a minute and a half. Designate this one for the circular file.

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REISSUES

Sleepytime Trio – Memory Minus Plus Minus (Lovitt Records)

For those not in the know, Sleepytime Trio was a four-piece, post-hardcore/screamo band from Harrisonburg, Virginia, formed in 1994 and breaking up in 1999. [The band formed as a trio but kept the name after adding a fourth member a year later. - Editor] Memory Minus Plus Minus is a well-rounded discography of the band’s recorded history. Given the name Sleepytime Trio, I was not expecting the chaotic and volatile sound the band produced. (Think post-core meets screamo at a math rock convention.) There are moments like “Like My Pain” that are so intense, you’ll feel as if you’re about to have an aneurysm. Packaged in a gatefold sleeve with complete lyrics, including an eight-page 'zine/booklet featuring an extensive show list, behind-the-scenes notes, photos, and memories from friends of the band. Numerous songs have been remixed (at the correct tape speed) by J. Robbins, and TJ Lipple has remastered everything. This is exceptionally pleasing.

Boris The Sprinkler – Saucer to Saturn (Sounds Rad)

I clearly remember purchasing a copy of Saucer to Saturn at New York’s Generation Records shortly after its original release in 1995. I recall I didn’t like it a whole lot. Most likely, it had something to do with my going through a phase when I was too serious for my own good, decades before getting my head removed from my ass. The 30th anniversary of Saucer to Saturn arrived on my doorstep and, talk about a turnaround! Fun, fun, fun, with a nerdy edge that dominated labels like Lookout Records and the Gilman Street scene in the early ’90s. Though the Lookout/Gilman St. sound has always been part of their DNA, BTS’s Wisconsin origins might have led to their many release with Bulge Records. While Saucer to Saturn” would mark their third LP, Boris the Sprinkler eventually released 11 long-plays throughout their rather lengthy history.

Squirtgun – S/T (Sounds Rad)

If you enjoy bands such as Operation Ivy, Green Day, Blink-182, or somewhat overlooked acts such as Mr. T Experience - you know, Punk with a pop and ska appeal - then the 30-year reissue of Squirtgun’s Sounds Rad is right up your alley. The reissue reminds us of better times and younger days, loading the deck with boundless energy and youthful mirth. Aside from its ability to trigger nostalgia and a romanticized look at the past, the songs in all their nerdy excellence have really held up over time. Listening to Squirtgun brings back a feeling of youthful hijinks and debauchery.The reissue includes completely remastered audio for superior sound quality, refreshed and vibrant artwork, and a stunning 11" x 22" insert with complete lyrics and an exclusive foreword by Larry Livermore. Jet pack not included.

Recollection – "Vivid Dreams" EP (Pop Wig)

Here’s a relatively new band with members who have a rich history of playing in other acts you may or might not know. Drawn in by the dreamy EP art, the six-song EP features songs with an aggressive edge that borders on hard rock and punk with a raw, loud approach. “Vivid Dreams” rarely, if ever, connected with me. While I don’t wish to write off any band entering the stratosphere, one might hope that all their experience with other bands would spill over when attempting a new project. “Vivid Dreams” never gave me that feeling.

Colossal Rains – "Shrinking Violet" Demo (Pop Wig; colossalrains.bandcamp.com)

Three songs that have that stick-to-your-ribs effect. The Philadelphia band flexes its muscle while dabbling in sounds that test the boundaries of independent music. Bleak, doomy, and atmospheric in all the right ways. Featuring numerous twists that never get old, adding a dash of hope for experimental creativity in music. The sinister vocals Gee Hirsch puts forth are reminiscent of those of Afghan Wigs’ Greg Dulli. Present are some dark rhythms and leads. I was sincerely impressed by how the drumming of Tyler Mullen’s percussion seemed to wrap itself around the songs. It’s somewhat rare when I find myself drawn to a band or artist by a trio of songs. Yet, here I am, frothing at the mouth and anticipating more.

Lethal Aggression - "F.T.C.O.T.F.W. 1985 Demo" (Generation Records)

Generation Records continues to impress with its choice of reissues and new releases worth devouring. The reissue of Lethal Aggression’s 1986 demo “From the Cunt of the Fucking Whore” comes as somewhat of a surprise. My limited exposure to the New Jersey thrash band was an 1989 Youth of Today European tour poster that featured the bands’ iconic logo. Imagine, if you can, Minor Threat touring with G.G. Allin. Years later, when interviewing Youth of Today drummer Sammy Seigler, I asked about the tour and sharing the bill with a band whose sound and message represented opposite sides of the coin. His body language spoke volumes.

Musically, this is entertaining, though it hangs rather low on the thrash metal totem pole. The reissue satisfies the 80’s completest in me, and features the original seven songs from the demo, as well as a bonus compilation track and unreleased songs recorded shortly after the demo. The vinyl package includes an 8-page color booklet with the band’s history, photos, flyers, etc. First 200 mail-order copies on green vinyl. The music is loud and fast with juvenile lyrics. I admit to enjoying the song “Metallic Rage” and feeling that the bass lines on the final song, “Lust,” are worth noting. Overall, a fun look at the past, and a great reminder of how music can always bring back memories. Get it before it’s gone.

Disorderly Conduct - The Hatch Door: Don Fury Sessions 1985 (Punk N Vomit Records)

“The Hatch Door” collects the two demos New York punks Disorderly Conduct recorded with legendary producer Don Fury in 1984 and 1985. While not a household name among 80’s NYHC bands still referenced today, DC was a well-known band on the New York hardcore scene, appearing on bills with more notable bands such as Krakdown, Token Entry, and Krieg–Kopf. Following a more punk thread, like bands such as Reagan Youth and Urban Waste, might have stunted their passage into the trends of the mid- to late-80’s hardcore scenes. Who knows? Still, it’s almost always a good thing when bands such as Disorderly Conduct get their due. If you’re into raw 80’s hardcore/punk, or are an 80’s completist. I highly recommend this.

Staticlone – The Ghost/The Mirror/The Glass Tiger Mask (Six Feet Under)

Philadelphia’s Staticlone formed about a year after the band Blacklisted’s sad demise. Staticlones’ music falls under the punk and hardcore umbrellas, with a dash of haunting misery added for effect. Noise, noise, noise, and not much else. These three songs don’t appeal to me, but might interest those already fond of the band.

Cannonball – S/T (Youngblood Records)

It took some time. Still, after a promising demo, Sheffield, UK’s hardcore Cannonball have upped the ante with another impressive collection of songs that represent their dedication to the 00’s era hardcore on their debut LP. Cannonball delivers outstanding vocals, with fully charged riffs and rhythms, more than enough to keep your ears and mind on edge. Each of the 8 songs on this release stands on its own without colliding, as much as the cover art’s cartoonish nature might turn one off. The music is definitely worth checking out.

Mother Love Bone – “Shine” (2025 Remaster) (Mercury Records)

Mother Love Bone are often credited as the architects of the Seattle grunge scene, which began in the 1980s’ and gained prominence in the early 1990’s, with bands such as Nirvana, Alice in Chains, and Soundgarden, to name a few. The band featured enigmatic front man/lyricist Andrew Wood and future Pearl Jam members Jeff Ament and Stone Gossard, but Mother Love Bone’s short existence ended due to Wood’s overdose death and released a sole album, 1990’s Apple. The band’s legacy and influence still loom large over Seattle and the sound MLB helped to originate. “

”Shine” is a remastered reissue of MLB’s 1989 five-song EP of the same name. Listening intently to a collection of songs decades after their original release can be daunting, whether or not you’ve heard it before, but talk about making an instant and lasting impression! The opening song, “Thru Fade Away,” had me coming out of my skin. That rhythmic intro and the storm that follows are on another level, reminding me of a quote from the movie “Metal Lords:” “Who are you to stop a man who strives with Gods?” It’s that good. Projects like this prompt questions: Does the music properly honor the time it was released initially? Was the remastering warranted? If it was, did it honor the original mixes? And above all, does the music hold up or suffer with age? The answers to the1 first two questions are an enthusiastic “yes!” As far as holding up and aging well? Hell, yes “Shine” both honors the time it was released while confidently standing the test of time. If you’re a fan of hard rock, this is a can’t-miss.

Superchunk – Songs in the Key of Yikes (Merge Records)

To quote Ferris Bueller, "Life moves pretty fast. If you don't stop and look around once in a while, you could miss it". I’ll apply that to Superchunk’s’ Songs in the Key of Yikes. It seemed to come out of nowhere. No listening party. No fireworks. Just dropped in my lap like an early, unexpected Christmas stocking stuffer. I immediately noticed the absence of drummer Jon Wurster. The feeling of loss confirms the brutal truth about most bands' lives. Members often change like socks. The fact that Jon Wurster has been a key member of Superchunk since 1991 is remarkable. Over time, the band became family to many of us. And from afar, one might wonder how they could go on. Enter Laura King. Considering King has been touring with the band since 2023, her officially joining Mac, Laura, and Jim feels seamless. Mac’s vocals and lyrics have always appealed to me and the band’s dedicated fan base. Thankfully and admirably, not much has changed since 1989. Superchunk’s knack for creating brilliant songs that serve as indie-rock blueprints is one of the most rewarding elements of loving a band. The prophetic lyrics, “Well I was happy in a world of wishful thinking/ And outright lies /But I'm beginning to think / everybody dies” are both haunting and a bit comforting. They serve as a reminder not to take things for granted. Songs in the Key of Yikes bursts with memorable songs such as “Is it Making You Feel Something?”, “No Hope,” and the laid-back, textured “Cue.” As time often wears a band down and sees them going through multiple lives musically, Superchunk remain timeless icons, continually feeding us relatable songs and lyrics we can easily apply to our own lives.

The Rousers – 1979 The Sire Session (rousers.bandcamp.com)

For those like myself who can’t get enough of that post-punk meets proto-power-pop goodness that experimented with new sounds while bringing back some ’50s rockabilly swagger and groove, check out this previously unreleased 1979 session. Go back to a time when punk was dead, and post-punk was reshaping itself to not only survive but also thrive with new ideas and old and new approaches to rock 'n’ roll. The adventure might have been brief, but it was certainly worth documenting. “Product of the USA” is infectious with a sound and style that seems inspired by the classic flick “American Graffiti” and might find itself smack dab in one of those early ‘80s teen flick soundtracks. Although there isn't a lot known about these late 1970s New York City rockers, the fact that they performed at the legendary Max’s Kansas City puts them in good company and a legendary scene. If turn of the decade Dave Edmunds and Nick Lowe rhythms, twang, and rock n’ roll swagger are your thing, definitely check this out. The vinyl release features 12 songs with six additional songs on the CD.

Beyond All Doubt – "Life’s Ladder" EP (Life and Death Brigade Records; beyondalldoubt.bandcamp.com)

On their third release to date, Phoenix, Arizona’s metalcore unit Beyond All Doubt fires on all cylinders, with lyrics that deal with feeling the crushing weight of life’s burdens. B.A.D. creates four instant metallic hardcore classics to add to your list. Due to the music's fast, raw, and overwhelming sense of urgency, Beyond All Doubt is one of the most promising Metalcore bands my ears have laid upon in decades. As a side note, the long-exposure cover photo by Yesua Flores is impressive, to say the least. It draws the curious eye in, daring it to further feed on your curiosity. Limited to 250 vinyl copies if you're so inclined.

Dynamite – Settle the Score (Scheme Records; dynamitehardcore.bandcamp.com)

Good or bad, like it or not, everything ever created gets a revival. That's worth noting as Dynamite’s “Settle the Score” feels and sounds like one. From the opening beats, feedback, and boisterous vocals, London’s Dynamite lives up to its namesake while proving that its 80's hardcore influences are less nostalgia-based and more about picking the right influences. The power and glory of the EP’s opening track “Hardcore Pride” is followed by “See Through You,” “Loudmouth,” “Dynamite Jam,” and “Can’t Be Denied.” Dynamite perfectly coalesces the speed, power and energy of hardcore without ever sounding dated or leaning too hard on nostalgia. This defines what could easily be conceived as a perfect hardcore EP, making it highly recommended.

Ringfinger – Calico Ghost Town Demos (ringfinger.bandcamp.com)

Many of us have spent time digging for demos of beloved albums, eager to hear earlier versions or skeletons of what those songs would eventually become included on released recordings. Digging deeper into the songs and artists we love is like an archaeological dig. “Calico Ghost Town Demos” revisits the third attempt at making what would become Decimal, a solo release by Tracy Wilson of Dahlia Seed. The misadventure of losing the first set of demos occurred when she placed her 4-track tape on top of a speaker whose magnets erased all the music. Several related slip-ups would follow.

As I listen closely, I recall joining friends to drive from Hoboken to Richmond for the first Ringfinger performance and getting another taste later at Hoboken’s landmark restaurant/music venue, Maxwell's. Ringfinger is an adventure in music, as it evokes many sources of sound that are often overlooked. Wilson’s voice has always evoked emotion, acting to exorcise pain and emote discord. Finally, with the help of friends such as Jesse Morgan and Stephen Brodsky, who assisted in helping to salvage what would become Ringfinger’s sole long-play effort, we were gifted with favorites like “The Frying Game (Typewriter Tourist,)” “Viking Funeral,” and “Mining for Diamonds,” which leave me hanging on an emotional cliff. While the closer, “Death Star,” ends the deal with a sense of clarity I can’t quite explain, it incorporates elements of home recording, electronic, shoegaze, 1960's French pop, and dream pop. By all means, this is essential.

The Alligators – Revelation of the Method (thealligators.bandcamp.com)

Representing hardcore since the Reagan years, The Alligators' lineup feature Agnostic Front's Roger Miret along with members of California straightedge legends Instead. I never bothered to check out the Alligators' 2021 Times Up, You're Dead. Now, after hearing the impressive seven-song Revelation of Method, it won’t be long before I do. The Alligators never venture outside their hardcore root, nor do they explore new territory. However, the merging of Roger, Ryes, Steven, and Rich produces powerful hardcore, giving the term "Super Group" merit. Aside from Roger Miret’s one-dimensional yelps and the band's butchering of Devo’s “Freedom of Choice,” this is a solid EP that kept my interest throughout. The riffs, rhythms, and beats from the Instead crew are worth praise. The title Revelation of the Method is an interesting one, hinting towards breaking some ancient code, possibly revealing the true intent and recipe for hardcore music. Or perhaps they're just sharing a secret recipe handed down from generation to generation.

Rise Against – Ricochet (riseagainst.com/ricochetalbum)

Despite being one of my most beloved bands, it’s been a while since I took in any Rise Against material. As a matter of fact, their new album Ricochet shows that I haven’t been paying close attention to the important things, as it caught me off guard. Rise Against have been recording together since 2001’s “The Unravelling,” and the Chicago political-punk heroes having gifted us with a slew of game-changing and genre-defining moments. Yet there is a point in every artist’s shelf life when they appear to be going through the motions. Not here. Ricochet is a triumphant return to Rise Against’s impactful origins, moments when you felt a part of the message being laid out in front of you. Their socio-political core, that always had you singing along as if it were the manifesto to a more caring society, still delivers. As someone who consumes more music than the average music junkie, Richochet kept my attention and forced me to focus on every song, lyric, and note. I feel a connection to each of the 12 songs and 42-minute build of the album. Songs such as the single and title track “Ricochet”, the album’s opening song “Nod,” and the rallying “Us Against the World” encapsulate Rise Against's bands’ fiery moral compass. In the end, I feel so grateful to be investing time with one of the most important punk bands of all time. This is a moving statement of purpose.

Illiterates – Does Not Compute (Sorry State Records; sorrystaterecords.bandcamp.com)

Hearing the name Sorry State Records for the first time in maybe ten years sent legit chills up my spine. This was the Raleigh, NC brick-and-mortar record store and label that catered to all the punk, hardcore, and weirdo bands the rest of the world ignored. A label that inspired and fueled Dave (Vinyl Addiction Records) and my blog, United By Rocket Science. Sorry State introduced me to future favorite bands such as Deep Sleep and Double Negative, at the same time filling my record collection with many obscure, yet satisfying gems.

I was further inspired by the Illiterates’ 2023 No Experts LP on Sorry State. I felt my ancient punk rock influences drawing me to the band’s raw and simple core. Great songs in a short time. Best recommended to punks with a love for that raucous style, with a rather short attention span.

Does Not Compute is a combustible, fiery powder keg from start to finish. If you’re a fan of raw and dangerous punk that tells it like it is with short, to-the-point bombast, Pennsylvania’s Illiterates deliver a mix of early punk and 90’s hardcore without the fashion and macho bullshit. While exploring the 12 tracks featured on Does Not Compute, I found many of my favorite entries, such as “Hig Champions” fell midway or further into the mix of extreme music. I highly recommend checking out Illiterates and giving Sorry State Records a deep dive.

Too Many Voices – “Donohue” EP (toomanyvoices.bandcamp.com)

After taking in 2024’s Funny How Time Flies, I eagerly approached Too Many Voices’ follow-up Donohue. In quite a short time, NJ’s Too Many Voices have made a lasting impression with their gritty yet melodic, contemplative sounds, which bring back memories of New Jersey’s indie rock scene of the post-2000s era and bands such as The Life Eaters and the better-known Gaslight Anthem. Though featuring a mere four songs, “Donohue” leaves its mark. The release has an overall honest and heartfelt feel to it, one that makes it feel personal and worth taking in. In conclusion, I can visualize myself inches from the stage at the legendary Court Tavern or Maxwells, teeling alive as I lean into each and every song.

Start Today – S/T (starttoday357.bandcamp.com)

With Start Today having recently played New Jersey’s Hellfest, it seemed a good time to review their just-released, self-titled EP. Straightedge and Youth Crew nostalgia seems to run in the veins of this Los Angeles band. Their dedication to the sound is more strongly connected to the late 90’s, as their name might hint.

The four songs featured on this debut release are impressive and, by all means, stand on their own. Compared to their 2024 and 2025 demos, there’s an evident sense of growth and maturity. At the same time, there is certainly a nostalgic vibe going on. Closer attention reveals influences from bands such as Ten Yard Fight and various 90’s Bridge Nine Records standouts.

While admitting some prejudice and low expectations towards bands named after songs from bands that influenced them, I can also admit that those beliefs have not taken me anywhere in life. Upon coming across the Los Angeles Youth Crew band Start Today, I almost immediately wrote them off as a nostalgia hardcore act. My bad. My apologies.

Battery – Until The End (Equal Vision Records)

Ah, another reissue worthy of reissuing! And while you won’t hear or read me say those words often these days, listening to Battery in 2025 is just as, perhaps even more, essential decades after the band's original and defining years. For those not so familiar with Washington, DC’s Battery, the introspective straightedge and somewhat melodic hardcore band's lineup included members of Damnation A.D., Shelter, Darkest Hour, and Be Well. Battery formed as the 90s decade opened, offering hardcore new ideas with a broader scope of sound and substance. Released initially on Conversion Records and reissued on Equal Vision, Battery were known for intelligent, compassionate lyrics that, when sung, became youthful anthems accompanied by a fiery instrumental reign of fire.

I got to see them live, and I celebrated releases such as “Only the Diehard Remain,” “Whatever it Takes,” and “For the Rejected, By the Rejected,” so I can attest to the lasting power and impact of their music. As much as I loved and still love the aforementioned Battery releases, This was my first go-around with “Until the End.” Hearing their cover of 7 Seconds' “Young ‘Ti I Die” gave me the chills. I highly recommend looking into Battery’s recorded history. It wasn’t long before I caught myself rocking back and forth, moving and singing along with each song. There’s not a bad one in the bunch. LP includes an eight-page booklet. This is the yellow with black splatter vinyl version, exclusive to Rev and limited to 500 copies.

Yellow Couch Music – Tidings in the Rough (yellowcouchmusic.bandcamp.com

After reading several rewarding listens to Tidings in the Rough, I reached out to creator, musician, and friend Layton Weedman to obtain a proper list of the musicians and artists involved in this project/community. Upon receiving his reply and noting the players, I realized the list was so long that including it would be like staying at the theatre to watch the credits roll to the very end. However, it is essential to note that it serves as a collective - perhaps a community - of talent, musicianship, and experimentation. Yellow Couch Music’s Tidings in the Rough is the result of three creative forays into boundless inspiration, sounds, and expression, a resounding call for the return and renaissance of neo-soul, recalling artists such as The Roots, Common, D’Angelo, Erykah Badu, and Sade. "Laid Back" mixes hip hop magic and jazzy hooks. Without sounding cliché, the first word that leaves the tongue is "chill."" It’s not every day, or decade, that something like this comes around, and I’m happy to take the ride. Spacious and trippy, it's as if each song deserves its own planet. However, I’ve already mentioned some names that should spark your interest. "Tidings in the Rough" reminds me of the soul classics my mother would play on the stereo to bring calm, Saturday morning episodes of Soul Train, and what still draws me to hip-hop legends such as Madvillian, J. Dilla, and Run the Jewels. Easily, this is the most well-rounded and deep music release I’ve heard in years, guaranteed to highlight my list of favorites of 2025.

Enrage – The Greys (Streaming)

Staten Island’s decade-young metal band Enrage returns with their first work since 2018’s EP “Gateways III,” and their most focused and dominating release yet. Noting that it is almost unthinkable for a band or artist to release their best work decades into their existence. Now, after more years than I can count. Enrage have come for me and any who dare to listen, whether it’s an abduction or something more sinister. “The Grays” is the real dea, starting with the hauntingly spooky, hypnotic album art by David Cohen. This album pushes all the buttons, while hitting all the switches as to what an excellent metal album should be.

Growled vocals are met by fast and aggressive guitar work and rhythms that drive the music with a confident darkness. Songs such as "The Fallen" and "Relentless" serve as core imprints on an album that makes it mark while leaving a lasting imprint on metal. “The Grays“ will open the eyes and ears of even the most devoted fans, while surely opening the doors for new ones. Aside from their cover of Skid Row’s "Slave to the Grind,"" there are additional guest appearances from Anthoney Bramante (Nuclear Assault,) John Paradiso (Evoken,) and vocals from CharlieLonewolf on the sludgy, closing, and favorite track, "Nightmare Fuel."" “The Greys” was immensely rewarding as it channeled my inner thrasher while reuniting me with a band I lost touch with decades ago.

Deadguy - Near Death Travel Services (Relapse Records; deadguy666.bandcamp.com)

Metal kings and hardcore hierarchy. It might be hard to fathom how a band with so few releases in over 30 years can attain such notoriety. Yet through a cutthroat sound and maniacal delivery, Deadguy is instantly recognizable, as if they were the only band left after a well-documented bloodbath. When describing Deadguy, one might compare their vicious nature to that of South of Heaven-era Slayer, With a lineup featuring a Death Row of members: Tim Singer, Keith Huckins, Michael DeLarenzo, and Dave Rosenberg. Tim Singer has established himself as the best and most highly regarded singer in extreme music. He also previously fronted the short-lived No Escape and brought us the highly regarded Boiling Point Fanzine. As for Near Death Travel Services, nothing has changed with Deadguy. The band that originated in New Brunswick, NJ has only grown old and colder, sharpening their vicious delivery and lyrics to scare the fuck out of the true believers and doubters alike. Scalding vocals meet colossal rhythms and legendary leads that tear apart whatever might be left on the listener’s bones. Essential.

Basic Needs – "The World Isn’t My Concern" EP (Life and Death Brigade; somebasicneeds.bandcamp.com)

Louisville, Kentucky hardcore act Basic Needs reaches out with a four-song EP whose title raises many questions. What immediately comes to mind is when was the last time you heard buzz regarding Kentucky’s punk or hardcore scenes? The second, and perhaps most daunting question one might ask is, why in the hell would anyone pay ten dollars for a four-song Bandcamp download? (The color vinyl 7-inch goes for $ 10.15.) Price aside, “The World isn’t my Concern” is a damn good EP that stirs the Postcore pot really well. The word impressive shows up everywhere on this short, yet engaging four-song. “Conservative Parts” and the title song “The World is Not My Concern" are favorites, being the only tracks whose time passes one minute of play. Though “The World is Not My Concern" was released in May, 2024, good music is often timeless and often worth revisiting.

Peripetlja – Zar nisi basan? (Refuse Records)

Originating out of Serbia and forming in 2023 as a straightedge hardcore band, Peripetlja offers songs and topics addressing socio-political topics. Peripetilja’s debut is quite impressive. “Zar nisi besan?” (translated: Are you married to your in-laws?) feels more impactful than a lot of Euro-based hardcore bands taking on similar tropes. From the opening sample “I told you young people that crack is some bad shit,” to the barreling bass lines on “Samar” and cutthroat vocals on “Esto,” Peripetilja’s sound delivers intimidating yet satisfying vocals that, no matter the language, force you to listen and think. This eleven-song debut put the hooks in me and left a mark. Available through Refuse Records on limited Orange vinyl and a refuserecords.bandcamp.com.


Erik Core – Killing the Sacred (Rock Cult Redcords; erikcoregunpowder.bandcamp.com/)

With Erik Core’s 2023 May Day still in my rear view mirror. I had a better idea of what was coming to my doorstep—the return with a new LP, the sixth LP to date. One whose title, Killing the Sacred, speaks softly, yet carries a big stick. Featuring a well-written, detailed press release that quotes my clever description, “A punk rock version Woodie Guthrie with the storytelling you’d expect from Johnny Cash.”<p> Imagine a young Bob Dylan hopping on a time machine to co-write and produce Bad Religion’s punk opus.<p> Lyrics such as “I can’t believe there’s a time for hate and fear” are just the tip of the iceberg when it comes to the sociopolitical themes and lyrics within Killing the Sacred. Words that perfectly encapsulate the mindset of the current administration. <p> Rather than breaking down each song individually. I highly recommend you listen to the album and its message as a whole. Trust me. It will appeal to on many levels.

Yaphet Kotto – Seems our Situation Calls for Blood Loss (Reissue) (Repeater Records)

Seems Our Situation Calls for Blood Loss collects all of socio-political Santa Cruz, California hardcore punk band, YAPHET KOTTO’s non-album tracks from every single, split, and comp. If it were not for the likes of Yaphet Kotto and their label, Ebullition Records, I might not be as socially and politically wired as I am today. While 80’s hardcore and punk educated those willing to listen about the ills of alcohol and harder drugs, 90’s hardcore and its many sub-genres offered a post-grad course that delved below the surface of many social issues.

The booklet included with this release mirrors of many of the fanzines of its time. That black and white, cut and paste style reminds one of the many independently printed fanzines who focused on the bands, scene, and music as opposed to advertisements of unrelated products. The flyers and raw images return memories of Kent McClard’s original fanzine No Answers. Listening to YK years and decades later, their songs and delivery seem more melodic than the many sociopolitical bands that took on the screamo approach. While reflecting on YK’s output. I’m unable to describe this collection as anything but essential.

Featuring non-album tracks from every single, split, and comp, this collection Includes three previously unreleased tracks, all remastered for this collection. Comes with a killer booklet with photos and fliers from the band's time together. Limited edition of 500 vinyl copies.

Savak – SQUAWK! (savak.bandcamp.com)

With moody rock with elements of soul and the blues, Brooklyn’s Savak single-handedly resurrected a sound and style that seems to have been absent from today’s rock scene. The thumping bass lines on “The Moon Over Marine Park” and the jolting guitar lead you into an impressive set of ten bangers. The opening single, “No Man’s Island,” was a good choice, as it helps define the band’s style both sonically and visually. Damned if I can’t help but think this is a lost gem from The Velvet Underground’s vault. Comparisons can be made to bands such as Georgia’s experimental post-punk act, Algiers, and London’s alternative rock maniacs, The Heavy. While SQUAWK’s ten songs are best suited to be listened in theeir entirety, I can’t stop myself from noting how the track “Casual Cruelty” stuck with me. Great album. Get it or you’ll regret it.

Clean Lines – Nuisance (Spaghetty Town Records)

Feel free to judge me for not reviewing this gem the first day it was released, considering the enthusiasm and excitement sparked by this four-song banger, released by Seattle’s Clean Lines. If there were ever a band and a record that would get me to move back to Seattle, this is it. Show me proof that there is a more addictive vibe than that on “In the Way” and I promise to stop hoarding records. One listen and you’ll know the raucous joy that is power pop with an extra layer of street cred. The band features Steve E. Nix (The Briefs/Cute Lepers.) A must for fans of The Buzzcocks, early Joan Jett, The Ramones, and The Nerves. Essential for anyone’s 7-inch collection.

Battalion of Saints – Complete Discography (Audio Platter Limited)

Here’s a complete discography from an early, influential, yet rarely mentioned San Diego hardcore act that’s both comprehensive and impressive. Here’s a band whose music was only available to latecomers like me through tape trading. Complete Discography collects all of Battalion of Saints’ recorded history on three LPs, including all the singles, albums, rare unreleased demo tracks, alternate versions, compilation appearances, and even two new tracks, remastered for your listening pleasure. With all the reissues and full discographies now available, long gone are the days of tracking down first pressings of old, long-out-of-print records. The Battalion of Saints immediately comes to mind when approaching the topic, originating in 1980 and surviving numerous lineup changes. The group had a significant impact on early Eighties American hardcore, originally breaking up in ‘85 and reforming in ‘95. Recommended for fans of Discharge, Motorhead, and purveyors of raw and loud punk.

Dauber – Falling Down (Recess Records; dauber.bandcamp.com)

Dauber, the trio from Hudson, New York featuring Mike Abbate (Screaming Females) on guitar and vocals, Jenna Fairey on drums, and Quinn Murphy on bass, make quite a splash with their fiery Falling Down, a 13-song banger that serves as a throwback to honest, unpretentious rock. Featuring beat by beat, kick-down-the-door rock excess and excellence, the album unspools like the soundtrack to one of those action thrillers where the time bomb is ticking down to its final seconds. This is fast and straightforward punk with teeth that bite.

Falling Down features plenty of edgy, cut-throat riffs, as well as an abundance of enjoyably bouncy sing-along anthems, with “Kill Me” serving as a perfect example. Admittedly, this was one of the hardest reviews I’ve written in my eight years writing for Jersey Beat. Reason being, I never want to come off sounding insincere or overenthusiastic. However, I enjoyed this album on a level I haven’t in some time. Also, I have been such a fanboy of Abbate’s former band Screaming Females for so long, I didn’t want to simply base this the old “featuring members of” shtick. This is, easily, one of the year’s best.

Modernettes – Eighty/Eighty Two (Teen City/View From The Bottom) (Projectile Platters)

Let it be said: the best bands you’ve ever heard are the ones you’ve yet to hear. For many, including myself, the years that brought the end of the 1970's into the dawn of the 1980's welcomed some of the most memorable eras of art and music: disco, Hip-Hop, Graffiti, Hardcore, Punk, and Post-Punk. With all the goings-on, it’s no wonder so much slipped through the cracks without much fanfare. Which brings us to the Modernettes. Coming out of Vancouver, Canada, and often mentioned as the best Canadian band of that era, “Eighty / Eighty Two” seems a perfect representation of the band's oeuvre. The reissue includes both of their long out of print and sought after EP's, 1980's "Teen City" and 1982's "View From The Bottom." Providing a perfect coalescence of punk, power pop, and New Wave, the music is super-catchy, melodic, and harmonious, with big choruses and enough bounce to get you singing along with your feet far above the floor. The song “Donna” reigns with its hooks and power pop flavor. Each song brims with reminders of turn-of-the-decade coming-of-age cinematic classics such as “Fast Times at Ridgemont High” and “Rock & Roll High School.” The collection includes their cool version of the Velvet Underground classic " Femme Fatale." The black vinyl LP will have the usual Projectile Platters extras: a replica fold-out poster for "View From The Bottom" and a double-sided insert with liner notes. Blame a lack of publicity and the common tale of an independent record label going broke for how the Modernettes were lost to history... until now.

GOD – My Pal (reissue)(sorcererrecords.bandcamp.com)

Considering “My Pal” is going through a second printing, I couldn’t possibly miss out on a two-song reissue this good. I've cursed myself for missing out on its original release. God were a teenage punk band from Melbourne, Australia, together from 1986-1989, and this record has been out of print for decades. The driving rhythm and entwined riffs of “My Pal” have a seductive draw that invites you to take the ride. In contrast, every listener will come up with their own conclusions on where it takes you. I felt a strong Allmans Brothers meet Laughing Hyenas or the Afghan Wigs influence, dirty blues rock with a shot of rattlesnake blood. “Make that to go!” The cleverly titled “A Man Without a Woman Is Like a Nun Without a Jackhammer” follows a similar map, only to remind me more of the horror punk act The Cramps. “My Pal” is one of those records that deserve your attention and space in your collection. Sorcerer Records earns a lot of my respect for reissuing this juggernaut. Considering they’re a small independent label, I’d recommend grabbing a copy before they’re all gone.

The Promise – Believer (reissue) (Indecision Records; crushallfakes.bandcamp.com)

While bands such as One King Down, Another Victim, Earth Crisis, and Conviction are mentioned among the Promise's influences, this listener would like to add slightly older acts, such as Killing Time and Sick of It All. Forming in 2001 under the name True Love (not to be confused the New Brunswick band of that name), the project brought five old friends together to show the world that time had yet to wear them down or break their will. Through hard work and determination, the band helped forge a homegrown basement show scene throughout Upstate New York, despite being a good hardcore band that adequately reflects a place in time for hardcore. However, I was unable to find components that would make it worth re-issuing or reflecting on.

Taste Testors – S/T (Moodkiller Records; tastetestors.bandcamp.com)

After about two weeks of listening to Taste Testors’ self-titled debut, I heard that the Seattle punk band would perform at one of my favorite Seattle record stores, Easy Street Records. Knowing full well that I wouldn’t be able to teleport back to my former home, I reached out to an old friend from the Emerald City, a punk enthusiast and record store manager, someone who engaged me in many punk/hardcore discussions while rifling through his stores racks of Punk titles. I learned that the Taste Testors' vocalist and guitarist, Steve E., also fronted The Briefs, a band you might know from their 2000 release “Hit after Hit.” Bassist Leif Larson was in a great pop punk band called The Pinellas. The Testors' profile reads, “All downstrokes, no leads, no bass lines, no filler” - something to remind yourself before listening. With that declaration noted, I took to their ten-song debut album with moderate expectations.

Turns out, Seattle’s punk-driven Tast Testors immediately make their mark with their fast, brash, dirty punk style, a sound influenced by early punk acts such as the New York Dolls, The Dictators, and The Ramones. At the same time, I was enjoying what I was hearing. There was no denying the pomp and swagger TT brings to the table. It can also be said that they remind me of some of the early sounds of what would shape power-pop.

Dew Claw – E.L.F. (dromedaryrecords.bandcamp.com)

After twenty or so years and four full-length releases, I find it sad to note that this was my first taste of Stephan Hunking’s music project. All excuses, such as being busy and a bit distracted, apply. So, here I am, present and ready for duty. E.L.F. instantly resonated with this listener. However, it wasn’t until the fourth track, “Here Comes the Weekend,” that my mind traveled to that “Left of the Dial” 80's sound. A subconscious air of “Murmur”-era R.E.M. comes upon me. The attention and sense of warmth dedicated to E.L.F. wrap themselves around the album, as if the album/project were a gift, one that you’d listen to it in its entirety (like we did in the old days) over and over. File under essential.

Speedway – A Life’s Refrain (Revelation Records; speedwaymusic.bandcamp.com)

Having always had a soft spot in my heart for both Revelation Records and the Hardcore acts coming out of Sweden, I eagerly awaited the debut of Stockholm’s explosive and unrelenting act, Speedway, which features lightning-fast riffs, pulsating rhythms, and scorching vocals that make every note feel urgent and even paramount. As someone who might be slowing down a bit, the slower pace and deliberate power of “Walls of Ire” appealed to me on many levels—moments that brought me way back to when I first heard the band Judge. “Ascension” also stands out as a go-to track on what is a powerful and impressive debut. Overall, I found Speedway and their debut A Life’s Refrain an excellent introduction that took me a little further, as it develops with each song.

Damion – I’m Going to Lose Control (Pop Wig Records; damion.bandcamp.com)

Due to a less-than-inspiring album photo of singer/songwriter/producer Damion resting on a couch, it seemed wise to keep an open mind on this album while approaching with caution, perhaps, leaning on the old saying, “Don’t judge a book by its cover."" Turns out, a little pre-judgment might have saved me some time by altogether avoiding I’m Going to Lose Control and its odd presence on long-time favorite punk and hardcore music distributor RevHQ. What I found were electronic sounds and lounge/boat-rock sounds emitted from Bloomington, Indiana’s singer/songwriter Damion on his follow-up to 2022’s Special Interest. I found this to be a simple, nostalgic take on the softest pop rock from the Seventies and Eighties; elevator muzak, and badly-aged romantic soundtracks. Not to knock Damion’s talents or inject my skewed view of the long-gone past, but, I struggle to recall anything I could find less common-ground with. For fans of Captain & Tennille, Tony Orlando & Dawn, and Casio Keyboards, I’m Going to Lose Control features 10 songs, with its vinyl version limited to 240 copies.

Street Power – Me Time (Triple – B Records; bbbrecords.bandcamp.com)

As I began to sample Street Power’s new release, I asked myself, "why do so many current hardcore bands leave me so incredibly dissatisfied?"" Perhaps I’m stuck in the past. Maybe I’m too old for this shit, just as rock 'n' roll was aging while I was a kid. American Hardcore is in its fifth decade, and by all means, it should not sound like it did in its youth. Even so... Boston, Massachusetts' hardcore scene has always been a breeding ground for street-smart, blue-color-shaped hardcore with an edgy rage that depicts the lifestyle it breeds. Street Power reflects that while accurately documenting that lifestyle through their music. The opening track on this 7-song crusher demonstrates that very well. However, the thuggish, low-brow attached phone call recording tagged on at the end completely ruins any and all further listening. From that moment on, any and all interest disappeared. Next.

The Chain – Blind the World (Triple-B – Records / Last Ride Records; bbbrecords.bandcamp.com)

When investigating Australia’s The Chain, the 1977 Fleetwood Mac song of the same name might come to mind. Shame on you if it does. Think instead of this fire-breathing hardcore act. Blind the World, their debut full-length, follows the path The Chain forged with two previous scalding EP's. Although Blind the World shows off The Chain’s blistering ferocity and breakneck hardcore style, it fails to show any growth or depth. As hardcore bands were once criticized for experimenting with their sound, I feel it’s a time to question when they don’t. If you’re a fan of the band and like what they’ve done in the past, fine. If you're looking for something to elevate and inspire you, I’d make a hard pass.

Black Army Jacket – Open Casket: The Discography (State of Mind Recordings; paxarmyjacket.bandcamp.com)

Open Casket is an exhaustive 2-LP vinyl reissue of a 2002 collection I was unaware of. Though I was never a fan of the band or the sub-genre known as Power Violence, as a native of New York City, I recall the many shows they played and the crowds their noise would attract. Featuring a colossal 50 tracks, which I struggled to get through, I found absolutely no connection nor attraction to whatever message they were seeking to put forward. Strangely enough, it brought back memories of driving around Clifton, where my friend would pop a cassette into the player and proudly declare, “You’ve gotta listen to this. It’s the worst shit I’ve ever heard.” The 2xLP features the band's 1996 demo, "The Path Of Two Swords As One" 7-inch, various compilation tracks, and their split EPs with Agathocles, Corrupted, Hemlock, Noothgrush, and Spazz. Black Army Jacket's previously unreleased 7-inch from 1999 is also exclusively included in the exhaustive collection. If you’re a fan of, or ever heard of, bands such as Spazz and Man is the Bastard, check it out. If not, well…

Foundation – Turncoat (Reissue) (Open Casket Activities; foundationatl.bandcamp.com)

I’ve finally reached the point where I start expressing my strange obsession with reissues. While it’s true I spent a lot of time and money investing in the past, I plan on leaving the building before getting caught in an intervention. I guess I’ve become disinterested in most music surfacing from the hardcore community in general, so I tend to bed with the past, hoping to keep hope alive and my faith untainted. Enter Atlanta, GA, straightedge hardcore act Foundation, and the reissue of its 2015 Jawk Records 5-song ep “Turncoat.” Through several go-throughs, I, unfortunately, found zero interest in what seems like a lot of knuckle-scraping, featuring screamed vocals and elements of what seem like beatdown hardcore. And while I’m sure Foundation and the reissue of “Turncoat” will appeal to some, this reviewer is and was not impressed. The fifth and final track, “Silence Above, Quiet Below,” felt like a trip through hardcore hell.

Sarge – Charcoal (Reissue)(Suah Sounds; thebandsarge.bandcamp.com)

Considering I’ve become Jersey Beat’s unofficial re-issue guy, I’ve been able to take deep dives into many records I may have owned, along with those that sometimes evaded my radar the first time around. And while it feeds a belly hungry for music both new and old, delving into reissues also serves as an education and measuring stick as to what’s worth revisiting and what is best left in the past (or perhaps an old CD held together by a deteriorating inset and a damaged case, with prior notification of its arrival and zero memory and knowledge of the band’s existence.)
I approached Sarge and their 1996 release with open ears and an open mind. Fault me for expecting some misconceived images of a mid-Nineties grunge holdovers or worse. “Charcoal” was a reissue for the ages and absolutely nothing I was expecting. With elements of the Indie, Alternative, and College Rock that highlighted the '90's, the music of Sarge features female vocals reflecting on younger days, which add a warm vibe that welcomes the listener to join in and be a part of the action. It's accessible. To fully enjoy and understand Sarge, and this rewarding reissue of Charcoal, I suggest you dial back to a time when alternative and Indie meant something, a time when you could get a break from having to hear the same hit song five times daily on the FM. With a voice reminiscent of Sarah Shannon (Velocity Girl) and a sound that might ignite memories of what was coming from the MERGE and the criminally underappreciated Alias records labels at the time, Charcoal opens with the dreamy, acoustic “Another Gear Uncaught” that highlights Elizabeth Elmore’s sweet and inviting vocals. The second offering, “Backlash,” turns things on their head with a raucous change of pace. Consider acts such as Velocity Girl and England’s the Darling Buds as accurate comparisons. The album moves forward with both studio and very pleasing live performances, and each song on the album connects on all levels. Songs such as “Bedroom” and “Chicago” register as favorites that leave a lasting impression. On the live version of "Backlash,"" you might feel a bit more endeared to Sarge as Elmore namedrops the band Braid (always a great act to be associated with.) This track will be featured on an upcoming compilation benefit CD. The live version is my favorite song in the collection, challenging my theory that tacking live performances on to reissues is predictable and unnecessary.
In closing, it’s worth mentioning that Charcoal is a record that will certainly become a weekly go-to amongst a collection of countless, ever-growing records.

Bamberdöst - Songs About Your "Girlfriend" (bamberdost.bandcamp.com)

After a week of relishing the punk rock glory that is ,” I’m convinced that the almost fifty-year-old sound is still alive in the hearts of many. It’s been a while since I shared a minute with Paul Mauled. His love of music and raw, honest punk still resonates with me as memories of catching his former band The Bad Whoremoans at venues such as Montclair’s The Meat Locker and Clifton’s Clash Bar, where we shared fries, Cokes, and conversation about Punk Rock, recall younger days. Regardless, it’s good to hear new music from a friend who, when I last spoke to, was becoming a member of the legendary Undead.

The chorus “You’ve ruined every other for me” on the opener “Drawn In” is as real as it gets, the perfect intro into what is one of the best new punk albums known to man (and women, equally.) Bamberdost combines a confident bombast in its sound with the ability to write lyrics that remind of the term “Wear your feelings on your sleeve.” While inviting comparisons to past acts such as The Misfits, Social Distortion, and Rancid, Songs About Your 'Girlfriend' ("girlfriend" in quotes) not only registers as the best album title of all time. It’s one of the best straight-up punk albums I’ve heard in years. Favorite songs include, but are not limited to, “Drawn In,” “Tell Me You’re Safe,” and “Simple Life.” Get it, listen to it, live it.

Hurricanes of Color – Iconic Rock Photography from The Beatles to Woodstock - By Mike Frankel (Penn State University Press)

Please bear with me; this is my third attempt to review this book. Upon receiving “Hurricanes of Color” in the mail, I was eager to view a photographer’s journey through Sixties rock. Being greeted by words such as “iconic” and “legendary” were admittedly promising. This guy, whose name I’d never heard, photographed The Beatles and the historical music festival Woodstock, and had his images splattered over magazines and record covers. And there were people lined up, looking to throw praise on his keen eye and authenticity. What could go wrong? Okay, I’ll tell ya.

Mike Frankel, at the age of 15, began his artistic journey at the top, thrown into the fire photographing the Beatles amongst professional photojournalists during their historic first tour of America (an opportunity that most can only wish for.) That opportunity that would lead to many others, including Woodstock.

This is where it gets sketchy. With descriptions such as “iconic” and “Legendary” still on the brain, I began my journey through the most underwhelming and rudimentary pictures I’ve ever seen outside of a kindergarten classroom. Frankel’s meet and greet and performance images of the Beatles lack focus and contrast while suffering from terrible lighting and lacking any sense of storytelling or intimacy. The color photos of rock performers and Woodstock that dominate the book are the worst I’ve ever seen in print or online format, suffering from some effect that can best be described as a bad acid trip meets a deadly house fire. I can’t quite figure it out. Perhaps he was attempting long exposures and failed miserably.

As a photographer, one who brims with excitement when given the chance to take in another one’s labor of love, I found Frankel’s work to be both uninspiring and hard to process without some sense of disgust. Ultimately, I found no common ground or appreciation for Frankel’s work. If you happen to see for yourself and think otherwise. I’d love to hear your take on it.

“Hurricanes of Color” is featured in full color with additional black and white images and housed in a hardcover shell and glossy interior. 240 images over 103 pages and 9" X 8.75" dimensions.

Retract – Demo 2025 (Version City Blues; retracthc.bandcamp.com)

Featuring members of notable hardcore acts including Massachusetts’ melodic-hardcore Defeater, Retract's 2025 demo is a blast of seething hardcore, scathing vocals, tumbling rhythms, and stabbing riffs. Five entries that show depth and a unique sense of individuality. The fast and raw approach accelerates the heartbeat while feeding the adrenaline, a warning sign for what’s to come.

Step By Step – Demo 2024 (Iron Mind Collective; stepbystepca.bandcamp.com)

With the price of eggs reaching record highs, paying upwards of $11 for a four-song EP only feels fit. Formed in the mountain town of Tehachapi, California, Step By Step wear their youthcore influences on their sleeve while not coloring out of the lines. Though it’s pretty good and comparable to the hardcore I grew up on, there’s nothing here that allows them to stand out. As I approach this four-song 7-inch inch version of the bands’ 2024 demo, I can’t help but wonder if they got their name while binging on the New Kids On The Block 1990 blockbuster. That and using Keith Haring-inspired art and fonts make me feel as if Step By Step may be stuck in another decade. Someone, please save them.

Damage – Sins of our Father (Generation Records)

Damage was an early New York Hardcore band that doesn’t get the credit or mention it deserves. The song “Ya Die Ho” pulled me and many other listeners into their vortex. Marked by an intense and unique approach with a dual bass attack, Damage stood apart from the pack. Recorded off the board at the legendary CBGB in 1984 and sounding just as impactful more than forty years later, this live album features 15 thrashers (“Ya Die-Ho” and “Die in Fire” impacted me the most) on green vinyl. A fold-out, two-sided insert includes photos, flyers, and lyrics. Overall, it was a nice trip through the past via a long-lost classic.

The Lemonheads – Car Button Cloth (Fire Records; thelemonheadsmusic.bandcamp.com)

An enthusiastic re-issue of the Lemonheads 1996 release “Car Button Cloth,” the widely collected original album returns to vinyl at a price that will most likely eclipse your bid on the original release. The expanded reissue features a 2-LP gatefold sleeve in a cloth-bound cover on red vinyl. Quite a sight if you're window shopping! Seeing this record this week in record stores and online, priced between fifty and sixty dollars, not only causes me to shake my head in disbelief, it causes me to believe the vinyl bubble is about to deservedly break. You get the original 13 songs along with 13 additional tracks - remixes, live, and acoustic recordings. Regarding the music within, Evan Dando was and always has been a generational songwriter whose delivery was always top-notch. The music is just as relatable now as it is refreshing. Getting back to the price, I suggest you skip the pricey vinyl and find an alternative route to enjoy it.

Kerosene 454 – Came to Kill Me (Solid Brass Records)

Formed in Washington, DC in 1992 and anchored by brothers John (bass) and Jim (guitar/vocals) Wall, Erik Denno soon joined on guitar and vocals. Drummer Darren Zenleck stabilized the group following several rotating members. It’s worth mentioning Kerosene 454’s brand of post-hardcore differed from that of the many DC bands we came to know in the 80s, releasing two notable albums with original studio material as well as splits with memorable 90's acts such as Bluetip, Sweet Belly Freakdown, and Angle Hair. The reissue of 1997’s sophomore album, “Came to Kill Me,"" originally a split label (Slowdime / Dischord) release, has been brought back to life by Solid Brass Records. Overall, it’s a worthy reissue of an album by a band that would more than likely be overlooked all these years later. “Came to Kill Me” is an eleven-song masterclass in 90's postscore. Each song is brimming with angular journeys and mathematical chord progressions that any fan of Quicksand or Fugazi would rejoice in. It's an album worth taking in as a whole, as opposed to some particular entries. Having a chance to revisit this album is like finding buried treasure. Looking back to the time it was originally released, I wonder if my taste in music was developed enough to appreciate its genius? Thanks to Solid Bras for giving me the chance to revisit.

Boys Life – Home is a Highway (Box Set) (Numero Group)

As I awaited the arrival of the physical 4-LP box set of Boys Life – Home is a Highway, I’ve taken upon myself to preview of the mp3's Numero Group sent just a few days before. As a record collector, owning a physical copy ensures a certain level of gratification, while MP3s offer the opportunity to enjoy the music anytime and anywhere. As someone who still builds mixes from a mindful cast of songs, artists, and genres, it’s paramount.

With records such as the band’s '93 Split EP with Christie Front Drive, or Boys Life's full-length “Departures and Landfalls” languishing in my collection, it had been quite a while since those records spun on my turntable as I mulled over my decision to drop dime on the box set. I wondered if a reunion with Boys Life’s music would be as rewarding as it was in my younger days. However, upon my first listen, the memories of enjoyment and appreciation returned with an unexpected bump in gratification. I quickly realized that with all the love and kinship I found in the "Revolution Summer" birth of emo in the '80's, the '90's second wave led me to my exploration and eventual obsession with free jazz. Without naming any particular song or release, the overall collection of Boys Life's recorded history is quite a trip. An absolute pleasure enjoying the work of a band that might have gotten lost among the countless bands that occupied my attention at one time or another. Collected here are their Departures and Landfalls and self-titled albums, singles, split 7-inches and 10-inch, live tracks, and rare demo tape, all annotated and illustrated inside a 24-page book. Another must-have for your collection, whether you’re a fan or looking to fall in love with a band you might have missed. I suggest you order this before it’s gone. (If you don't want to spring for the box set, or it's sold out, you can download the album at boyslife.bandcamp.com).

Shotmaker – A Moment in Time 1993-1996 (Box Set) (Numero Group)

Having been a long-time listener and fan of Ontario, Canada’s Shotmaker, and noting the care and detail that went into this collection's build, I confidently pre-ordered A Moment in Time 1993-1996. As someone who’s invested a lot of time in dialing back to explain the sound and ethos of '90's emo-core, I knew what to expect. Or did I? While possessing and wearing out my CD copy of the band’s 2020 Complete Discography, released on the Troubleman label, this box set's vinyl versions offered both insight and awe into the band I might not have heard prior. Vital, experimental, and wide-ranging in its depth and range, lik much of the music that came out of that sound and era, there was always a give and take when it came to the vocals and screamed cacophony that often delivered Shotmaker's music and message. However, while that pattern exists in Shotmakers’ sound, it doesn’t seem to dominate it, perhaps providing more tangible results.

The three-LP box set comes in various colors (purple, blue, and green) with a 12-page booklet of never-before-seen photographs captured by Canadian photographer Shawn Scallen, who chronicled much of the band's history. Drummer/Vocalist Tim McKeough provides an intimate history of the band. While old show flyers provide a visual history of shows performed with Fugazi, Unwound, Rorshach, and many iconic bands of the time, Shotmaker are truly one of the most underrated and unsung artists to come out of what is often considered a special time in underground music.

With the somewhat unsung history of '90's band Shotmaker, I feel it’s time to open the books on this incredible band. What better way to do it than with an all-encompassing collection that documents the band’s entire discography? Existing from 1993 - 1996, Shotmaker brilliantly mixed post-core experimentation with the brilliant emo sound that often captured the hearts and minds of '90's basement and V.F.W. show attendees and frenzied record collectors alike. (Bands such as Heroin, Evergreen, Current, and Rodan instantly come to mind.) I regret not catching them in the '90's. Whereas in the past, early '90's emocore might have been unsung, I feel its impact and artfulness today. I wholeheartedly recommend this box set while placing the rare yet well-earned “Essential” stamp on it.

The Linda Lindas – No Obligation (Epitaph Records; thelindalindas.store)

While we’re often introduced to new talent after their image and identity have been formed or developed, I find it more rewarding watching artists grow into the individuals they will become. Nothing comes closer than what California’s The Linda Lindas have shown us. Formed in 2018 by two sisters, Lucia de la Garza and Mila de la Garza; a cousin, Eloise Wong; and close friend Bela Salazar; the band debuted performing their song “Racist Boy” at their local library. The song was inspired by actual bullying due to misinformation regarding COVID–19. The song went viral, opening everyone's eyes and ears. Signed by Epitaph Record while still attending elementary and high school, their debut album -the appropriately named “Growing Up” - earned great reviews and more than proved this wasn’t a gimmick marketed to sell records to pre-teens. From the get-go, it was apparent that Lucia, Mila, Eloise, and Bela were talented and driven artists.

On their sophomore album, the band joins the Epitaph family for “No Obligation,” featuring 12 songs that perfectly encapsulate the feelings related to navigating the challenges of early life. Linda Lindas more than prove they are neither a flash in the pan nor a flavor of the week, perfectly mixing a milkshake of identifiable and straight-up fun to broadsiding punk that might bring greats such as Agent Orange and Bikini Kill to mind. Although the album is just perfect from start to finish, tracks such as “Excuse Me” and “No Obligation” are the most punk rock songs I’ve heard in ages. The lead single “All in My Head” features the alienation and aggression that define the punk genre. It also technically and musically stands out so much so that it pushes to challenge any naysayers or gatekeepers to dismiss this it. Just as “Growing Up” made my year’s best list in 2024, “No Obligation” will certainly appear on the quickly approaching one.

Tsunami – Loud As Is (Numero Group; tsunaminumero.bandcamp.com)

As the days leading up to the delivery of my physical pre-order of Tsunumi's commemorative box sex from Numero Group passed slowly, I listened intently to the MP3's the label sent earlier in the week. It had been decades, maybe thirty years, since I last placed a Tsunami record on my turntable or caught them at a downtown club. Those memories were fleeting. Remaining was the recollection of a time when the term indie-rock was added to my vocabulary, as it had opened my eyes and ears to a sound that was music to my ears. There was, is, and always will be something exceptional about 90's indie pop. First of all, it was ours. It wasn’t corporate and wasn’t playing on FM radio or MTV five times a day.

As with any Numero Group release, the Tsunami box set is impressive. “Loud As Is” serves as a reminder of good times when much of our weekly salary was dedicated to hanging out with friends, going to shows, and digging for records at places like Flipside, Our Music Canter, and Pier Platters, aside from awakening my memories of Tsunami. Many songs jump off the turntable with energy and emotion that reward my purchase and curiosity regarding a band I caught at a small bar/club in NYC. Everything about the packaging serves as a reminder that any project Numero Group takes on is done with artful care, from their attention to adequately documenting the artist’s journey to details that include an expansive book that tells the band’s story through a year-by-year time capsule with photos, flyers, and stories that serve as a looking glass into their existence. “Loud as is” features eleven 7-inches, 4-track demos, 1993's Deep End, 1994's The Heart's Tremolo, plus the first-ever vinyl pressing of 1997's acclaimed A Brilliant Mistake. Drawing on the suitcase archives of their own Simple Machines Records, this is an absolute must for fans of the band and archivists alike. As always, Numero Group makes every release a detailed and flawless piece of art.

Pinhead Gunpower – UNT (1-2-3-4 Records; pinheadgunpowder.bandcamp.com)

Featuring Billie Joe Armstrong (Green Day), Aaron Cometbus (Crimpshrine, Cometbus), Jason White (Green Day, Influents, Chino Horde) and Bill Schneider (Monsula,) Pinhead Gunpowder might be considered a punk rock supergroup as well as a side project. The band’s origins pre-date that of Green Day, going back to '91; the band was part of the thriving and often celebrated southern California Lookout/Gilman St. punk scene. “UNT” is an absolute gem. Quite a surprise, considering Billy Joe’s once untouchable pop punk band, Green Day, has been delivering awful material for twenty-plus years. “UNT,"" featuring 14 songs, offers a nice blend of early Nineties Lookout Records/East Bay punk appeal with the edgy satire of early-day Pinhead Gunpowder and Kerplunk/Dookie Green Day. With outstanding subject matter, lyrics and production, “UNT” passes the smell test with flying colors. While many won’t recall the name Pinhead Gunpowder as quickly as Green Day, I urge you to check out the band’s reissues on 1-2-3-4 Records. They will surely open the doors to many treasures.

The Last Gang – Obscene Daydreams (Fat Wreck Chords; lastgang.bandcamp.com)

I found the Last Gang's previous releases, “Keep Them Coming” and “Noise, Noise,” to be excellent records that landed Brenna & Co. on the punk rock map alongside kingpins such as The Distillers, The Interrupters, and any act blending punk rock's edgy raw power with songwriting and delivery capable of reaching beyond punk rock’s appeal. With confidence of a similar impact, I approached “Obscene Daydreams” with enthusiasm and excitement reserved for only a few. Brenna remains a voice to be reckoned with. Her fiery delivery and take-the-lead persona are worthy of exploration and fandom. The fast pace and steady balance, led by a raging symphony of bombast, create an unabating storm of punk energy, aside from the undeniable aggression. The album is anchored by a musically diverse balance that adds dimension to its sound and pace, the kind that makes me want to hit the dancefloor. Being so evenly balanced in its delivery makes it a chore to pick a favorite. However, the opening track, “Electric Avenue” (not the Eddy Grant hit,) "Rumors,” and the telling “NRA Back to School” are absolute ragers.

The Lijadu Sisters - Horizon Unlimited (Numero Group; thelijadusisters.bandcamp.com)

If there’s anything I’ve gained from getting older, it’s the expansion of my taste in music. That obsession with finding a wide array of sounds (old and new) has given me a global view of music and a deeper understanding of other cultures. My recent music expedition has taken me to 1970s-era Nigeria and The Lijadu Sisters, two women performing in a man-dominated setting. Two sisters, displaying their strengths and absolute beauty, perhaps ending the theory that women are best suited for singing backup. In comparison, the album, in its entirety, is pure joy to this listener. “Come on Home” wraps its warmth around me and commands me with the most impressive bass lines I’ve ever enjoyed outside a Funkadelic listening party. If you’re not convinced, go on YouTube and look them up. I promise good results. High praise to the Numero Group for their artful and meticulous manner of bringing lost treasures back to life.

Black Market Baby – Senseless Offerings (Doctor Strange Records; revhq.com)

Shut up. You had me at “First time in print since 1981.” This formative yet often forgotten (if not overlooked) 1983 Fountain of Youth release heralded the change that would quickly herald the birth of DC hardcore. It has been meticulously remastered and includes bonus tracks. It should be a reminder of the Old School while serving as an educational guide for the present crop of punks and music-minded hooligans. Influences abound, such as Sham 69 and The Clash, which give a hint at what you're in for, a sound that might have inspired bands such as Social Distortion. If you love that early American punk, leather jackets, bullet belts, and sleeveless shirts, “Senseless Offerings” is custom-made for you.

Bambies – Snotty Angels (Spaghetty Town Records; thebambies.bandcamp.com)

Montreal, Canada’s Bambies embark on their second album. The trio of Sami (guitar/vocals), Franki (drums/backing vox), and Feli (bass/backing vocals) deliver a fun and vibrant mix of loose guitars and bouncy rhythms that bring Gen X Saturday morning cartoons to mind. Favorite songs include the fast-paced trigger “Devolution” and the speedy “Bad Seed.” The album’s title, “Snotty Angels,” fits the sound perfectly as the songs each have a certain charm, warmth, and ability to grow on me, despite whatever shenanigans they might have gotten into.

Wreckage – "Self in All" EP (Scheme Records; schemehardcore.bandcamp.com)

It’s been decades since I looked at hardcore bands in a geographical sense. Somehow, learning that the band Wreckage was from Connecticut awakened memories of driving Civ, Arthur, and a rather large amplifier to the Nutmeg State's hardcore mecca, Anthrax (the club). Needless to say, it was one of many eventful shows. Following two impressive demos, Wreckage's “Self in All” offers five impressive songs with intelligent lyrics dealing with dissatisfaction, perseverance, and overcoming obstacles that stand in our way. The playing is tight and sharp, providing moments of absolute dominance. For instance, the basslines on the opener, “Can’t Let This Die,” are so powerful I can’t help but think of the legendary Cro-Mags. It's great stuff that made me want to search for more.

The Radicals – Ready to Die (Radio Raheem; theradicalsnj.bandcamp.com)

Having enjoyed many of Radio Raheem’s’ journeys into punk/hardcore's early days and being somewhat of an archeologist regarding undocumented recordings, I gave “Ready to Die” a quick listen. Recorded in 1981, the five tracks featured on this record were recorded in late 1981 in drummer Glenn Mayer's father's basement in Saddle Brook, NJ. While the five songs featured fit the early 80's punk sound, the recordings and songs are unimpressive, shambolic and, at best, rudimentary. It might be worth noting that Radicals member Alex Kinon would go on to perform and record with New York Hardcore legends such as Cause for Alarm, Agnostic Front, and Skinhead Youth (eventually changing their name to Warzone.)

None Shall Sleep - Hope Dies at Dawn (noneshallsleep.bandcamp.com)

Released in September 2024 and the follow-up to the recently reviewed “A Slow, Steady Decline,” “Hope Dies at Dawn” follows the same apocalyptic path that anchored their previous release while adding gasoline to an already blazing fire. Featuring fiery guitars, rhythms, and guttural vocals, it’s a sound that resonates with the listener while envisioning a beer-soaked mic and a more than supportive crowd. The chorus on the closer, “Time Is the Enemy,” resonates with the older generation of punks as if it were our theme song, with the chorus, “I’m living on, living on, broken time.” Overall, it was a convincing follow-up to the band’s impressive debut.

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For more reviews by James Damion, click here...


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